Kaufman’s shoot resulted in a bonanza of publicity for a movie that was not overly commercial. While LIFE’s gushing cover story hailed the movie as a “triumph,” the magazine’s review of Rachel, Rachel, which ran in an issue two weeks prior, regarded the film as an honorable misfire, and suggested that it only got made because Newman was hot off the success of Cool Hand Luke: “They apparently encountered enormous difficulties in obtaining the relatively modest backing they required, and it was not until Miss Woodward’s husband put his plentiful clout behind it by agreeing to direct it that they could go ahead.”

We know now that Rachel, Rachel, whatever its merits, did not leave a major mark on popular culture. (That is, unless its title decades later somehow inspired Rochelle, Rochelle, the fictional art-house movie that was a running gag in the TV show Seinfeld).

But viewed more than a half-century later, the photos of Mark Kauffman tell a story that has little to do with Rachel, Rachel. The story is actually bigger. It is, in so many words:

This is what a movie star looks like.

Kaufman’s photos show this because Newman was so generous in giving Kauffman time and access, not just on the movie set but as Newman enjoyed such pastimes as fishing, playing pool and visiting the garage that was working on a race car of his. Whether Newman was chatting with mechanics or posing with a trophy fish, he always looked like a movie star—perhaps even more so when he was sharing the frame with everyday humans.

(For another example of star power, check another great LIFE photoshoot, this one of Robert Redford, who would be Newman’s co-star in the 1969 classic Butch Cassidy and the Sundance Kid.)

In recent years a fair amount of digital ink has been spilled on the topic of “Where have all the movie stars gone” (See articles such as this one and this one and this one). The perception that we don’t have movie stars like we used to is in part the result of the changing nature of media, but the appearance of these stories also has to do with the penchant for click-bait headlines, because of course we still have movie stars. If you don’t believe it, ask Margot Robbie. Or at least her agent.

But maybe the point is this: when Paul Newman was in his prime, and even though his IMDB page has plenty of commercial misfires on it, no one would have considered asking where all the movie stars had gone.

Paul Newman leans against a tree in the Florida Keys during the filming of his directorial debut, the movie ‘Rachel Rachel,’ Florida, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman n the Florida Keys during the filming of his directorial debut, the movie ‘Rachel Rachel,’ Florida, 1967.

Mark Kauffman/Life PIcture Collection/Shutterstock

Paul Newman, holding monocular on his fishing trip in Florida Keys, Florida, United States, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman on a fishing trip in the Florida Keys, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman in the Florida Keys with guide Jake Muller (left) and friend Mike Hyman, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman on a Key West fishing trip, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman fishing in the Florida Keys, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman during his fishing trip in Florida Keys, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman during a fishing trip in the Florida Keys, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman and his wife Joanne Woodward, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman at an event, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman and Joanne Woodward during the filming of his movie “Rachel, Rachel,” 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman directing a child actor during the filming of “Rachel, Rachel,” 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman during the filming of “Rachel, Rachel,” 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman during the filming of his directorial debut “Rachel, Rachel,” 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman during the filming of his directorial debut “Rachel, Rachel,” 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman during the filming of his directorial debut “Rachel, Rachel,” 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman during the filming of his directorial debut “Rachel, Rachel,” 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman (center) with men working on his racing car, a Volkswagen bug, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman spoke with a mechanic about his racing car, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman talked with a mechanic about his racing car, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Leonard Newman playing pool, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

Paul Newman playing pool, 1967.

Mark Kauffman/Life Picture Collection/Shutterstock

The post Paul Newman: Now There Was a Star appeared first on LIFE.

The move follows the strange-but-true tale of Robert Leroy Parker and Harry Alonzo Longabaugh, sons of devout and impoverished families who in the long tradition of American pioneers set out in search of a different life. But instead of homesteading a spread of land, they reinvented themselves as Butch Cassidy and Billy the Kid. They rode the range, and they robbed banks, trains and mines with the Hole-in-the-Wall Gang. And when marshals, troops and rangers hunted jailed and killed their mates, Butch and Sundance, along with Sundance’s lady friend, Etta Place, seemed to disappear. They went to Argentina and Bolivia and tried their hand at ranching—until they robbed again, and then the law cornered them in the sleepy town of San Vincente, Bolivia.

