The movie studio didn't want it, but Harrison Ford had other plans for his beard in the Chicago movie The Fugitive. Harrison Ford as a bearded Dr. Richard Kimble in The Fugitive. Screenshot. Harrison Ford's facial hair plays a surprisingly important role in The Fugitive. The Fugitive is a 1993 action thriller filmed primarily in Chicago, with a few scenes shot in North Carolina. Harrison Ford stars as Richard Kimble, a doctor and prison escapee wrongly accused of murdering his wife. While trying to find her real killer and prove his innocence, Kimble is relentlessly pursued by Tommy Lee Jones's U.S. Marshal. But there's something else Kimble is trying to escape: his own appearance. For part of his screen time in The Fugitive, Ford insisted his character don a beard. No big deal, right? Wrong. Warner Bros., the studio behind the film, was reportedly not happy about the beard. According to Ford, the studio essentially felt that it had “paid for the face they wanted to see,” and executives were concerned that his facial hair would obscure it. Ford, however, had two good reasons for keeping Kimble's whiskers. Harrison Ford as Richard Kimble shaves off his beard in The Fugitive. Watch the scene on YouTube. The Beard Had a Purpose First, Kimble has very little time between his escape and the end of the movie to maintain his disguise. Ford reasoned that shaving his beard would be a quick and easy way to change his appearance if necessary. But the beard also helped establish something about Kimble's character. Along with his flowered vest and the distinctive artwork on his walls, the facial hair makes Kimble seem "slightly idiosyncratic"—a doctor who exists somewhat outside the medical establishment. As Ford explained, that characterization “comes to play later on in the story.” In other words, the beard wasn't simply Harrison Ford refusing to shave. It was part of the character. And the decision seems to have worked. The Fugitive became a major box-office success, grossing roughly $370 million worldwide on a $44 million budget. It received seven Academy Award nominations, including Best Picture, and Tommy Lee Jones won the Oscar for Best Supporting Actor. Moreover, it's still one of the highest-rated films on Rotten Tomatoes and the like. Harrison Ford as Richard Kimble shaves off his beard in The Fugitive. Screengrab. Wait… That's a Fake Beard There's an amusing wrinkle to all of this. Although Ford wore his real beard for much of the movie, there is a scene in which he has to wear a fake one created by the film's makeup department. And, as you might expect, the fake beard doesn't look quite as convincing as the real thing. It's a small detail, but it's a great example of the practical decisions that go into creating a movie character—and how something as seemingly insignificant as facial hair can serve a larger storytelling purpose. So the next time you watch The Fugitive, keep an eye on Richard Kimble's beard: it's more than just whiskers. Kimble's fake beard, created by The Fugitive's makeup department. Screenshot. Sources "Off Screen, Ford Unlike His Action Characters." Leader-Telegram, Aug 29, 1993, p. 51. See The Fugitive Behind the Scenes Want to go deeper into the movie’s Chicago story? Bring The Fugitive to your library, organization, or group with On the Run in Chicago: Behind the Scenes of The Fugitive. This talk goes behind the scenes of the film to explore its Chicago roots, on-set challenges, and lasting legacy in film and TV history. Filming The Fugitive during Chicago's 1993 St. Patrick's Day Parade And for a quick taste of the real-life chaos behind one of the movie's most memorable Chicago scenes, watch my 60-second video below about filming The Fugitive during Chicago's 1993 St. Patrick's Day Parade. Two movie productions were filming along the parade route that day—and their camera crews actually ran into each other.

