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With the 91st Academy Awards upon us, the time feels right to recognize the crucial role that movies have played in our lives, particularly in troubled times.

In theatre they call it “breaking the fourth wall” - that “wall” being the one we sit behind as popcorn-chewing observers. When used sparingly, this technique can be hilarious (or really creepy).

I can vividly recall the first moment I saw Meryl Streep on-screen. The film was “The Deer Hunter” (1978). Her part was relatively small — she played the stateside love interest of two men shipped off to Vietnam — but I was immediately struck by her presence. 

Just like the image of her fragile, unconventional beauty trapped within the glow of a tight spotlight, Judy Garland’s life as a performer was surrounded by a vast darkness. She gave the world her special gift, and it gave back not a shred of happiness. There was an overarching sadness about her that only grew more pronounced as the hard years went by. As Frank Sinatra put it, “When she sang, it always felt like she died a little.”   It was tragic pretty much from the outset. When overbearing show mom Ethel Milne found she was pregnant with her third child by husband Frank Gumm, she attempted to induce miscarriage by throwing herself down a flight of stairs. Failing that, she tried to get an abortion. This desire may have partly stemmed from Ethel’s growing suspicion that her husband was homosexual. Regardless, a family friend finally convinced the couple that this little one would be a blessing. They hoped for a boy. On June 10, 1922 they welcomed their third daughter – Frances Ethel Gumm – the combined hopes of her mother and father right there in her name.

 Tonight, make it real; watch a doc.  Here’s a bugaboo of mine: while the documentary form offers viewers incredible rewards, it rarely gets the attention it deserves. Theories abound as to why, the most prominent being that people tend to watch movies to be transported, to actually get away from life as it is. Perhaps there’s some truth to that, but to avoid the best of these films is to miss out on something truly special. In examining real life, its myriad characters and society as a whole, docs can be wildly entertaining, yet still deliver a form of insight and impact quite distinct from narrative films.

Over the course of movie history, there have been the great actresses, women who light up the screen with charisma and character, like Bette Davis, Katharine Hepburn, and Meryl Streep. There have also been women whose special gifts had more to do with the sexual allure they projected. Hey fellas, you must have noticed them, right? Brace yourselves then- here are our picks for the top twenty female cinematic sex symbols of all time. (Drum roll). 

Did you know that both Lincoln and Kennedy have 7 Letters? Did you know that both were shot on a Friday? Just as uncanny is the connection between genial superstar Tom Hanks and his folksy predecessor, James “Jimmy” Stewart.   If there was any question that the two share cinematic auras for their respective generations, it was blown away when Hanks inhabited Stewart’s role from “The Shop Around the Corner” in the slick remake “You’ve Got Mail”. Their parallel command performances – studies in “aw shucks,” regular guy humility – make them both exasperatingly lovable middle-class heroes – everymen doing extraordinary things. The two stars’ respective charm-laden film careers have a great deal in common too, running the leading man gamut from drama to thriller to comedy (Stewart’s “The Philadelphia Story” is a little classier than Hanks loving on a sheep in “Bachelor Party,” but you get the idea).

With this year’s Oscars just days away, in the media and around the water cooler we engage in the recurring debate about which films deserve to win, and which, in fact, will.

If you’re a fellow jazz lover, you probably look on Duke Ellington, born 115 years ago today, with awe. With a career spanning over half a century, Duke’s impact on jazz was incalculable. He not only played the piano with the deceptive ease and fluency Astaire brought to dancing, he led the best band in the business. He was a genius, and impossibly cool to boot. How so? Beyond the music, Duke was elegance personified in a still highly segregated world. He was his generation’s Marvin Gaye, exuding a powerful sexual charisma that made him irresistible to women, regardless of race. His personal life was predictably chaotic as a result, but it seems as though everyone in Duke’s life understood: it was all about the music. By the 1950s, his popularity was flagging a bit stateside. Most big band acts were folding, making way for “hipper” musicians like Miles Davis and Chet Baker. That all changed with his performance at the 1956 Newport Jazz Festival, when the Duke Ellington Orchestra caught fire and created something as close to perfection as you’re likely to hear. The lucky crowd was so enthralled that thousands of people “spontaneously started jitterbugging… hundreds of fans climbed on their seats [to cheer].” When their set ended, the crowd refused to disperse, screaming until Duke returned to the stage to placate the mob with more music. It’s a night that no one wanted to end.