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 ingrid bergman (8)

Sunday
Jan312016

January 31

The Hollywood Reporter announces that Fred Astaire will costar with Audrey Hepburn and Kay Thompson in Funny Face, 1956. To get both Astaire and Hepburn to do the George Gershwin musical, each was told that the other was already on board, and the ploy worked. Hepburn turned down the title role in Gigi (1958) to do Funny Face and successfully maneuvered to have the Paris shoot coincide with husband Mel Ferrer’s Paris filming for Elena and Her Men (1956), a Jean Renoir picture starring Ferrer, Ingrid Bergman and Jean Marais.

Samuel Goldwyn dies of heart failure in Los Angeles, 1974. Hollywood’s top independent producer was famously known for his mishandled words and curious logic—Goldwynisms, as they came to be known:
“When you’re a star, you have to take the bitter with the sour.”
“Go see it and see for yourself why you shouldn’t see it.”
“I never put on a pair of shoes until I’ve worn them five years.”
“Don’t pay attention to the critics. Don’t even ignore them.”
“My wife’s hands are very beautiful. I’m going to have a bust made of them.”

But among the more humorous quotes are a few that reflect Goldwyn’s keen eye towards moviemaking and an affinity for what audiences want:
“It’s a mistake to remake a great picture because you can never make it better. Better you should find a picture that was done badly and see what can be done to improve it.”
“A producer shouldn’t get ulcers—he should give them.”
“Motion pictures should never embarrass a man when he brings his wife to the theater.”

The producer of Wuthering Heights (1939), The Best Years of Our Lives (1946) and Guys and Dolls (1955) died of heart failure at the age of 94 and is buried in Forest Lawn Memorial Park Cemetary in Glendale, California.

Monday
Feb092015

Gary Cooper

 

Gary Cooper and Ingrid Bergman in For Whom the Bell Tolls (1943). In fairly short order, they made their second and last movie together, the period romantic drama Saratoga Trunk (1945).

“In my whole life I've never had a woman so much in love with me as Ingrid Bergman was. The day after the picture ended I couldn't get her on the phone."
— Gary Cooper

Monday
Jul142014

July 14

Ingmar Bergman is born in Uppsala, Sweden, 1918. He was one of two geniuses of international cinema to emerge from Sweden. The other was actress Ingrid Bergman, to whom he was unrelated and actually never worked with until late in each other’s careers. Their sole collaboration was Autumn Sonata, a 1978 drama about Charlotte Andergast (Ingrid Bergman), a famous concert pianist, who tense visit with her daughter Eva (Liv Ullmann) in her Norway home leads to a lengthy evening of confrontation and catharsis about their strained mother-daughter relationship.

The film screened at the Berlin Film Festival in 2011 as part of an Ingmar Bergman retrospective and was introduced by Isabella Rossellini, Ingrid Bergman’s daughter, and Ullmann, who recounted a moment of contention on the set between the two Bergmans. The scene involved the lengthy nighttime discussion towards the end of the film, where Eva basically tells her mother that the neglect she felt as a child caused her great unhappiness throughout her life and negatively affected her adult relationships, and so on and so on until the sun finally comes up and Charlotte apologizes to her daughter.

It was the apology that rankled Ingrid. “I don’t want to say the line,” she told the director. “My character would slap her instead.” Ingmar told her that she would indeed say the line. She refused. He said that, as an actress, she could choose to play against the line—that is, register an emotion counter to the intent of the dialogue—but that she would, in fact, say the line as written.

They began to argue. As the argument began to escalate, Ingmar took Ingrid into a room down the hall where they could discuss the matter in private. According to Ullmann, what followed was two hours of loud quarreling between two creative egos. Then silence. At that moment, Ullmann knew that the genius—the director—had won.

The filming of the scene resumed and Charlotte said her line of apology to Eva. “However,” Ullmann told the audience, “notice how she looks when she says it.” Indeed, an apology may be on Ingrid Bergman’s lips, but there is murder in her eyes.

Thursday
Jan032013

Oscars 1948: Edith's First Nod

“There was no doubt in my mind that I would win that Oscar,” said costume designer Edith Head about her nomination for The Emperor Waltz—her first. It was, in fact, the first year Oscars were awarded to costumes, one for black-and-white films and one for color. Roger K. Furse took the blank-and-white award for his work on Hamlet, while Dorothy Jeakins and Madame Karinska shared the prize for their color frocks for the ponderous Ingrid Bergman saga Joan of Arc. “To my mind,” Head reflected, “there was no way Ingrid Bergman’s sackcloths and suits of armor could win over my Viennese finery.” The Emperor Waltz would be the first of 35 Oscar nominations for Head, who went on to collect a total of seven of the coveted trophies.

BEST PICTURE
Hamlet

BEST DIRECTOR
John Huston, Treasure of Sierra Madre

BEST ACTOR
Laurence Olivier, Hamlet

BEST ACTRESS
Jane Wyman, Johnny Belinda

BEST SUPPORTING ACTOR
Walter Huston, Treasure of Sierra Madre

BEST SUPPORTING ACTRESS
Claire Trevor, Key Largo

Thursday
Dec202012

Oscars 1945: Drunk with Success

The story of an alcoholic writer with a propensity for hiding liquor in the most unlikely places was a big winner on Oscar night, though the Billy Wilder drama wasn’t the easiest picture to get off the ground. Paramount balked at having the alcoholic played by anything other than a matinée idol, and matinée idol Ray Milland was advised not to touch the role. Preview audiences didn’t care too much for it, the liquor industry was none too thrilled either, and Paramount released it wide only after it received rave reviews during a limited-engagement run. At the awards ceremony, The Lost Weekend received Oscars for Best Picture, Best Director and Best Screenplay. Milland was presented the Best Actor trophy from Ingrid Bergman, who announced, “Mr. Milland, are you nervous? It’s yours!” Quipped host Bob Hope, “I’m surprised they just handed it to him. I thought they’d hide it in the chandelier.” The next day, co-screenwriter Charles Brackett and Wilder were greeted by a congratulatory gesture from fellow scribes—a series of little booze bottles hanging from strings outside each window of Paramount’s Writers’ Building.

BEST PICTURE
The Lost Weekend

BEST DIRECTOR
Billy Wilder, The Lost Weekend

BEST ACTOR
Ray Milland, The Lost Weekend

BEST ACTRESS
Joan Crawford, Mildred Pierce

BEST SUPPORTING ACTOR
James Dunn, A Tree Grows in Brooklyn

BEST SUPPORTING ACTRESS
Anne Revere, National Velvet