Discover where Somewhere in Time was filmed in Chicago and how the 1980 romance helped mark Hollywood's return to the city in 1979. Christopher Reeve overlooks Chicago in 1979. Screenshot. Although Somewhere in Time (1980) is best known for its Mackinac Island locations, several opening scenes were filmed in Chicago during the summer of 1979. Those brief moments also capture an important turning point in Chicago movie history, when the city began actively welcoming Hollywood productions again after years of restrictive filming policies. Where Was Somewhere in Time Filmed? Most of Somewhere in Time (1980) was filmed on Michigan's Mackinac Island. However, three key scenes were filmed in Chicago during the summer of 1979 before production moved to Michigan. Chicago locations include: Richard Collier's Chicago apartment Lake Shore Drive A Chicago library where Richard researches Elise McKenna Christopher Reeve, as Richard Collier, is featured in all three of these scenes: working in a Chicago apartment, driving a convertible along Lake Shore Drive, and researching Elise McKenna (Jane Seymour) in a Chicago library. These Chicago scenes, together with the Mackinac Island footage, were filmed during the summer of 1979—a pivotal moment in Chicago film history. Why Hollywood Returned to Chicago in 1979 Before 1979, Chicago maintained strict control over which films could shoot on location. Under Mayor Richard J. Daley (1955-1976), productions generally had to meet standards that made them suitable for family audiences. In fact, only movies Daley could take his own family to see were allowed to be shot on location here. But after Daley's tenure, when Jane Byrne was elected mayor (1979-1983), this policy changed. For Byrne, any movie that wanted to film in and around Chicago should do so. Byrne viewed film production as an economic opportunity, encouraging Hollywood studios to bring jobs and revenue to Chicago. She established an office to assist Hollywood production companies and worked with the Illinois Film Office to lure filmmakers here. To learn more about how Mayor Jane Byrne transformed Chicago's relationship with Hollywood, read the opening paragraphs of this 1981 newspaper article: Courier Post (Oct. 22, 1981) Hollywood Comes to Chicago: A Rare 1979 Documentary Embedded below is a clip from Hollywood Comes to Chicago (1979), a rare documentary short that sheds light on this "new" period in Chicago's movie history. In the clip, the cast and crew of Somewhere in Time describe Chicago as an easy and welcoming place to film, thanks in part to the efforts of the Illinois Film Office and its director, Lucy Salinger. You can watch the full documentary short below, which runs for about 7 minutes. It also features John Landis since The Blues Brothers was shooting here at the same time as Somewhere in Time. Somewhere in Time certainly was not the largest production to benefit from Chicago's new approach to filmmaking, but it was among the earliest. Alongside The Blues Brothers, it helped demonstrate that Chicago could support major Hollywood productions—paving the way for decades of movies and television shows filmed throughout the city. Key Takeaways Most of Somewhere in Time was filmed on Mackinac Island, Michigan. Three opening scenes were filmed in Chicago during the summer of 1979. Mayor Jane Byrne helped make Chicago more welcoming to Hollywood productions. Somewhere in Time and The Blues Brothers helped usher in a new era of filmmaking in Chicago.

In a 60-second video, discover murals in Chicago devoted to movies. Greetings from Chicago postcard mural Murals and other forms of street art line the streets of Chicago. As of this writing, FindMASA lists more than 8,000 murals and pieces of street art in Chicago! Perhaps the most photographed is the Greetings from Chicago postcard mural, shown above. If you look closer at the mural's "G," you will spot Chicago-based entertainment in the form of Muddy Waters and the movie Ferris Bueller’s Day Off. Plenty of other movie-related murals greet you in Chicago too. You can find ones devoted to Hollywood’s silent era (demolished since this writing), the Blues Brothers, Dolly Parton, Quincy Jones, and Robin Williams, among others. Watch our video below for a sneak peek of Chicago's movie murals, and then locate your favorite in Chicago's Mural Registry.

