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Four Daughters

Four Daughters is a 1938 American romantic drama film directed by Michael Curtiz and produced and distributed by Warner Bros., adapted from Fannie Hurst's short story "Sister Act" published in Cosmopolitan magazine. The story centers on Adam Lemp, a widowed music professor portrayed by Claude Rains, who lives with his four musically gifted daughters—Ann (Priscilla Lane), Thea (Lola Lane), Kay (Rosemary Lane), and Emma (Gale Page)—in a harmonious household disrupted by the arrival of two contrasting suitors: the affable Ernest Talbot (Dick Foran) and the cynical composer Mickey Borden (John Garfield in his screen debut). Released on August 9, 1938, with a runtime of 90 minutes, the black-and-white film blends family dynamics, romance, and tragedy, culminating in emotional challenges for the family. The screenplay was written by , , and Lenore J. Coffee, drawing from Hurst's tale of sibling bonds and paternal love amid romantic pursuits. Production began in April 1938 at studios in , under producer , with composing the score that highlights the family's musical talents through piano, violin, and vocal performances. Originally intended as a vehicle for , the project gained prominence when , fresh from , was cast as the brooding Mickey after was considered but unavailable due to scheduling conflicts with . Supporting roles include as the optimistic Felix Deitz, as family friend Ben Crowley, and as Aunt Etta, adding layers of humor and warmth to the ensemble. Upon release, Four Daughters was a box office success, grossing significantly and ranking among the year's top films, praised for its heartfelt storytelling and strong performances. Critics lauded Curtiz's direction for balancing sentimentality with realism, particularly Garfield's breakout portrayal of the tormented artist, which Variety's pre-release review noted reveals him as "an interesting picture prospect." The film received five Academy Award nominations, including Best Picture, Best Director for Curtiz, Best Supporting Actor for , Best Screenplay, and Best Scoring for Steiner, though it won none; these nods underscored its impact during the ceremony. Four Daughters launched a , followed by Four Wives (1939) and Four Mothers (1941), which continued the Lemp family's saga with much of the original cast returning. Its legacy endures as a showcase for the ' on-screen chemistry and Garfield's star-making turn, influencing later family dramas; a 1955 musical remake, Young at Heart, starred , , and , updating the story with contemporary songs while retaining core themes of love and loss. Today, it remains a notable example of pre-World War II cinema, celebrated for its emotional depth and ensemble casting.

Development and Pre-production

Screenplay Adaptation

The screenplay for Four Daughters originated from the short story "" by , published in the March 1937 issue of Hearst's International-Cosmopolitan, which centers on the lives of in a musically inclined family. The story explores themes of familial bonds and personal aspirations within a harmonious household, providing the foundational narrative for the film's depiction of sibling relationships and artistic pursuits. Warner Bros. acquired the rights to Hurst's story and commissioned its adaptation into a feature-length screenplay by writers Lenore J. Coffee and , who shifted the emphasis toward heightened elements of romance, , and interpersonal family dynamics to suit cinematic storytelling. Their script transformed the original's more subdued tone into a dramatic exploration of love and loss, amplifying emotional conflicts among the characters while retaining the core setting of a musical family unit. The development timeline progressed rapidly after acquisition, with securing the property in late 1937 or early 1938 and completing the script in time for commencing on April 18, 1938. This swift process reflected the studio's confidence in the material's commercial potential, leading to the film's in July 1938.

Casting Process

The casting of Four Daughters emphasized familial authenticity and musical talent, particularly for the central roles of the Lemp sisters. selected three real-life sisters—Priscilla Lane as Ann, Rosemary Lane as Kay, and as Thea—to portray three of the musical daughters, leveraging their natural sibling chemistry to enhance the film's depiction of family dynamics. The studio conducted a nationwide search involving over 10,000 applicants to find a suitable fourth sister, ultimately casting as the eldest, , after testing the Lanes' older sister Leota Lane, who was deemed unsuitable and unavailable due to her commitments in . Page was chosen for her strong vocal and acting abilities, which allowed her to integrate seamlessly into the ensemble alongside the Lanes. A pivotal discovery in the casting process was John Garfield's screen debut as the brooding composer Mickey Borden, a role that marked his breakthrough in after signing a seven-year contract with following successful negotiations that accommodated his demands. Director had initially sought for the part, but Meredith's unavailability in led to Garfield's and selection, praised for his raw emotional depth. The supporting cast included Warner Bros. contract players such as Claude Rains as the patriarch Adam Lemp, Jeffrey Lynn as the optimistic suitor Felix Deitz, and Dick Foran as the affable Ernest Talbot. Errol Flynn was originally assigned to Lynn's role but had to be replaced due to illness. Assembling the ensemble presented challenges, including the difficulty of finding a fourth actress who could match the Lanes' familial rapport and musical prowess amid extensive auditions. Contract negotiations with Warner Bros. stock players, including the Lane sisters who had recently signed in 1937, further complicated logistics, as studio obligations kept the performers committed to California-based productions.