More than 100 years after the Bolivian gunfight in which Butch and Sundance died (or maybe they escaped?), we beckon these outlaws to return to America and continue to inhabit our fantasies about a place we call the Wild West. —adapted from an essay by Daniel S. Levy

Photo by © Lawrence Schiller, All Rights Reserved/Getty Images

Butch Cassidy and the Sundance Kid was based on the story of real-life outlaws. Harry “The Sundance Kid” Longabaugh (seated left) and Robert LeRoy “Butch Cassidy” Parker (seated, right) had this portrait taken in a photo studio in Fort Worth, Tex., around 1885. Pinkerton agents used copies of this portrait during their manhunt.

Photo by John Swartz/American Stock/Getty Images

In this scene in which Butch and Sundance (who has admitted he can’t swim) jump into the river below, Redford and Newman actually land on a scaffold build just below the ledge.

Photo by Moviestore/REX/Shutterstock.

It’s hard to look at this image of Newman and Katharine Ross on a bicycle without thinking of the music that accompanies it: Raindrops Keep Fallin’ on My Head.

Photograph © Lawrence Schiller, All Rights Reserved/Getty Images

This Western wasn’t all wild. Butch & Sundance escape a posse, head o New York with Etta, and then travel by luxury to South America.

Photograph © Lawrence Schiller, All Rights Reserved/Getty Images

The filming of the scene in the lake in New York City’s Central Park actually took place on a soundstage.

Photograph © Lawrence Schiller, All Rights Reserved/Getty Images

Plywood was used to create the look of the Human Roulette Wheel at Steeplechase Park’s Pavilion of Fun.

Photograph © Lawrence Schiller, All Rights Reserved/Getty Images

Director George Roy Hill explained to Redford and Newman the look he was going for in the movie’s climactic scene.

Photograph © Lawrence Schiller, All Rights Reserved/Getty Images

Butch and Sundance, tracked down in Bolivia and wildly unnumbered, come out guns blazing in the movie’s final scene.

Credit: Photograph © Lawrence Schiller, All Rights Reserved/Getty Images

Robert Redford met Butch Cassidy’s sister, Lula Parker Betenson during the filming of the movie and visited their childhood home near Circleville, Utah.

Credit: Jonathan S. Blair/National Geographic

The post Butch and Sundance: The Iconic Movie at 50 appeared first on LIFE.

Here, LIFE.com presents a selection of photographs made by Bill Ray in 1963 a time in the 25-year-old Wood’s career when she had made the leap from actress to genuine movie star and, more importantly, to formidable Hollywood player. Many of the photos in this gallery were not originally published in LIFE, but appear in Ray’s book, My Life in Photography. 

For Ray, the most striking memory of the several weeks that he spent with Wood and her showbiz cohorts is, unsurprisingly, Wood herself or, more specifically, her singular beauty.

“She was divine,” Ray told LIFE.com. “Really. She was divine to look at, and to photograph. She had that wonderful face, a great body, those amazing eyes just a beautiful young woman, and a lot of fun to be around.”

For the Dec. 20, 1963, issue of LIFE that focused wholly on the movies, Ray scored the choice, high-profile feature on Wood, which was the only piece in the issue that was devoted to a single actor or actress. “This was big stuff,” he says today of the assignment. “You know, back then photographers were never part of the meetings where these sort of assignment decisions were made, so to get the call for something of this magnitude I was thrilled.”

Thrilled, but hardly cowed or overawed. After all, by the time the Natalie Wood shoot came his way, Ray was a seasoned professional, having covered JFK, Elvis Presley, John Wayne and other huge names and famous faces. What comes through in many of his photographs is the sense that here was a photographer who genuinely enjoyed his work, while his subject was a strong young woman who had been in the public eye for so long that having her every move documented was hardly anything new.