Before heading West, Harry and Tonto spent more than two weeks filming in Chicago. Here's where the cameras rolled—and stories behind the production. Art Carney and Tonto on their road trip. Screenshot. On August 12, 1974, Harry and Tonto was released nationwide. Opening alongside Chinatown, Herbie Rides Again, and Foxy Brown, this modest road movie about an elderly man and his cat became both a critical and commercial success. It even earned two Academy Award nominations: Best Actor: Art Carney Best Original Screenplay: Paul Mazursky and Josh Greenfeld Carney won the Oscar, beating out—if you can believe it—Dustin Hoffman for Lenny, Al Pacino for The Godfather Part II, and Jack Nicholson for Chinatown. Wild times. Long vertical ad for Harry and Tonto, Chicago Tribune, Feb. 1975. Exploring Harry and Tonto’s Chicago Filming Locations Harry and Tonto follows widowed retiree Harry Coombes (Carney) and his faithful cat, Tonto, on a cross-country journey. As they travel from New York City to Los Angeles—with a stop in Chicago along the way—they encounter memorable characters and experiences that challenge Harry's perspectives on life, love, and aging. Above, Tonto grooms himself on the rear dashboard of Harry's car. In the background, you can spot part of Chicago's 1970s skyline, including what appears to be the Sears Tower, which had only recently been completed. Below, Harry and his daughter, Shirley (Ellen Burstyn), walk along Chicago's lakefront. Harry and Tonto filmed in Chicago for approximately 2.5 weeks before the cast and crew continued west to the Grand Canyon, Las Vegas, and finally Los Angeles (Greeley Daily Tribune, October 24, 1973). During production, Art Carney grew especially fond of the cat who played Tonto—a four-year-old stray rescued from the streets of Los Angeles. "The cat's in love with Art," trainer Betty Schumacher told the St. Louis Post-Dispatch in 1974. In fact, after Harry and Tonto wrapped, Carney reportedly tried to buy his feline co-star. Unfortunately for him, Tonto wasn't for sale.

A summer concert promised blues, a symphony, and Morgan Freeman's voice. What it didn't advertise was the Academy Award winner taking a seat just one section behind me. Morgan Freeman speaks via prerecorded video from his blues club in Clarksdale, MS. (Screenshot) Sometimes, the best movie stories happen when you least expect them. I bought tickets to Morgan Freeman’s Symphonic Blues Experience expecting an evening of Delta blues, orchestral music, and prerecorded narration by the Academy Award-winning actor. I did not expect Morgan Freeman himself to walk onto the stage—and later take a seat in the audience just one section behind me. Morgan Freeman's Chicago Connection As its title suggests, Morgan Freeman’s Symphonic Blues Experience blended the sounds of the Mississippi Delta with the Chicago Symphony Orchestra and featured live musicians from Ground Zero Blues Club, the venue Freeman has co-owned in Clarksdale, Mississippi, since 2001. (Yes, Morgan Freeman owns a blues club.) Freeman's connection to both locales made the evening especially fitting. At age six, he spent a brief period living on Chicago's South Side before returning to the Mississippi Delta, where he grew up—and where he still lives today. The performance took place at Ravinia Festival, the nation's longest-running outdoor music festival. Ground Zero Blues Club sign at night by Steve Bott (Wikimedia Commons). A Surprise Appearance at Ravinia Before the concert began, Freeman, wearing a suit and baseball cap, was escorted onstage to answer a few (canned) questions. That alone would have made the evening memorable. But after introducing the program, and once the blues artists had taken their places, the actor quietly made his way into the audience—just one section behind me. Morgan Freeman answers questions before the concert begins at Ravinia. Photo by Kelli Marshall. At Ravinia, Morgan Freeman enjoys the program he helped put together. Photo by Kelli Marshall. The combination of live music, orchestral arrangements, and warm Chicago summer breeze made the evening especially enjoyable. Every so often, though, I couldn't resist glancing over my shoulder to see whether the star of The Shawshank Redemption, Se7en, and Lean on Me was enjoying the performance as much as the rest of us. He was. One reward of writing—and creating talks and tours—about Chicago and film is discovering unexpected intersections between the two. You can set out to visit filming locations or attend movie-themed events, but sometimes your brush with Hollywood happens when you're simply enjoying a summer concert. Have you ever had an unexpected encounter with a film star? I'd love to hear your story in the comments. Watch the Trailer Watch the trailer below, and then see whether Morgan Freeman's Symphonic Blues Experience is coming to a city near you.

Float virtually with Kelli down a Louisiana bayou and discover why filmmakers use these mysterious waterways. Explore wildlife, history, and bayou movies. Bayou Desiard, Monroe, Louisiana. Hop in a boat and float down the bayou with our founder, Kelli, as she visits her home state of Louisiana! On this live virtual tour, you'll take a short ride down Bayou Desiard (pronounced duh-seared). Along the way, you'll learn about bayous and their functions see indigenous trees and maybe an alligator (!) discover why certain movies are filmed on or near these mystical bodies of water This free virtual tour was held on Facebook Live. Check out more virtual tours. Watch Video: Movies on the Bayou, Live in Louisiana In this unique blend of nature tour and film history lesson, Kelli explores the ecology and culture of Bayou Desiard in Monroe, Louisiana. Learn the differences between bayous, marshes, and swamps; meet the iconic bald cypress trees draped in Spanish moss; and discover how these waterways support wildlife and help control flooding. Along the way, Kelli highlights seven films that feature bayous, including Eve's Bayou, The Princess and the Frog, Beasts of the Southern Wild, and Hatchet. Through these examples, you'll see how filmmakers use bayous to evoke mystery, spirituality, danger, hidden secrets, and even refuge—making them some of cinema's most evocative landscapes.

