biography movies hollywood

20 Best Biopic Movies of All Time

Hollywood and other film industries have always been fascinated with the lives of famous people. That’s why we have so many biopics made right since the beginning of cinema. Not all of them are great, but we certainly have seen a fair share of really good biopic movies. From Gandhi to Zuckerberg, Hollywood has tried its hand on making biopics on people from all strata of life. Now, let’s look at the list of top biopic movies of all time. You can watch several of these best biopic movies on Netflix, Hulu, or Amazon Prime.

20. Nixon (1995)

Hopkins had quite a run after he won the Academy Awards for ‘The Silence of the Lambs’ (1991), but the boldest work of his career was as President Richard Nixon in this outstanding bio from Oliver Stone . As one of the most polarizing figures of the seventies, Nixon was a true statesman, but a flawed and paranoid man, doomed as a world leader. He captures the wounded soul of the disgraced President in every way. Looking nothing like him, he instead captures his essence and speech pattern and becomes Nixon before our very eyes.

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19. Bugsy (1991)

Warren Beatty was always an interesting actor, but with his work here as murderous gangster Benjamin Siegel, he proved he was a great one. With movie star good looks, Siegel landed in Hollywood and quickly took over all gangland related activities and when visiting the desert, he had a vision of what became Las Vegas. Obsessed with his Flamingo Hotel in the desert, he failed to see his girlfriend was stealing from the mob, which brought Siegel down. Beatty is terrifying in his rages, deluded in his belief he can kill Mussolini, yet gentle and kind with his family and friend Meyer Lansky.

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18. Chaplin (1992)

A brilliant actor ready for the performance of his lifetime, stuck with a weak script, a cowardly director not willing to show his subject warts and all, Robert Downey Jr. still gave one of the great performances of all time, beautifully capturing Chaplin and his artistry. Sadly neither the director nor script took advantage of Downey being so far into character; the actor was gone, Chaplin remained. With an edgy actor such as Downey, why explore the more controversial aspects of his life? They had an actor ready to cut loose and they failed him.

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17. Downfall (2005)

Is it possible to humanize Hitler, possibly the most hated and evil man to ever exist? Bruno Ganz did that very thing in the superb German film ‘Downfall’, which explores the last days Hitler was alive in his bunker, the Soviets not far from the heart of the city. Hands shaking, frail, obviously drugged heavily, he knows the end is near and what is coming; he knows what the reaction will be to his Death Camps. Often gentle and kind with those around him, other time he flies into a rage when his orders are not followed. In the end, the monster was all too human, just a man. An astounding, brave performance.

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16. Lincoln (2012)

The moment we laid eyes on him in the opening moments of the film, and he spoke in that surprising high reedy voice, audiences felt they were encountering Abraham Lincoln, possibly the greatest American who ever lived. Daniel Day-Lewis poured over books, found descriptions of his voice, his gait, the manner in which he spoke and the deep melancholy he carried with him and brought it with him to his performance. His co-stars claimed they never met Day-Lewis until the film’s premiere; they knew only President Lincoln. This profoundly fine performance won the actor his third Academy Awards for Best Actor.

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15. The Aviator (2004)

As the young Howard Hughes during his Hollywood years, before the madness set in, Leonardo DiCaprio is truly outstanding. Blessed with a brilliant, inquisitive mind, he is always looking to the skies, even in his first film, ‘Hells Angels’ (1930), which he re-shot after the advent of sound. Fascinated with aviation, he built planes, making them bigger and faster, crashing one of them in downtown LA, forever damaging himself. It is a bold, outstanding performance that beautifully explores a troubled mind. The genuine fear in his eyes when he has one of his spells is truly frightening because he is never really sure if he can snap out of it.

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14. The Last King of Scotland (2006)

In portraying the purely evil yet charismatic Idi Amin Dada, actor Forest Whitaker gave a performance for the ages, winning every single award available to him that year. As self appointed President, actually dictator of Uganda, he takes a young Scottish doctor under his wing and it is through that man’s eyes we see the monster appear. Whitaker is brilliant, seething with anger and contempt for those who defy him, believing himself to be a God. Terrifying.

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13. Patton (1970)

As one of the greatest warriors in the history of the United States military, General George S. Patton did as he pleased often defying his superiors’ orders. George C. Scott is magnificent as Patton, one of the screen’s greatest performances and refused the Oscar he won for Best Actor. That iconic image that opens the film — Scott dwarfed by a massive flag — once seen can never be forgotten.

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12. My Left Foot (1989)

On the rise as an actor when he made this lovely, gritty film about Irish artist/writer Cristy Brown, afflicted with cerebral palsy since birth, Day-Lewis won the Academy Award and several other awards in announcing himself as a major new acting force. His eyes ablaze with intellect and purpose; his body betraying him with constant shaking, twitching, everything out of control except his left foot. The actor brings us the fierce mind that was trapped in that wretched body. Despite his affliction, he was gifted, horny and a heavy drinker. Day-Lewis is a miracle in the film.

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11. The Wolf of Wall Street (2013)

As stock swindler Jordan Belfort, who became obscenely wealthy before the FBI brought him down, Leonardo DiCaprio gives a brilliant performance – the best of his career. The young actor brings a furious energy to the performance and brash confidence, moving through the film like a young rock star. Whether stoned on drugs , smashed out of his mind, or arguing with his gorgeous wife, the actor is a revelation and force of nature. He is electrifying from beginning to end, always in motion, scheming, descending slowly into his own hell.

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10. The Social Network

Made at a time when Facebook had reached meteoric height’s, ‘The Social Network’ works as a powerful commentary on modern times and feels utterly fresh, even after six years. It deserves a place on every such list because of the treatment by David Fincher . Led by powerful performances from Jesse Eisenberg and Andrew Garfield , it is a deeply personal tale which works on so many levels, and is a study on the nature of friendship , ambition and power.

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Helmed by Bennett Miller (who also directed ‘Foxcatcher’), ‘Capote’ chronicles the life of Truman Capote during the period when he was writing his non-fiction novel, ‘In Cold Blood’. Superbly constructed, the film feels bleak and sublime at the same time, as it tries to convey the horrors of the killings. But the movie stands out chiefly because of the honest and riveting performance by Philip Seymour Hoffman , which earned him an Academy Award for Best Actor. It is sad that we’ve lost a truly great artist.

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8. Malcolm X

At a run time of 200 minutes, ‘Malcolm X’ is a long movie. But it never seems long, thanks to a phenomenal performance by Denzel Washington , and nuanced direction by Spike Lee . The film dramatizes chief events of the life of African American activist Malcolm X. The film received much skepticism and criticism even before it actually hit the screen, mainly because of the sensitive nature of the subject. But it received overwhelming critical acclaim upon release. Denzel Washington was nominated for Best Actor in a Leading Role for his standout performance, but lost out to Al Pacino , which many think was unfair on the Academy’s part.

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7. The Pianist

Roman Polanski is a director known for his technical prowess, edgy direction and excellence in handling the noir genre of cinema. But in ‘The Pianist’ , the visionary director takes his skills and gives us a devastating biographical drama. ‘The Pianist’ is the moving life-story of Władysław Szpilman, a Polish pianist and composer, portrayed by Adrien Brody , who loses his family during the Holocaust. Polanski paints a bleak, harrowing landscape – drawing from his own experiences of the war – and gives us a terrifying, yet human tale of hope and survival .

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Richard Attenborough’s enduring masterpiece ‘Gandhi’ is still fresh in the hearts of the millions of Indians who watched it at the time when it was released. Made on a very large-scale and featuring actors from both Hollywood and Bollywood, this biographical drama feels fiercely authentic. The direction is quite traditional, and is exactly what a biopic of this scale needed; after all, it was about an ordinary man who did extraordinary things. Sir Ben Kingsley’s commanding presence as Mahatma Gandhi is one of the pioneering examples of biopic performances.

5. The Elephant Man

David Lynch is a master of his craft, and is a tough director to watch. His body of work – original and largely cerebral – proves that beyond a shadow of doubt. But in ‘The Elephant Man’, the visionary director outdoes himself and shows us an intensely moving tale about a disfigured man trying to find his place in society. It is based on the life of Joseph Marrick, a man suffering from severe deformity. The film depicts his life in a Victorian freak show and his relation with Dr. Frederick Treves, who tends to him later, and provides him shelter. Technically brilliant, and at times quite bleak – considering the nature of the subject – the film is especially noted for the make-up done on John Hurt for him to look the part. It is historically quite significant because the Academy was criticized for failing to recognize the efforts gone in the make-up process, and only after this film was the category for Best Make-up introduced.

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4. Raging Bull

There are boxing movies and then there is ‘Raging Bull’ . This Martin Scorsese gem is the biographical account of the boxer Jake LaMotta, his rise to fame and his personal struggles. Scorcese pours his heart out in this picture, which is so perfectly crafted that it works both as a sports movie , and as a tragic drama. Robert De Niro gave an explosive and riveting performance as Jake LaMotta, rightfully taking home the Best Actor Oscar for this role. Shot entirely in Black and White , the movie came out in the same year as ‘The Elephant Man’, competing for the Best Picture award. Unfortunately, neither of the two won the award, which went to ‘Ordinary People’.

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3. Goodfellas

Hailed by many as the second best gangster movie ever, (first being ‘The Godfather’ ) ‘Goodfellas’ is a riveting crime drama based on a non fictional book Wiseguy, chronicling the rise and fall Henry Hill, a crime family associate. Plumbing the obscene depths of crime, ‘Goodfellas’ is an enduring tale about loyalty, betrayal and the corrupting nature of power. Martin Scorsese delivers perfection in this ageless film, which boasts of marvelous performances by Ray Liotta, Robert De Niro, and the swashbuckling Joe Pesci (who took home the Best Actor in a Supporting Role Oscar for his performance.)

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2. Schindler’s List

I won’t say much about ‘Schindler’s List’ here. Widely regarded as one of the best pictures in the history of cinema, ‘Schindler’s List’ is Steven Spielberg’s masterpiece, and is truly a work of art. With the Second World war as the backdrop, with the Nazi terror achieving terrible heights, ‘Schindler’s List’ is a moving tale about one man’s change of heart, and how he becomes a messiah. But, oh, it still doesn’t occupy the top spot on this list. Wonder why? Well, scroll down to find out which film holds that honor.

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1. Lawrence of Arabia

A film so grand and epic in scope that it commands multiple viewings. Really, get a Blu-ray and watch it on a big screen TV. Made in 1962, ‘Lawrence of Arabia’ is David Lean’s magnum opus. It is a riveting saga about the life of British archaeologist T.E Lawrence and the role he played during the Arab revolt against the Ottoman Empire. Everything about this movie is beautiful in a terrific, haunting way, crafted by a film-maker at the peak of his powers. The melodious score by Maurice Jarre, the authentic, breathtaking cinematography by F.A Young (the desert never looked so mesmerizing ), and a powerful performance by the-then newcomer Peter O’ Toole , make this movie one of the greatest films of all time . Its influence can still be felt in modern biopics.

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From 'Elvis' to 'The Pianist': 20 Best Biopic Movies of the 21st Century (So Far)

Telling incredible true stories.

Read update

Oppenheimer , Christopher Nolan 's most anticipated biopic will soon hit theaters this summer (July 21), marking not only Nolan's return but also the newest installment in the biopic genre, which is currently popular in Hollywood. In the meantime, there are tons of great biopics of the 21st century that fans can watch.

What is a biopic? A biopic (short for "biographical picture") is a non-fictional film that depicts the tale of a real person's life. Biopic movies are usually about a historical figure or a well-known individual. However, they can be about anyone as long as the subject exists. A biopic film must focus on a single protagonist and portray the narrative of that person's life across many years (rather than simply one event or era in their life).

Biopics are the goldmines of Hollywood movies, regardless of whose life they show. Many of these films served as stepping stones in the careers of their filmmakers and actors, helping to launch them to stardom. Even though many excellent biopics are produced each year, a special few have gone above and beyond after the turn of the millennia.

Updated on March 30, 2023, by Jessie Nguyen:

20 'bohemian rhapsody' (2018).

Bohemian Rhapsody tells the story of the British rock band Queen and their lead singer, Freddie Mercury , played by Rami Malek . The film traces the band’s rise to fame, from their early days playing small gigs to their legendary performance at Live Aid in 1985. It also explores Mercury’s relationships with his bandmates, as well as his romantic ones and his struggle with his sexuality.

Bohemian Rhapsody nevertheless serves as a good reminder of the band's musical brilliance and Freddie's singular stage presence owing to the film's aesthetically stunning musical moments and Malek's dominating leading role. Despite its limitations, the movie is still an exquisite tribute to the band and its dedicated fans.

Watch on Hulu

19 'A Beautiful Mind' (2001)

Inspired by the 1998 biography of the same name by Sylvia Nasar , A Beautiful Mind chronicles the life of John Forbes Nash Jr. ( Russell Crowe ), who went through it all – from fame's pinnacles to its darkest abysses. He was a mathematical prodigy who was on the verge of receiving international renown when he made an astounding discovery early in his career. Yet he quickly finds himself embarking on a torturous and terrifying quest of self-discovery.

A Beautiful Mind has become one of the most engaging and well-liked movies of all time, despite issues with tone and structure as well as some significant absences from Nash's real life. Because Nash's life is the focus of the film rather than his mental health , and because of Russell Crowe's stirring portrayal, Nash is given a second chance to relive both his success and his failure.

Watch on Prime Video

18 'Elvis' (2022)

Elvis chronicles the life story of American music legend Elvis Presley , played by Austin Butler , from his youth to his 1950s rise to rock and roll stardom while retaining a complicated bond with Colonel Tom Parker ( Tom Hanks ), his manager.

Butler's spectacular portrayal of Elvis humanized the legend by bringing down the spotlight from his physical gestures to the enormous, gruff voice to reveal the troubled man hiding behind the timeless God of Rock. In addition, the wild singing, set design, reenactment of iconic incidents, and compelling performers give the impression that audiences are viewing a documentary instead.

