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In my mind, Geller I always pairs with Casablanca, another instant classic that would have been in theaters when Breuer started drawing it up: a work of high-low insider-outsider hybridity, expressing a very particular old-world immigrant’s dream of the character of modern life among the Americans. Geller I remains somehow poised at that postwar moment of collective trauma and redemptive domesticity, in its contemporary description by House & Garden magazine forever “the house of tomorrow, today.” ....

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