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The Lady Eve (1941)
7.7/10on IMDb
Released
Watch Stanwyck size up Henry Fonda's bashful snake researcher. Her card sharp makes the con feel like a game she has already won, which is what makes the moments when she falls for him so funny and so risky.
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Double Indemnity (1944)
8.3/10on IMDb
Released
Phyllis Dietrichson sizes up an insurance salesman in her living room and gets him thinking about murder. Stanwyck makes the hard-boiled flirtation sound like a negotiation, with every small concession getting him in deeper.
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Ball of Fire (1941)
7.7/10on IMDb
Released
As Sugarpuss O'Shea, Stanwyck brings a whole new vocabulary into a houseful of academics. She rolls out the slang as if the professors are lucky to keep up, and Gary Cooper's earnest reactions make the smallest exchanges crackle.
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Stella Dallas (1937)
7.4/10on IMDb
Released
Stella pours herself into raising her daughter, and Stanwyck lets pride and embarrassment play across her face almost at once. Watch the way she makes an outspoken woman painfully aware of the room around her without ever asking for pity.
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Baby Face (1933)
7.5/10on IMDb
Released
Lily Powers climbs through the offices of Gotham Trust by spotting the vanity of each man in her way. The movie moves fast, and Stanwyck gives Lily the calm of someone who has already worked out what every conversation can get her.
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Christmas in Connecticut (1945)
7.3/10on IMDb
Released
A homemaking columnist who can't cook has to put her make-believe household on display for Christmas dinner. Stanwyck plays the scramble with the confidence of a woman improvising the next lie while everyone else is still processing the last one.
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Remember the Night (1940)
7.5/10on IMDb
Released
A prosecutor takes an accused shoplifter home for Christmas. Stanwyck lets the welcome register in small steps, making the cozy setting feel tentative and giving the romance a little sting. Pair it with Double Indemnity to see her and Fred MacMurray turn that chemistry a different way.
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The Mad Miss Manton (1938)
6.7/10on IMDb
Released
Stanwyck's heiress comes armed with a lawsuit when a newspaper editor mocks her involvement in a murder case. The pleasure is in how crisply she gives Henry Fonda a hard time while her society friends turn the investigation into a group outing.
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The Strange Love of Martha Ivers (1946)
7.4/10on IMDb
Released
Stanwyck and Kirk Douglas play a married couple bound together by an old secret. Watch her chilly impatience whenever his character hesitates. Their scenes have the tension of a long marriage in which every ordinary exchange could give something away.
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Sorry, Wrong Number (1948)
7.3/10on IMDb
Released
Confined to bed, a woman overhears a murder plot on the telephone. Stanwyck makes impatience sound like a means of survival as the calls pile up. Start here if you want her intensity in a story where she can hear the danger coming and can barely move to meet it.
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The File on Thelma Jordon (1949)
6.9/10on IMDb
Released
Thelma brings an assistant district attorney into her orbit as she faces a murder case. Stanwyck keeps you guessing how much of the intimacy is strategy. It's a slower, more uneasy pleasure than the instant spark of Double Indemnity.
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Night Nurse (1931)
7.0/10on IMDb
Released
A young nurse suspects something is wrong in the home where she looks after two sick children. Stanwyck brings a useful impatience to the role. The movie gets its kick from watching someone low in the household's pecking order push back when politeness would be easier.
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Meet John Doe (1941)
7.6/10on IMDb
Released
The invention of John Doe begins with Stanwyck's reporter and a story she knows is false. She gives the opening a brisk newsroom energy, which makes it all the more unsettling when the story takes on a life beyond her control.
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The Bitter Tea of General Yen (1933)
6.9/10on IMDb
Released
Watch Stanwyck in the dream sequence, when Megan's attraction to the general takes a form she can't so easily dismiss. The movie asks for some tolerance of period racial stereotypes, but its unease gives her a different register from the quick, worldly assurance of the comedies.
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Annie Oakley (1935)
6.6/10on IMDb
Released
Buffalo Bill's Wild West show turns Annie's marksmanship into an act, and Stanwyck plays the difference between being good at something and learning how to sell it to a crowd. The romance takes liberties with Oakley's life. The fun is in watching her grow into the spotlight.
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The Furies (1950)
7.3/10on IMDb
Released
Vance Jeffords fights her father over ownership of the ranch, and Stanwyck gives the quarrel the heat of both a family feud and a business battle. Try it after Stella Dallas to see how differently she can play the pull of family obligation.
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Clash by Night (1952)
7.0/10on IMDb
Released
As Mae Doyle, Stanwyck makes the prospect of starting over feel like hard work. The fishing-town setting suits a performance built out of weary pauses and sudden bursts of irritation. Pick this for the bruised, everyday side of her darker roles.
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There's Always Tomorrow (1956)
7.4/10on IMDb
Released
Stanwyck plays the former colleague who comes back into a married man's life. Her warmth makes the reunion persuasive, and her restraint lets you feel how little room the two have to act on it. It's a fine choice when you want her gentler chemistry with Fred MacMurray.
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Forty Guns (1957)
6.9/10on IMDb
Released
A woman in black leads a column of riders into view and immediately owns the frame. Samuel Fuller's widescreen staging makes it a star entrance, and Stanwyck gives Jessica Drummond the dry authority to live up to it. A good next stop after the family warfare in The Furies.
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