Watch on Max

17 'Ray' (2004)

Ray tells the story of the legendary musician Ray Charles ( Jamie Foxx ) and his struggles with blindness, poverty, and addiction, as well as his relationships with the women in his life. It also delves into Charles' musical career, including his experimentation with different genres such as R&B, gospel, and country, and his collaborations with other musicians.

Ray is a moving and inspiring film that offers a window into the life of one of the most influential musicians of the 20th century, and the struggles and triumphs that shaped his extraordinary career. Also, the acting is strong, the directing is deft, the storyline is insightful, and Foxx gives an outstanding performance.

Watch on Netflix

16 'The Wolf of Wall Street' (2013)

The story of 1990s stock trader Jordan Belfort , whose company, Stratton Oakmont, participated in unprecedented levels of corruption and fraud, is told in Martin Scorsese 's smash biopic The Wolf of Wall Street .

Scorsese's picture is the ultimate of excess, with Leonardo DiCaprio as Belfort giving a truly outrageous performance. As they are in many of Scorsese’s films , the sins are visited upon the sinner, but the "Wolf" warns us at the end that no number of cautionary stories will prevent future generations from engaging in short-sighted, amoral, selfish ambitions.

Watch on Fubo

15 'A Hidden Life' (2019)

Based on the true story of Franz Jägerstätter , an Austrian farmer who refused to fight for the Nazis during World War II, The Hidden Life follows Franz ( August Diehl ) as he lives a quiet life with his family in the small village of St. Radegund. When war breaks out, Franz is called up to serve in the German army, but he refuses to swear allegiance to Hitler and fight for the Nazis.

Through a genuine account of faith, family, and the indomitable human spirit in the face of extreme persecution, director Terrence Malick presents the viewers with a rare image of a special kind of hero. Additionally, it serves as an engaging and oftentimes moving example of how regular people respond to the ills of the world.

14 'Lincoln' (2012)

Lincoln follows the 16th President of the United States, Abraham Lincoln ( Daniel Day-Lewis ), as he navigates the political landscape of the Civil War era, trying to garner support for the amendment from both Republicans and Democrats. It also focuses on the final months of his presidency and his efforts to pass the 13th Amendment to the Constitution, which would abolish slavery.

Lincoln is one of Steven Spielberg 's most methodical efforts as a director, and it is undeniably a respectable, absorbing film. Additionally, despite having a history lesson at its center, it is deftly concealed by one outstanding performance and a number of steadfast supporting characters.

13 'Capote' (2005)

Capote tells the story of Truman Capote ( Philip Seymour Hoffman ), a famous American writer, as he travels to Kansas to investigate and write about the brutal murders of the Clutter family in 1959, which later becomes the basis for his novel, In Cold Blood . The film explores Capote’s relationship with the murderers, Richard ‘Dick’ Hickock ( Mark Pellegrino ) and Perry Smith ( Clifton Collins Jr. ), as he spends them with them in jail.

Hoffman offers a captivating portrayal of and perspective on a troubled character who is nonetheless regarded by many as one of America's best authors. Moreover, Bennett Miller was able to convey the complexity of human brains and relationships, as well as the source of artistic inspiration, thanks to a fantastic screenplay.

Watch on Roku

12 'I, Tonya' (2017)

After her husband ordered an assault on her opponent, Nancy Kerrigan , Tonya Harding ( Margot Robbie ) went from one of the most skilled athletes in the country to a worldwide laughingstock. Her troubles as an outcast, her dysfunctional family, and her outspoken nature were all depicted in the film.

Craig Gillespie 's film does more than convey Harding's story, it completely reframes the narrative and rewrites her as the hero of her own story in a complicated but persuasive way. I, Tonya also provides Robbie with her first opportunity to demonstrate her entire range as an actor, and she is radiant.

11 'Dallas Buyers Club' (2013)

Dallas Buyers Club follows Ronald Woodroof ( Matthew McConaughey ), a philandering, drug addict, and homophobic electrician from Texas, living a carefree life until his doctor diagnoses him with HIV/AIDS, which will likely kill him in 30 days. Woodroof discovers an experimental medicine that can potentially prolong his life and establishes the titular "Dallas Buyers Club" to import the drug from Mexico to anyone who needs it.

The combination of sharp character study and moving pharmaceutical docudrama is lively and memorable at just under two hours. Moreover, McConaughey and Jared Leto ’s transformative performances are the reason to visit this biopic. Not only do they successfully give voice to the disaffected of the 1980s, but to everyone who is suddenly confronted with unfathomable challenges.

10 'Hidden Figures' (2016)

Loosely based on the 2016 non-fiction book of the same name by Margot Lee Shetterly , Hidden Figures chronicles the story of a group of female Black mathematicians (played by Taraji P. Henson , Octavia Spencer , and Janelle Monáe ) who played crucial roles in NASA during the early stages of the US space program.

With its recognizable period-piece perspective on a neglected moment in space history, Hidden Figures maintains optimism for what science and technology may accomplish when the sharpest minds work together. Moreover, the film respectfully honors the unheralded female heroines of history by featuring three exceptional performances from the three leads.

Watch on Disney+

9 'Milk' (2008)

Milk is about the life of an openly gay activist and politician, Harvey Milk (played by Sean Penn ), who became the first LGBTQ+ person elected to public office in California. The film chronicles the period from Milk's 40th birthday until his horrific killing in 1978, using archival footage from his life.

The film, directed by Gus Van Sant and written by Dustin Lance Black , immerses us in the political process as Penn's brilliant performance captures Milk's playful intellectual personality. Furthermore, by combining 1970s news footage with newly shot sequences, Van Sant constructed his film around some massive, screen-filling set pieces, making the audience feel as if they had stepped inside the story.

8 'The King's Speech' (2010)

When Albert "Bertie" George 's father, King George V , dies and his brother King Edward VIII chooses love over the kingdom, he is compelled to crown himself king. The King's Speech depicts the narrative of King George VI 's friendship with his speech therapist, who helped the king overcome his stutter to confidently address his subjects.

Instead of being a film about a monarch triumphantly leading his folks to victory, it is about a would-be king battling to find his voice and the strength to lead his people through one of the most challenging periods in their history. Colin Firth as Bertie also imbues his restrained character with complexity, dignity, and wit, making a lasting impression.

Watch on Plex

7 '12 Years a Slave' (2013)

Solomon Northup (played by Chiwetel Ejiofor ) was a free Black man from New York who was kidnapped and sold into slavery in 1841. For a dozen terrifying years, he was subjected to various forms of torture and wickedness before being free once more.

Though 12 Years a Slave is full of intriguing characters, Ejiofor steals the show by maintaining the character's dignity throughout. Moreover, director Steve McQueen immerses the spectators in an unforgivably hideous era from which there is no way out. It's about as intense as a biopic can go and many viewers deem this movie to be too heartbreaking for a second screening .

6 'The Pianist' (2002)

Based on the autobiographical book of the same name by a Polish-Jewish pianist, composer, and Holocaust survivor, Władysław Szpilman , The Pianist follows Szpilman ( Adrien Brody ), who after being forced into the Warsaw Ghetto, loses contact with his family as a result of Operation Reinhard. He then hides in various places among the rubble of Warsaw from this point until the captives of the concentration camps are released.

The unflinching anti-war film is a masterpiece about the struggle between good and evil, the tenacity and mercy of art, and the horrific personal toll left by one of history's worst moments. Like many films about the Holocaust, The Pianist can be difficult to see, but it's important to remember what happened and Brody was mesmerizing in it.

5 'The Social Network' (2010)

Though it wasn’t perfectly accurate, The Social Network covers the narrative of Facebook's early years and its founder, Mark Zuckerberg ’s ( Jesse Eisenberg ) initial social decline, starting with the break-up of his romantic relationship with Erica Albright ( Rooney Mara ) and concluding with the tragic end of his friendship with co-founder Eduardo Saverin ( Andrew Garfield ).

The film is one of the best performing and acclaimed films of 2010 , thanks to screenwriter Aaron Sorkin 's typical quick-witted writing and Jesse Eisenberg's riveting portrayal of the renowned social network creator. Moreover, everyone in the film is on the verge of snapping, which adds to the film's authenticity and realism.

4 'Catch Me If You Can' (2002)

Catch Me If You Can follows Frank Abagnale Jr. (played by Leonardo DiCaprio), a skilled con man who pretended to be a doctor, lawyer, and pilot while only being 21 years old. Meanwhile, Tom Hanks ' FBI agent Carl Hanratty gets obsessed with finding Frank and later succeeds in persuading Frank to become an FBI assistant for atonement.

The story was brought to life by Steven Spielberg's skill as a filmmaker, exquisite cinematography, elegant editing, brilliant script, and a beautiful score by John Williams . Not to mention DiCaprio and Hanks' incredible chemistry and performances resulting in a gentle, charmingly adventurous film that makes you feel wonderful.

3 'BlacKkKlansman' (2018)

Based on Ron Stallworth ’s 2014 memoir Black Klansman , BlacKkKlansman takes place in the 1970s in Colorado Springs, Colorado, and follows the city's first Black detective ( John David Washington ) as he attempts to infiltrate and out the local Ku Klux Klan chapter.

BlacKkKlansman is timely because it engages in a crucial national dialogue that is full of metaphors and juxtapositions. Moreover, the chemistry between Washington and Adam Driver is crucial to keep the film's rhythm enjoyable as the movie alternates between comedy and crime . Also, through their characters, viewers feel like they have just walked through the lane of history in over two hours.

2 'Can You Ever Forgive Me?' (2018)

Melissa McCarthy plays Lee Israel , a struggling writer who seeks to revive her career by selling counterfeit letters from celebrities who have died. Can You Ever Forgive Me? by Marielle Heller is one of the finest contemporary films on economic hardship and ethical compromise.

The biopic is an intellectually interesting drama due to the contradiction between blatant deception, undeniable necessity, and a group of victims who, presumably, can afford to be fooled. Moreover, McCarthy's impressive performance is both fierce and compassionate at the same time, constantly improving the material and stealing every scene she is in.

1 'Selma' (2014)

Selma was praised for its historical authenticity as it followed Martin Luther King Jr. as he fought for Black voting rights. The film follows King's frenetic three months leading up to the march from Selma to Montgomery in 1965. Their efforts directly contributed to President Lyndon B. Johnson signing the 1965 Voting Rights Act.

The film focuses primarily on King's role in the events without diminishing the importance of the other leaders' contributions to molding this pivotal moment in American history. Moreover, the screenplay by Paul Webb and David Oyelowo ’s performance as King gives us a profound, gratifying depiction of King as a man capable of errors, self-doubt, and pain.

Watch on Showtime

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Best Biopics Ever Made, Ranked

The silver screen is a faithful servant to good biographical films, as the genre is undisputedly the darling of both the Academy Awards and Hollywood.

The silver screen is a faithful and loyal servant to a good biographical film; the genre is undisputedly the darling of both the Academy Awards and Tinsel Town, with over a dozen biographical dramas winning Best Picture and numerous actors winning for their portrayals of real-life historical figures. Biopics are a tried and true style of movie-making that are more often than not slam dunks with both the box office and critics alike. Despite the genre being brought to the big screen more frequently in recent years, their effectiveness and impact remains consistent.

Update August 8, 2023: In honor of the release of Oppenheimer, this list has been updated by Callum Jones with even more great biopics.

Whether depicting the life of an esteemed physicist, Wild West outlaws , or even United States President Abraham Lincoln himself, biopics are the cream of the crop in Hollywood cinema. Many of these films helped skyrocket the careers of both their directors and their actors , serving as stepping stones in their lucrative and successful careers. These are some of the best biopics ever made.

Depicting the fascinating life of worldwide film icon Charlie Chaplin, 1992’s Richard Attenborough biopic Chaplin stars Robert Downey Jr. as “The Little Tramp” in a searing performance. The film features an elderly Chaplin as he recollects his incredible life journey for his autobiography, from his poverty-stricken roots to worldwide success. With a talented supporting cast including Dan Aykroyd, Marissa Tomei, and even Chaplin’s real life daughter Geraldine Chaplin, the movie was released on the fifteenth anniversary of the beloved star’s death.

Despite mixed reviews for the biopic itself, Downey Jr.’s performance was lauded and garnered critical acclaim. It is arguably his finest role to date and won him the BAFTA Award for Best Actor, along with an Academy Award nomination. The Los Angeles Times wrote, “Downey becomes Chaplin, re-creating his character and his chilly soul so precisely that even the comedian’s daughter Geraldine, a featured player here, was both impressed and unnerved.”

14 The Theory of Everything

2014’s critically acclaimed biopic The Theory of Everything is a poignant portrayal of the relationship between renowned physicist Stephen Hawking and his wife, Jane. The film was adapted from Jane Hawking’s 2007 memoir Travelling to Infinity: My Life with Stephen, and she provided input and insight for the script. The Theory of Everything stars Eddie Redmayne and Felicity Jones as the famous couple, with the former spending six months researching Hawking’s life and mastering his accent and speech patterns. The biopic was a massive hit both commercially and critically, with Redmayne specifically receiving immense praise and winning the Academy Award and BAFTA for Best Leading Actor.

13 Walk the Line

Telling the story of famous American country musician Johnny Cash, James Mangold 's 2005 biopic, Walk the Line , sees Joaquin Phoenix take on the role of the "Ring of Fire" singer. The film uses two of Cash's autobiographies as the basis for the script - 1975's Man in Black: His Own Story in His Own Words and 1997's Cash: The Autobiography - and details the late singer-songwriter's rise to fame, his two marriages, and his addiction to drugs.

Co-starring Reese Witherspoon, Ginnifer Goodwin, and Robert Patrick, the movie was a box office hit and gained rave reviews from critics. It also earned five Academy Award nominations, with Phoenix taking home the award for Best Actor. Indeed, though the film, in general, is solid, like many biopics, it's the performance of the leading man that makes Walk the Line truly great. Phoenix completely transforms into Cash, even managing to expertly imitate the singer's infamous voice. It is a subtle yet charismatic performance that stands out as among the best of the Phoenix's career .

