BUTTERFLY MCQUEEN
Her roles were largely stereotypical, yet her charm and goofiness made her memorable. Here’s a look at her work beyond Gone With the Wind.

DESIGN IN FILM: THE MODERN HOUSEAn eight-minute video montage of modern homes—real and fake—as seen on the silver screen.

KEYE LUKE
An examination of the lengthy career of the Chinese-American character actor, from Charlie Chan to Woody Allen.

70MMThirty visually stunning films that illustrate the grandeur of large-format filmmaking.

CHILL WILLS
Our look at the Texas actor’s 43-year film career, including an ill-advised Oscar campaign. 

MARGARET HAMILTON
A look at the professional life of an actress who proved to be much more than just the Wicked Witch of the West.

NEBRASKANSA look at some of the memorable talentsfrom Astaire to Zanuck—to come from the Cornhusker State.

BEHIND THE SCENES
Twenty-five cool photos reveal what goes on outside of movie camera range.

SILENT SURVIVORS
Our list of at least a dozen silent film performers that are happily still with us.

12 GREAT MOVIE SONGSElvis, The Beatles and The Supremes join our list of favorite movie themes of the 1960s.

WILHELM SCREAMWe trace the history of one of the most famous and beloved sound effects in movies.

LOST HORIZONA dud receives its due as we explore the elements that made this 1973 musical so preposterously memorable.

GREAT CLOSING LINES
One hundred films whose final words of dialogue make indelible lasting impressions.

25 GREAT SILENT MOVIE POSTERSOur selection of artwork from the early days of motion pictures that expertly illustrate the tone and tale of the films they represent.

RAVES AND RASPBERRIES We select some choice bits from reviews by the late Roger Ebert.

ERROL FLYNN GETS WHACKEDThe actor recalls an unforgettable moment with Bette Davis on the set of The Private Lives of Elizabeth and Essex.

CINEMATIC RIDESTen films where carnival attractions add to the plot and give their protagonists a cheap thrill.

REEFER TRILOGY
Three overwrought cautionary tales from the 1930s examine the perils of smoking marijuana in polite society.

20 DIRECTORS / 20 FILMSSome of the world’s best moviemakers from Hollywood’s Golden Era provide a behind-the-scenes look at their creations.

LOS ANGELES IN THE 1920SVintage clips offer a look at famous boulevards, studios, theaters, eateries and more.

BILLY WILDEROur favorite lines of dialogue from the Oscar-winning writer/director.

WOODY ALLENChoice lines of dialogue, from Take the Money and Run to Midnight in Paris.

KATHARINE HEPBURNTen authoritative moments when Kate's movie character speaks her mind.

UFA MOVIE POSTERSA look at the early one sheets from the longest standing film studio in Germany.

THE LANGUAGE OF NOIRWe celebrate tough talk from the best of Hollywood’s gritty crime dramas.

HELICOPTER OVER HOLLYWOOD

Aerial shots of Hollywood in 1958 includes Griffith Observatory, Grauman’s Chinese Theater and major studios.

AMERICAWe celebrate one of the most exuberant dance numbers committed to film, a thrilling showcase for freakishly talented folks with music in their bones.

HOLLYWOOD POSTCARDSTen vintage postcards revealing the glories of Southern California's movie mecca.

MAJOR FILMS, MINOR GAFFESTwenty-five mistakes in some of the greatest movies ever made.

GEORGE GERSHWINTen classic songs as seen on the silver screen.

GREAT ENDINGSA memorable tussle in Death Valley caps Erich von Stroheim’s broken classic.

10 GREAT POSTERSOur look at striking works of art that just happen to sell movie tickets.

MUST READMGM: Hollywood's Greatest Backlot provides a fascinating look at a lost treasure.

IN THE COOL, COOL, COOL OF THE EVENINGJane Wyman and Bing Crosby charm with the Oscar-winning song from Here Comes the Groom (1951).

