The Wizard of Oz in 4K

Nearly retired tap dancer Bill “Corky” Williamson (stage and screen legend Bill “Bojangles” Robinson) recounts the welcome he and his 15th New York Regiment band received when they returned from Europe after World War I—and the young lady he met that night—in this star-studded studio musical. Brimming with over twenty songs, Stormy Weather features performances from Cab Calloway; the Nicholas Brothers (Fayard and Harold), who dazzle with a mind-boggling staircase dance routine; Fats Waller; and Lena Horne, who plays the young Corky’s girlfriend in a star-making performance.

Nearly retired tap dancer Bill “Corky” Williamson (stage and screen legend Bill “Bojangles” Robinson) recounts the welcome he and his 15th New York Regiment band received when they returned from Europe after World War I—and the young lady he met that night—in this star-studded studio musical. Brimming with over twenty songs, Stormy Weather features performances from Cab Calloway; the Nicholas Brothers (Fayard and Harold), who dazzle with a mind-boggling staircase dance routine; Fats Waller; and Lena Horne, who plays the young Corky’s girlfriend in a star-making performance.

Nearly retired tap dancer Bill “Corky” Williamson (stage and screen legend Bill “Bojangles” Robinson) recounts the welcome he and his 15th New York Regiment band received when they returned from Europe after World War I—and the young lady he met that night—in this star-studded studio musical. Brimming with over twenty songs, Stormy Weather features performances from Cab Calloway; the Nicholas Brothers (Fayard and Harold), who dazzle with a mind-boggling staircase dance routine; Fats Waller; and Lena Horne, who plays the young Corky’s girlfriend in a star-making performance.

Director Michael Curtiz directed over 90 films for Warner Bros. during his versatile and highly prolific career, most memorably the Best Picture winner Casablanca (1942). In 1950 he directed three films, including this tale of an up-and-coming New York trumpet player (Kirk Douglas). As forthright singer Jo Jordan, Doris Day wears a rayon, silk charmeuse, and taffeta gown detailed with rooster feathers for a concert performance; this costume is currently on display in the Stories of Cinema: Identity gallery at the museum. Designer Milo Anderson based the costume on a 1949 Pierre Balmain evening gown. In the film, stage lighting beautifully highlights the point d’esprit lace of the bodice and the delicate feathers on the skirt.

Director Michael Curtiz directed over 90 films for Warner Bros. during his versatile and highly prolific career, most memorably the Best Picture winner Casablanca (1942). In 1950 he directed three films, including this tale of an up-and-coming New York trumpet player (Kirk Douglas). As forthright singer Jo Jordan, Doris Day wears a rayon, silk charmeuse, and taffeta gown detailed with rooster feathers for a concert performance; this costume is currently on display in the Stories of Cinema: Identity gallery at the museum. Designer Milo Anderson based the costume on a 1949 Pierre Balmain evening gown. In the film, stage lighting beautifully highlights the point d’esprit lace of the bodice and the delicate feathers on the skirt.

Director Michael Curtiz directed over 90 films for Warner Bros. during his versatile and highly prolific career, most memorably the Best Picture winner Casablanca (1942). In 1950 he directed three films, including this tale of an up-and-coming New York trumpet player (Kirk Douglas). As forthright singer Jo Jordan, Doris Day wears a rayon, silk charmeuse, and taffeta gown detailed with rooster feathers for a concert performance; this costume is currently on display in the Stories of Cinema: Identity gallery at the museum. Designer Milo Anderson based the costume on a 1949 Pierre Balmain evening gown. In the film, stage lighting beautifully highlights the point d’esprit lace of the bodice and the delicate feathers on the skirt.

The incomparable Gene Kelly’s outstanding performance turned the 1928 George Gershwin symphonic poem into a spectacular musical film of the same name, one that garnered eight Oscar nominations and six wins including Best Picture. Three renowned designers—Orry-Kelly, Walter Plunkett, and Irene Sharaff—won an Oscar for Costume Design (Color) for the film. Sharaff designed the costumes and helped develop the narrative, choreography, and set design for the film’s 17-minute ballet finale. Currently on display at the museum is a wool, rayon, and cotton costume worn by Kelly, and a gorgeous silk velvet and chiffon dress, resplendent with peacock feathers and glass rhinestones, worn by Leslie Caron.

