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 shelley winters (5)


What's Wrong With This Picture?

If you’re part of the marketing team in charge of promoting a suspense thriller where the climactic shock—indeed the last minute of the movie—reveals the murdered corpse of a major character, then why, oh why, would you show an image of said corpse on the movie poster? That was the question some critics and fans had about What’s the Matter With Helen?, a 1971 schlock horror film in the same vein as Whatever Happened to Baby Jane? (1962) and Hush, Hush, Sweet Charlotte (1964), where two big female movie stars play cat and mouse while bodies pile up around them.

The film was an example of “the macabre genre of the menopausal metaphysical mystery movie,” as film critic Roger Ebert categorized it, with plots that “seem to involve a couple of middle-aged ladies with shameful pasts, who make lots of trips up and down dark stairs and into unlighted cellars, get the hell scared out of them when dust mops fall out of the shadows, and end up hideously, with blood and feathers all over the place.”

What’s the Matter with Helen? concerns Adelle (Debbie Reynolds) and Helen (Shelley Winters), Midwestern dames who move to Hollywood and open a dance studio after their sons are convicted of a gruesome murder. Adelle schools young Shirley Temple-like hopefuls while Helen bangs out “Goody, Goody” on the piano. Eventually Adelle is wooed by a Texas millionaire (Dennis Weaver) while Helen is drawn to an Aimee Semple-like evangelist (Agnes Moorehead) and goes increasingly nuts, finally knifing Adelle to death and stringing her body up on a ladder.

Perhaps the Helen marketers thought the poster would not overtly suggest the grisly end of the Reynolds character. An image showing a bloodstained bosom and a red trickle down her chin, however, might not have been the way to go.


May 19

Ronald Colman dies of a lung infection in Santa Barbara, California, 1958. The British actor’s first major screen role was opposite Lillian Gish in The White Sister (1923), which led to a contract at Columbia and a number of silent movies before talkies came along and revealed to devoted fans and relieved filmmakers what a rich, mellifluous speaking voice the actor possessed. Bulldog Drummond (1929), A Tale of Two Cities (1935), The Prisoner of Zenda (1937), and Random Harvest (1942) further established his leading man status, with his performance in A Double Life (1947) earning him a Best Actor Oscar. The film, in which a successful stage actor’s role in Othello begins to overwhelm his private life, was directed by George Cukor and starred a young—and very nervous—Shelley Winters, whose presented Cukor with a box of pills for heartburn and cramps after the picture wrapped.


March 8

George Stevens dies of a heart attack in Lancaster, California, 1975. The director of Gunga Din (1939), The More the Merrier (1943) and Giant (1956) made one of his most lauded films in 1949, the drama A Place in the Sun, based on Theodore Dreiser’s novel An American Tragedy. Released in 1951, the movie starred Montgomery Clift as George Eastman, a blue collar joe with a pregnant wife (Shelley Winters), who becomes part of an upscale world that includes the beautiful Angela Vickers (Elizabeth Taylor). “In A Place in the Sun, I was interested in the mood and emotional effect of the story,” Stevens (above, on the set) explained in a 1973 interview. “I wanted the audience to relate to a character whose behavior it might not subscribe to. To bring that about, one must let the audience see his desire. They have to know his need for that thing that, even accidentally, traps him. So how do you do those things? Cinema, at its most effective, is one scene effectively superseded by the next. Isn’t that it? The hatchet on the rope and the guillotine falls in the next cut. We have our electricity that creates a current that blows through a film. When I cut the film, I became more and more conscious of the value of one scene against another, and how this spelled something out. I wanted to edit the film in a way that meant more than the addition of one scene to another, I wanted a kind of energy to flow through. What really interested me was the relationship of images, from this one to that. Shelley Winters busting at the seams with sloppy melted ice cream in a brass bed, as against Elizabeth Taylor in a white gown with blue balloons floating from the sky. Automatically that’s an imbalance, and by imbalance you create drama. I’m interested in knowing—as visually as it can be stated—what’s on this boy’s mind.”


December 28

Maggie Smith is born in Ilford, Essex, England, 1934. The star of A Room with a View (1986), Gosford Park (2001) and the Harry Potter movies began her acting career in 1952 on stage at the Oxford Playhouse. In 1956, she made her film debut in Child in the House (1956) as one of the party guests and, in the early 1960s, made an impressive showing opposite Laurence Olivier in Othello at the Royal National Theatre. The 1965 film version reunited Olivier and Smith, and she received her first Academy Award nomination. She lost to Shelley Winters, but took home the statuette at later ceremonies. “I've won two Oscars and I still don't begin to understand film acting,” she was quoted as saying. Her second Oscar, for California Suite (1978), saw her playing an Oscar nominee who loses. Her first Oscar, for playing the title character in The Prime of Miss Jean Brodie (1969), saw her playing an unconventional schoolteacher at an Edinburgh girl’s institute. First a book by Muriel Spark, The Prime of Miss Jean Brodie became a play starring Vanessa Redgrave, who took the role when first choice Smith had scheduling conflicts. When it came time to make the movie version, Redgrave was pursued but had to turn it down due to her own scheduling conflicts.


September 21

Walter Brennan dies of emphasyma in Oxnard, California, 1974. The character actor was Academy Award-nominated four times for Best Supporting Actor. He won three times, all within a five-year span: for Come and Get It (1936), Kentucky (1938) and The Westerner (1940). Though Jason Robards and Shelley Winters came close, no other actor has won as many supporting performance Oscars.