PLUNDER ROADFilm noir at its best—and most economical. No backstory, a lean look and just 72 minutes long.

W.C. FIELDSTen of his most memorable character names.

OUTER SPACE HORROR
Aliens and mutants take center stage in twenty-five spectacular movie posters from the 1950s.

INGMAR BERGMAN
Our list of ten must-see films—ten artful depictions of the human condition—by one of the world’s most influential directors.

10 DIRECTORS / 10 FILMS 
Accomplished directors from the past 50 years talk about their triumphs and challenges in bringing a story to the big screen.

JACK CARSON
We single out five films that display the talent and range of the Warner Bros. character actor.

AL HIRSCHFELDWe select our ten favorite movie posters by the famed caricaturist.

BILLIE BURKE
Five films that best represent the fluttery voiced character actress’s charms.

DIAMOND SETTINGSWe take a look at five of our favorite baseball movies of the ‘40s and ‘50s.

BESTSELLERS

A dozen books that became publishing phenomena and, at times, well-made and popular films.


SCREEN TESTSAudition footage from Monroe, Dean, Brando and others.

MOVIE MOMENTS THAT MAKE LIFE WORTH LIVINGOur collection of ten little moments of breathtaking beauty, expert craftsmanship and happy accidents that rank as our favorites.

EDNA MAY OLIVER
A tribute to a character actress who’s made aunts and spinsters her specialty.

STARS ON STARS: 30 CANDID OPINIONSA collection of favorite quotes from movie folk discussing their peers.

CEDRIC GIBBONS
We take a good look at the work of MGM’s legendary art director.

JOHN QUALENFive of our favorite performances from the character actor’s lengthy career.

NOT STARRING DORIS DAY
We select three movie musicals we deeply wish the sunny singer/actress would have made.

MICKEY ROONEY’S BEST
Twelve examples of what made the late actor such an enduring movie star.

PUBLICITY PHOTOS
Ten artful, playful and downright silly shots from some of the most famous movies in existence.

JEFFREY HUNTERWe tip our hat to the underrated (and very pretty) actor best known for going toe-to-toe with John Wayne in The Searchers and hanging on the cross in Nicholas Ray’s King of Kings.

ELVIS PRESLEYFive essential films for the Elvis movie fan.

SPRING SPRING SPRING”
We take a closer look and listen at Johnny Mercer’s witty ditty about the coming of the season.

BILL GOLD’S MOVIE POSTERSOur salute to the legendary graphic artist, including 25 of his posters for some of the most famous movies ever made.

BEAUTIFUL MENFilm giants Cary Grant and his ilk will have to wait. Here we look at ten not-so-obvious choices—actors blessed with incredible good looks, if not legendary status.

BEAUTIFUL WOMENTen of the most physically stunning females to grace the silver screen.

FOOTBALLFive classic films where gridiron shenanigans drive the plot. 

THE 43 FACES OF JOHNNY DEPPWe review the wide variety of characters the actor has played, from early teenager roles to larger-than-life eccentrics.

FRED ASTAIREFive lively numbers from the peerless hoofer.

THE ROAD TO HELEN LAWSONJudy Garland, Susan Hayward and the bumpy road Valley of the Dolls producers experienced in casting an important role in a truly lousy film.

 AMERICAN LANDMARKS ON FILM From the Empire State Building to the Golden Gate Bridge, we take a look at ten famous sights that added drama to the movies.

THE GIRL HUNT BALLETWe revisit the stylish Fred Astaire dream ballet from The Band Wagon (1953).

IOWA FILMS & STARSTen contributions the Hawkeye State has made to motion picture history.

FOX THEATEROur fond look back at one of San Francisco’s grandest movie palaces.

AUTOBIOGRAPHIESTen great titles penned by industry legends.

THE BAND WAGONNanette Fabray recalls a glaring mistake in the 1953 classic musical.

TRIGGERWe celebrate the life and somewhat creepy afterlife of Roy Rogers's favorite mount.

