The transcript and video of Roger Ebert's onstage conversation with Donald O'Connor at Ebertfest 2003.
An interview with actress Lana Wood about her experience making John Ford's masterpiece, "The Searchers."
An appreciation for Prince's 1986 directorial debut and "Purple Rain" follow-up, "Under the Cherry Moon."
A Berlin report on the circus surrounding Fifty Shades of Grey and the quality of Peter Greenaway's Eisenstein in Guanajuato and Alex Ross Perry's Queen of Earth.
A feature on Bing Crosby, including an interview with the director of a special "American Masters" about the legendary actor.
Tom Shales looks at "Carson on TCM," a weekly series of shows culling great Carson interviews.
Peter Bogdanovich's movie musical "At Long Last Love" developed one of those reputations as a career-killing stinker, but in hindsight, it's a pretty darn good mix of 1930s tunes with the slightly more realist sensibility of later musicals. And it's a project with a crazy history. Now that it is out on Blu-Ray, it deserves another look.
With the passing of Andy Williams, I keep imagining his golden tenor singing Henry Mancini's "Moon River." The song talks about crossing life in style. "Breakfast at Tiffany's" is all about fashionable cafe society and love; in an adult fairy tale, you can have both even if you are two drifters.
The director Gregory Nava once commented, "Whenever any question of style or taste in dress comes up, I simply ask myself, 'What would Fred Astaire have done?'" Audrey Hepburn is Astaire's female equivalent: sophistication mixed with fizzy fun.
For those of us who missed our calling as jet setters, socialites or fashion models along comes the edifying, spritely documentary "Versailles '73: American Runway Revolution" to show us how much work it is to be spontaneously fabulous.
Nearly 40 years ago, in late November of 1973, something rather momentous happened at the Opéra Royal on the grounds of the King's old digs outside Paris. In the course of a fashion show that Women's Wear Daily dubbed "The Battle of Versailles," boldly assertive American runway models -- many of whom were what we now call African-American -- wore sporty, comfortable American designer clothes with such, well, panache that the absolute supremacy of French haute couture was dented for good.