Celebrating 75 Years Of HARVEY: The Making Of A Six-Foot-Tall Invisible Rabbit

Introduction

In the fall of 1950, a peculiar and heartwarming film hopped quietly into theaters and into the hearts of audiences across America. Harvey, directed by Henry Koster and starring the ever-affable James Stewart, introduced the world to Elwood P. Dowd and his best friend: a six-foot (three-and-a-half-inches, let’s stick to the facts) tall invisible rabbit named Harvey.

Now, seventy-five years later, Cinema Scholars looks back at the film that remains a charming and curious masterpiece, beloved for its gentle yet intelligent humor, whimsical tone, and surprisingly profound look at mental health, family, and acceptance.

Origins: From Stage to Screen

Harvey was born not in Hollywood, but on Broadway. The Pulitzer Prize-winning play by Mary Chase premiered in 1944 and was an instant success. Chase, inspired by Celtic folklore about spirits called pookas, mischievous shapeshifters often taking the form of animals, crafted a story that was as much about the human condition as it was about fantasy. When the play opened during World War II, its warm message of kindness, friendship, and gentle eccentricity struck a powerful chord.

Universal Pictures quickly saw the potential for a film adaptation, though it would take several years to bring it to the screen. Studio head William Goetz personally championed the project, and early on, there were whispers of casting a range of top stars, including Cary Grant. But one name kept rising to the top: James Stewart.

James Stewart Steps In

Stewart had seen the play and was captivated. So much so that he took over the lead role on Broadway in 1947 when star Frank Fay went on vacation, he did the same thing again in 1948. Known for his everyman charm and impeccable comedic timing, he was a natural fit for Elwood P. Dowd, the mild-mannered dreamer who insists his best friend is a very real, albeit invisible, rabbit.

Fay, who had originated the part on Broadway, was the studio’s first choice. However, when Fay’s health and off-screen reputation made the studio nervous, they turned again to Stewart, who was not only willing but eager to take on the role.

Stewart had cemented his status as a Hollywood icon with films like Mr. Smith Goes to Washington (1939) and It’s a Wonderful Life (1946). But Harvey offered something different: a role that required both whimsy and restraint. Elwood was not a fool or a clown. He was kind, thoughtful, well-read, and oddly wise. Stewart’s performance balanced comedy and pathos so deftly that it earned him an Academy Award nomination and later became one of his favorite roles. He positively glows in the film. His delivery of some of the impeccably written lines includes:

“Years ago, my mother used to say to me, she’d say, “In this world, Elwood, you must be…” – she always called me Elwood – “In this world, Elwood, you must be oh so smart or oh so pleasant.” Well, for years, I was smart. I recommend pleasant. You may quote me.”

It’s lines like these that stay with the audience long after the credits roll and help us warm to and empathise with Elwood while the remaining ensemble carry a vendetta against him. That is until the end of the film, when everyone who has encountered him, and Harvey, are ultimately rewarded by the experience.   

Bringing Harvey to Life

One of the biggest challenges the filmmakers faced in making Harvey was how to make an invisible character feel present. Director Henry Koster, himself a veteran of whimsical and fantastical films, knew that subtlety was key. Rather than relying on tricks or special effects, Koster focused on the actors’ reactions, particularly Stewart’s.

Stewart worked meticulously with Koster to choreograph his glances, pauses, and gestures to suggest that Harvey was real, physical, and always just off-screen. The result was astonishing. Audiences truly believed in Harvey’s presence, despite never seeing him.

Behind the scenes, Stewart joked about acting opposite “the best scene partner who never upstaged me.” In reality, Stewart developed a sense of rhythm and physical spacing that allowed Harvey to “exist” in scenes without any visual cues. On some occasions, a wooden marker or a stagehand would help him gauge where Harvey was “standing,” but most of the performance relied on Stewart’s precision and conviction.

A Set Full of Laughter

Filming Harvey was, by most accounts, a joyful experience. Josephine Hull reprised her Tony Award-winning role as Elwood’s exasperated sister, Veta Simmons, and won an Oscar for her scene-stealing performance. Her chemistry with Stewart was magnetic, combining farcical misunderstanding with genuine familial affection. Stewart was also nominated.

Koster, throughout the production, maintained a relaxed set, often encouraging improvisation and allowing actors to find their rhythms. Stewart, in particular, brought a sense of calm and joy to the production. Several crew members recalled how he would entertain extras between takes or quietly play the piano on set.

But not everything was smooth. The script went through several rewrites to balance the play’s stage origins with cinematic pacing. There was also debate over the ending. In the original play, Elwood remains unchanged, rejecting medication and embracing his life with Harvey. Studio executives considered adding a more “logical” conclusion, but Stewart and Koster fought to preserve the original tone. They prevailed, and the film’s final moments, which suggest that a little madness might be preferable to harsh reality, remained intact.

Reception and Legacy

Harvey opened to strong reviews and enthusiastic audiences. Though not a blockbuster, it was a steady success and developed a cult following over the decades. Critics praised its gentle satire and humanistic themes, and the film became a staple of holiday television programming. In 1990, it was added to the United States National Film Registry for being “culturally, historically, or aesthetically significant.” In later interviews, Stewart spoke fondly of the film, once remarking:

“Elwood P. Dowd is the kind of man I’d like to be—someone who’s kind without needing a reason”

At 75, Harvey feels more timely than ever. In an age that often prizes cynicism and spectacle, the film’s message—about kindness, open-mindedness, and finding value in the unseen—resonates deeply. Film scholars continue to dissect the films’ themes: Is it a critique of conformity? A parable about mental health? A defense of imagination?

Perhaps it’s all of these. But at its heart, it’s a simple story about accepting people as they are and seeing the beauty in what others overlook. In the words of Elwood P. Dowd: “I always have a wonderful time, wherever I am, whomever I’m with.” That sentiment, like Harvey himself, remains invisible but deeply felt.

Harvey is available ‘to view’ on Prime Video.

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