CHARACTERS: AGNES GOOCHPeggy Cass's memorable turn as a plain Jane coaxed into living a little in Auntie Mame (1958).

DESIGNS ON FILMA handsome volume by author and designer Cathy Whitlock chronicles the history of Hollywood set design.

REBECCAFive screen tests for Hitchock’s 1940 classic, with comments by David O. Selznick.

CHARACTERS: BABY ROSALIEIn a daffy send-up of Shirley Temple, June Preisser plays an aging child star in MGM's let's-put-on-a-show musical, Babes in Arms (1939).

PRESTON STURGESSnippets of dialogue from six of the writer/director’s best films.

ANSELMO BALLESTEROur gallery of ten striking one sheets from the Italian poster artist.

GREAT MOVIESCelebrating the cool jazz short, Jammin’ the Blues (1944).

BETTY HUTTONTwelve films that exemplify the charms of this freakishly energetic performer.

JOSEPH L. MANKIEWICZSmart dialogue from the Oscar-winning screenwriter.

DESERT NOIROur report from this year’s Arthur Lyons Film Noir Festival in Palm Springs.

RED DREAM FACTORYWe profile eight films from a unique Russian-German film studio of the twenties and thirties.


Entries in audrey hepburn (11)

Tuesday
Mar262013

March 26

Alan Arkin is born in New York City, 1934. The sheer pleasure some actors feel in playing a villain did not come Arkin’s way when he assumed the role of Harry Roat in the 1967 thriller Wait Until Dark. Not only did his character torment a blind woman, the woman in question was played by one of the most beloved actresses in film, Audrey Hepburn. “It was the only heavy I'd ever played up until then,” the actor recalled, “and I had a miserable time…she was an extraordinary person in every way, and I just hated terrorizing her.” So nasty is this guy that Stephen King, in his non-fiction book Danse Macabre, writes that Arkin’s performance “may be the greatest evocation of screen villainy ever.” The final confrontation between Arkin and Hepburn still elicits a sincere shriek of terror.

Saturday
Jun022012

June 2

Mel Ferrer dies of heart failure in Santa Barbara, California, 2008. A former Broadway dancer and actor, Ferrer began his movie career as the director of The Girl of the Limberlost (1945), a low-budget, 60-minute Columbia movie based on the novel by Gene Stratton-Porter. Movie audiences first set eyes on him in Lost Boundaries (1949) playing a black man passing as white. His most famous acting roles were in Lili (1953), War and Peace (1956) and The Longest Day (1962). Behind the camera, he made The Secret Fury (1950) with Claudette Colbert and Green Mansions (1959) with wife Audrey Hepburn; he would go on to produce Hepburn’s 1967 thriller Wait Until Dark prior to their divorce the following year. “I curl up inside and freeze when I have to act,” Ferrer once said. “I much prefer sitting on the sidelines and trying to get the best out of other people.”

Friday
Apr272012

Billy Wilder on Sunset Boulevard (1950)

It was an idea that Charles Brackett and I had long before we tackled it. We wanted to do it, believe it for not, five years before we actually got around to it. We wanted to make a picture with a kind of a passé star. We wanted to do it with Mae West. That’s all I can tell you. But it didn’t come out this way.

There is no such thing as somebody sitting down and saying, “Now, all right, I’m going to make a new picture.” Not at all. You have ideas stashed away, dozens of them—good, bad or indifferent. Then you pull them out of your memory, out of your drawer, you combine them. An actor is available, and that’s the way it starts. People think when it comes to a screenplay you start with absolutely nothing. But the trouble is that you have a million ideas and you have to condense them into a thousand ideas, and you have to condense those into three hundred ideas to get it under one hat, as it were. In other words, you start with too much, not with nothing, and it can go in every kind of direction. Every possible avenue is open. Then you have to dramatize it—it is as simple as that—by omitting, by simplifying, by finding a clean theme that leads someplace.