The incomparable Gene Kelly’s outstanding performance turned the 1928 George Gershwin symphonic poem into a spectacular musical film of the same name, one that garnered eight Oscar nominations and six wins including Best Picture. Three renowned designers—Orry-Kelly, Walter Plunkett, and Irene Sharaff—won an Oscar for Costume Design (Color) for the film. Sharaff designed the costumes and helped develop the narrative, choreography, and set design for the film’s 17-minute ballet finale. Currently on display at the museum is a wool, rayon, and cotton costume worn by Kelly, and a gorgeous silk velvet and chiffon dress, resplendent with peacock feathers and glass rhinestones, worn by Leslie Caron.

One of the most beloved movie musicals of all time is also one of the greatest films about moviemaking ever made. Gene Kelly, Donald O’Connor, and Debbie Reynolds star as a trio of performers who weather the transition from silent cinema to talking pictures with humor and a wealth of dazzling musical numbers. Kelly teamed up with Stanley Donen to direct the witty script by Adolph Green and Betty Comden, with dialogue as memorable as the classic songs. Currently on display at the museum is a life cast of Reynolds alongside a production still of her and Kelly from the MGM collection at the Margaret Herrick Library.

One of the most beloved movie musicals of all time is also one of the greatest films about moviemaking ever made. Gene Kelly, Donald O’Connor, and Debbie Reynolds star as a trio of performers who weather the transition from silent cinema to talking pictures with humor and a wealth of dazzling musical numbers. Kelly teamed up with Stanley Donen to direct the witty script by Adolph Green and Betty Comden, with dialogue as memorable as the classic songs. Currently on display at the museum is a life cast of Reynolds alongside a production still of her and Kelly from the MGM collection at the Margaret Herrick Library.

One of the most beloved movie musicals of all time is also one of the greatest films about moviemaking ever made. Gene Kelly, Donald O’Connor, and Debbie Reynolds star as a trio of performers who weather the transition from silent cinema to talking pictures with humor and a wealth of dazzling musical numbers. Kelly teamed up with Stanley Donen to direct the witty script by Adolph Green and Betty Comden, with dialogue as memorable as the classic songs. Currently on display at the museum is a life cast of Reynolds alongside a production still of her and Kelly from the MGM collection at the Margaret Herrick Library.

This follow-up to William Wyler’s delightful Funny Girl (1968) sees Barbra Streisand returning to her iconic role as real-life musical comedienne Fanny Brice—who is also, notably, the namesake of the museum’s restaurant. This time, the film focuses on Brice’s tumultuous relationship with American theatrical showman Billy Rose. Costume designers Ray Aghayan and Bob Mackie received an Oscar nomination for their series of colorful, outlandish outfits for Streisand’s on-screen performances, including a satin, chiffon, velvet, sequin, and jet costume worn by the star, currently on display at the museum. These flamboyant designs contrast with Brice’s subdued and elegant personal wardrobe, underscoring the two sides of the character.

This follow-up to William Wyler’s delightful Funny Girl (1968) sees Barbra Streisand returning to her iconic role as real-life musical comedienne Fanny Brice—who is also, notably, the namesake of the museum’s restaurant. This time, the film focuses on Brice’s tumultuous relationship with American theatrical showman Billy Rose. Costume designers Ray Aghayan and Bob Mackie received an Oscar nomination for their series of colorful, outlandish outfits for Streisand’s on-screen performances, including a satin, chiffon, velvet, sequin, and jet costume worn by the star, currently on display at the museum. These flamboyant designs contrast with Brice’s subdued and elegant personal wardrobe, underscoring the two sides of the character.

This follow-up to William Wyler’s delightful Funny Girl (1968) sees Barbra Streisand returning to her iconic role as real-life musical comedienne Fanny Brice—who is also, notably, the namesake of the museum’s restaurant. This time, the film focuses on Brice’s tumultuous relationship with American theatrical showman Billy Rose. Costume designers Ray Aghayan and Bob Mackie received an Oscar nomination for their series of colorful, outlandish outfits for Streisand’s on-screen performances, including a satin, chiffon, velvet, sequin, and jet costume worn by the star, currently on display at the museum. These flamboyant designs contrast with Brice’s subdued and elegant personal wardrobe, underscoring the two sides of the character.

