Two tabloid magazine columnists attempt to infiltrate a high society wedding that may turn out to be the biggest event on the social calendar. Tracy Lord is the flighty wedding belle set to marry George Kittredge, a stodgy but dependable type whom she sees as an antidote to her charismatic and philandering ex-husband. So the reporters, the playboy, the fiance, and the bride-to-be all converge on the spacious Philadelphia estate of Miss Lord's father. But just who will end up with whom at the altar is anyone's guess...

Margaret Mitchell wrote her only novel between 1926 and 1929 and then let it collect dust for six years before showing it to an editor. By the time of the film's release, Mitchell's novel had surpassed 1,500,000 in sales. The novel swept the nation, and everyone, everywhere, was reading it. Selznick paid $50,000 for the rights to the book. Selznick brought in a number of screenwriters in addition to Sidney Howard to help him get a grasp on the material. Among them were Edwin Justin Mayer, John Van Druten, Ben Hecht, F. Scott Fitzgerald, and Jo Swerling. For the part of Scarlett O'Hara, David O. Selznick issued a national talent search. Scores of famous Hollywood actresses tested for the part. Many southerners (and Americans in general) were upset when Selznick cast Vivien Leigh in the role. The very prospect of an Englishwoman playing the part of an American Southern belle was outrageous. But after the film's release most southerners changed their minds. On the contrary, many said, "Better an English girl than a Yankee." The novel was so well known and loved that MGM conducted national polls to determine who should play the leads. Gable was the clear choice for Rhett, while many of Hollywood's top actresses were considered for the role, including Bette Davis, Katharine Hepburn, Miriam Hopkins, Joan Crawford, Margaret Sullivan, Barbara Stanwyck, Paulette Goddard, Lana Turner, Jean Arthur, Mae West, Tallulah Bankhead, and Lucille Ball. In all, 32 actresses did screen tests for the film. Vivien Leigh was given the part of Scarlett O'Hara on Christmas Day, 1938. Ronald Colman, Errol Flynn, and Gary Cooper were considered for the part of Rhett Butler, but the character was written with Clark Gable in mind. George Cukor was the film's original director. Victor Fleming was Cukor's successor. When Fleming fell sick, Sam Wood took over, but Fleming resumed his position after his convalescence. In addition to nine Oscars, GONE WITH THE WIND also won special academy recognition for production designer William Cameron Menzies's outstanding contribution. The film was the first film to ever credit a production designer--previously, the role of the production designer was held by the studio’s art department head, who oversaw all the films in production. Because of the scope of the project and the amount Menzies contributed to it, MGM created a new title for him. Hattie McDaniel won Best Supporting Actress for her role as Mammy--the first Academy Award given to an African American. At the time, there were only 7 Technicolor cameras in existence, all of which were used for the production of GONE WITH THE WIND. For 25 years after its release, GONE WITH THE WIND was the most successful picture in history. When adjustments are made for inflation, GONE WITH THE WIND retains the second-highest U.S. box office return of the 20th century, bested only by TITANIC. George Reeves, who went to fame as Superman, played Stuart Tarleton. Neither Victor Fleming nor Clark Gable initially wanted to do the film. Gable felt that he could never live up to the audience’s expectations for the larger-than-life Rhett Butler, while Fleming worried that the film's production costs could bankrupt the studio. "Well, I guess I’ve done murder. I won’t think about that now. I’ll think about it tomorrow."--Scarlett O’Hara (Vivien Leigh), exhibiting her famous coping mechansm "Frankly, my dear, I don’t give a damn."--Rhett Butler (Clark Gable) to Scarlett O'Hara (Vivien Leigh)

If you love your suspense richly textured and multi-layered, you can't do much better than master Alfred Hitchcock. Rear Window stars Jimmy Stewart as a photographer recovering from a broken leg. Bored to distraction, he begins to surreptitiously spy on his neighbours, delighting in their squabbles and affairs. But things take a grim turn when he sees what appears to be a murder. His imagination starts to soar and he devotes himself full time to photographing the clues to a possible homicide. Hitchcock's brilliant storytelling and cinematography are a unique experience and the acting is exceptional in this classic film. This DVD version contains production notes, an original documentary on the film, the entire script and lots of goodies for fans.

