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.

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.

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

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.

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

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.

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.

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.


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.

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

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

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

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.

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.


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.

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.

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.

We select three movie musicals we deeply wish the sunny singer/actress would have made.

Twelve examples of what made the late actor such an enduring movie star.

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.

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 it happened one night (6)


Ass Backwards

Director Woody Van Dyke, with script girl by his side, explains to a game Joan Crawford why the hell she’s facing the wrong way on a donkey, 1935. The film was I Live My Life (1935), an inert attempt at madcap comedy that featured a slightly miscast Crawford as a New York heiress who travels to Greece and captivates archeologist Brian Aherne. At the time, the reviews were fairly positive and the film made a profit. Today, I Live My Life is easily overshadowed by better 1930s screwball fare like It Happened One Night (1934), Twentieth Century (1934) and My Man Godfrey (1936).


50 Unforgettable Movie Images: Part Two

Some artfully convey the scope of the plot’s spectacle. A few are intimate close-ups, revealing a surprise or two in gracefully conceived compositions. And some of the most striking images have simply emerged over time as distilled representations of the movies they are from. Here’s Part Two of our list of 50 favorites images from the movies. Most are famous. All are memorable.

Read Part One.

A giant ape battles fighter planes from atop the Empire State Building in King Kong (1933)
The genesis of Merian C. Cooper’s classic beauty-and-the-beast love story was a dream the producer/writer/director had about an attack on Manhattan by an oversized gorilla. The idea was developed further to include a skyscraper and fighter planes, and, from there, Cooper worked backwards to flesh out the story. In brief, a prickly, three-stories-tall simian dubbed King Kong meets a nice girl on a remote island and is corralled by explorers and shipped to the States, where he is presented as a moneymaking attraction. After breaking free and running amuck in the Big Apple, Kong takes his main squeeze to the top of the tallest building in town, where he is gunned down by none other than Merian C. Cooper playing a fighter pilot.

Ellie Andrews (Claudette Colbert) flashes her gam to hitch a ride in It Happened One Night (1934)
At first, Claudette Colbert refused to show her leg for the famous hitchhiking scene, prompting director Frank Capra to proceed using the shapely appendage of a body double. “That is not my leg!” Colbert remarked after seeing the shot, prompting a change of mind and more authentic exposure. The role, which Colbert reluctantly accepted for double the salary after five other actresses turned it down, won the actress her only Oscar.

Waltzing couples—men in black, women in white—provide stark contrast in motion in The Merry Widow (1934)
When viewing the extravagant dance sequence at the center of the film—and if one must traffic in twenty-dollar words—the term “terpsichorean chiaroscuro” comes to mind. It is a pulsating bit of kinetics, made up of more than 500 extras and in keeping with the opulence running throughout the Ernst Lubitsch-directed operetta. The sets included one thousand gas chandeliers that took two hours to light, and, for star Jeanette MacDonald’s gowns alone, costume designer Adrian had a dozen seamstresses toil for four months.

A Factory Worker (Charlie Chaplin) and A Gamin (Paulette Goddard) walk off down a lonesome road at the end of Modern Times (1936)
Though silent films were pretty much a thing of the past when Modern Times began filming in 1935, director Charlie Chaplin was none too keen on having his Little Tramp character speak. The film thus became the last major silent film of that period to come out of Hollywood. (Mel Brook’s Silent Movie and the Oscar-winning The Artist would emerge decades later—in 1976 and 2011, respectively—as throwbacks to the genre.) The Depression-era comedy, a commentary on the industrial age and its dire effects on the working class, saw the Chaplin character befriending Paulette Goddard’s down-on-her-luck orphan girl and generally struggling with modern life. The famous shot that ends the picture was filmed 44 miles north of Los Angeles on the Sierra Highway just outside of Agua Dulce, California.

Scarlett O’Hara (Vivien Leigh) walks across a train yard filled with wounded and dying soldiers in Gone With the Wind (1939)
According to Val Lewton, what started out as a joke became an indelible image. Lewton—future producer of such B-movies as Cat People (1942), I Walked with a Zombie (1943) and The Body Snatcher (1945)—served as producer David O. Selznick’s story editor on Gone With the Wind and ended up writing a number of scenes for the film. One sequence in particular involved Scarlett (Vivien Leigh) going to look for Dr. Meade (Harry Davenport) at the Atlanta depot. For fun, Lewton added an elaborate, costly elevator shot that would follow Scarlett as she makes her way through hundreds of wounded and dying soldiers. To Lewton's surprise, Selznick loved it and called for it to be filmed, though, ever cost-conscious, the producer changed the 1,600 extras required for the scene to 800 extras and 800 dummies.

Monument Valley, featured in a number of John Ford-directed western, makes its auspicious debut in Stagecoach (1939)
Stagecoach was a movie of firsts for director John Ford. It was his first sound Western. It would mark the first of 14 occasions he worked with actor John Wayne. And it was the first time Monument Valley, located on the Arizona/Utah state line, was used for a filming location. It is the tale of a group of strangers on a stagecoach threatened by Geronimo and his Apache warriors. The choice of Monument Valley was the result of a campaign by one Harry Goulding, who had a trading post there. When he caught wind of a big-budget Western being planned, he headed to Hollywood armed with photos and pitched the site to Ford. The director liked it immediately and was further convinced to shoot at the remote location when he realized that the studio would be less likely to interfere. Once there, Ford was so enamored with the rugged scenery that he had the stagecoach travel across it three times in the course of the movie. Later, Ford would use it as a setting for My Darling Clementine (1946), Fort Apache (1948), She Wore a Yellow Ribbon (1949), Wagon Master (1950), Rio Grande (1950), The Searchers (1956), Sergeant Rutledge (1960) and Cheyenne Autumn (1964).

