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 wuthering heights (5)

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.

Sunday
Apr052015

April 5

Producer Sam Goldwyn pulls Wuthering Heights from theaters throughout Canada’s Quebec province, 1939. The move was prompted by Goldwyn’s refusal to edit out references to and implications of infidelity and divorce, which raised objections from Quebec censors. A day later, Quebec censorship chairman Arthur Laramee clarified his position, denying that the movie was banned, yet confirming that certain cuts needed to be made before the darkly romantic film could be screened.

Gregory Peck is born in La Jolla, California, 1916. “Of the movies I've done, there isn't much I really like,” the actor said. “The Gunfighter (1950), Roman Holiday (1953) and Twelve O’Clock High (1949) I thought were my best.” Based on a real outlaw named John Ringo, the story of The Gunfighter was written with John Wayne in mind, who offered screenwriter John Bowers $10,000 for it. To Wayne’s dismay, Bowers went for the big bucks and sold it to Fox for $70,000. Peck got the part and set about growing a period-authentic moustache for the film. Shooting commenced while Fox head Spyros Skouras was out of town; when Skouras returned and saw Peck’s facial hair, he was none too pleased, but realized that reshoots of Peck sans ‘stache would have proven too costly. The movie’s weak box office prompted Skouras to quip, “That damn moustache cost us millions.”

Thursday
Jul172014

July 17

Geraldine Fitzgerald dies of complications from Alzheimer’s disease, New York City, 2005. The Irish-born actress was a hit with her first American film, 1939’s Wuthering Heights, for which she earned an Oscar nomination for Best Supporting Actress. Dark Victory followed that same year—another success—and important roles in Shining Victory (1941), The Gay Sisters (1942) and Watch on the Rhine (1943) filled out the early forties. A fight over her career with Warner Bros. did her no favors, and good parts became scarce until her resurgence years later as a character actress in movies like The Pawnbroker (1964), Rachel, Rachel (1968), Harry and Tonto (1974) and Arthur (1981).

Fitzgerald also had one foot firmly planted in the theater, first hitting the boards in Dublin, where she impressed Orson Welles enough for him to hire her for his repertory company, the Mercury Theater. Its 1938 production of Heartbreak House in New York was Fitzgerald’s Broadway debut. Though Welles remained a friend throughout her life, her stint with his organization was cut short when a Warner Bros. talent scout saw her performance and successfully persuaded her to come to Hollywood. Married at the time to Baronet Sir Edward Lindsay-Hogg, Fitzgerald would give birth on May 5, 1940, to their son, Michael, who grew up bearing a startling resemblance to Orson Welles. Persistent rumors about Michael’s biological father were dismissed at the time by Fitzgerald and Lindsay-Hogg. Then, in 2010, Michael subjected himself to a DNA test that proved inconclusive. Finally, Fitzgerald’s friend Gloria Vanderbilt confirmed that Welles was indeed Michael’s father.

Wednesday
Apr182012

April 18

Ben Hecht dies of thrombosis in New York City, 1964. He was a Chicago newspaper reporter-turned-screenwriter who moved to Hollywood after his friend Herman Mankiewicz sent him a telegram from California that read, “Millions are to be grabbed out here and your only competition is idiots. Don’t let this get around.” With Charles MacArthur, Hecht wrote some of the most famous films of the thirties and forties, including His Girl Friday (1940)—based on their play The Front PageWuthering Heights (1939), Twentieth Century (1934), Scarface (1932) and Gunga Din (1939). His love for the Hollywood Production Code and its influences on the motion pictures of the time is not well-documented, as he had none. Here are some of his more pithy observations about the state of the art:

Two generations of Americans have been informed nightly:

  • that a woman who betrayed her husband (or a husband a wife) could never find happiness
  • that sex was no fun without a mother-in-law and a rubber plant around
  • that women who fornicated just for pleasure ended up as harlots or washerwomen
  • that any man who was sexually active in his youth later lost the one girl he truly loved
  • that a man who indulged in sharp practices to get ahead in the world ended in poverty and with even his own children turning on him
  • that any man who broke the laws, man's or God's, must always die, or go to jail, or become a monk, or restore the money he stole before wandering off into the desert
  • that anyone who didn't believe in God (and said so out loud) was set right by seeing either an angel or witnessing some feat of levitation by one of the characters
  • than an honest heart must always recover from a train wreck or a score of bullets and win the girl it loved
  • that the most potent and brilliant of villains are powerless before little children, parish priests or young virgins with large boobies
  • that injustice could cause a heap of trouble but it must always slink out of town in Reel Nine
  • that there are no problems of labor, politics, domestic life, or sexual abnormality but can be solved happily by a simple Christian phrase or a fine American motto
Sunday
Oct232011

October 23

Principle photography on Citizen Kane is completed, 1940. Prior to this film, cinematographer Gregg Toland shot 55 movies, including Come and Get It (1936), Wuthering Heights (1939) and The Grapes of Wrath (1940). A master of deep focus, where objects in both foreground and background appear clearly, Toland invited director/star Orson Welles to his house prior to the Citizen Kane shoot, where the two spent a weekend discussing equipment, lenses, camera angles and techniques that he would employ for the novice director. “Not only was he the greatest cameraman I ever worked with,” Welles once remarked, “he was also the fastest.”