Filming and Technical Aspects

Principal Photography

Principal photography for Four Daughters took place under the direction of at the Studios in , primarily on soundstages and backlots. The production spanned from April 18 to June 4, 1938, allowing for efficient execution of the film's intimate family drama. The film was shot in on 35mm , with capturing the warm, domestic interiors and subtle emotional nuances central to the story. Running 90 minutes in length, the production emphasized controlled studio environments to highlight the musical family's dynamics. For musical authenticity, pianist Max Rabinowitz performed off-screen during key sequences, enhancing the film's live orchestral feel. The ensemble, featuring the alongside as the Lemp daughters, benefited from this streamlined process.

Music and Soundtrack

The musical score for Four Daughters was composed by , a pioneering figure in film music known for his symphonic approach that blended original compositions with leitmotifs to deepen narrative emotional layers. Steiner's score draws on his classical training from the Vienna Imperial Academy of , incorporating influences from Wagnerian techniques and long, flowing melodies to evoke the Lemp family's cultured, music-centric household. This integration of classical elements underscores the film's portrayal of the daughters as talented performers, with the background music seamlessly supporting their domestic harmony and personal dramas. Central to the film's auditory appeal are the diegetic musical performances by the Lemp sisters, played by the Lane sisters—Priscilla, Rosemary, and Lola—and Gale Page, who showcase their vocal and instrumental talents in several key scenes. Notable examples include Rosemary Lane singing Franz Schubert's "Serenade" (1823), Priscilla Lane performing Johannes Brahms' "Wiegenlied" (Lullaby) Op. 49 No. 4 and playing Schubert's "Ave Maria" on violin, and piano renditions of Hugo Wolf's "Wintermärchen" (1891). These sequences highlight the sisters' harmonious interplay, reflecting their real-world background as a singing trio and emphasizing the film's theme of familial musical bonds. Additionally, Max Rabinowitz contributed the original "Mickey's Theme," played on piano during John Garfield's character's scenes, adding a contemporary jazz-inflected contrast to the classical repertoire. Steiner's score exemplifies the early use of integrated music cues in 1930s productions, where orchestral underscoring synchronizes precisely with emotional beats to heighten dramatic tension and sentimentality, a technique that became a studio hallmark under music director Leo F. Forbstein. This approach elevates quiet family moments and pivotal conflicts, such as romantic entanglements, without overpowering the dialogue. No complete was released during the film's original run, though modern digital restorations have made isolated cues, like the main title theme, available for streaming, preserving Steiner's work in remastered form.

Plot and Characters

Synopsis

In the small town of Briarwood, widowed teacher Lemp lives a sheltered, harmonious life with his four talented daughters—Thea, , , and Ann—who share his passion for through daily rehearsals and performances. The family is joined by the pragmatic Aunt Etta, and the daughters are pursued by steady local suitors: Thea by wealthy Ben Crowley, by , and by businessman , though the free-spirited Ann expresses no interest in romance or marriage. The arrival of young composer Felix Deitz, a charming boarder recommended by Ben, disrupts the idyllic routine as he quickly wins the affection of all four sisters, but particularly Ann, leading to their engagement amid family celebrations. Tension arises with the introduction of Felix's cynical acquaintance, jazz pianist Mickey Borden, who moves in and develops a complicated bond with Ann, challenging the household's stability. As the sisters' engagements progress through the changing seasons, Ann's situation becomes central, marked by emotional conflicts and unexpected turns. A tragic shatters the 's joy during the height of the entanglements, testing their bonds but ultimately fostering as the surviving members support one another through . The narrative concludes with the remaining engagements culminating in marriages, restoring a sense of unity and musical solace to the Lemp home.