12 The Elephant Man

1980's The Elephant Man tells the real-life story of an English man, Joseph Merrick, who adopted the cruel nickname "The Elephant Man" owing to his severe facial deformities as a result of a rare genetic disease. Set in Victorian London, the film portrays the friendship between Merrick (played by John Hurt) and Frederick Treves, a surgeon who rescues Merrick from a freak show and who sees the disfigured man for the kind-hearted and intelligent person he truly is.

Directed by David Lynch , the film garnered critical acclaim upon its release and went on to receive eight Academy Award nominations at the 53rd annual ceremony. Hurt's performance, in particular, was lauded by critics, with Vincent Canby of The New York Times calling his portrayal "Truly remarkable". The Elephant Man a haunting yet beautifully moving tale of compassion, acceptance, and seeing beyond another's appearance.

11 Straight Outta Compton

When it was released in cinemas in 2015, F. Gary Gray's Straight Outta Compton almost instantly became a financial success and a modern-day classic. Set in Los Angeles in the mid-1980s, the film revolves around the formation and break-up of hip hop group N.W.A, whose members consisted of rappers Ice Cube, Dr. Dre, Eazy-E, MC Ren, and DJ Yella. Titled after the group's debut album, it depicts their early success in the music industry, their rise to mainstream popularity, and the feuds, disputes, violence, and deaths that surronded the group.

Related: Best Biopics About Black Music Icons, Ranked

Straight Outta Compton is different from your average musical biopic. In fact, it's better . With N.W.A members Ice Cube and Dr. Dre serving as producers, along with Eazy-E's widow, Tomica Woods-Wright, the film is raw, honest, and provocative, and doesn't shy away from the more unpleasant aspects of hip-hop culture. Ultimately, though, it is acted and superbly directed celebration of the genre.

10 Butch Cassidy and the Sundance Kid

Starring two of Hollywood’s most talented and revered actors, Paul Newman and Robert Redford, 1969’s American western Butch Cassidy and the Sundance Kid was initially met with a mixed response but, over time has become a distinguished classic. Loosely based on Wild West outlaws Robert LeRoy Parker (Butch Cassidy) and Harry Longabaugh (the “Sundance Kid”), it features the infamous duo on the run from a crack US posse after an extensive string of train robberies. Numerous A-list actors were initially tied to the picture, such as Jack Lemmon, Warren Beatty, and Steve McQueen, but it was Newman and Redford who nabbed the roles and dished up iconic performances as the American legends.

9 Oppenheimer

Acclaimed director, Christopher Nolan, is no stranger to taking on films that deal with real-life figures or events. After all, he previously directed 2017's Dunkirk , which told the story of the Dunkirk evacuation of World War II, as well as 2006's The Prestige that, although largely a fictional story, featured real-life inventor Nikola Tesla, among its main characters. 2023's Oppenheimer , however, can be classed as Nolan's first true biopic.

Based on the 2005 biography American Prometheus , by Kai Bird and Martin J. Sherwin, the film depicts the life and career of theoretical physicist J. Robert Oppenheimer (played by Cillian Murphy) - the inventor of the nuclear bomb. Told across several different timeframes in a non-linear style, it follows the titular character's early life in academia, his recruitment to the Manhattan Project and the development of the nuclear bomb, the bomb's use in Hiroshima and Nagasaki, and subsequent hearings that see Oppenheimer accused of communist sympathies.

A three-hour R-rated biopic about the father of the nuclear bomb should've been alienating to a general audience. However, with Nolan's attachment, an all-star cast , rave reviews, and its link to the social media phenomenon known as "Barbenheimer ," Oppenheimer has become one of the highest-grossing biopics ever. Fortunately, it lives up to the hype.

Detailing the life of the lawyer who would go on to become the famed leader of the nonviolent revolts against British rule, 1982’s Gandhi stars Ben Kingsley in the titular role. The biopic focuses on Mahatma Gandhi’s life from a defining moment in 1893, in which he was thrown off a South African train for being in a whites-only compartment. The film concludes with his tragic assassination and subsequent funeral in 1948.

The stunning picture was praised for its historical accuracy upon its release, as was Kingsley's outstanding performance and production values. It received 11 Academy Award nominations and won eight, including Best Actor (for Kingsley), Best Picture, and Best Director. Gandhi is a deeply moving and enlightening epic that features an emotionally driven performance by Ben Kingsley and beautifully depicts the civil rights leader’s riveting life.

7 The Social Network

When David Fincher's The Social Network was released in 2010, the social media platform, Facebook, had only been around for six years. In that time, the website had amassed an impressive 500 million global users and had become the third-largest web company in the US. A film that documented the company's meteoric rise was, therefore, a no-brainer. With a script by Aaron Sorkin , the movie depicts Harvard University student Mark Zuckerberg (Jesse Eisenberg), who initially develops a website called "Facemash" that allows users to rate the attractiveness of female students on campus. This soon grows in popularity, spreading to other colleges and attracting the attention of wealthy investors.

Related: The Social Network: 5 Reasons Why it Should Have Won the Best Picture Oscar

The Social Network is a gripping story that is surprisingly small and contained, given the scale of its subject matter. Though a few artistic liberties were clearly taken, Fincher's direction, Sorkin's script, and Eisenberg's lead performance ensure the film is an expertly crafted and entertaining one, even if it's not always historically accurate. And with an Academy Award-winning score by Nine Inch Nails members Trent Reznor and Atticus Ross, The Social Network is undoubtedly one of the best biopics of the twenty-first century that still has a lot of relevance today .

6 Malcolm X

Spike Lee’s epic biography Malcolm X portrays the life of the controversial and highly influential Black Nationalist leader, from his beginnings as a small-time gangster to his ministry as a member of the Nation of Islam. The dynamic Denzel Washington stars as the infamous African-American activist and features the additional talent of Hollywood greats Angela Bassett, Albert Hall, and Al Freeman Jr.

Spike Lee told The New York Times that he never envisioned any other actor in the lead role, saying that Denzel “really captured Malcolm” in his Off-Broadway portrayal of him. Largely based on the 1965 book The Autobiography of Malcolm X, the film earned rave reviews, with famed critic Roger Ebert raving that the biopic was “one of the great screen biographies, celebrating the sweep of an American life that bottomed out in prison before its hero reinvented himself.”

Heavily regarded as one of the most diverse and gifted actors of all time, Daniel Day-Lewis added another feather to his impressive cap when he starred as United States President Abraham Lincoln. Known famously for his method acting approach, Day-Lewis spent a year preparing for the role, reading over 100 books on Lincoln and speaking in his voice throughout the entire shoot. The dynamic star teamed up with renowned director Stephen Spielberg for Lincoln , which was lauded upon its release, with Day-Lewis and Field garnering particular praise. The actor’s dignified and regal portrayal of the 16th president was impressive and inspiring, and he would go on to win the Academy Award for Best Actor.

4 Goodfellas

Martin Scorsese’s masterpiece biographical crime film Goodfellas narrates the rise and fall of mob associate Henry Hill, covering his relationship to wife Karen Hill and his ill-fated ties with mob partners Tommy DeVito and Jimmy Conway. Some of the silver screen’s finest stars headline the film, with Ray Liotta portraying Henry Hill, Joe Pesci as Tommy DeVito, and Robert De Niro as Jimmy Conway.

Depicting 25 years of the mobster’s life from 1955 to 1980, Goodfellas is jam-packed full of suspense, degradation, and intense violence that is critical to the authenticity of the biopic. The powerful performances of its talented cast and Scorsese’s masterful storytelling and directing were celebrated, and Goodfellas is heavily regarded as one of the greatest films ever made.

3 Raging Bull

The biographical sports drama Raging Bull is another Martin Scorsese knockout that is considered the gifted director’s magnum opus. The classic film depicts the life of boxer Jake LaMotta, an Italian-American middleweight whose temper and violence led him to extreme success in the ring but destroyed his life outside it. Robert De Niro iconically leads the drama as LaMotta, and trained extensively with the real-life boxer in preparation for the role.

Related: Martin Scorsese and Robert De Niro Movies: A Ranking of Their 9 Collaborations

Frequent future Scorsese collaborator Joe Pesci co-stars as Jake’s younger brother and manager Joey LaMotta; Pesci, at the time, was a struggling actor and was scouted by De Niro himself. Raging Bull debuted to an initial lukewarm response, mostly due to its violent content. Despite such a reception, De Niro’s performance garnered widespread acclaim, and he won the Academy Award for Best Actor.

2 Schindler’s List

Steven Spielberg’s heart-wrenching 1993 historical drama Schindler’s List is based on the Thomas Keneally novel Schindler’s Ark and follows German industrialist Oskar Schindler, who helped save more than a thousand manly Polish-Jewish refugees from the Holocaust. Spielberg approached Schindler’s List as a documentary and shot the film in black and white, despite his reservations on whether he was mature enough to create such a picture. The esteemed director famously forwent a salary for the project, declaring it “blood money.” Liam Neeson took on the lead role of Oskar Schindler and was cast in part because he was a relative unknown; Spielberg did not want an actor’s star quality to overpower the character.

Schindler’s List received universal critical acclaim with its atmosphere, directing, performances and tone heralded. It was the recipient of seven Academy Awards and is considered one of the best films in cinema history, with The New Yorker calling it a picture that “will take its place in cultural history and remain there.”

1 Lawrence of Arabia

The 1962 epic British historical drama Lawrence of Arabia details the life of T.E. Lawrence, an English officer who triumphantly united and led the often tumultuous Arab tribes during World War I. Acting great Peter O’Toole stars as Lawrence, and the film stunningly depicts his emotional struggles with the violence of war and his conflicted allegiance with his home of Britain and his Arabian comrades. Lawrence of Arabia was an adored phenomenon among critics and viewers alike, with its screenplay, visuals, and performance by O’Toole all lauded.

The groundbreaking biopic is considered a cinematic masterpiece and rightfully won seven Academy Awards. It is regarded as one of the most influential films ever crafted, with O’Toole’s portrayal touted as one of the finest in all cinema history, perfectly tapping into what makes a biographical performance great.

• Biography Movies
• Drama Movies

The 15 Best Biography Movies About Actors and Actresses

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Biography movies (also known as biopics) come in all kinds of flavors, but most of them tend to be focused on musicians, politicians, soldiers, and geniuses. What about actors?

Even though Hollywood loves making movies about itself, the majority of them are fictional. If you dig around a bit, however, you'll find several great biography films about real actors and actresses.

Here are my picks for the best biographical movies that give a peek into the Hollywood industry, where famous actors toil behind the scenes with work, love, heartbreak, family, and addiction.

15. Mommie Dearest (1981)

Directed by Frank Perry

Starring Faye Dunaway, Diana Scarwid, Steve Forrest

Biography, Drama (2h 9m)

6.6 on IMDb — 48% on RT

A quick Google search might show you that Mommie Dearest is considered one of the worst films ever made, but hear us out! For this movie to be labeled so extremely is proof of its lasting impact.

In fact, Mommie Dearest is so bad that it's good—if you watch it as a comedy rather than a drama—even if lead actress Faye Dunaway still regrets taking the part, haunted by the soul of Joan Crawford who's "just hanging around... as if she couldn't rest."

While Mommie Dearest doesn't show Crawford's whole life, it does show the part where she becomes an abusive, controlling mother. And while her daughter Christiana has said that Joan deserved to go to jail, even she found Frank Perry's depiction over the top...

14. Blonde (2022)

Directed by Andrew Dominik

Starring Ana de Armas, Adrien Brody, Bobby Cannavale

Drama, History (2h 47m)

5.5 on IMDb — 42% on RT

Everybody was excited for the release of Blonde . The crisp black-and white shots, the vintage square ratio, and the illustrious Ana de Armas promised a stylish biopic of the legendary Marilyn Monroe.

Although director Andrew Dominik didn't quite meet expectations, Blonde is still a refreshingly unconventional biography that's held together by visual prowess and keen acting from Armas.

Critics were mainly divided on Blonde 's fictionalization of true events. Although it certainly kept things interesting, some found the filled-in gaps of Monroe's memoirs to be exploitative.

13. The Life and Death of Peter Sellers (2004)

Directed by Stephen Hopkins

Starring Geoffrey Rush, Charlize Theron, Emily Watson

Biography, Comedy, Drama (2h 2m)

6.9 on IMDb — 69% on RT

Peter Sellers was an English actor known for his caricature style of comedy, often embodying more than one role at a time (which he did in Stanley Kubrick's Dr. Strangelove ).

Sellers is most famous for portraying the clumsy French detective in The Pink Panther movies. His specific techniques made him a master of comedic timing, parody, and improvisation, although we won't condone his use of brownface in The Party .

Years later, Geoffrey Rush embodied Peter Sellers in Stephen Hopkins's TV movie The Life and Death of Peter Sellers . It might not capture the entirety of Peter Sellers's creative genius, but it does give us a curious look behind closed doors.

12. Mahanati (2018)

Directed by Nag Ashwin

Starring Keerthy Suresh, Dulquer Salmaan, Samantha Ruth Prabhu

Biography, Drama (2h 57m)

8.4 on IMDb — 100% on RT

There's more to Indian cinema than just Bollywood. Mahanati is much closer to the narrative arcs we see in Western biopics: a rise to fame, a complicated love life, then alcoholism, illness, bankruptcy, and fall.

However, Nag Ashwin doesn't present us with just another rise-and-fall story. Instead of reducing actress Savitri to her struggles, she's celebrated and enlivened through popping colors and an acclaimed central performance from Keerthy Suresh.

Mahanati was a dazzling success, not just in India but across the globe (even if the runtime is a tad lengthy). The film isn't perfect, but the good parts were great enough to earn it multiple awards.

11. Life (2015)

Directed by Anton Corbijn

Starring Robert Pattinson, Dane DeHaan, Joel Edgerton

Biography, Drama (1h 51m)

6.0 on IMDb — 64% on RT

Director Anton Corbijn offers a small snippet into the life of James Dean, who was basically the male equivalent of Marilyn Monroe in the 1950s.

