I have never forgotten seeing The Omen when it was released in the summer of 1976. I was in art school in Pittsburgh and went back to the theater several times. What stayed with me most was not simply the violence or the shocks, but the control Richard Donner brought to the film and the extraordinary music by Jerry Goldsmith. Even after you knew what was coming, The Omen remained unsettling. Fifty years later, it still does, because Donner resisted the temptation to make a conventional monster movie. He treated an implausible story with absolute seriousness, and that made it frightening.

It could hardly have been a more appropriate time and place for the screening of Rudolph Valentino's last film. On August 23, 2026—precisely one hundred years after his death—the Los Angeles premiere of the Cohen Film Collection's careful restoration of The Son of the Sheik took place at the Masonic Lodge at Hollywood Forever. Earlier that same afternoon, fans had assembled in the Cathedral Mausoleum for the 99th Annual Rudolph Valentino Memorial Service. A few hours later, Valentino appeared once more on screen: young, athletic, and still able to command a room, as he had a century after his death.

Saturday afternoon I attended a special screening of the long un-seen Letty Lynton (1932) hosted by the Art Deco Society and Hollywood Heritage at the restored 1929 American Legion Hollywood Post 43 Theatre. The magnificent new 4K restoration of the Joan Crawford film was introduced by film historians Scott Eyman, George Feltenstein and Richard Adkins who shared insights on the incredible journey to bring the film back to life.

Few films carry the weight of tragedy quite like Brainstorm (1983). Intended to be remembered as one of the biggest and most visionary science-fiction productions of its time, it would instead become best known for the death of lead actress Natalie Wood. Even today, nearly forty-three years after its release, Brainstorm endures as something of a Hollywood curiosity. Technologically advanced, critically acclaimed by many, a box-office flop, and rarely spoken of in the same sentences as "best science-fiction movies," Brainstorm lives in the memories of most as something that happened off-screen.

In an era when Hollywood often favored spectacle over subtlety, Ordinary People arrived in 1980 like a hushed confession—intimate, unsettling, and profoundly human. Directed by Robert Redford in his first effort behind the camera, the film marked a striking departure from the actor’s established screen persona, revealing instead a filmmaker deeply attuned to emotional nuance and psychological truth.

Rudolph Valentino was still one of Hollywood's biggest legends in the late 1940s, more than twenty years after his death. The silent screen idol was born in Italy and had died suddenly at the age of thirty-one in 1926. His death unleashed unprecedented public hysteria with women fainting in front of Campbell's funeral home in New York while newspapers published dozens of pages of tributes to him and Hollywood came to a standstill to mourn him. For movie producers in the late forties looking back on the silent film era, Valentino's rags-to-stardom-and-death story fit perfectly with the biographical film that flourished during the post-war era. However, it turned out to be very difficult to make a film about his life.

By the late 1960s, Hollywood had become something of a self-devouring empire. The studio system was gone, the old-guard moguls were dead or retired, and their stars were being plundered—mercifully or sadistically, by cineastes—by a brash new generation weaned on television, exploitation films and irony. Born out of that awkward renaissance was Savage Intruder, aka Hollywood Horror House, a cheap independent feature that would provide legendary actress Miriam Hopkins with her last appearance in a feature film and became one of the oddest Hollywood endings ever.

In the late summer of 1928, as Hollywood studios raced to wire their stages and retrain their stars for sound, Metro-Goldwyn-Mayer authorized a project that ran counter to almost every instinct guiding the industry’s transition to talking pictures. The film was Hallelujah—a rural Southern drama with an all-Black cast, heavy musical content, extensive location shooting, and a director willing to gamble his own salary to get it made. In trade terms alone, it was a high-risk production at the worst possible moment to take one.

The Sea Beast opened on January 15, 1926, to one of the biggest advance advertising campaigns in silent film history. In terms of billing and enthusiasm, The Sea Beast was no ordinary prestige picture: it was a project expressly tailored to the needs of an actor in the prime of his day-stealing career, John Barrymore, and to the requirements of an adaptation of one of the nation's most daunting masterpieces, Herman Melville's Moby-Dick, for popular consumption. The result was not a faithful adaptation but a bold, romanticized reinvention that captured the spirit of obsession and the scale of the sea, even as it reshaped the story into something unmistakably Hollywood.

When Ben-Hur: A Tale of the Christ landed in New York on December 30, 1925, it was less a movie than a declaration. A fledgling studio eager to show its supremacy, Metro-Goldwyn-Mayer had created the largest, the most expensive, the most technologically audacious production the industry had ever known. Audiences were not asked to see Ben-Hur; they were ordered to attend. A century later, the film, whose centerpiece was a career-reviving performance by Ramon Novarro as Judah Ben-Hur, remains one of the silent era's greatest achievements: an unparalleled hybrid of biblical solemnity, humanistic pathos and high-end spectacle.

The Creation of The Christmas Party was one of those peculiarly early-sound Hollywood tales in which studio custom, instinct for publicity, and simple good will combined to create a low-keyed but revealing seasonal artifact.

HOLLYWOOD - Seventy-five years later, Sunset Boulevard remains as fresh and as incisive as the day it first appeared. A razor to Hollywood’s sanitized balloon. Billy Wilder’s masterpiece is not just film noir, it’s a horror movie in the purest sense — fame rotting into madness, celluloid dreams dying in the California sun.