Sunset Boulevard was a picture where everything sort of fell into my lap. I needed the Paramount studio, and we got permission to shoot at Paramount. I needed Cecil B. DeMille to play DeMille, and he played it. I needed somebody to play the part Stroheim played. Stroheim at one time had been a director and had, indeed, directed Gloria Swanson in Queen Kelly. We needed old faces and got Buster Keaton. Everything was just right.

When we made that picture with Gloria Swanson people forget that she herself was considered sort of an old bag from silent picture times. At the time when we shot the picture she was actually fifty years old, that was all. She was then three or four years younger than Audrey Hepburn is today. But it was the split, you know, the divide between sound pictures and silent pictures that made such a difference. She was actually very young for that thing. She was just forgotten because she had stopped making pictures when she was about thirty, when sound came in. But what would she be doing today? As you heard in the picture, she had those oil wells, pumping, pumping, pumping. I guess she would have four or five gigolos. She would now be living somewhere in Santa Barbara with George Hamilton.

Monday
Dec122011

December 12

Anne Baxter dies of a brain aneurysm in New York City, 1985. Though she was lovely in The Magnificent Ambersons (1942), heartbreaking in The Razor’s Edge (1946) and wickedly conniving in All About Eve (1950), we will always love her for “Oh Moses, Moses, you stubborn, splendid, adorable fool!” Baxter’s utterance in The Ten Commandments (1956) is one of the most howlingly bad lines of dialogue in any of Cecil B. DeMille’s movies (which is saying quite a bit). Appearing opposite Charlton Heston as Moses and Yul Brynner as Ramses, the actress throws herself into the role of Egyptian queen Nefertiri, a part for which Audrey Hepburn was initially considered, but passed over because of her waifish figure. If you’ve never seen the biblical epic, simply wait for Easter and then turn on the TV.

Wednesday
Aug242011

Ten Screen Tests

Knowing what we know now, with Vivien Leigh's portrayal firmly established in our minds, it's rather entertaining to view how other actresses took on Scarlett O'Hara in their screen tests for Gone With the Wind (1939). Leigh, of course, beat out a legion of actresses who—Paulette Goddard excepted—barely came close to the bulls-eye. With that in mind, here are a handful of screen tests sure to elicit one of three responses: "No wonder they got the role," "Too bad they didn't get the role" and "Thank heaven they didn't get the role!"

Edith Head takes us through preperations for Roman Holiday (1953), including Audrey Hepburn's personality and wardrobe tests.

Marlon Brando's 1947 audition for Warner Bros. has him using a partially completed script for Rebel Without a Cause. Brando was not auditioning specifically for the movie, nor did the film, eventually completed in 1955, use any of the scripts written in the 1940s.

Ann-Margret's exquisite rendition of "It Might As Well Be Spring" serves as her first screen test for the remake of State Fair (1962). She landed the movie, but not the role of Margy Frake (who sings the song), which went to Pamela Tiffin. Ann-Margret instead played the more vivacious role of Emily Porter.

Sandy Dennis gave a remarkable screen test in the role of Honey opposite Roddy McDowell's Nick for Who's Afraid of Virginia Woolf? (1966). She would go on the win the Oscar for her performance.

James Dean and Paul Newman team up for a personality test for East of Eden (1954)

Sharon Tate acquits herself well in this test for Valley of the Dolls (1967) with Tony Scotti.

Among the young actresses auditioning for the role of Liesl in The Sound of Music (1965) were, according to imdb.com, Liza Minnelli, Patty Duke, Kim Darby, Lesley Ann Warren and Sharon Tate. Here is Mia Farrow’s take on the role.

Marilyn Monroe plays a gangster’s girlfriend in a 1950 screen test for Cold Shoulder, a film that was never made.

Dustin Hoffman's screen and costume test for Tootsie (1982) reveal an early incarnation of the Dorothy Michaels character.

Joan Bennett, Melvyn Douglas, Lana Turner and others try, with varying degrees of success, to embody Margaret Mitchell's characters.