The first James Dean biography movie on our list, Life centers on Dennis Stock (Robert Pattinson), a photographer for LIFE Magazine. We get to see how his iconic photoshoot of James Dean came about, with Dean himself played by Dane DeHaan.

Like those actual photos—which are cleverly woven into the film— Life is an artistic sliver of Dean's life, with poetic narrations and a bang-on performance by DeHaan as the sensitive, soft-spoken, chain-smoking rebel without a cause.

10. My Week With Marilyn (2011)

Directed by Simon Curtis

Starring Michelle Williams, Eddie Redmayne, Kenneth Branagh

Biography, Drama (1h 39m)

6.9 on IMDb — 83% on RT

My Week With Marilyn depicts one segment of Marilyn Monroe's glamorous life: the time when she was visiting London with her famous playwright husband Arthur Miller.

She was there to film The Prince and the Showgirl but kept forgetting her lines and leaving the set. She couldn't connect to her character or her husband, so she confided in fresh-faced Oxford graduate Colin—one of many men who got to spend a week with Marilyn Monroe.

Michelle Williams and Eddie Redmayne star as the unexpected couple, taking in the British sights alongside Kenneth Branagh, Judi Dench, Emma Watson, and Dominic Cooper.

9. Elvis (2022)

Directed by Baz Luhrmann

Starring Tom Hanks, Austin Butler, Olivia DeJonge

Biography, Drama, Music (2h 39m)

7.3 on IMDb — 77% on RT

Elvis Presley was obviously more of a musician than an actor, but he starred in more films than pretty much anyone else on this list. After all, he was first and foremost a performer (which is why he was taken in by circus huckster Colonel Tom Parker).

After breaking racial barriers and rocketing to stardom, Elvis naturally transitioned to Hollywood and churned out an impressive 31 movies that started out as fun but gradually ended up soulless.

Austin Butler embodies the King of Rock in Baz Luhrmann's biopic that's even more glittery than Presley's outfits. We see the light fade from his eyes as he fake-surfs through various movie productions, pill-popping his career away to a hotel prison sentence.

8. Frances (1982)

Directed by Graeme Clifford

Starring Jessica Lange, Sam Shepard, Kim Stanley

Biography, Drama, Romance (2h 20m)

7.2 on IMDb — 67% on RT

Frances Farmer was one of those celebrities who was more famous for her private life than her professional one. The American actress appeared in a string of movies during the 1930s, but her hospitalization was the main thing to reach headlines.

Jessica Lange gives a driven performance as Frances, who was a controversial figure since childhood. As a kid, she wrote anti-God essays. As an adult, she refused to play the Hollywood game.

Frances cheats, drinks, refuses to wear makeup on screen, and is eventually committed to Kimball Sanitarium after her abusive mother becomes her legal guardian.

7. Dragon: The Bruce Lee Story (1993)

Directed by Rob Cohen

Starring Jason Scott Lee, Lauren Holly, Robert Wagner

Action, Biography, Drama (2h)

7.0 on IMDb — 73% on RT

Bruce Lee is the champion of martial arts movies. The actor/filmmaker moved from British Hong Kong to Seattle at 19 years old to open his own martial arts school before entering the film industry.

Bruce Lee was nicknamed Dragon (or "Little Dragon" when he was young) since he was born in the hour and year of the Chinese zodiac Dragon. His dual identity is explored in Rob Cohen's biography, and thankfully Dragon: The Bruce Lee Story goes beyond skin-deep.

Jason Scott Lee stars as the chiseled karate icon, delving into his Hollywood career and his relationship with Linda Lee Cadwell, all of it flourished with elements of mysticism.

6. Film Stars Don't Die in Liverpool (2017)

Directed by Paul McGuigan

Starring Annette Bening, Jamie Bell, Vanessa Redgrave

Biography, Drama, Romance (1h 45m)

6.7 on IMDb — 81% on RT

"We never expected Gloria Grahame in our kitchen, necking a bacon butty, asking for tommy sauce." Absolutely true! We wouldn't expect the Oscar-winning starlet of Hollywood's Golden Age to be staying in a humdrum area of rainy Liverpool.

Whether or not she really did scarf down bacon butties at the local boozer, we can't be sure. However, we do know that Grahame (played by Annette Bening) spent a lot of her final years in Liverpool.

Initially there for work, she strikes up an unexpected relationship with an amateur actor 30 years younger (Jamie Bell). In Film Stars Don't Die in Liverpool , director Paul McGuigan shows us how age is just a number.

5. Man on the Moon (1999)

Directed by Miloš Forman

Starring Jim Carrey, Danny DeVito, Paul Giamatti

Biography, Comedy, Drama (1h 58m)

7.4 on IMDb — 64% on RT

Andy Kaufman was a very different kind of actor. The "Inter-Gender Wrestling Champion" purposefully went out of his way to annoy people. Indeed, there were no Oscar ceremonies for him—but there were quite a few wrestling matches (with women only).

In Man on the Moon , Andy Kaufman is played by Jim Carrey, who famously stayed in character and went around annoying everyone on set. A whole documentary— Jim & Andy: The Great Beyond (2017)—was even made about Carrey's behavior.

Andy Kaufman was initially a stand-up comedian who made people laugh by being terrible. His Tony Clifton character was particularly grating, and he later featured in the sitcom Taxi with Danny DeVito (who plays Kaufman's manager in Man on the Moon .)

4. Stan & Ollie (2018)

Directed by Jon S. Baird

Starring Steve Coogan, John C. Reilly, Shirley Henderson

Biography, Comedy, Drama (1h 38m)

7.2 on IMDb — 92% on RT

Laurel and Hardy were an infamous comedy duo of the silent film era, mixing with the likes of Charlie Chaplin and Buster Keaton. Their slapstick gags were beloved around the world, with Stan Laurel playing the clumsy man-child and Oliver Hardy the mean bully.

By the 1950s, this type of cinema was dwindling. The pair were starting to age and—having spent so much time together—their friendship even started taking a toll. Clutching at straws, they embarked on a less-than-easy UK musical hall tour.

Steve Coogan and John C. Reilly flesh out the men in Stan & Ollie , moving with humor and humility. Jon S. Baird's biography doesn't try to be too heavy. It's simply sincere.

3. James Dean (2001)

Directed by Mark Rydell

Starring James Franco, Michael Moriarty, Valentina Cervi

Biography, Drama (2h)

7.1 on IMDb — 93% on RT

James Franco's depiction of another actor named James is what effectively put him on the map. Mimicking such a specific personality as James Dean? A tightwalk situation that, thankfully, worked out.

Dean's elusive and cool exterior occasionally breaks away to the chaos and anger underneath in Mark Rydell's biopic. Nobody believed Dean could make it big, but he proves them all wrong.

Dean's own indifferent father likely fueled his emotive performances in East of Eden (1955) and Rebel Without a Cause (1955), which Franco recreates seamlessly here in James Dean .

2. Judy (2019)

Directed by Rupert Goold

Starring Renée Zellweger, Jessie Buckley, Finn Wittrock

Biography, Drama, Music (1h 58m)

6.8 on IMDb — 82% on RT

Actress Judy Garland starred in hits like A Star Is Born (1954) and Meet Me in St. Louis (1944), but she remains most famous for playing Dorothy in The Wizard of Oz (1939).

Most people already know that Judy Garland had a hard life, but few of us really understood how bad it was until we watched Judy . Heaps of horror stories have since come out about the production of The Wizard of Oz , and that's where all the trouble began for Garland.

For starters, MGM forcing her to take drugs as a teenager is likely what propelled Garland into early-life substance abuse.

While Garland's troubles are at the center of Rupert Goold's drama, Judy switches between the start and end of Garland's life (played by an unrecognizable Renée Zellweger).

1. Chaplin (1992)

Directed by Richard Attenborough

Starring Robert Downey Jr., Dan Aykroyd, Geraldine Chaplin

Biography, Comedy, Drama (2h 23m)

7.5 on IMDb — 60% on RT

Charlie Chaplin is a name everyone's heard of. Even if you took the title off Chaplin 's poster, you'd know what this film was about! The silhouette of a bowler-hatted tramp is recognizable anywhere.

Robert Downey Jr. was nominated for an Oscar for his honorable portrayal of this timeless figure. Looking eerily similar to the real Chaplin, Downey takes us on his literal rags-to-riches journey. (Chaplin went from homelessless to being one of the richest men in the world.)

Chaplin's character of The Tramp was revolutionary for many reasons—mainly for blending pathos and humor during the Keystone days—but he wasn't always so innocent in real life.

The top 25 most compelling Hollywood autobiographies – ranked!

Inspiring, indiscreet and occasionally gasp-worthy – to mark the publication of Woody Allen’s Apropos of Nothing, we arrange the best Tinseltown memoirs in order of excellence

25. A Story Lately Told (2013) and Watch Me (2014) by Anjelica Huston

The two volumes of Anjelica Huston’s autobiography are a shrewd account of her life with wry comments on the alpha-males in it, including her father John Huston and longtime boyfriend Jack Nicholson.

24. Little Girl Lost (1990) by Drew Barrymore

She published this at 15 years old and like so many movie autobiographies, the title is a pre-emptive ironic twist on whatever the author is most famous for – in Drew Barrymore’s case, a child-acting star turn in Steven Spielberg’s classic ET, and then falling prey to substance abuse. As she says: “I had my first drink at age nine, began smoking marijuana at 10, and at 12 took up cocaine.”

23. The Lonely Life: An Autobiography (1962) and This ’n That (1987) by Bette Davis

Bette Davis published this autobiography in the 60s, at the end of her great period, and updated it in the 1980s – after her daughter BD Hyman published a Mommie Dearest-type memoir of her – detailing her life and times, with true leading-lady hauteur rising above the general awfulness and the fallout from four fraught marriages.

22. My Story (1959) by Mary Astor

This bestseller from the golden-age legend Mary Astor recounted one of Hollywood’s most scandalised lives. In 1936, she was divorced, after an affair with the dramatist George S Kaufman, and the press coverage became obsessed with her diary, which supposedly chronicled her sexual adventures. Much argued about in court, the diary was impounded in a bank vault and finally burnt.

21. What Just Happened? Bitter Hollywood Tales from the Front Line (2002) by Art Linson

Art Linson (the producer of Fight Club) gives an amusing account of the unendingly humiliating business of a life spent trying to get movies made – there is a wince-inducing anecdote of trying to persuade Alec Baldwin to go back into his trailer and shave off the inappropriate straggly beard he had grown just before filming. Linson describes the process of sucking up to powerful people as “bog snorkelling” and “grabbing the knee pads”.

20. Veronica: The Autobiography of Veronica Lake (1970)

The fatale screen-goddess’s autobiography was written towards the end of her life, hitting back at her reputation for being difficult and recounting her professional partnerships with Joel McCrea and Alan Ladd – and with her legendary, lustrous hair, which she had to cut during the second world war to deter female factory workers from copying it.

19. What Falls Away (1997) by Mia Farrow

Mia Farrow’s autobiography was widely praised for her eloquent memoirs, recounting her troubled family life and her relationships with Frank Sinatra, André Previn and most dramatically of all, Woody Allen. The book was published five years after she first made public allegations that he had sexually molested seven-year-old Dylan, which he has consistently denied, which were investigated by the authorities and for which no charges were brought.

18. Memoirs of a Professional Cad (1960) by George Sanders

The suave and mellifluous actor’s memoir sported jovially with his onscreen reputation, recounting his remarkable early life in Russia, his character-acting adventures in Hollywood and his marriage to Zsa Zsa Gabor. Written before his slide into ill-health and depression, it maintains a dapper jauntiness.

17. Brave (2018) by Rose McGowan

It was the courage and uncompromising commitment of Rose McGowan that formed the arrowhead of the #MeToo movement and the campaign to bring Harvey Weinstein to book. Part of what this memoir does is tell us what lies beneath a lot of Hollywood’s racy anecdotes and gossip: a world of abuse and bad faith.

16. You’ll Never Eat Lunch in this Town Again (1990) by Julia Phillips

The producer Julia Phillips became the first woman to get a best picture Oscar with The Sting in 1973 and she was a driving force behind Taxi Driver in 1976 – but it was this tell-all book about the cocaine-fuelled, vanity-charged horror of Hollywood that made her a legend. (Cocaine use bankrupted Phillips.) David Geffen, Steven Spielberg and Richard Dreyfuss came off as ego-addled narcissists and the book so infuriated the industry that she really was banned from Morton’s, the A-listers’ restaurant.

15. What’s It All About (1993), The Elephant to Hollywood (2010) and Blowing the Bloody Doors Off (2018) by Michael Caine

Michael Caine’s three books of autobiography and his meandering thoughts on the acting craft give us his life from his beginnings as Maurice Micklewhite from a working-class family to his success in Swinging London and his breakthrough roles in Alfie, Zulu and The Italian Job. He recounts a legendary meeting with John Wayne in the lobby of a Hollywood hotel who advised him: “Talk low, talk slow, and don’t say much”. Perhaps Caine’s legendary delivery really is the Brit version of Wayne.

14. Tab Hunter Confidential: The Making of a Movie Star (2005)

In the 50s, Tab Hunter was an impossibly gorgeous slice of B-movie beefcake, a sexy actor and singer for whom Jack Warner created Warner Bros Records. Hunter tells us how, despite being intensively marketed to swooning women, he in fact preferred men, in an era in which homophobic paranoia went hand-in-hand with red-baiting – and had affairs with Anthony Perkins and the figure-skater Ronnie Robertson.

13. Me: Stories of My Life (1991) by Katharine Hepburn

Katharine Hepburn’s garrulous, wayward memoir is a fluent and engaging but scattershot performance (in which you can clearly imagine the famous quavering Bryn Mawr voice) perhaps designed to keep at bay those who would take too close an interest in her private life. She handles tactfully her relationships with Howard Hughes and her legendary co-star Spencer Tracy, and gives nothing to those readers who believed that she was gay.

