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 stanley kubrick (3)


July 7

Shelley Duvall is born in Houston, Texas, 1949. Throughout her career, she has worked with some of the more accomplished directors of the past several decades. For Stanley Kubrick, she played Wendy Torrance, the terrified, beleaguered wife of Jack Torrance (Jack Nicholson) in The Shining (1980). Three years earlier, she had a brief but memorable role as a Rolling Stone reporter in Woody Allen’s Annie Hall (1977). And, in 1996, she appeared as the idiotic, self-interested Countess Gemini in Jane Campion’s period drama The Portrait of a Lady. But it was director Robert Altman who cast her in her first film and allowed her loopy, self-possessed eccentricities to flourish throughout their seven features together.

“Bob is like family,” the actress once remarked about Altman. “I trust him almost implicitly. He would never do anything to hurt me. Bob won my trust right at the beginning. He encouraged me to be myself, to never take acting lessons or to take myself too seriously.” Their first collaboration was Brewster McCloud (1970), where she played a Houston Astrodome usher who befriends the offbeat title character, played by Bud Cort. McCabe and Mrs. Miller (1971) followed, with Duvall as Ida Coyle, a rather unfulfilled mail-order bride. She then appeared in Thieves Like Us (1974), Nashville (1975), Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (1976) and proved to be a modest monument of perfect casting as Olive Oyl in Popeye (1980).

Her greatest moment to date, however, came with 3 Women (1977), Altman’s mysterious, moody drama about identity. Seen by some as a riff on Ingmar Bergman’s Persona (1966), the film starred Duvall as Millie Lammoreaux, a deluded, overly confident and ridiculously cheerful chatterbox who works at a spa for the elderly in a California desert community. When fellow spa worker Pinky Rose (Sissy Spacek) becomes her roommate, their disparate personalities play off of—and are eventually subsumed by—each other. New York Times film critic Vincent Canby cited Duvall’s Lammoreaux as “one of the most memorable characterizations Mr. Altman has ever given us. Miss Duvall's large, round dark eyes are windows through which a tiny creature inside looks out upon a world whose complete disinterest Millie Lammoreaux refuses to accept.” For her performance in this bizarre, dreamlike tale, Duvall earned the award for Best Actress at the 1977 Cannes Film Festival.


July 26

Stanley Kubrick is born in New York City, 1928. In the mid-1960s, the director of Spartacus (1960), Lolita (1962) and Dr. Strangelove (1964) wished to make a decent science fiction film, so he turned to writer Arthur C. Clarke. Clarke suggested that Kubrick film a story called “The Sentinel” that he wrote about the discovery of an alien object on the moon. The two worked simultaneously on the story; Kubrick wrote the screenplay while Clarke adapted his story into a novel, with both men reviewing and commenting on each other’s work along the way. From this association sprang Clarke’s book 2001: A Space Odyssey and Kubrick’s landmark picture of the same name, frequently mentioned as one of the greatest movies ever made.

One may view the 1968 film as an inscrutable, somewhat delicate rumination on human evolution, and as such is not everyone’s cup of tea. One of the director’s post-production regrets was to screen the film for critics, who called it a “big, beautiful but plodding sci-fi epic" (Variety), “a monumentally unimaginative movie" (Harpers) and "somewhere between hypnotic and immensely boring" (The New York Times). During a preview, in which hundreds walked out, an exasperated Rock Hudson was reported as saying, “Will someone tell me what the hell this is about?” as he made his exit. Kubrick later commented, “How could we possibly appreciate the Mona Lisa if Leonardo had written at the bottom of the canvas, 'The lady is smiling because she is hiding a secret from her lover?’ This would shackle the viewer to reality, and I don't want this to happen to 2001.”


March 7

Stanley Kubrick dies in Harpenden, Hertfordshire, England, 1999. “I've got a peculiar weakness for criminals and artists,” said the director. “Neither takes life as it is. Any tragic story has to be in conflict with things as they are.” A Clockwork Orange (1971), one of his most controversial films, deals with the former, a convicted rapist and murderer named Alex (Malcolm McDowell) living in an England of the near future, where an experimental program is in place in which convicts are subjected to various stimuli geared to make them abhor violence. Those who complete the program successfully are then returned to society. Alex’s attack on a writer and his wife—a centerpiece of the movie—took days for Kubrick to decide how to film it. Eventually, he asked McDowell for his input; amid the violence of the scene, McDowell broke into a little routine set to Gene Kelly’s signature song, “Singin’ in the Rain.” At a party years after the film’s release, McDowell and Kelly met, a chilly introduction that ended with Kelly reportedly walking away in disgust.