A rainy weekend of live music led to a memorable performance by Taj Mahal—and the story behind one of The Blues Brothers' best songs. A rainy evening to close out the Chicago Blues Festival (my photo). The Chicago Blues Festival is the world's largest free blues festival, a Chicago tradition that has drawn music lovers since 1984. This year's festival took place June 4–7, 2026, with performances spread across Millennium Park and other venues, including the recently remodeled Ramova Theatre. More than 500,000 blues fans gathered to celebrate the music, enjoying performances by some of the genre's most revered artists and rising stars. The festival opened with a panel discussion marking "20 Years of the Mississippi Blues Trail"—a program I wish I'd attended, especially since my husband (a Mississippi native) and I recently traveled part of the trail ourselves. 👇 Here's my photo of one Blues Trail plaque at the University of Mississippi (aka. Ole Miss), whose Blues Archive serves students, faculty, and researchers worldwide. One of the hundreds of markers commemorating the Blues Trail (my photo). June is typically Chicago's wettest month of the year, and that statistic proved true during part of this year's festival. But a little rain didn't stop Chicagoans from singin' the blues. Umbrellas filled Millennium Park as thousands of fans gathered to hear the music anyway. The Jay Pritzker Pavilion filled with blues fans—and umbrellas (my photo). The festival closed with a performance by Taj Mahal and the Phantom Blues Band. At age 84, Taj Mahal shuffled onto the stage at Millennium Park's Pritzker Pavilion and spent the evening seated, alternating between guitar and harmonica. While I didn't recognize many of the songs in his set (my husband knew most of them), I perked up when the musician introduced a tune I knew well. Picking up his harmonica, Taj Mahal told the crowd: "If y'all are privy to the Blues Brothers movie, when they got out of Joliet Prison, this [next song] was what they were playing. Belushi and Aykroyd called me up on the telephone and said, 'Hey, Taj, can we use this song?' I said, 'Yeah.' They said, 'We just love "She Caught the Katy (and Left Me a Mule to Ride).'" A little damp from the rain (and washed out from the lighting). As Taj explained, "She Caught the Katy" plays over the opening credits of The Blues Brothers as Belushi's character, Jake, walks out of prison. The song also returns later in the film when Jake and his brother, Elwood (Aykroyd) jump the Bluesmobile across the 95th Street Bridge near Calumet Fisheries. Car jump from The Blues Brothers (screenshot). Written by Taj Mahal and James Rachell, "She Caught the Katy (and Left Me a Mule to Ride)" first appeared on Taj Mahal's 1968 album The Natch'l Blues. The "Katy" in the title refers to the Missouri–Kansas–Texas Railroad. Hearing the song performed live by the man who wrote it—and hearing him recount its connection to The Blues Brothers—was a fun Chicago moment. Click here to watch my short video of Taj Mahal performing "She Caught the Katy." If you have a few extra hours to spare, you can also watch 5.5 hours of the Chicago Blues Festival on YouTube. Want More Blues Brothers? If you enjoyed learning about Taj Mahal's connection to The Blues Brothers, watch a free excerpt from my online course called Blues Brothers on Location: Prisons, Malls, City Halls. Interested in bringing The Blues Brothers to your library, organization, or group? Beyond the Blues Brothers is available for booking now. This interactive lecture takes you beyond the film's famous car chases and musical performances to explore its wild blend of Hollywood genres, behind-the-scenes stories, and lasting impact on Chicago filmmaking.