As LIFE reminded its readers in that special year-end double issue back in 1963, Natalie Wood was about as self-aware and self-confident an actress as one was likely to meet:

Natalie Wood was in a crowd watching a movie being filmed 21 years ago when the director asked her do a bit: drop an ice cream cone and cry. Then and there, 4-year-old Natalie showed she was born to be a star: she wept so convincingly that the movies hired her and ever since they have been thankful for the foresight. . . . [Movies] still cannot get along without the glamor that stars bring. And Natalie, the biggest young star around, now holds Hollywood in her hand. Her latest performance in her 35th film, ‘Love With a Proper Stranger,’ may win her an Oscar. [She did earn an Academy Award nomination for the role, but Patricia Neal took home the Oscar for her work in ‘Hud.’] Natalie has talent which she uses brilliantly, temperament which she can control, and a dark fresh loveliness that glows from the screen. All this earns her a million dollars a year, along with something that means even more to her the power and the glory that stardom brings.

“Natalie Wood,” observed a prominent Hollywood director, … “has a stranglehold on every young leading-lady part in town. If a role calls for a woman between 15 and 30, you automatically think of her.”

This is exactly what Natalie has worked 21 years to get. She has battled producers and top studio heads with unyielding ferocity to win the roles she wants. Today, before she will do a picture, she demands and gets total approval of script, director, leading man, all actors, everybody clear down to make-up and wardrobe people.

One last detail that Bill Ray recalls about his time with Natalie Wood, however, casts something of a pall across his otherwise sunny memories. At some point during those several weeks, he joined Wood and a number of other people on a boat ride to Catalina Island (see slide 16 in the gallery) the same island off the California coast near which Wood would drown in the fall of 1981. When Ray heard about her death, he was stunned: not only because he had always liked her and remembered the time he spent with her with such fondness, but because he had been struck during that boat ride in 1963 by how uncharacteristically out of sorts she seemed.

“It was obvious to me,” Ray told LIFE.com, “that Natalie did not like being out on the water at all. When I heard that she’d drowned, in basically the same place where we’d been all those years before, I wasn’t just sad although that was part of it. I was also very, very surprised.”

Five decades later, the mystery of Natalie Wood’s death endures. Bill Ray’s pictures, meanwhile, shed a clear, poignant light on a time when the star’s already impressive career felt boundless, and her life charmed. The future, it seemed then, was hers for the taking.

—story by Ben Cosgrove 

Natalie Wood, 1963

© Bill Ray

Wood was playing a game. Friends named something, she acted it out. Here is ‘slightly sensuous.'”

© Bill Ray

Natalie Wood, 1963

© Bill Ray

The woman who guided Natalie to stardom was her mother, the Russian-born Mrs. Maria Gurdin (center). Stern and shrewd, she scrutinized scripts, haggled over fees, snd dressed her child in prim clothes when competitors wore sexy ones.

© Bill Ray

Wood played billiards with actor Tony Curtis, 1963.

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Wood got a piggyback ride from producer Arthur Loew, Jr., who stopped when Paul Newman invited them to go go-cart racing, 1963.

© Bill Ray

Gowned in satin, bathed by spots, fussed over by attendants, Wood glowed with the glamor pf a Hollywood star.

© Bill Ray

Wood, a shrewd businesswoman, enjoyed presiding over her high-powered cabinet.

© Bill Ray

Wood’s big brown-black eyes grew larger with delight seeing costumes sketched by Edith Head for `Sex and the Single Girl’.

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

The post Natalie Wood: Portraits of a Legend appeared first on LIFE.

Here, a fond look back at some of the 20th century’s biggest, brightest entertainers, in the friendly confines of their own homes.

Marilyn Monroe at her Hollywood home in 1953.

Alfred Elsenstaedt; Life Pictures/Shutterstock

Steve McQueen and his first wife, TV actress Neile Adams, dress for a warm day at their Hollywood home in 1963.

John Dominis; Life Pictures/Shutterstock

Jayne Mansfield combed her hair while bathing in the pink carpeted bathroom of her home, known as “The Pink Palace,” in Los Angeles, 1960.

Allan Grant; Life Pictures/Shutterstock

The Jacksons (clockwise left to right: Jackie, Marlon, Tito, Jermaine, and Michael) join parents Joe and Katherine in their backyard in Encino, California in 1970.

John Olson; Life Pictures/Shutterstock

Vivien Leigh at home with her Oscar for Gone With the Wind, 1940.

Peter Stackpole; Life Pictures/Shutterstock

Paul Newman cooked eggs for Anthony Perkins in Newman’s kitchen in 1958 in Hollywood.