Key Characters

Adam Lemp, portrayed by , serves as the widowed patriarch and music professor who leads the Lemp with a blend of stern authority and profound devotion, often conducting his daughters' musical rehearsals while grappling with his reluctance toward external disruptions to their harmonious life. As the central figure, Adam embodies traditional values, providing unwavering guidance to his daughters despite his initial resistance to the influences of outsiders. The four Lemp sisters, each musically gifted and integral to the family's dynamic, exhibit distinct traits that highlight their individual journeys within the household. Thea Lemp () is the pragmatic eldest daughter, approaching matters of the heart with skepticism and favoring practical alliances over romantic ideals. Lemp () is the reserved and awkward middle sister, whose quiet demeanor masks deeper affections, leading her to navigate family interactions with caution and restraint. Kay Lemp (Rosemary Lane) stands out as the flirtatious and ambitious vocalist, driven by a desire for professional success that propels her toward opportunities outside the . Ann Lemp (), the youngest and most sensitive artist among them, brings irrepressible energy and romantic fervor to the group, her playing and emotional depth influencing key family bonds and conflicts. The sisters' roles were filled by as Ann, Rosemary Lane as Kay, as Thea, and as Emma, with the three Lane actresses being siblings in real life. Felix Deitz, played by , enters as the optimistic and affable composer competing for a prestigious , quickly integrating into the Lemp household through collaborative rehearsals and forming meaningful connections that test family traditions. His positive outlook and artistic drive contrast with the family's established routines, fostering growth in his relationships with the sisters. Mickey Borden, portrayed by in his film debut, is the brooding and Felix's collaborator, introduced as a cynical outsider whose sharp wit and emotional guardedness clash with the Lemps' warmth, yet evolve through gradual immersion in their world and personal entanglements. His arc reveals underlying vulnerability, highlighting tensions between isolation and belonging within the narrative.

Release and Commercial Performance

Premiere and Distribution

Four Daughters had its New York premiere at the Radio City Music Hall on August 19, 1938. The film was distributed by Warner Bros. Pictures as a First National production, with a wide theatrical release across the United States beginning in late August 1938. Marketing for the film emphasized its status as a heartfelt family drama infused with musical elements, drawing on the popularity of Fannie Hurst's original Cosmopolitan magazine story "Sister Act." Promotional materials, including posters and advertisements, prominently featured the Lane sisters—Priscilla, Rosemary, and Lola—alongside Gale Page as the four Lemp daughters, while tie-ins highlighted Hurst's name to attract readers of her novels. Campaigns included newspaper serializations, radio promotions, and contests such as "musical family" searches and resemblance competitions to engage audiences, particularly women and families. The film enjoyed a standard theatrical run in the United States from to 1939, followed by re-releases in the . Internationally, it received positive notices in markets like , , , and during its initial overseas distribution, with broader rollout in occurring after . Four Daughters was certified by the Production Code Administration under the without requiring any cuts, bearing certificate number 4400.

Box Office Results

Four Daughters achieved significant commercial success upon its release, with domestic rentals of $1.9 million (equivalent to an estimated gross of $3.4 million) and ranking among ' top earners of 1938. The film's modest production cost allowed it to recoup its investment quickly, contributing substantially to the studio's profits during a competitive year for releases. Several factors drove its strong performance, including a robust showing during the holiday season following its September premiere at New York City's , where it earned $86,000 in its second week alone. Its appeal to family audiences, centered on themes of sibling bonds and romance, boosted attendance across major markets, with notable grosses such as $19,500 in and $18,000 in during early runs. Comparatively, the film outperformed contemporaries like in initial weeks, capitalizing on word-of-mouth and critical buzz to sustain momentum through the fall.