Charmian Carr's journey from Chicago to international fame began with a role that captured audiences around the world and continues to resonate decades later. Charmian Carr with that nasty Nazi Rolf (Daniel Truhitte) in The Sound of Music. Screenshot. I’ve seen The Sound of Music so many times that I know virtually all of its dialogue, its songs, and even the characters’ smallest mannerisms. I can also tell you exactly when the film will cut to a commercial break during its annual Christmastime broadcast. Only one primary cast member has ties to Chicago—and growing up, she was my favorite: Charmian Carr. A Windy City Pedigree Born Charmian Anne Farnon in Chicago in 1942, Carr is best known as Liesl, the eldest Von Trapp daughter. She was 21 when she made her screen debut in The Sound of Music. At thirteen, she moved with her family to California—a transition she later recalled with reluctance. Her Chicago roots run deep. Carr’s mother, Rita Oehmen (1917–1995), was also born in Chicago, where she began performing alongside her brother Edward as the Oehmen Twins on the Midwest’s thriving vaudeville circuit. One of their stops included the Hotel Sherman, at Randolph and Clark streets. Hotel Sherman advertises the Oehmen Twins in the Chicago Tribune, Dec. 13, 1927. At age 20, Rita was discovered by RKO Pictures and appeared in several films—The Jam Session (1937), Gun Law (1938), and Sea Melody (1938)—though none made a significant impact. Carr’s father, Brian Farnon (1911–2010), was born in Toronto, and raised in Ireland and England. He became a bandleader and arranger known for projects like The Polka Parade (1955), The Spike Jones Show (1957), and BBC Show of the Week (1965). Before their (by all accounts, messy) divorce, Rita and Brian had three children—Shannon, Charmian, and Darleen—all of whom followed their parents into show business. According to the 1950 census, the family lived in what Carr later described as “a butter-yellow brick house” at 7956 S. Peoria St. The yellow house currently standing at 7956 S. Peoria St. (c. 1915). Google Maps. In her memoir Forever Liesl, Carr recalls how much she resisted leaving Chicago for the San Fernando Valley: “I hated leaving Chicago, leaving my best friends, leaving the yellow house where we’d had such good times.” Personality in a Small Parcel Carr's performance as Liesl drew glowing reviews. Critics called her “wonderful,” a newcomer to “watch out for,” and “aptly named” (Charmian means "delight"). Even Hollywood gossip columnist Hedda Hopper—not exactly known for restraint—praised Carr’s debut as “brilliant,” adding that she had “never seen more personality packed into a small human parcel.” It’s precisely that combination—charm, presence, and ingénue appeal—that made my younger self watch Carr as Liesl over and over again. As my poor brother can attest, I practically wore out our family’s VHS copy of The Sound of Music. Also perfect in my 10-year-old mind—and in my adult mind, if I'm being honest—are the pink dress Carr wears during the gazebo scene with (the good-for-nothing Nazi soldier) Rolf, and the way she looks at Christopher Plummer's Captain Von Trapp when he first sings "Edelweiss." What a dress! Screenshot. TBH, I'd look at Plummer that way too. Screenshot. Beyond the Gazebo For someone with no prior professional experience in film—or even singing and dancing—Carr made the Hollywood dream feel attainable. After the film’s release, she received countless letters: from young girls hoping to follow in her footsteps, and from boys nearly proposing marriage. One of her favorite letters came from a Chicago teacher, Sister Mary Florence, who attended a screening of The Sound of Music with 800 other nuns. She wrote to assure Carr she’d done alright “music-wise”—despite having “tried in vain to teach [her] piano in second grade.” Carr stepped away from acting in the mid 1960s but continued to build a successful career. She founded an interior design firm, Charmian Carr Designs, and authored two books: Forever Liesl (2000) and Letters to Liesl (2001). She died in 2016, far too young, from complications related to dementia. Charmian Carr’s work—onscreen and beyond—continues to inspire generations of young girls (and, admittedly, a few adults) to pursue their ambitions, whether in Chicago or far from it. Captain Von Trapp serenades his kids in The Sound of Music. Screenshot.