Milos Forman directed Peter Shaffer’s screenplay, based on his Tony Award–winning play, about the 18th-century rivalry between journeyman court composer Antonio Salieri (F. Murray Abraham in an Academy Award–winning role) and his rival, young upstart Wolfgang Amadeus Mozart (fellow Best Actor nominee Tom Hulce). Legendary makeup artist Dick Smith spent two months developing the aging makeup for Abraham as Salieri. The design brought together innovations Smith had developed over his career, including the use of multiple overlapping foam latex prosthetic appliances and an old-age stippling technique to create wrinkled skin, painted liver spots, and realistic beard stubble. A re-creation of the makeup, made by Smith's protégé Mike Marino from the original molds, is currently on display at the museum. The film earned 11 nominations, and its eight Oscar wins include Best Picture, Art Direction, Costume Design, Directing, Makeup, Sound, and Adapted Screenplay.

Milos Forman directed Peter Shaffer’s screenplay, based on his Tony Award–winning play, about the 18th-century rivalry between journeyman court composer Antonio Salieri (F. Murray Abraham in an Academy Award–winning role) and his rival, young upstart Wolfgang Amadeus Mozart (fellow Best Actor nominee Tom Hulce). Legendary makeup artist Dick Smith spent two months developing the aging makeup for Abraham as Salieri. The design brought together innovations Smith had developed over his career, including the use of multiple overlapping foam latex prosthetic appliances and an old-age stippling technique to create wrinkled skin, painted liver spots, and realistic beard stubble. A re-creation of the makeup, made by Smith's protégé Mike Marino from the original molds, is currently on display at the museum. The film earned 11 nominations, and its eight Oscar wins include Best Picture, Art Direction, Costume Design, Directing, Makeup, Sound, and Adapted Screenplay.

Milos Forman directed Peter Shaffer’s screenplay, based on his Tony Award–winning play, about the 18th-century rivalry between journeyman court composer Antonio Salieri (F. Murray Abraham in an Academy Award–winning role) and his rival, young upstart Wolfgang Amadeus Mozart (fellow Best Actor nominee Tom Hulce). Legendary makeup artist Dick Smith spent two months developing the aging makeup for Abraham as Salieri. The design brought together innovations Smith had developed over his career, including the use of multiple overlapping foam latex prosthetic appliances and an old-age stippling technique to create wrinkled skin, painted liver spots, and realistic beard stubble. A re-creation of the makeup, made by Smith's protégé Mike Marino from the original molds, is currently on display at the museum. The film earned 11 nominations, and its eight Oscar wins include Best Picture, Art Direction, Costume Design, Directing, Makeup, Sound, and Adapted Screenplay.

Nominated in eight Oscar categories including Best Picture, Baz Luhrmann’s extravagant, romantic jukebox musical Moulin Rouge! won Production Design and Costume Design at the 74th Academy Awards in 2002. To match Luhrmann’s visual concept for the production, Catherine Martin and Angus Strathie designed costumes that combine late-Victorian styles with references to 20th-century popular culture. Currently on display at the museum is the costume for Nicole Kidman’s character, Satine, which recalls showgirl looks worn by classical-era stars such as Marilyn Monroe. A tailcoat, worn by Ewan McGregor as Christian, was made in both plain and sparkling versions to magically transform during a romantic musical number.

Nominated in eight Oscar categories including Best Picture, Baz Luhrmann’s extravagant, romantic jukebox musical Moulin Rouge! won Production Design and Costume Design at the 74th Academy Awards in 2002. To match Luhrmann’s visual concept for the production, Catherine Martin and Angus Strathie designed costumes that combine late-Victorian styles with references to 20th-century popular culture. Currently on display at the museum is the costume for Nicole Kidman’s character, Satine, which recalls showgirl looks worn by classical-era stars such as Marilyn Monroe. A tailcoat, worn by Ewan McGregor as Christian, was made in both plain and sparkling versions to magically transform during a romantic musical number.

Nominated in eight Oscar categories including Best Picture, Baz Luhrmann’s extravagant, romantic jukebox musical Moulin Rouge! won Production Design and Costume Design at the 74th Academy Awards in 2002. To match Luhrmann’s visual concept for the production, Catherine Martin and Angus Strathie designed costumes that combine late-Victorian styles with references to 20th-century popular culture. Currently on display at the museum is the costume for Nicole Kidman’s character, Satine, which recalls showgirl looks worn by classical-era stars such as Marilyn Monroe. A tailcoat, worn by Ewan McGregor as Christian, was made in both plain and sparkling versions to magically transform during a romantic musical number.