When a psychotic U.S. general launches a preemptive strike against Russia, the American president must deal with gung-ho military brass, bureaucratic bumblers, a drunken Soviet premier, and a twisted German rocket scientist. Stanley Kubrick's black-comedy masterpiece is one of the funniest, most insightful films ever made. DR. STRANGELOVE was originally going to be a thriller, but Kubrick found the many elements of the story darkly funny; he told film critic Joseph Gelmis, "It occurred to me that I was approaching the project in the wrong way. The only way to tell the story was as a black comedy or, better, a nightmare comedy, where the things you laugh at most are really the heart of the paradoxical postures that make a nuclear war possible." Thus, Kubrick hired Terry Southern, author of THE MAGIC CHRISTIAN (the film version of which starred Peter Sellers); Southern said, "[Kubrick] would talk about the mechanics of making [DR. STRANGELOVE] totally credible and convincing in terms of the fail safe aspect and then try to make that funny. And the way you make it funny, because the situation is absurd, is by dealing with it in terms of the dialogue and characters." When the film first got reviewed more credit was given to Southern than to Kubrick, who bought ad space in American papers claiming that Southern had nothing to do with the success of the film. After Southern wrote a letter to the New York Times explaining how the collaboration actually worked, the minibattle was settled.

When Marion Crane (Janet Leigh) leaves her lover and embezzles $40,000, she heads for the highway and makes a fateful stop along the way. The Bates Motel sits atop its little hill, looking run-down and foreboding, but she doesn't realize there's much more hiding behind its walls. As she lies low, hoping to elude the police, the real danger lurks closer by. Norman Bates (Anthony Perkins) slowly stalks her as per instructions from his silent mama. Alfred Hitchcock's ultimate masterpiece, Psycho, raised the bar for horror films and has seldom been matched since.

As a child, Jane Hudson was a pampered vaudeville star known to the world as "Baby Jane"; her younger sister Blanche, on the other hand, felt neglected and resentful. But when they became women, the tables turned and Blanche became the beautiful, talented movie star, while Jane slaved as a lowly extra. Now, after a terrible car accident has left Blanche crippled, the two sisters live as recluses, hiding out in a decaying Hollywood mansion. Inside this creepy dwelling, the wheelchair-bound invalid depends upon Jane to tend to her every need. But time has transformed the sugar-sweet "Baby Jane" into a nightmarish caricature of her childhood self -- and she's doing everything she can to make her sister's life a living hell.

"American Graffiti" was the second feature by George Lucas, the same director who would later go on to make the phenomenally successful "Star Wars" trilogy. It was produced by Lucas' friend, Francis Ford Coppola, at the time also an aspiring filmmaker. Although the cast is studded with actors who are considered stars today, at the time they were all relatively unknown. "American Graffiti" was one of the first films that firmly established the importance of a new breed of American (mostly film school educated) directors sometimes known as the Movie Brats. Also included in this school were Steven Spielberg, Martin Scorsese, Francis Ford Coppola, and Jim McBride. Copyright 1973 Universal Pictures.

Elia Kazan's compelling social drama was the winner of eight Academy Awards and marks one of Marlon Brando finest screen performances. Terry Malloy, a handsome but inarticulate longshoreman, gets involved in a labor scandal when a fellow dock worker is murdered. He knows that the victim was killed by the oppressive labor union for squealing to a commission investigating misdoings. Terry intends to keep his mouth shut and his job safe. But when Edie, the dead man's beautiful sister, comes to town, he must choose between his allegiance to a corrupt union and his loyalty to Edie.

Private investigator Philip Marlowe is thrust into a world of drugs, sex, blackmail, and murder when he agrees to protect a rich man's reckless, uncontrollable daughter.

"As Time Goes By," the song that became this film's anthem not to mention theme song, was originally written for the Broadway musical "Everybody's Welcome," which opened on October 13, 1931 and ran for 139 performances. The composer, Herman Hupfeld, was also known for the song "When Yuba Plays the Rumba on the Tuba." The film's producer Hal B. Wallis was awarded the Academy's Irving G. Thalberg Memorial Award in 1943. In his 1995 memoir, "My American Journey," General Colin Powell lists "Casablanca" as one of his favorite films. Additional credits: Hugh MacMullan (dialogue director), Robert Aisner (technical adviser). Copyright 1943 Warner Bros. Pictures, Inc.