12. Yes I Can (1965) by Sammy Davis Jr

A massive bestseller in its day, with an aspirational title that is sometimes mockingly extended with “… if Frank Sinatra says it’s OK” in honour of the line from This Is Spinal Tap about his perceived subservient position to Ol’ Blue Eyes in the Las Vegas Rat Pack. Despite the conservatism of his later years, when he endorsed the presidency of Richard Nixon, his battle against racism is stirring. There is an extraordinary, Ballardian description of how he lost his eye in a car accident – it fell prey to the bullet-shaped horn button on the steering wheel of his 1954 Cadillac. Davis gallantly helped the other driver out of her car with the eye still dangling out of its socket.

11. My Autobiography (1964) by Charles Chaplin

Chaplin brought a richly Dickensian flair to this autobiography: with the same mix of sadness, sentimentality, humour and warmth that formed the bedrock of the Hollywood storytelling style he pioneered. He gave it to us in three acts: the grinding poverty in London; the staggering success in Hollywood; and then the chilly anti-communist cold shoulder and final retreat to that well-known leftwing enclave, Switzerland. Chaplin name-checks grand acquaintances such as the Prince of Wales, but he isn’t big on acknowledging other silent-movie greats and is reticent about his love life.

10. Adventures of a Suburban Boy (2003) and Conclusions (2020) by John Boorman

Boorman, one of many movie directors who turn out to be beautiful writers as well, vividly and disarmingly describes his childhood in south London and then in Ireland with the kind of engagement that he would show in his great personal film Hope and Glory . He gets his start making documentaries at the BBC, and then there are his experiences in Hollywood dealing with the fragile egos of Burt Reynolds, Richard Burton and Marlon Brando, who pointedly told Boorman what Michael Winner had said to him: “You are a great actor, I am not a great director, please do whatever you like.”

9. American Prince: A Memoir (2008) and The Making of Some Like it Hot: My Memories of Marilyn Monroe and the Classic American Movie (2009) by Tony Curtis

The impossibly handsome Tony Curtis matured from being a B-movie swashbuckler into a brilliant dramatic and comic actor. After a depiction of his tough upbringing in the Bronx, New York, he gives a seductive view of the Hollywood playground, and his meetings with Laurence Olivier, Frank Sinatra and Billy Wilder. His subsequent book detailed the making of Some Like It Hot and his complex relationship with Monroe, with whom he had had a relationship that flowered again during filming (he was married to Janet Leigh, she to Arthur Miller). This resulted in a pregnancy that miscarried.

8. Lulu in Hollywood (1982) by Louise Brooks

Towards the end of her life, Louise Brooks revealed herself to be a great writer about the film business and this memoir, published when she was 78, cemented her reputation. Like so many stories of early Hollywood, it is the story of an inventor and a pioneer, someone who helped create a whole language now taken for granted. After her dull Kansas childhood, Brooks came to New York in the 1920s as a dancer and made the acquaintance of Walter Wanger, Herman Mankiewicz and Charlie Chaplin , but found greatness in Europe with the Austrian director GW Pabst. Her glossy bob hairstyle became a daring sexual brand identity, but this strong, vital woman found herself frozen out of Hollywood by its tetchy menfolk.

7. The Ragman’s Son: An Autobiography (1988) by Kirk Douglas

Kirk Douglas ’s story of his rise to greatness in the Hollywood golden age with movies including Champion, Spartacus, Paths of Glory and Ace in the Hole is a compelling read, for the blistering energy (reproduced in his prose) with which he strove to get away from his former poverty, and his rage at himself for not having confronted the antisemites earlier in his life. Despite his 65-year marriage, Douglas was serially unfaithful, and the book is naive about sexual politics, but there are some ripe stories about his relationships with Rita Hayworth, Marlene Dietrich and Joan Crawford. While lovemaking on her rug, Crawford disconcertingly murmured to him: “You’re so clean. It’s wonderful that you shaved your armpits when you made Champion.”

6. By Myself (1978) by Lauren Bacall

Lauren Bacall describes her career on Broadway and in Hollywood, her marriages to Humphrey Bogart and Jason Robards, and her affair with Frank Sinatra (who features as anecdote fodder in so many of the books about this period). She was a Jewish girl dreaming of being like Bette Davis, and made her mark first as a fashion model who caught the attention of Howard Hawks who cast her in To Have And Have Not, where she began an affair with Bogart, her married co-star, who was 25 years older – although their subsequent marriage was very happy. This was the love of Bacall’s life.

5. Everything and Nothing: The Dorothy Dandridge Tragedy (1965) by Dorothy Dandridge

Co-written with the seasoned Hollywood ghostwriter Earl Conrad , this book was completed just before the death of the singing and acting star Dandridge, the first African-American to receive a best actress Oscar nomination (for Carmen Jones in 1954). She was a pioneering activist who had to contend with sexism and racism, and her career – after the sensational Carmen Jones – was hampered by her lover and director Otto Preminger, who told her to accept only leading roles. This was well-meaning but ill-judged advice. She was a campaigner with the NAACP and introduced Martin Luther King Jr at one event.

4. A Life in Movies (1986) and Million Dollar Movie (1992) by Michael Powell

These two parts of Michael Powell’s autobiography – he was the legendary director who worked with Emeric Pressburger – are an essential account of cinephilia and movie creativity. His is a compelling story of his early career in silent movies, working with Rex Ingram and then Alfred Hitchcock, his later collaboration with Pressburger and then the passionate admiration of Martin Scorsese, which effectively relaunched his reputation in the 1970s. Powell writes simply but rather movingly about falling in love with Thelma Schoonmaker , Scorsese’s brilliant editor, and their subsequent marriage.

3. The Kid Stays in the Picture (1994) by Robert Evans

Made into a movie in 2002, this memoir from the legendary actor-turned-Paramount producer is a great Hollywood insider tell-all, with a title quoting Darryl Zanuck’s remark when some of Evans’s erstwhile acting colleagues demanded he be fired from the 1957 film The Sun Also Rises. He was married many times, including to the Love Story star Ali MacGraw, and as a producer, he was the driving force behind Love Story, Rosemary’s Baby, Chinatown and The Godfather – but also the notorious flop, The Cotton Club . To make it, he associated with a shady financial backer called Roy Radin, whose drug connections and contract-killing murder resulted in a trial in which Evans scandalised the business by refusing to testify. He was himself convicted of cocaine trafficking in 1980, but always claimed he was only a user.

2. Mommie Dearest (1978) by Christina Crawford

For many, this memoir is the primal scene of Hollywood family dysfunction, with a title that has become ironic shorthand for bad parenting. Christina Crawford was the adopted daughter of Joan Crawford. Her book alleged that Joan was a controlling, boozing tyrant who would beat Christina and who was more interested in her (flagging) career and many affairs with men and women than in being a mother. And then in later life, when Christina had an acting career, she insisted on temporarily taking over Christina’s role in a TV soap called The Secret Storm, as Christina was in hospital for a cyst removal: at the time, Christina was 24 and Joan was 60. Perhaps this extraordinary fact alone would be enough to damn Joan Crawford, but many of her friends and her first husband Douglas Fairbanks Jr denounced the stories as untrue.

1. The Moon’s a Balloon (1971) by David Niven

This is the unchallenged champ of the Hollywood memoirs: glamorous, louche, exciting, amusing, name-dropping, ridiculous, outrageously sexual but seasoned with real tenderness and piquancy as Niven describes his unhappy childhood, the heartbreaking loss of his first wife, and also his military service in the second world war, which involved an encounter with Winston Churchill, who congratulated him on quitting the movies to volunteer, but added: “Young man, you did a fine thing to give up your film career to fight for your country. Mark you, had you not done so it would have been despicable.” Unlike most movie memoirs, there is no tough upbringing in the slums: Niven’s childhood was comfortable (though unhappy); he was the public schoolboy who went from Stowe to Sandhurst and, unlike so many Brit actors who had learned to fabricate a posh voice in rep, Niven’s was the real thing, and his authentic light charm entranced Samuel Goldwyn at the high point of Hollywood’s golden age. His book is packed with anecdotes about Hollywood pals, including the notorious Errol Flynn, but the most extraordinary anecdote is about losing his virginity at 14 to a Piccadilly sex worker. Before they went to bed, she told him to “wash” in a kidney-shaped metal bowl by the bed. “Not yer hands!” she then rasped. Since the book’s publication, its mythology has been debunked, Niven was subsequently found to have concealed the extent of his compulsive infidelities and created the fiction of a happy second marriage, and even exaggerated a little his commitment to serving in the British Army during the war. But this book is addictive and unmissable.

• Film industry
• Autobiography and memoir
• Lauren Bacall
• Charlie Chaplin
• Kirk Douglas
• Tony Curtis

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How Elvis Became a Movie Star—By Playing Himself

The rock 'n' roll icon saw acting as the natural next step to his musical career, but soon became disillusioned with the repetitive cookie-cutter roles.

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When Did Elvis Go to Hollywood?

By 1956, Elvis Presley had become a musical phenomenon. Amid screaming, adoring fans, he'd ushered in a new era of rock 'n' roll. He had hit records, and his television appearances were ratings bonanzas. Putting Presley in movies was the next logical step.

Presley was excited about Hollywood. He'd grown up watching movies and, inspired by singers who'd transitioned into films like Bing Crosby and Dean Martin, dreamed of movie stardom. He told Life magazine, "I want to become a good actor because you can't build a whole career on just singing. Look at Frank Sinatra. Until he added acting to singing, he found himself slipping downhill."

Presley's first screen test took place in April 1956. It didn't display much raw acting talent, but that didn't keep his manager, Colonel Tom Parker , from landing Presley a deal with Paramount Studios. The contract also reserved Presley's right to work with other movie studios.

Presley made his film debut in Love Me Tender (1956), a Civil War western. He took the job seriously enough to memorize the entire script before shooting. The movie became a hit and was quickly followed by other films, including Jailhouse Rock (1957).

Elvis Leaves Hollywood for the Army

In 1957, the U.S. Army drafted Presley . He was able to delay his enlistment to finish King Creole , a film in which he portrayed a young singer who must overcome poverty and organized crime.

Presley was concerned that being away in the army would damage his career. Parker, his manager, reassured the star: "Elvis, you have records that haven't been released and a movie in the can. We can stretch out the product we have. There'll be a certain dark period, but that will only double the demand for your records and movies once you get out of the service."

In March 1958 , Presley began serving in the army. In the meantime, his movies helped keep him in the public eye. King Creole was released in 1958, then was re-released along with Love Me Tender in 1959. And while Presley was in Germany, he got the script for his next movie, G.I. Blues (1960). Producer Hal Wallis also arranged for footage to be filmed in Germany —though Presley himself didn't film any scenes.

Elvis Returns to Hollywood

After Presley's discharge in 1960, Parker wanted the star to focus on movies, which offered the largest paychecks. The only question was: What kind of films was Presley going to make? He'd acquitted himself well in King Creole . Costar Walter Matthau later said , "He was intelligent enough to understand what a character was and how to play the character simply by being himself through the means of the story."

For the 1960s film Flaming Star , Presley took on a role that had been written for Marlon Brando and delivered a respectable performance as a half-white, half-Indian man. After making Flaming Star , Presley said , "I'd like to do a little more of a serious role. Because my ambition is to progress as an actor."

However, Flaming Star was not as successful as G.I. Blues , which came out the same year. As a result, Parker encouraged Presley to focus on the successful movie formula that called for him to sing in various exotic locations; this resulted in a huge success with Blue Hawaii (1961).

Elvis Was Disappointed by His Films

Presley was aware that pictures like Girls! Girls! Girls! (1962) were not great cinema and dubbed his films "travelogues." He wanted better roles, but Parker reportedly turned down parts in movies such as West Side Story and Midnight Cowboy . However, Presley never took acting lessons and was perhaps not entirely focused on altering the arc of his career.

Presley continued to appear in formulaic movies, for which the studios paid him well. He earned $500,000 or more per picture and a percentage of the net profits. The lackluster Kissin' Cousins (1963), which starred Presley in dual roles, demonstrated that an Elvis film would make money even when production was rushed. The movie shot in 17 days under the aegis of a producer nicknamed "King of the Quickies."

Though still part of the "Elvis genre," Viva Las Vegas (1964) was a higher-quality affair . However, that shoot ran long, which cut into the movie's profits. After this, Parker pushed for short productions , with just two or three weeks of filming, because it boosted the bottom line. This resulted in pictures like Harum Scarum (1965), which exhibitors deemed "Presley's worst movie yet" (and that was without the talking camel that Parker had unsuccessfully tried to add to the film). Still, being seen as a bad movie didn't prevent it from being profitable .

Elvis Movies Made Hollywood Money

Presley's movies performed so well that they spared the studio Allied Artists from bankruptcy. Producer Wallis also said Presley's films were bankrolling more "artistic pictures." Presley didn't like hearing this, but he needed Hollywood money to fund his lifestyle.

Hollywood had Presley compromise his artistic integrity in other ways. Though he made a few non-film recordings, most of his musical talent was used to create soundtracks with subpar songs. He stopped giving live performances around 1961. As rock music changed in the 1960s with the Beatles, the Beach Boys and Bob Dylan, Presley's creativity floundered .

In 1965, Presley met with the Beatles. In one version of their encounter, John Lennon asked , "Why don't you go back to making rock 'n' roll records?" Presley supposedly answered , "It's my movie schedule. It's so tight."

Why Did Elvis Stop Acting?

By 1968, box-office revenue declined as audiences finally tired of Presley's low-quality films. Presley, who'd become dissatisfied with his Hollywood career, told Parker he wanted to re-focus on music. In December 1968, Presley's TV Christmas special demonstrated the talent and musical ability that had made him a star in the first place.

Change of Habit (1969) was Presley's last feature film. He was later offered a starring role opposite Barbra Streisand in A Star Is Born (1976) , but the part fell through. It's unsure what exactly went wrong; in one version of the story, Parker undermined his star by making unreasonable demands.