Critical Reception and Legacy

Contemporary Reviews

Upon its release in August 1938, Four Daughters received widespread praise from critics for its heartfelt portrayal of family life and musical talent among the Lemp sisters. Frank S. Nugent of described it as "a charming, at times heartbreakingly human, little comedy about life in a musical family of attractive daughters," highlighting the film's blend of lighthearted moments and deeper emotional resonance in depicting the sisters' romantic pursuits and familial bonds. Variety commended the ensemble's chemistry, particularly noting the strong performances from the and as the widowed father, while singling out John Garfield's screen debut as the brooding composer Mickey Borden as a standout introduction to . The review emphasized how Garfield's intense, naturalistic added a layer of to the otherwise sentimental narrative. Audiences responded positively through word-of-mouth, appreciating the film's emotional depth in exploring themes of love, loss, and sisterhood, with many viewers viewing its sentimental tone as a genuine strength rather than a flaw. Overall, the film earned universal acclaim from contemporary critics, holding a 100% approval rating on based on 10 reviews from the era. It was also selected by as one of the ten best films of , and the recognized as one of the year's top actors for his role.

Awards and Nominations

Four Daughters received five nominations at the in 1939, recognizing its production quality, direction, , , and a standout . These included Outstanding Production for Warner Bros.-First National, Directing for , Writing () for , , and Lenore J. Coffee, Sound Recording for Nathan Levinson, and Actor in a Supporting Role for . Despite the acclaim, the film did not win any ; the Best Picture honor went to You Can't Take It with You. In addition to its Oscar recognition, Four Daughters earned praise from the , which awarded its Best Acting honor for his debut performance as the troubled musician Mickey Borden. This win highlighted Garfield's breakthrough role and contributed to the film's reputation for featuring strong ensemble work. The multiple Academy Award nominations significantly elevated the visibility of Four Daughters during the 1938-1939 awards season, positioning it among the year's top contenders despite not securing wins. This recognition underscored the film's emotional resonance and technical achievements, aiding its commercial and critical success at the time.

Sequels, Remake, and Cultural Impact

The success of Four Daughters prompted Warner Bros. to produce an alternate film, (1939), featuring the same principal cast in a similar tale of family dynamics but with different character names and a coastal setting centered on a widowed mother and her daughters confronting the return of their long-absent father. This was followed by two direct sequels that continued the Lemp : Four Wives (1939), which explored the sisters' marital lives and motherhood, and Four Mothers (1941), depicting financial struggles and family resilience during economic hardship. The story was remade in 1954 as Young at Heart, a musical directed by Gordon Douglas that updated the narrative to a contemporary setting, with the Lemp family reimagined as the Tuttles—a widowed music and his three daughters. Starring as the optimistic Laurie Tuttle, as the brooding pianist Barney Sloan (echoing Garfield's role), and featuring and Elisabeth Fraser as the other sisters, incorporated songs by and others to heighten its romantic and dramatic elements. Four Daughters exemplifies the sentimental family melodramas popular in , blending domestic harmony, romantic complications, and emotional depth to portray close-knit sisterly bonds amid life's trials. Its depiction of sibling relationships and familial support influenced later cinematic explorations of sisterly solidarity in American films. The film's legacy endures through John Garfield's breakthrough performance as the cynical yet vulnerable Mickey Borden, which earned him an Academy Award nomination for Best Supporting Actor and established his "rebel hero" persona, propelling him to stardom in subsequent roles.

Home Media and Preservation

The film was first released on DVD by on August 4, 2009, marking an early entry in the label's manufactured-on-demand program for classic titles. This single-disc edition featured the original black-and-white presentation without additional supplements. In 2011, Warner Archive issued an upgraded remastered version as part of the four-disc "Four Daughters Movie Series Collection," which includes the original film alongside its sequels Four Wives (1939), (1939), and Four Mothers (1941), released on August 1. No official Blu-ray edition has been produced as of November 2025, though fan-made or upscaled versions occasionally appear in secondary markets. As of November 2025, Four Daughters is available for digital purchase or rental on platforms including , , and , but it is not included in subscription streaming services like Max or the Criterion Channel. retains full copyright ownership, preventing entry into the ; the film remains under active distribution control by the studio. Preservation efforts focus on maintaining the film's original 1938 nitrate elements, with prints held in major archives such as the University of Iowa's Rita Benton Music Library, which safeguards production scripts and related materials from the era. The title has not yet been selected for the by the , though it appears on lists of culturally significant pre-1950 films recommended for potential inclusion. Remastering has emphasized fidelity to the black-and-white cinematography, avoiding colorization to preserve Michael Curtiz's intended visual aesthetic.

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