In the one movie she made in Chicago, the openly bisexual author-actress "bares her very soul." In February 1918, openly bisexual author Mary MacLane starred in the silent movie Men Who Have Made Love to Me , released by Chicago’s Essanay Studios.⁣ ⁣ Mary MacLane wrote her first book, The Story of Mary MacLane , at age 19. Shocking, confessional, and banned in some cities, her diary-like book sold extremely well, over 100,000 copies in the first month alone.⁣ ⁣ MacLane’s third novel caught the attention of George Spoor, who ran Essanay Studios in Chicago. The two made one movie together, Men Who Have Made Love to Me (1918), adapted for the screen by MacLane from her own short story. Like about 75% of silent films, MacLane’s 90-minute movie is now thought to be lost.⁣ In the 1920s, Mary MacLane moved to a predominately black neighborhood on the South Side of Chicago, where her companion, a black artist named Harriet Williams, cared for her until her death at age 48. ⁣ ⁣⁣ Read more about Mary MacLane’s fascinating life and short-lived film career at Columbia University’s Women Film Pioneers Project . Images: Wikimedia Commons; Central Jersey Home News (24 Feb 1918).⁣

Long before Hollywood dominated the industry, early filmmaking in Chicago was taking shape in surprising ways. Discover how The Tramp and the Dog (1896) reveals the city’s first steps into this new medium. Shhh, the pie is cooling. Screenshot from The Tramp and the Dog (1896). Before Hollywood dominated American cinema, Chicago was one of the earliest centers of film production. For National Silent Movie Day (September 29), we revisit The Tramp and the Dog (1896), a silent short linked to Chicago’s Rogers Park neighborhood and the early filmmaking experiments of William Selig . Guard Dogs and Warm Pies: The Tramp and the Dog Explained The Tramp and the Dog  (1896) is an 80-second movie directed by William Selig and set in Chicago's Rogers Park neighborhood . It features three characters:   Baker Thief (or Tramp) Dog   There is also a man behind the fence (at far R) who's either enjoying or perhaps co-directing the scenario.   The gist of the short film, which you can watch above, is this:   A woman sets down a pie on a chair to cool it. When she leaves, a man tries to steal the pie. In the process, a white dog latches onto the man's backside. As the dog and tramp tussle, the baker returns, chasing away the latter with her broom.   The Tramp and the Dog , screenshot. A Closer Look: What The Tramp and the Dog Reveals About Early Filmmaking in Chicago After multiple viewings, here are three things I noticed in The Tramp and the Dog : Tramp pretends to eat the pie before taking it Baker looks at the camera The dog-Tramp fight moves out of frame The Baker, breaking the fourth wall, looks back at the camera. Where'd they go? The action (inadvertently) moves offscreen. What seems obvious now—that a character needn’t mime eating, look back for direction, or shift the primary action outside the frame (even if said action was unplanned)—was not yet standard practice in 1896 [1]. At the time, filmmakers and performers were still negotiating the basic grammar of cinema.   Such "mistakes" are endearing (and fun to seek out)—because they capture people, in this case Chicagoans, in real time, learning how to create silent moving pictures. If you're interested in exploring these kinds of stories, check out my public talks on Chicago film history , where we look at how early onscreen experiments continue to shape the way we understand movies today. UPDATE (Jan. 29, 2026): The Tramp and the Dog  is now part of  the National Film Registry, underscoring its importance in early American cinema. Want to walk through Chicago’s cinematic past? Beyond the screen, Chicago’s streets are filled with hidden movie history. From the sites of early silent studios to modern filming locations, join us for a Chicago walking tour  or book a movie talk  for your group today—including this one on Rogers Park movie theaters . Notes: [1] William Selig , who directed The Tramp and the Dog , was interviewed in the February 1920 edition of Photoplay . In the interview, Selig says the last beat of the movie—"the fence [breaking] under the weight of the tramp"—was not part of the scripted scenario but the action "gave [the film] a concluding punch." Whether planned or not, Selig did not shift the camera to follow the action, as a filmmaker would do in a few years' time. Indeed, he and the actors were still learning the basics of cinematic storytelling. Sources Photoplay . Photoplay Magazine Publishing Company, Chicago, Feb. 1920. “ Selig Polyscope’s The Tramp and the Dog  (1896) Joins the 2025 National Film Registry .” Selig Film News, 29 Jan. 2026. Selzer, Adam, and Michael Glover Smith. Flickering Empire: How Chicago Invented the U.S. Film Industry . Columbia University Press, 2018. Dig Deeper into Silent Movies From loudspeakers outside theaters to live music accompaniments inside, along with audience participation and occasional dialogue, the silent film era was anything but quiet. Learn more in the video below, " Were Silent Movies Truly Silent ."