Presley spent much of the 1970s singing to devoted crowds. Yet as the decade progressed, there were more and more cancellations . Presley died on August 16, 1977 at the age of 42. His time spent in Hollywood, good and bad, is now one of the ways his legacy lives on.

Sara Kettler is a Connecticut-based freelance writer who has written for Biography.com, History, and the A&E True Crime blog. She’s a member of the Writers Guild of America and also pens mystery novels. Outside of writing, she likes dogs, Broadway shows, and studying foreign languages.

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The Best Biographical Movies Of 2022

The best 2022 biopics entertain you while also giving you a better sense of who a celebrity or historical person was in real life. My Best Friend Anne Frank  is a Netflix Original movie that offers a little bit of insight into Anne Frank's life through the perspective of her best friend. Against the Ice is a biographical film that shows a historical figure going far and surviving against the odds find evidence to contradict the U.S.'s claim to Greenland. These are just a few of the great biographical films that are coming out in 2022 and there are bound to be a few Oscar contenders on the list below.

But which one deserves to be at the top of the list? You get to help decide by voting up your favorite 2022 biopics and voting down the ones that you think fellow cinephiles should skip this year. Be sure to check back for new and upcoming biopics as they are added to the list once they are released.

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The 50 best Hollywood books of all time

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It’s been said that Hollywood is more an idea than a place, and no task punctuates the notion quite like asking people to choose the best Hollywood book of all time: “What do you mean,” they inevitably ask, “by ‘Hollywood’?”

The list that follows, compiled from a survey of experts in the worlds of publishing and entertainment and written by regular contributors to The Times’ film and books coverage, answers that question more astutely than I ever could. In fiction and non-, across genres and decades, these 50 titles compare Hollywood to an assembly line, a criminal enterprise, a high-seas expedition and much, much more — a penchant for shape-shifting that might explain its hold on the cultural imagination.

Yet any entity that can simultaneously be described as an industry, a society, even a style, is liable to collect more detractors than it would had it remained simply a real estate development, and if there’s a through-line in the great Hollywood books it is the conviction that creating magic must come at a cost. Sometimes comic, more often tragic, they chronicle disappointments, humiliations, botch-jobs and flops of every conceivable variety, personal and professional, creative and economic, individual and institutional; even the more rose-colored perspectives still make it seem as if producing a single movie, much less a good one, qualifies as a miracle.

We chose the best Hollywood books of all time. What’s on your list?

But that, I suspect, is why we keep coming back, self-flagellants before the altar of motion pictures. This place, this idea, demands of its adherents what religion does any pilgrim — devotion, sacrifice, faith that all will be worth it in the end — and supplies in turn the same benefits — ritual, community, comfort. You simply have to take it on trust: If watching movies is heaven, and living without them is hell, then Hollywood is the purgatory in between. — Matt Brennan

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Movies (and Other Things)

(Shea Serrano, 2019)

There’s a nonchalant freshness to the way former journalist and author Serrano writes about the variety of subjects that interest him, whether basketball or movies. His entertaining and insightful musings on the latter form the uniquely titled chapters here: Each of them aims to provide answers to one of Serrano’s specific inquiries related to popular flicks. The approachable tone, and the selection of films discussed, removes any sense of snobbery that some readers may associate with film criticism. Serrano doesn’t purport to be an expert but rather a movie fan, one with a talent for crafting engaging prose, sharing his most galaxy-brained thoughts on the kind of movies one has seen more times than they can count. — Carlos Aguilar

Myra Breckinridge

(Gore Vidal, 1968)

Vidal’s 1968 tale of a trans woman exacting her revenge on a Hollywood studio is campy and profane, its exclamatory prose giddy to provoke. Written in a haste that contrasted Vidal’s more considered historical fiction, “Myra” reads like Vidal was in a mad dash to work through his own sexuality. (“A very subtle psychological self-portrait,” was Christopher Isherwood’s cheeky assessment.) But its heedless vigor is part of its enduring charm, sending up the egos and power plays (both financial and sexual) that drive the movie business. The book is probably best known for a dismal 1970 adaptation starring Raquel Welch and John Huston that remains bolted to lists of the worst-ever movies. But the novel itself remains a potent Tinseltown satire. — Mark Athitakis

The Big Goodbye: Chinatown and the Last Years of Hollywood

(Sam Wasson, 2020)

No one has been more haunted by the fateful final line of Roman Polanski’s most accomplished work, “Forget it, Jake. It’s Chinatown,” than Wasson. To dissect a seminal work in American cinema, the author dived deep into the minds and lives of the key players that came together for this picture about corruption in 1930s Los Angeles to become what it is. These include star Jack Nicholson, Paramount executive Robert Evans, screenwriter Robert Towne and the controversial Polanski himself. As he maps the creation of “Chinatown” in astounding detail, Wasson simultaneously eulogizes the bygone era when Hollywood studios were interested in filmmaking with an idiosyncratic voice. — C A

(Bruce Wagner, 2012)

Don’t look for someone to like in this blistering, X-rated takedown of Hollywood strivers. Not the pregnant teen who’s been exploited by her Nan Goldin-like mother since childhood or her porn-obsessed boyfriend. Not the paparazzo who strives for underage crotch-shots or the young cancer survivor who spells it with a K, hoping to get the attention of the Kardashians. Published in 2012, the text leaps, runs on, includes emoticons and ignores punctuation, just like DMs and text messages. In this massive, manic book full of explicit sex and characters with equally naked ambition, Wagner holds a mirror up to the underside of Hollywood. It may be a disturbing vision, but that doesn’t mean it’s not true. — Carolyn Kellogg

Arabs and Muslims in the Media: Race and Representation after 9/11

(Evelyn Alsultany, 2012)

At the heart of this erudite academic monograph is a counterintuitive claim: following the 2001 attacks on the World Trade Center and the Pentagon, the rise of hate crimes and government policies that targeted Arabs and Muslims was met with an equally high incidence of sympathetic portrayals of those populations in the U.S. media. That’s not to say there weren’t horribly damaging depictions of Middle Eastern terrorists rooted in offensive racial stereotypes — many concocted in the service of offering up an “evil cultural Other” that anchored much of the rhetoric around the so-called War on Terror. But Alsultany’s study keenly avoids endorsement of neat categories like “good” and “bad” representation, aiming instead to complicate how it is that media images on either side of that divide can fuel meanings that end up justifying policies of exclusion and inequality. — Manuel Betancourt

The Deer Park

(Norman Mailer, 1955)

Though set in Palm Springs, “The Deer Park” is the most insightful, unsparing look at the machineries of Hollywood I know of — Mailer’s underrated masterpiece.

— HOWARD RODMAN, novelist, screenwriter, former president of the Writers Guild of America West and current vice president, Academy of Motion Picture Arts and Sciences

Everybody Thought We Were Crazy: Dennis Hopper, Brooke Hayward, and 1960s Los Angeles

(Mark Rozzo, 2022)

Hopper is the bold-faced name, but Hayward is the heart of this intimate story of a marriage that tied together the L.A. art and music scenes, Golden Era Hollywood and the emerging indie film movement. Hayward’s parents were so Old Hollywood that she and Hopper were regularly invited to David O. Selznick’s house; Hopper would, after their split, make “Easy Rider.” Before things fall apart, they hang with the Ferus Gallery and help Andy Warhol have his first L.A. art show; act and model and start a family; and play host to a glittering parade of soon-to-be-famous musicians and actors. Hayward is still with us and opened the door to tell the story of the time her bohemian, chaotic Hollywood home played host to a seismic shift in three art forms at once. — C K

Stay Tuned: An Inside Look at the Making of Prime-Time Television

(Richard Levinson and William Link, 1981)

Levinson and Link are hardly household names among today’s TV heads, but they deserve to be. As the creators of “Columbo” and “Murder, She Wrote,” and a library full of trailblazing TV movies (including “Crisis at Central High” and “That Certain Summer”), they combined razor-sharp storytelling instincts with an acute social consciousness at a time when television was still widely derided as “the idiot box” (or worse). They also wrote this shrewdly intelligent assessment of their work and their chosen field, a good two decades before the dawn of prestige cable and the widespread acceptance that the small screen is where the really good storytelling happens. The book’s title intentionally predicts great things on the horizon in the early ‘80s, when Levinson and Link wrote the book. They’re also low-key quite funny, as when they point out that the producer of any dramatic series might also indulge in some rewriting “if he’s a writer (or thinks he’s a writer).” — Chris Vognar

Making the White Man’s Indian: Native Americans and Hollywood Movies

(Angela Aleiss, 2005)

A rigorous study of how anti-Native racism and misrepresentation has pervaded Hollywood filmmaking, from D.W. Griffith shorts to “The Searchers,” “Stagecoach” to “Dances With Wolves,” one-note savages to white saviors. But Aleiss, who watched dozens of features and shorts for this influential book, also demonstrates that there were plenty of affirming stories about Native Americans in the pre-western era — “the Indian as a noble hero actually preceded the cowboy star,” she notes. But such stories were frozen out in favor of cowboys-and-Indians yarns, and shifting audiences throughout the 20th century influenced what kinds of Native American narratives were elevated and suppressed. Aleiss spotlights the industry groups and directors who’ve worked to address stereotypes about “half-breeds” and conversation narratives but also demonstrates why it’s often been a losing battle. — M A

(Kennedy Ryan, 2021)

“Reel” is a gorgeous romance novel about Broadway and Hollywood. Through Ryan’s masterful storytelling, readers are transported into a world where passion, ambition and the pursuit of one’s dreams collide, leaving the characters to make difficult choices about love, family and the future.

— LEAH KOCH, co-owner of Culver City’s the Ripped Bodice, the first independent bookstore in the United States devoted to the celebration of romance novels

Raising Kane

(Pauline Kael, 1971)

Did Orson Welles get too much glory for “Citizen Kane”? Absolutely, New Yorker film critic Pauline Kael insists in this novella-length fire-starter about the making of the greatest movie of all time. (We can save that skirmish for another day.) As Charles Foster Kane, a sendup of newspaper tycoon William Randolph Hearst, Welles embodied the image of a vainglorious Great Man. But Welles’ success, according to Kael, meant he also needed to be taken down a peg. > GO TO STORY

Why Kael’s fight over ‘Citizen Kane’ still matters

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Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films

(Donald Bogle, 1973)

Donald Bogle’s “Toms, Coons, Mulattoes, Mammies, and Bucks” is considered the standard text on Black characters in American movies. But when the book was first published, in 1973, it was just about the only text on the subject. This might be hard to imagine today, when books about the intersection of race and cinema flow forth on a regular basis (among the strongest in recent years are Will Haygood’s “Colorization: One Hundred Years of Black Films in a White World” and Robin R. Means Coleman’s “The Black Guy Dies First: Black Horror Cinema From Fodder to Oscar”). Such abundance was unthinkable when Bogle, then a young journalist who had worked as a story editor for Otto Preminger, began his odyssey into the industry’s appallingly racist history. Bogle’s book was practically the birth of the field. > GO TO STORY

The book that shaped Black Hollywood history

Madly, Deeply: The Diaries of Alan Rickman

(Alan Rickman, 2022)

Today, the late British actor might best be known for playing stern wizard Severus Snape in the “Harry Potter” film franchise. But in a career spanning nearly four decades, he amassed a wide-ranging collection of on-screen personas. What these diaries reveal, however, is that perhaps the Rickman behind the scenes was the most compelling character. The compilation of forthright entries opens a window into his most intimate moments with friends and loved ones, as well as memorable professional experiences. The self-portrait that text pieces together is that of a multifaceted person and artist with a singular perspective on his craft and on quotidian life. — C A

Monsters: A Fan’s Dilemma

(Claire Dederer, 2023)

Perhaps the most exhilarating thing about this book is not the subject matter — can we consume art after learning how monstrous the artist is? — but how Dederer puts her thinking about it down on the page. She considers all the angles on Roman Polanski, the film director who pleaded guilty to having sex with a minor in 1977 and has been accused of other incidents of sexual assault — who also himself suffered extraordinary trauma and has (significantly to Dederer, once a film critic) made great movies. She is more forgiving than you might think, which allows her fascinating book to invite engagement. In addition to filmmakers, she looks at writers, musicians and actors and also female monsters (bad mothers). Winner of the L.A. Times’ 2023 Christopher Isherwood Prize for Autobiographical Prose , this book is a remarkable artistic inquiry. — C K

Memo From David O. Selznick

(David O. Selznick, selected and edited by Rudy Behlmer, 1972)

If you want to learn about how to produce, this is an incredibly fun way to do it.