This fictionalization of the career of Motown group The Supremes received eight Oscar nominations across six categories and was the first live-action film with three tunes nominated for Original Song. Dreamgirls was also the first film to boast Black nominees for both Best Supporting Actor (Eddie Murphy) and Best Supporting Actress (Jennifer Hudson). Hudson’s Oscar win for her role as Effie White—her debut film performance—made her, at age 25, the youngest African American to win an Academy Award for acting. A form-fitting fishtail gown worn by Beyoncé Knowles as Deena Jones—designed by Sharen Davis—is currently on view at the museum, alongside vintage magazines from the 1960s and 1970s used as reference by makeup designer Tym Shutchai Buacharern. Davis took inspiration from real-life 1960s musical groups for various looks throughout the film.

This fictionalization of the career of Motown group The Supremes received eight Oscar nominations across six categories and was the first live-action film with three tunes nominated for Original Song. Dreamgirls was also the first film to boast Black nominees for both Best Supporting Actor (Eddie Murphy) and Best Supporting Actress (Jennifer Hudson). Hudson’s Oscar win for her role as Effie White—her debut film performance—made her, at age 25, the youngest African American to win an Academy Award for acting. A form-fitting fishtail gown worn by Beyoncé Knowles as Deena Jones—designed by Sharen Davis—is currently on view at the museum, alongside vintage magazines from the 1960s and 1970s used as reference by makeup designer Tym Shutchai Buacharern. Davis took inspiration from real-life 1960s musical groups for various looks throughout the film.

This fictionalization of the career of Motown group The Supremes received eight Oscar nominations across six categories and was the first live-action film with three tunes nominated for Original Song. Dreamgirls was also the first film to boast Black nominees for both Best Supporting Actor (Eddie Murphy) and Best Supporting Actress (Jennifer Hudson). Hudson’s Oscar win for her role as Effie White—her debut film performance—made her, at age 25, the youngest African American to win an Academy Award for acting. A form-fitting fishtail gown worn by Beyoncé Knowles as Deena Jones—designed by Sharen Davis—is currently on view at the museum, alongside vintage magazines from the 1960s and 1970s used as reference by makeup designer Tym Shutchai Buacharern. Davis took inspiration from real-life 1960s musical groups for various looks throughout the film.

Filled with passionate real-time musical performances, Ma Rainey’s Black Bottom was nominated in five Oscar categories, including Best Actress for Viola Davis as the titular blues singer. The film also won Oscars for Makeup and Hairstyling and Costume Design, two evocative aspects of this film that are currently on display in the Identity gallery at the museum. Hair designer Mia Neal created two very different wigs for Davis as blues singer Ma Rainey, including a handmade horsehair wig that recreated one originally worn by Gertrude “Ma” Rainey. Sergio López-Rivera devised makeup looks to reveal Rainey’s aspirations and insecurities, drawing on the doll-like beauty aesthetic of the 1920s with big eyes and thin brows.

Filled with passionate real-time musical performances, Ma Rainey’s Black Bottom was nominated in five Oscar categories, including Best Actress for Viola Davis as the titular blues singer. The film also won Oscars for Makeup and Hairstyling and Costume Design, two evocative aspects of this film that are currently on display in the Identity gallery at the museum. Hair designer Mia Neal created two very different wigs for Davis as blues singer Ma Rainey, including a handmade horsehair wig that recreated one originally worn by Gertrude “Ma” Rainey. Sergio López-Rivera devised makeup looks to reveal Rainey’s aspirations and insecurities, drawing on the doll-like beauty aesthetic of the 1920s with big eyes and thin brows.

Filled with passionate real-time musical performances, Ma Rainey’s Black Bottom was nominated in five Oscar categories, including Best Actress for Viola Davis as the titular blues singer. The film also won Oscars for Makeup and Hairstyling and Costume Design, two evocative aspects of this film that are currently on display in the Identity gallery at the museum. Hair designer Mia Neal created two very different wigs for Davis as blues singer Ma Rainey, including a handmade horsehair wig that recreated one originally worn by Gertrude “Ma” Rainey. Sergio López-Rivera devised makeup looks to reveal Rainey’s aspirations and insecurities, drawing on the doll-like beauty aesthetic of the 1920s with big eyes and thin brows.