One of Chicago’s newest museums encourages you to explore public housing history in the U.S. and an exhibit devoted to the TV series Good Times . Small exhibit in the National Public Housing Museum devoted to Good Times . (Photo: Chicago Movie Tours) I recently visited the National Public Housing Museum  located in Chicago's Near West Side . The museum opened in April 2025, and admission is free.   Inside, you learn about the histories of public housing in Chicago and nationwide—including discriminatory policies and practices like redlining  that help shape said housing developments and the families living within them. On view, you'll find everyday objects from public housing : a Pyrex dish, dog collar, wedding dress, and yellow rotary phone. Optionally, a Historic Apartments tour  allows you to visit recreated apartments that reflect different families’ experiences in public housing history between the 1930s and 1970s. That tour, which I enjoyed, is $25/person. Finally, if you're Gen X —or perhaps the owner of a tour and public talks company that researches Chicago-based movies and TV—then one exhibition inside the museum will likely catch your eye. Exterior, National Public Housing Museum. (Photo: Chicago Movie Tours) Seeing Yourself on TV: The Good Times Exhibit at the National Public Housing Museum Tucked away in the museum's lower level is a space devoted to Good Times , the 1970s sitcom about a Black family living in Chicago public housing. Good Times , which ran on CBS for five years (1974-79), centers on Florida and James Evans and their three children, James Jr. (J.J.), Thelma, and Michael. Throughout the series, the family attempts to overcome poverty in inner-city Chicago, always doing so with a sense of humor and impeccable comedic timing. That's not to say Good Times shies away from difficult topics. Racism, gang wars, unemployment, and evictions factor into storylines. And we should recall that real-life conflicts between producers and actors occurred as well, causing involuntary cast dismissals and voluntary resignations. Still, according to the National Public Housing Museum, "the first time public housing residents saw themselves on mainstream television" was on Good Times . The Evans family, from left: Ralph Carter (Michael), BernNadette Stanis (Thelma), Jimmie Walker (J.J.), Esther Rolle (Florida), and John Amos (James). (Photo: Wikimedia Commons) Good Times Filming Locations: Cabrini-Green and Chicago History Good Times never mentions the family's Chicago housing project by name. We are only given the address: 963 North Gilbert Avenue, Apt. 17C. (For the curious, here's the Evans' apartment floor plan .) But based on the following, we can deduce the fictional Evans family likely lived in Chicago's real Cabrini-Green public housing development . For example, Good Times ' opening credits reveal actual location shots of Cabrini-Green. The show's co-creator Eric Monte grew up in Cabrini-Green . Notably, Monte also wrote Cooley High  (1975), a film set and shot on location in Cabrini-Green. Adding to this, in the museum's small installation, you can watch clips from the series—all selected by  current Cabrini-Green residents . The National Public Housing Museum offers a thoughtful look at the lived experiences, systemic challenges, and cultural legacy of public housing in America. From personal artifacts and immersive apartment recreations to a nostalgic yet critical nod to Good Times , the museum invites you to reflect on the past while considering the future of housing and community. Explore More Chicago TV History If you enjoyed learning about the real-life inspiration behind the Evans family home and Good Times filming locations in Chicago, let’s keep the cameras rolling. Request a talk or book a tour today to see Chicago through the lens of your favorite classic shows and movies!

Hang out with us! A podcaster, a blogger, and a tour guide discuss how they record Chicago's past and present film history Join us below for an exclusive livestreamed conversation on Chicago and movies! You'll meet our three guests—a seasoned podcaster, a location blogger, and a Chicago tour guide—and learn how they began their respective projects, currently decide on content, work with their chosen media, and more! This roundtable discussion (55 min.) was streamed live simultaneously on Facebook and YouTube. 👋 Say hello to our guests Tommy Henry, Chicago History Podcast Chas Demster, It's Filmed There, Filming Locations of Chicago and Los Angeles Kelli Marshall, Chicago Movie Tours