Jimmy Stewart Museum

Was Jimmy Stewart too old to play Charles Lindbergh in ‘The Spirit of St. Louis’? Hear what Jimmy himself thought about his age in the role, and learn how his father influenced the casting—in the latest episode of our podcast ‘Talking um… uh…Jimmy Stewart.’ Link in comments.

Go behind the scenes of the new Jimmy Stewart film, courtesy of the Irish Examiner. irishexaminer.com/lifestyle/arts…

What do Kim Novak, Campbell’s Home Cookin’ Soup, and Kermit The Frog have in common? They all make an appearance in our latest podcast episode—focusing on Alfred Hitchcock’s VERTIGO (1958). Listen here or wherever you enjoy podcasts: jimmy.org/jimmy-stewart-…

Jimmy Stewart rode the same horse, Pie, in 17 films—including 'The Far Country’. A scene required Pie to walk alone down the middle of a street alone. Jimmy leaned in and quietly gave Pie instructions about what to do. It was filmed in a single take.

Before James Stewart landed the lead in SEVENTH HEAVEN (1937), the role was set to go to Tyrone Power—who backed out due to scheduling conflicts, and would soon become one of 20th Century Fox’s biggest stars. See it this weekend at 1:00pm in our museum theater!

Our matinee this week is 1937’s SEVENTH HEAVEN. Co-starring Simone Simon. A Parisian sewer worker longs for a rise in status and a beautiful wife. He rescues a girl from the police, lives with her on the seventh floor of a flat, and then marches off to war.

In THE MURDER MAN, Jimmy plays the role of Shorty, a tongue in cheek nod to his being one of the tallest folks in the cast. See it in our theater this week at 1:00pm through Sunday.

This week’s matinee sees Jimmy billed sixth, but you’ll have to trust us as he didn’t make the poster. From 1936, in his first feature film role, it’s THE MURDER MAN.

How deep is your affection for IT’S A WONDERFUL LIFE? Take a listen to our podcast and share your thoughts—favorite scenes, what it’s meant to you over the years … we’d love to hear from you! Find “Talking um … uh … Jimmy Stewart” where you get your podcasts.

Morally ambiguous? A few times. Hell-bent on revenge? OH, yeah. But did Jimmy ever straight-up play the villain? Twice — bookending his busy year of 1936, when he appeared in eight feature films. One was in AFTER THE THIN MAN. Can you name the other? It’s the week’s matinee.

BORN TO DANCE (1936) has Jimmy, Eleanor Powell, Virginia Bruce, a fantastic supporting cast, and a score by Cole Porter. It might also be the only musical with a song dedicated to a Pekingese dog. See it in our museum theater through Sunday!

Jimmy Stewart’s collaborations with Frank Capra are landmarks of American cinema. The Stewart–Capra partnership kicks off the return of our podcast series, “Talking um … uh … Jimmy Stewart.” Upcoming episodes will revisit their films. Find it wherever you get your podcasts.

YOU CAN’T TAKE IT WITH YOU (1938) stars Jimmy, Jean Arthur, Lionel Barrymore and Ann Miller. A man from a family of rich snobs becomes engaged to a woman from a good-natured but decidedly eccentric family. It won the Academy Award for Best Picture and is our current matinee.

Thinking of visiting the Jimmy Stewart Museum this year? We have some events planned that are worth the trip!

THE MUSEUM WILL BE CLOSED ON SUNDAY, FEBRUARY 8th to take care of an unforeseen electrical issue in the building that needs attention. We apologize for any inconvenience but we want to err of the side of caution. We will be back open on Monday, Feb 9th.

Jimmy said of his MADE FOR EACH OTHER co-star Carole Lombard: “She was truly beautiful and was the only girl…who could let out with a stream of four letter words and not embarrass you. It was ladylike the way she did it”. See the film in our museum theater this week.

Our matinee this week is MADE FOR EACH OTHER. While on a business trip, an ambitious young lawyer meets and immediately falls in love with a stranger. They wed the following day, and tragedy soon strikes. Co-starring Carole Lombard and Charles Coburn. Directed by John Cromwell.

Here’s Jimmy in a 1936 MGM publicity photo. He’d signed a seven year contract with the studio in 1935.