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 modern times (4)

Wednesday
Jan062016

January 6

Joseph Breen sends a memo to Charlie Chaplin recommending removal of five incidents of “vulgarity” from Chaplin’s upcoming release Modern Times, 1936. In 1934, Breen succeeded Will H. Hays as director of the Production Code Administration, an entity aimed at imposing a set of moral guidelines upon motion picture studio releases. Ceding to Breen’s wishes, Chaplin excised scenes involving a jail cellmate who knits (referred to as “the ‘pansy’ gag”), the stomach rumbling of a minister’s wife, a brassiere gag at a department store, the word "dope" and a close-up of a cow’s udder.

Eddie Redmayne is born in London, 1982. He is one of the fastest-rising stars of American and British cinema and, at age 33, was one of the younger Best Actor Oscar winners in the Academy’s 87-year  history. [Winners younger than Redmayne were Adrien Brody (a mere pup of 29 at victory time), Marlon Brando (30), Richard Dreyfuss (30), Maximilian Schell (31), James Stewart (32), Daniel Day-Lewis (32) and Nicolas Cage (32).] Redmayne followed his award-winning performance in The Theory of Everything (2104) with The Danish Girl (2015), a well-received drama poised to earn the actor his second nomination in as many years.

Ian Charleson dies of AIDS in London, 1990. Though he only made seven feature films, two of them are among the more famous movies of the early 1980s. In Gandhi (1982), the Scottish-born actor played a small part as a reverend, but it was Chariots of Fire (1981) that gave Charleson the more prominent role, that of Eric Liddell, a devout Christian missionary and British sprinter competing in the 1924 Olympics. Both films would go on to win the Oscar for Best Picture.


Loretta Young is born in Salt Lake City, 1913. When the actress was just a toddler, her parents split and Mama Gladys took Loretta and her sisters to Southern California, where mother’s brother-in-law was employed in motion pictures as an assistant director. Family ties worked in everyone’s favor as all three sisters found sporadic extra work and small roles in silent movies. With talkies, the Loretta and her sisters Polly Ann Young and Sally Blane found more regular work in front of the camera, but it was Loretta and her remarkable beauty that grabbed audience attention, and, by the mid 1930s, she was a star. In 1939, Young appeared with Polly Ann, Sally and half-sister Georgiana Young in The Story of Alexander Graham Bell, along with Don Ameche and Henry Fonda. In 1947, she had hits with The Bishop’s Wife and The Farmer’s Daughter, winning a Best Actress Oscar for the latter film. In later years, she enjoyed retirement in Palms Springs until her death in 2000 of ovarian cancer.

Read Sewart Weiner’s tribute to Loretta Young from Palm Springs Life.

Wednesday
Jun172015

Paulette Goddard

Paulette Goddard laces up to roller-skate with Charlie Chaplin in Modern Times (1936).

“Nobody onscreen fascinates me as much as Paulette Goddard. I'm probably her greatest fan, bar none. I see my own pictures six or seven times. I also take in my own pictures to see what I do wrong or what I do right.”
— Paulette Goddard

Tuesday
Oct082013

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.

Monday
Apr232012

April 23

Paulette Goddard dies of heart failure in Ronco, Switzerland, 1990. She came as close as any actress not named Vivien Leigh in landing the role of Scarlett O’Hara in Gone With the Wind (1939). Though she was closely associated with Charlie Chaplin—they met in ’32, married in ’36, divorced in ’40, and she starred in his Modern Times (1936) and The Great DIctator (1940)—she was notable on her own, giving strong performances in The Women (1939), Reap the Wild Wind (1942), So Proudly We Hail (1943) and The Diary of a Chambermaid (1946). Her career slumped after Chambermaid, and she was dropped by Paramount in 1949. “I lived in Hollywood long enough to learn to play tennis and become a star,” the actress said, “but I never felt it was my home.” In the early 1950s, Goddard largely abandoned acting in films and moved to Europe.