— DAVID MADDEN, head of global entertainment for Wattpad WEBTOON Studios and former executive at Fox, AMC Networks and Berlanti Television

Valley of the Dolls

(Jacqueline Susann, 1966)

Susann was no great shakes as a model and actor. But when she turned to a typewriter, the entertainment world quivered. “Valley of the Dolls” hit Hollywood like a mile-wide powder puff — everyone paged through her bestseller looking for fingerprints. Could its ruthless and needy singer Neely O’Hara be inspired by Judy Garland? Was Jennifer, the doomed blond, based on Carole Landis or Marilyn Monroe? Was anyone in the industry sober? Like the characters she channeled, Susann was a pill-popper roiling with frustrated ambition, a never-was starlet who’d been close enough to the action to hear the good gossip. (The novel’s interconnected affairs remind us that show business was, and is, a very small clique.) Her witty and tireless self-promotion became the modern template of a celebrity author. Responding to rumors that the book’s tyrannical Broadway star was based on her former friend Ethel Merman, Susann quipped, “We didn’t speak before the book came out. Let’s just say that now we’re not speaking louder.” — Amy Nicholson

From Reverence to Rape: The Treatment of Women in the Movies

(Molly Haskell, 1974)

At the time of its publication, Haskell writes in her introduction to the third edition of “From Reverence to Rape,” she “wanted to show how women had in fact been better served by the notoriously tyrannical studio system than they were in the newer, freer, hipper Hollywood of the (then) present. This has since become a truism, but in 1974 it was heresy.” More than any single point she draws about women’s place in the American cinema, though, whether via her discussion of “the woman’s film,” her decade-by-decade history or her comparison to European patterns, it’s Haskell’s refusal to hew to received wisdom that has sustained the book’s relevance for 50 years. Evincing no patience for pat readings or political agendas, Haskell effortlessly underscores the notion that the meaning of movies can’t be plotted on a chart, and no matter where the critical consensus at a given moment lies, her chewing over films from “His Girl Friday” to “Carnal Knowledge” — whether they go down easy or get stuck in her craw — remains timeless. — Brennan

Hollywood Babylon

(Kenneth Anger, 1965)

Given the number of inaccuracies, falsehoods and all around debunked stories found in “Hollywood Babylon ,” you’d be forgiven for thinking this salacious collection of scandals has no merit. Then again, the brainchild of one of the most avant-garde queer filmmakers of the 20th century is less interested in facts about show business than in revealing the lurid underbelly that’s long cemented it. Originally published in France in 1959, the book first arrived in the U.S. in 1965, but it was the image-heavy edition printed a decade later that ignited the controversy that follows it to this day. Riddled with off-color anecdotes tackling everything from incest to suicide and featuring marquee stars from the ’20s and ’30s including Fatty Arbuckle, Lupe Velez and Clara Bow, it more than lives up to how the New York Times described it: a “306‐page box of poisoned bonbons.” — Betancourt

The Jaws Log

(Carl Gottlieb, 1975)

Gottlieb witnessed firsthand the complications that surfaced during the production of “Jaws,” the first summer blockbuster. A friend of the young Steven Spielberg, who was only 28 when he directed the imposing shark story based on Peter Benchley’s novel, Gottlieb first came on board to act in a small role and to work on improving the screenplay. But he ultimately chronicled the young director’s feat as it was unfolding. The meticulously told account provides insight into the problem-solving approach of Spielberg and his collaborators when faced with a myriad of crises. In doing so, the journal illustrates the titanic collective effort making a movie entails and the uncertainty about how the end result will turn out, even when you have the future wunderkind of cinema at the helm. — C A

You’ll Never Eat Lunch in This Town Again

(Julia Phillips, 1991)

To see Julia Phillips become the first female producer to win a best picture Oscar is to get a glimpse of the charisma and wit that made her so welcome in Hollywood, in boardrooms and on sets, until she wasn’t. At the 1974 Academy Awards, a streaker had interrupted David Niven introducing presenter Elizabeth Taylor, who stumbled over her lines, then announced “The Sting” as the winner. Phillips took the stage with her (not yet ex-) husband, Michael, and their co-producer Tony Bill. Phillips, with a touch of New York accent, said, “You can imagine what a trip this is for a Jewish girl from Great Neck. Tonight I get to win an Academy Award and meet Elizabeth Taylor all in the same moment.” Off-screen, Taylor guffaws. > GO TO STORY

Hollywood’s bravest memoir wasn’t written by a movie star

L.A. Confidential

(James Ellroy, 1990)

Ellroy’s cynical noir takes such a dark view of Los Angeles that the city is practically a black hole. The gravitational force is, of course, Hollywood and its insatiable need for sex, drugs, money and power (and criminals willing to supply them). Ellroy named names — Mickey Cohen, Johnny Stompanato — and barely disguised others, such as his entertainment tycoon Raymond Dieterling, who wants to build a theme park for his character Moochie Mouse. Most damningly, though, Ellroy describes a Los Angeles Police Department that functions like a movie studio. Here, every officer’s career hinges on their ability to put on a performance. The cops script phony hearings, stash props on perps, rehearse their threatening zingers, stage massacres that make them look like heroes and dress up for flashy narcotics busts in blue blazers that bring out their eyes. To Ellroy, the LAPD doesn’t want to protect and serve — it just wants applause. — A N

The Celluloid Closet: Homosexuality in the Movies

(Vito Russo, 1981)

First published in 1981, “The Celluloid Closet” was the culmination of decades’ worth of work by film historian and LGBTQ activist Russo. Initially designed as a live lecture with clips from classic films that showed queer-coded characters, cruel homophobic stereotypes and everything in between, Russo’s ambitious tome chronicled the many ways Hollywood had depicted gays and lesbians on the big screen. With sections such as “Who’s a Sissy? Homosexuality According to Tinseltown” and “Struggle: Fear and Loathing in Gay Hollywood,” Russo’s encyclopedic study was a groundbreaking intervention into discussions of visibility and representation that are nowadays shepherded by the likes of GLAAD, the very organization Russo founded. The influential nonfiction book would go on to be reissued in 1987 with more contemporary additions and in 1996 was adapted into a Peabody Award-winning documentary by the same name, narrated by Lily Tomlin. — Betancourt

Lulu in Hollywood

(Louise Brooks, 1982)

Brooks was best known for G.W. Pabst’s 1929 drama “Pandora’s Box,” in which her Lulu, a ferocious flapper with a pageboy haircut, seduced and abandoned all men who dared stand in her path. But she was also an astute observer of show business customs and personalities, and, as it turned out, a very good writer. This collection of personal essays covers subjects ranging from her time working with director William “Wild Bill” Wellman on “Beggars of Life” to her friendship with Humphrey Bogart, of whom she writes: “Humphrey Bogart spent the last twenty-one years of his life laboriously converting the established character of a middle-aged man from that of a conventional, well-bred theater actor named Humphrey to one that complemented his film roles — a rebellious tough known as Bogey.” Brooks was very wise to the ways of image; she also deftly transcended her own. — C V

The Conversations: Walter Murch and the Art of Editing Film

(Michael Ondaatje, 2002)

One of the editors on bona fide classics such as Francis Ford Coppola’s “Apocalypse Now” and “The Conversation,” three-time Oscar-winner Murch holds a well of hard-earned knowledge about the mechanics of visual storytelling. A portion of that narrative wisdom is contained within the pages of this collection of rich exchanges with lauded novelist Ondaatje. (The pair met during the making of Anthony Minghella’s “The English Patient,” a film adapted from Ondaatje’s book and edited by Murch.) The intellectual wealth of these chats goes beyond film editing — an often-misunderstood craft that is absolutely essential to how we perceive cinema — and extends to the overall history of the medium in the last third of the 20th century. — C A

Money: A Suicide Note

(Martin Amis, 1984)

In the late 1970s, Amis wrote the screenplay for an unremarkable science-fiction film, “Saturn 3.” On the evidence of this savage industry satire, the experience was souring, dehumanizing and debauching. John Self, the novel’s narrator, is a hard-drinking director traveling between New York and London to steer a film titled “Good Money,” and his observations are rich with fine-grain detail about the celebrities and agents essential to the movie business. But it’s as much a story about the movie business’ relentless damage to the psyche, as John is sunk in porn and prostitutes and drink, swallowed up not just by his success but his lust for it. “The artists in my story are bull artists, con artists, drink artists,” Amis told an interviewer about “Money.” But not good artists, morally or cinematically. — M A

Third Girl From the Left

(Martha Southgate, 2005)

Hollywood always seemed a mythical place where average folks could make the wildest of their dreams come true. But once you’ve been around a while, you come to see the tarnish on Tinseltown’s tinsel. The Black women in “Third Girl From the Left” want to be movie stars or movie makers, but they arrive in a Hollywood that’s not ready to love them back. A family story that gets its shine from the lure of movie magic and our shared fantasy about the healing powers of stardom, Southgate’s novel never shies away from the hard truths of dream-chasing, yet still believes “in the power of movies and the people in them to change a life.”

— LAURA WARRELL, author of “Sweet, Soft, Plenty Rhythm”

Beautiful Ruins

(Jess Walter, 2012)

“I’ve been simultaneously drawn to and repelled from Hollywood for years,” Walter told The Times in 2012 . Both sentiments feed into this novel, which begins when a beautiful actor, banished from the set of “Cleopatra” where Elizabeth Taylor and Richard Burton are indulging in gorgeous excess, lands at a small hotel on the Italian coast. The hotelier is smitten. Jump ahead five decades to reality television in Hollywood, where the assistant to an on-his-way-down producer has to listen to terrible pitches. The novel jumps around temporally and includes an unfinished manuscript and an awful memoir, but these disparate threads tie together in a delightful resolution. “Hollywood is like a giant mirror, I think,” Walter said, “and I used it that way in the book, reflecting characters back to themselves.” — C K

Eve’s Hollywood

(Eve Babitz, 1974)

Few have loved this city as ferociously as Babitz, a brilliant chronicler of Hollywood’s fantasies, foibles and beautiful freaks. Babitz, who died in 2021 , grew up here knowing everyone. Her godfather was famed composer Igor Stravinsky; her high-school gym locker was next to that of a girl who later joined the Manson Family. Babitz’s gleefully debaucherous memoir captures her teen years as a glamour-mad adventuress pinballing around a town full of kooks. At once skeptical and star-struck, she writes passionately about celebrity, superficiality and excess and justifies her decision to graduate early in just two words: Marlon Brando. Celebrities adored Babitz right back, but luckily for us, she chose to be an author, not an actor. “I never had the necessary ability to suspend my own disbelief,” she shrugs. Besides, Babitz knew the juiciest drama plays out off-screen. — A N

The Big Sleep

(Raymond Chandler, 1939)

To Chandler, one of the godfathers of the hard-boiled crime novel, Hollywood generally came down to blackmail and sleaze. (To be fair, to Chandler, much of the world came down to blackmail and sleaze). “The Big Sleep,” the first of Chandler’s seven Philip Marlowe novels, finds the private dick investigating a pornography ring in a story that finds murders and double-crosses piling up at a dizzying rate. An honorable old man hires Marlowe to extricate his younger daughter from a series of blackmailers; meanwhile, the detective falls for his client’s older daughter. Gleefully homophobic and brutal, adapted into an indelible 1946 Howard Hawks movie starring Humphrey Bogart and Lauren Bacall, the novel set the stage for “The Little Sister” (1949), in which Marlowe investigates a blackmail scheme targeting a Hollywood starlet. By then Chandler had done time as a screenwriter and didn’t care for the industry; he got his revenge on the page. — C V

West of Eden: An American Place

(Jean Stein, 2016)

The title of Stein’s oral history of the muddled, murky origins of Los Angeles as we know it gestures at an off-kilter narrative of biblical proportions. Here is Hollywood laid bare as a fabled “American Place” that’s not so much an Edenic garden as something darker and dirtier, though not for that any less sinful. Stein focuses on families and individuals who forged this West Coast city into what it is today. Oil tycoon Edward L. Doheny, movie mogul Jack Warner, actor Jennifer Jones, heiress Jane Garland and MCA founder Jules C. Stein (the author’s father) anchor startling as-told tales about a city built on ruthless individuals whose bloodied legacies live on still. The Times best summed up its appeal : “It’s like being at an insider’s cocktail party where the most delicious gossip about the rich and powerful is being dished by smart people.” — Betancourt

(Percival Everett, 2001)

“When I grew up, there were three black people on TV, and they were all porters,” author Everett once groaned. His exasperation with stereotypes fuels this flashpoint novel about a Black academic named Monk who invents an ex-felon persona to sell books. “Erasure” is aimed at literary gatekeepers, but Everett takes a shot at Hollywood, too, with his inclusion of a bearish, cigar-smoking movie producer who barges into the story alongside a giggling silicone blond. (The bore jokes that he should have met Monk at Popeye’s Fried Chicken.) When filmmaker Cord Jefferson reworked “Erasure” into his Oscar-winning screenplay, “American Fiction,” he updated the producer character into a vapid dweeb who thinks he’s speaking woke. The tweak emphasized the baby steps the industry has made since 2001 — and the miles left to go. Now who’s going to film “James,” Everett’s bold new adaptation of “Huckleberry Finn”? — AN

(John Gregory Dunne, 1969)

Dunne was dumbfounded when Twentieth Century Fox head Richard Zanuck gave him full access to cover the studio over the course of a year that included production of movies including “Dr. Dolittle,” “Planet of the Apes” and “The Boston Strangler.” But he knew just what to do with the gift. Sitting in on marketing and production meetings, hanging out in the commissary, watching dailies, Dunne captured the small moments that add up to a big picture of ego run amok in a sort of hinge era for the industry, when audiences were getting younger and edgier and studios still weren’t sure how to respond (see “Dr. Dolittle.” Or better yet, don’t). Here’s Zanuck, watching “Apes” footage, responding to criticism in the room that a blood transfusion is depicted incorrectly: “What the hell. Maybe that’s how an ape does it.” Indeed. As Dunne writes in his foreword, “If I got the access, I knew I had the book.” — C V

Final Cut: Art, Money and Ego in the Making of Heaven’s Gate, the Film That Sunk United Artists

(Steven Bach, 1985)

When Steven Bach’s “Final Cut” appeared in 1985, it was mainly sold as Hollywood dish. Bach, the former head of production at United Artists, had delivered the inside story of “Heaven’s Gate,” a 1980 epic western by Michael Cimino that was budgeted at about $11.5 million, wound up costing around four times that, and prompted the hobbled studio’s sale to MGM. Here at last were the details of Cimino’s outsize ego and UA’s futile attempts to restrain it. > GO TO STORY

The story of flop ‘Heaven’s Gate’ is a cautionary tale

The Classical Hollywood Cinema: Film Style and Mode of Production to 1960

(David Bordwell, Janet Staiger and Kristin Thompson, 1985)

When renowned scholar Bordwell died earlier this year at 76, current and former film students the world over shared images of his introductory textbook “Film Art,” whose changing cover illustration helped distinguish one generation of cinephiles from another as surely as the release of “The Graduate” or “sex, lies, and videotape.” But for my money, his most indispensable contribution to our understanding of the medium, co-written with Thompson and Staiger, is this magisterial survey, illustrated with frames from “King Kong” (1933), “The Magnificent Ambersons” (1942) and “Carmen Jones” (1954), among countless others. In it, the authors not only explain the rise of the studio system, trace the emergence of sound and color, and explore the evolution of film exhibition from cramped nickelodeons to imposing movie palaces. They also argue, convincingly and definitively, that the political economy of Hollywood moviemaking is inextricable from the style and content of Hollywood movies — and thereby reveal the scaffolding underneath the greatest meeting of art and business the world has ever known. — Brennan

The Devil’s Candy

(Julie Salamon, 1991)

First subtitled “The Bonfire of the Vanities Goes to Hollywood,” this book is an inside look at the making of a single film, based on Tom Wolfe’s bestselling novel. The step-by-step chronicle, however, has proved more enduring than the original text; later editions are subtitled “The Anatomy of a Hollywood Fiasco.” Salamon, a Wall Street Journal film critic, had been looking for a director who would allow her full access to the making of a film, and Brian De Palma suggested “Bonfire,” no constraints. She gets a kaleidoscopic view of the filmmaking process, speaking to the second-unit director, editor, producers, stars, people standing on set. Nobody wanted to make a flop. But what started out as a satire of ’80s greed and extravagance, with a budget that swelled to nearly $50 million, became a cautionary tale instead. Salamon’s narrative is clear-eyed and delicious. — C K

Postcards From the Edge

(Carrie Fisher, 1987)

“Maybe I shouldn’t have given the guy who pumped my stomach my phone number, but who cares?” There is no more quotable novel about Hollywood than Carrie Fisher’s roman à clef, “Postcards From the Edge.” Fisher’s sentences bristle with caustic, self-effacing humor. Outside of her forays into that galaxy far, far away, that brand of sharp deadpan comedy is perhaps what the former Princess Leia would become best known for. And in her debut novel , the actress-turned-writer makes great use of her enviable way with words. > GO TO STORY

Carrie Fisher debut novel ‘Postcards From the Edge’

What Makes Sammy Run?

