Sondheim's Cinema: 11–20 of His Favourite 40 Films

In the second chapter of my Sondheim project, I continue watching Stephen Sondheim’s favourite films. Watching films 11 through 20, in chronological order another diverse range of styles, countries and tones are revealed. From noir to romance, satire to fantasy, this batch deepens the sense of what shaped his aesthetic.

I also took a short detour to watch two Buñuel films, cited as inspirations for Here We Are, his final musical which I saw at the National Theatre in June, and around which this entire project was conceived. Plus, I’ve managed to catch two more live Sondheim musicals I had never seen: Company and Merrily We Roll Along.

11/40: Citizen Kane (1941, Orson Welles, USA)

Billionaire media mogul Charles Foster Kane (Orson Welles) dies alone in his vast estate, his final word "Rosebud" a mystery. As a reporter investigates, Kane’s life unfolds through interviews and flashbacks. A masterclass in character and storytelling, with astonishing use of film form, deep focus cinematography and structure.

12/40: Out of the Fog (1941, Anatole Litvak, USA)

Two Brooklyn fishermen (Thomas Mitchell and John Qualen) have their peaceful lives disrupted by a threatening racketeer (John Garfield). One’s daughter, Stella (Ida Lupino), is dangerously drawn to him. A moody, atmospheric noir with moral ambiguity and menace.

13/40: The More the Merrier (1943, George Stevens, USA)

Set in wartime Washington D.C., a housing shortage leads to a mismatched living arrangement between Jean Arthur, Charles Coburn and Joel McCrea. A perfectly paced romantic screwball comedy that wears its charm lightly. Warm, witty and full of heart.

14/40: Hangover Square (1945, John Brahm, USA)

A composer (Laird Cregar) descends into madness in this stylised noir-horror hybrid. Linda Darnell dazzles as the object of his obsession, while Bernard Herrmann’s dramatic piano concerto underscores the film’s descent into destruction. Psychological melodrama at its most fevered.

15/40: The Clock (1945, Vincente Minnelli, USA)

A brief wartime romance unfolds over 48 hours as a soldier (Robert Walker) meets a young woman (Judy Garland) in New York City. Dreamlike direction, small moments of tenderness and emotional urgency make this a minor-key masterpiece.

16/40: Dead of Night (1945, Cavalcanti, Crichton, Dearden, Hamer, UK)

A British horror anthology built around a framing story of déjà vu. As guests at a country house share eerie tales, the film crescendos to one of cinema’s most chilling ventriloquist stories. Genre-defining and deeply unsettling.

17/40: A Matter of Life and Death (1946, Powell and Pressburger, UK)

When an RAF pilot (David Niven) survives a fall from the sky, he faces a heavenly tribunal arguing for his right to live and love. Gorgeous Technicolor, philosophical depth and romantic intensity combine in one of British cinema’s crown jewels.

18/40: Panique (1946, Julien Duvivier, France)

Michel Simon plays a lonely eccentric scapegoated by his neighbours after a murder. Set during a carnival, the film delivers biting social critique about suspicion, conformity and mob violence. Still disturbingly relevant.

19/40: To the Ends of the Earth (1948, Robert Stevenson, USA)

A US narcotics agent (Dick Powell) pursues an international drug ring. Though ambitious in scope, the film is hampered by stiff narration and dated stereotypes. One of the lesser entries so far.

20/40: Smiles of a Summer Night (1955, Ingmar Bergman, Sweden)

An elegant romantic comedy of tangled affairs, hidden desires and sharp repartee. Bergman’s witty, flirtatious script gently mocks social pretensions while delivering a genuinely touching ensemble piece. A delight.

Interludes: Buñuel, Sondheim and Live Theatre

Taking a break from the list, I watched two Luis Buñuel films - The Exterminating Angel and The Discreet Charm of the Bourgeoisie - ahead of seeing Here We Are, Sondheim’s final musical, which draws directly from them. Both films, with their surreal, satirical take on bourgeois society, are masterclasses in tone, form and narrative breakdown.

Having finally seen a stage production of Merrily We Roll Along at The Playground Theatre in London in June, I re-watched Lady Bird which features a high school production of Merrily. I also managed to track down an amateur production of Company in Brighton, so another one ticked off the list!

Alongside the feature films, I’ve also been watching documentaries that offer further insight into Sondheim himself. Stephen Sondheim Revisited (South Bank Show, 2013) is a rich retrospective hosted by Melvyn Bragg, blending archival footage and interviews to paint a portrait of a generous, enthusiastic artist. Previn and the Pittsburgh: The World of Stephen Sondheim (1977) sees André Previn in conversation with Sondheim, intercut with vibrant musical numbers performed by Millicent Martin, Julia McKenzie and David Kernan. Finally, Inside the Actors Studio (1994) features a fascinating, often funny interview with Sondheim, where his sharp wit and deep musical intelligence shine. Together, these films complement the viewing project, offering direct glimpses into the mind behind the musicals.

And finally, as part of Chichester Cathedral's (where I work) celebration marking 60 years of Leonard Bernstein’s Chichester Psalms and its own 950th anniversary, I saw West Side Story (1961) outdoors in the cathedral’s atmospheric grounds. Presented by Chichester Cinema at New Park (where I once worked), the screening was a wonderful counterpoint to the previous week’s concert performance of the Psalms. Seeing the film again on a big screen, with Sondheim’s lyrics soaring into the open air, was an unforgettable reminder of its beauty, invention and enduring impact.

Recurring Themes across films 11–20

• Ambiguity and duality: Characters often inhabit morally grey spaces (Out of the Fog, Hangover Square, Panique), echoing Sondheim’s interest in ambivalence.

• Love and time: Fleeting romances and missed opportunities run through The Clock, Smiles of a Summer Night and A Matter of Life and Death.

• Dream vs reality: Dead of Night and Panique blur the lines between real and imagined horrors.

• Society under pressure: Whether through war (The More the Merrier) or social structures (To the Ends of the Earth), many films examine how people adapt or break under strain.
  

These threads deepen the psychological richness and structural inventiveness Sondheim seems to have gravitated toward in cinema, just as he did in his musicals.

More soon as I continue the journey with films 21–30. #SondheimOnSunday