The enormous warehouse full of Charles Foster Kane’s items in Citizen Kane (1941)
The story begins with newspaper magnate Kane (Orson Welles) kicking the bucket, cuing his newsreel biography to unspool, with the narrator describing the man’s private palace. Included therein are “paintings, pictures, statues, the very stones of many another palace—a collection of everything so big it can never be catalogued or appraised, enough for ten museums—the loot of the world.” At movie’s end, after the man’s various personal and professional triumphs and setbacks, we get an idea of just what Kane has amassed over time as the camera pans over a seemingly endless collection of stuff, some of which headed straight for the incinerator.

Rick (Humphrey Bogart) and Captain Louis Renault (Claude Rains) take a walk across a wet tarmac at the end of Casablanca (1942)
The closing shot of two lone figures, officially at cross purposes but allied in spirit, was filmed without dialogue, yet it is the line added in post-production that makes their relationship a perfect marriage of two cynics, and the scene a potent union of sight and sound. “Louis, I think this is the beginning of a beautiful friendship,” Rick (Humphrey Bogart) utters to Renault (Claude Rains). Producer Hal B. Wallis came up with it and, like so much of the dialogue that precedes it, the line has grown into an enduring part of our pop-culture lexicon. Though runway and airplane scenes were shot at Van Nuys (nee Metropolitan) Airport, the scenes involving the actors were filmed on soundstage Number 1 on the Warner Bros. lot.

Pina (Anna Magnani) is gunned down while chasing after a truck carrying her fiancé in Rome, Open City (1945)
Director Roberto Rossellini’s gritty World War II drama about occupied Rome is set in the world of resistance fighters and the Nazi forces set to quash their efforts. It proves a tragic backdrop for Pina (Anna Magnani), a widowed mother, Francesco (Francesco Grandjacquet), her neighbor and fiancé, and Giorgio (Marcello Pagliero), Francesco’s resistance-fighter friend. Rossellini employed German POWS to lend verisimilitude to the film, which is universally regarded as an early landmark of Italian neorealist cinema.

A shoot-out at an amusement park’s hall of mirrors involving Michael O’Hara (Orson Welles), Elsa Bannister (Rita Hayworth) and Arthur Bannister (Everett Sloan) provides the climax of The Lady from Shanghai (1947).
Everett Sloan’s crutches were the idea of director Orson Welles as a way of disguising Sloan’s naturally awkward movements on camera. Regarding the final sequence—later referenced in Woody Allen’s Manhattan Murder Mystery (1993)—Welles wished for it to be scoreless to ratchet up the tension, a preference overruled by the film’s studio, Columbia Pictures. The scene was among several trimmed by studio executives who balked at the movie’s 155-minute-long rough-cut.


Oscars 1934: A Clean Sweep

“They threw a party for Harry Cohn,” read Daily Variety the day after the Oscar ceremony, which saw Columbia studio head Cohn’s screwball comedy It Happen One Night snatch up all of the four major awards plus screenplay—a feat not to be duplicated until The Silence of the Lambs 57 years later. The Frank Capra-directed film was, at inception, a bit of an underdog, with a bewildering array of actors and actresses turning it down and those that didn’t—Clark Gable and Claudette Colbert—regarding the film as more of a chore than a swell opportunity. Come Oscar night, the awards for the film piled up so that, when presenter Irvin S. Cobb opened the envelope to reveal the Best Picture winner, he simply said, “The winner is…you guessed it, it is something that…,” to which the audience responded, “…happened one night!”

It Happened One Night

Frank Capra, It Happened One Night

Clark Gable, It Happened One Night

Claudette Colbert, It Happened One Night


Oscars 1932-33: The Two Franks

Frank Capra would later write that it was “the longest, saddest, most shattering walk in my life.” The famous moment happened right after Will Rogers, presenting the award for Best Director, announced the winner in his typically casual but, in this case, unfortunately reckless manner, telling the winner to “Come and get it, Frank!” Two Franks were up for the prize—Frank Capra for Lady for a Day and the winner, Frank Lloyd (above right, with Rogers), for Cavalcade—and Rogers’s announcement sent both of them heading towards the podium. Capra soon turned tail and slunk back to his seat once he realized he was the wrong Frank, though his embarrassment was likely assuaged by later Best Director wins for It Happened One Night (1934), Mr. Deeds Goes to Town (1936) and You Can’t Take It with You (1938).


Frank Lloyd, Cavalcade

Charles Laughton, The Private Life of Henry VIII

Katharine Hepburn, Morning Glory


Frank Capra on It Happened One Night (1934)

We didn’t write the film for [Clark] Gable. We wrote it for Robert Montgomery, who turned it down. Nobody would play it. No women would play it. Comedies don’t read very well in script form, especially light comedies. They’re too fluffy. Nobody gets killed, there are no wars, no whores. Five girls turned it down, and finally Claudette Colbert took it because we paid her a lot of money. But we were going to do away with the whole picture when we got a phone call from mister big shot out at MGM, Louis Mayer. He called Harry Cohn and said, “Herschel, I got a man for you to play that megillah in that film you couldn’t get off the ground.” And Harry Cohn said, “Oh, the hell with it. We’re calling it off.” Louis Mayer said, “Oh, no, I’ve got a man here who’s been a bad boy, and I’d like to punish him.” And Harry Cohn said, “Okay.” So the picture was on again because Louis Mayer wanted to punish Clark Gable. We wouldn’t have made the picture, you see, without Mr. Mayer wanting to send Gable to Siberia, which was Poverty Row, where we were. They had to triple his salary when he went back to MGM, after the film came out.