(Budd Schulberg, 1941)

Much of the Hollywood that Schulberg imagined in this 1941 classic doesn’t exist anymore — gone are the studio structure and the contract screenwriters, not to mention much of the casual bigotry. But amoral striving? Talentless hacks somehow reaching the top of the heap? That stuff is deathless, and in Sammy Glick, Schulberg invented one of the most enduring craven strivers in American literature. Starting as a copy boy at a New York paper, Glick connives, plagiarizes, seduces and schemes his way into Hollywood from writer to producer to studio head. (That’s not a spoiler: It’s clear from the start that Schulberg will have his antihero fail upward to extremes.) The book is narrated by Al, a humbler colleague bemusedly observing Glick’s rise, and the frisson between the two underscores the inherent tension in moviemaking: How cruel people can be for the sake of making something that captures our hearts. — M A

The Kid Stays in the Picture

(Robert Evans, 1994)

When Evans’ autobiography was adapted into a film in 2002, the cover for the book’s movie tie-in edition advertised what had drawn readers to this Hollywood tell-all: “Success. Scandal. Sex. Tragedy. Infamy,” its cover read. “And that’s just the first chapter …” Such a titillating promise was warranted. Evans’ life and career was rife with the kind of juicy anecdotes that make such memoirs endlessly enjoyable reads, and his is unparalleled in that regard. It tracks his rise from radio star hand-plucked into movie screen stardom by Norma Shearer through his later days running Paramount Pictures , shepherding the studio through pics such as “The Odd Couple,” “Rosemary’s Baby” and “The Godfather.” But Evans’ natural raconteur instincts are even better suited to depicting his cocaine benders, explaining his implication in “The Cotton Club Murders” case and detailing how he found his way back on top in a town that loves a good comeback story. — Betancourt

The Pat Hobby Stories

(F. Scott Fitzgerald, 1940-41)

These 17 short stories, originally published by Esquire and later collected in a 1962 book, chronicle the misadventures of a failing, flailing screenwriter, a role that Fitzgerald, whose downward spiral accelerated when he went west to write for the pictures, knew all too well. Vain, often drunk, desperate to get a leg up, the title character weaves in and out of humiliating scenarios, scraping by with a sense of self-inflation to match his appetite for self-destruction. “The Last Tycoon,” Fitzgerald’s unfinished novel based on the life of producer Irving Thalberg, was the author’s Hollywood tragedy; the Hobby stories are the comedy, and they remain side-splittingly funny. As a screenwriter, Hobby was once heralded as “a good man for structure,” which seems appropriate; these stories bend in all the right places. To modern eyes, in their depiction of zigzagging pettiness, they feel like progenitors of “Curb Your Enthusiasm.” Fitzgerald died of a heart attack in 1940, before the last of the Hobby stories were published. — C V

Five Came Back: A Story of Hollywood and the Second World War

(Mark Harris, 2014)

None of Harris’ three books would be out of place on this list. “Pictures at a Revolution” is a fascinating portrait of the highs and lows of an industry in tumult, and “Mike Nichols: A Life” is an unputdownable biography of one of modern Hollywood’s most perceptive filmmakers. But it’s to “Five Came Back” that I continue to turn in something like awe: Across five filmmakers and nearly a decade, through archival research and careful criticism, the author manages to construct an accessible yet never-less-than-rigorous history of Hollywood at war — a subject that has not received the same attention in mainstream film writing as the Hollywood Renaissance or the rise of the franchise blockbuster. Perhaps most thrilling, Harris’ approach allows us to see the effect John Ford, George Stevens, John Huston, William Wyler and Frank Capra had on the American war effort as well as the effect it had on them. You’ll never look at any of their filmographies the same way again. — Brennan

Making Movies

(Sidney Lumet, 1995)

Wise, plainspoken and infused with disarming humility, the late Lumet’s book is like a master class with a teacher you want to hang out with all the time. “We really do know what we’re doing,” he writes. “It only looks like we don’t.” Lumet certainly did, and with directorial credits including “12 Angry Men,” “Dog Day Afternoon” and “Network,” he made it look easy. Guiding the reader through the various elements of filmmaking, from writing and shooting to acting and editing, Lumet is far more compassionate than vindictive. “They’re annoying, publicists, but their lives are hell.” “I love actors. I love them because they’re brave.” But this is no catalog of platitudes. “Making Movies” is stocked with usable advice and examples, the time he didn’t think Paul Newman was quite drilling into his character in “The Verdict,” sent him home for the weekend and got the Newman magic on Monday. “Paul is a shy man,” Lumet writes. “And a wonderful actor. And a race car driver. And gorgeous.” — C V

Easy Riders, Raging Bulls: How the Sex-Drugs-and Rock ‘n’ Roll Generation Saved Hollywood

(Peter Biskind, 1998)

Reassuringly, the two golden ages of American film each arrived in the wake of utter chaos. The roughly simultaneous advent of talking pictures and the Great Depression ushered in the glories of the 1930s; decades later, the collapse of both the Hollywood studio system and American optimism in Vietnam helped soften the ground for such 1970s classics as “Chinatown,” “The Godfather Part II” and “The Conversation.” > GO TO STORY

An addictively readable history of the Hollywood Renaissance

Interior Chinatown

(Charles Yu, 2020)

Starring Generic Asian Man: The background players take central stage in this hilarious Hollywood novel, winner of the 2020 National Book Award. Our hero, often seen on the edges of a “Law & Order”-type television show, wants more. He lives in a crummy apartment building above a Chinese restaurant, where people from across Asia get lumped together, their individuality shown to us but not the world. Informed by his experience as a second-generation Taiwanese American, Yu skewers shallow racism and toys with cultural tropes. Told in the form of a screenplay — Yu was a writer on “Westworld” — “Interior Chinatown” is a love story, a coming-of-age story, a satire and literary accomplishment. The phrase “Interior Chinatown” is, yes, screenplay shorthand for a scene’s setting, but it also reflects the interior narrative only a novel can explore. — C K

(Lillian Ross, 1952)

The book is usually better than the movie. That’s certainly the case with Stephen Crane’s hallucinatory 1895 Civil War novel, “The Red Badge of Courage,” the source of a 1951 film version that flopped thanks in part to studio meddling. But sometimes the book about the adaptation is better than either. Ross’ 1952 book on the making of “Badge,” originally written for the New Yorker, is a classic of fly-on-the-wall reportage, following director John Huston, MGM studio heads and the film’s cast and crew from conception to shooting to post-release excuse-making. Ross can be meticulous almost to the point of fustiness; she seemingly got hold of every internal memo and expense sheet. But there are few better books about the soup-to-nuts creation of a film, and it’s a brilliant profile of Huston, who’s trying to both gladhand the execs and keep them at arm’s length. — MA

(Michael Tolkin, 1988)

A postcard arrives at Griffin Mill’s office one day: “You said you’d get back to me. I’m still waiting.” The young Hollywood exec, ambitious to a fault as he climbs his way to the top, wavers over telling anyone about what soon becomes a series of death threats from, of all things, an aggrieved writer. Making savvy use of that thriller conceit, Tolkin’s wildly entertaining first novel offers a front-row seat to the self-absorption that characterizes those who would (and do) become mythmakers in Tinseltown. As Mill goes to increasingly deranged lengths to identify who is behind those ominous missives — all while making sure his position at the studio isn’t eclipsed by any newcomers, power lunches taking precedence over anything else — Tolkin paints a scathing portrait of a city of dealers and players who’d do anything to win. Yes, even murder. — MB

Adventures in the Screen Trade

(William Goldman, 1983)

Best remembered now for “The Princess Bride” — he wrote both the novel and the screenplay — Goldman was previously best known for his Oscar-winning screenplay for “All the President’s Men,” the indelible story of two journalists chasing the truth behind Watergate. Before that, though, he was the guy who created “Butch Cassidy and the Sundance Kid,” a box-office smash, a buddy film western with an entirely unexpected ending. How on earth did the same person write all those classic films and more (“Misery,” “Harper,” “Marathon Man”)? Imagine sitting down at a bar next to him and getting a chance to ask. This book is that conversational — chatty, filled with vivid anecdotes, revealing industry secrets. Part self-effacing memoir, part how-to for writing screenplays, and a window into how the levers of power worked in Hollywood, this book is a stone-cold classic. — CK

(Elmore Leonard, 1990)

Suave loan shark Ernesto “Chili” Palmer is our guide through this amusing crime saga set in the underbelly of the seemingly glamorous world of Hollywood moviemaking. Tasked with collecting the cash that Los Angeles-based producer Harry Zimm owes a Las Vegas casino, Chili quickly becomes entangled in backdoor deals to finance prospective film productions. As increasingly dangerous parties become tangentially involved, Chili and Zimm risk losing more than just their big-screen aspirations. Barry Sonnenfeld’s 1995 big-screen adaptation of the tome starred John Travolta, Gene Hackman, Rene Russo and Danny DeVito and became a critical and financial success. In 2017, a TV series also based on Leonard’s novel premiered on Epix (now MGM+). — CA

Hitchcock/Truffaut

(François Truffaut, 1967)

In a quarter-century or so of elementary, secondary, undergraduate and graduate schooling, no course cemented itself as firmly in my mind as USC professor Drew Casper’s exhaustive seminar on Alfred Hitchcock — thanks to the master of suspense himself, Casper’s lively lectures and this book. “Hitchcock/Truffaut” is the inimitable, and today inconceivable, product of a 50-hour interview in which the French filmmaker and critic pressed the idol of the Cahiers du Cinéma set “to reveal all his secrets.” The result exemplifies the politique des auteurs , or auteur theory, as thoroughly as any manifesto, but “Hitchcock” isn’t useful merely for its interest in the director’s “minor” works, or for the insights Truffaut draws out that no other interlocutor ever did. It is, above all, detailed proof that art, though subject to the forces of chance and the shifting winds of culture, is ultimately about choices. This star, this shot, this cut, this color: From such decisions the great masterpieces of Hollywood cinema are made. — Brennan

The Day of the Locust

(Nathanael West, 1939)

In West’s scabrous novel, Hollywood is a freak show fated to end in apocalypse, inhabited by deluded hangers-on convinced of their importance and unwilling to confront their mediocrity (West originally titled his book “The Cheated”). Yale-trained artist Tod Hackett, toiling as a studio scene designer, doesn’t just see the fire coming; he’s hard at work predicting and depicting it in a painting called “The Burning of Los Angeles.” But most of the characters have already seen their dreams burn down: Faye Greener, a beautiful but talentless actor; her father, an old vaudevillian reduced to peddling silver polish; and a host of other eccentrics and grotesques. For West, whose own screenwriting career was getting started when he died in a car crash in 1940, Hollywood was where the American Dream went to die. — CV

Play It As It Lays

(Joan Didion, 1970)

Maria Wyeth came to Hollywood for the same reason as the rest of us: to escape from someplace else. When we meet her in “Play It As It Lays,” though, the actor’s hometown of Silver Wells, since swallowed by a missile range in the Nevada desert, has regained a certain appeal, “the restorative power of desolation.” After all, her parents are dead, her marriage is disintegrating, her child is institutionalized, her career is in free fall. Only her father’s advice to her, that life itself is a crap game , has held up over time. “Everything goes,” she laments. “I am working very hard at not thinking about how everything goes.” > GO TO STORY

What Joan Didion’s broken Hollywood can teach us about our own

Matt Brennan is a Los Angeles Times’ deputy editor for entertainment and arts. Born in the Boston area, educated at USC and an adoptive New Orleanian for nearly 10 years, he returned to Los Angeles in 2019 as the newsroom’s television editor. He previously served as TV editor at Paste Magazine, and his writing has also appeared in Indiewire, Slate, Deadspin and numerous other publications.

Kay Scanlon is an art director at the Los Angeles Times. She works on the Sunday Calendar and Weekend sections and has led projects such as the annual 101 Best Restaurants guide. Prior to joining The Times in 2021, she art-directed MovieMaker magazine and contributed award-winning design at the Orange County Register, Los Angeles Daily News and Newsday. Scanlon graduated from UCLA with a bachelor’s degree in English and is certified in graphic design from Otis College of Art and Design. Her work has been recognized by the Society for News Design, Society of Publication Designers and the California News Publishers Assn.

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