Leonard McComb; Life Pictures/Shutterstock

Joanne Woodward and Paul Newman, whose marriage would last 50 years (until his death in 2008), shared a laugh as they dressed in their Hollywood home in 1959.

Gordon Parks; Life Pictures/Shutterstock

Sophia Loren picked flowers at the Italian villa she shared with producer Carlo Ponti in 1964.

Alfred Elsenstaedt; Life Pictures/Shutterstock

Bette Davis and her Pekingese, Popeye the Magnificent, at home in Beverly Hills in 1939.

Alfred Elsenstaedt; Life Pictures/Shutterstock

Actress Maureen O’Hara relaxed at home in Los Angeles in 1946.

Peter Stackpole; Life Pictures/Shutterstock

Liberace danced on top of the keys of his piano-shaped pool in California in 1954.

Loomis Dean; Life Pictures/Shutterstock

Oscar-winning actress Claudette Colbert posed in a two-piece evening dress in front of the fireplace in her home in Los Angeles’ posh Holmby Hills neighborhood in 1939.

Alfred Elsenstaedt; Life Pictures/Shutterstock

Ricky Nelson sat on the diving board of his family’s pool in Hollywood in 1958.

Hank Walker; Life Pictures/Shutterstock

Greer Garson sits her living room at home in Los Angeles’ exclusive Bel Air neighborhood, picking out records to play in April 1943, a month after her Best Actress Oscar victory for Mrs. Miniver.

Peter Stackpole; Life Pictures/Shutterstock

Sisters and frequent rivals Joan Fontaine and Olivia de Havilland shared a family moment as they looked out over Beverly Hills from Fontaine’s home in 1942.

Bob Landry; Life Pictures/Shutterstock

Carole Lombard drank a cup of coffee and talked on the telephone at her Hollywood home in October 1939.

Alfred Elsenstaedt; Life Pictures/Shutterstock

The post LIFE at Home With Showbiz Superstars appeared first on LIFE.

“I threw myself, one hundred percent, into every shoot,” Ray said. “And I loved it.”

For this Photographer Spotlight, however, LIFE.com focussed on one aspect of Ray’s varied portfolio: celebrity portraits.

Even a partial roll call of the stars Bill Ray photographed for LIFE reads like a Who’s Who of Sixties pop culture: Marilyn Monroe, Sinatra, the Beatles, Natalie Wood, Elizabeth Taylor, Elvis, Steve McQueen, Jackie Kennedy and on and on and on. What’s truly remarkable is that he managed to capture something utterly distinctive about each one.

It’s difficult to imagine one photographer capable of showing us something elemental about personalities as wildly disparate as, say, Brigitte Bardot, Sonny Liston and Woody Allen, but Bill Ray did just that, again and again.

Some photo captions in this gallery include Ray’s memories of what it was like to photograph these people. But we’ve also included, below, a few of the longer and often hilarious stories Bill Ray told about documenting the lives and careers of the 20th century’s most famous public figures.

[Buy Bill Ray’s My LIFE in Photography, from which some of these memories, slightly edited, are taken.]

Marilyn Monroe Sings “Happy Birthday” to JFK, May 19, 1962:

I was on assignment for LIFE at the old Madison Square Garden that night one of many photographers down in front of the stage. The police, with directions from the Secret Service, were forcing the press into a tight group behind a rope. I knew that all the “rope-a-dopes” would get the same shot, and that would not work for LIFE. I squeezed between the cops and took off looking for a better place.

It seemed that I climbed forever. When I found a pipe railing to rest the lens on (exposure was strictly by guess), I could see JFK through the telephoto. When the moment came, the Garden went black. Total silence.

One spotlight snapped on, and there was Marilyn, in that dress, crystals sparkling and flashing. She was smiling, with everyone on the edge of their seats. Then, in her breathy, sexy, unique voice, looking the entire time right at JFK, she sang.

In two-and-a-half months, Marilyn would be dead. In eighteen months, Kennedy would be assassinated; Vietnam would turn into our worst nightmare; Camelot would be gone. But that night, Marilyn’s brief song stopped the world.

 

Brigitte Bardot Throws a Tantrum on the Set of Shalako, Spain, 1968:

I rode with Bardot to the set many times in her white Rolls-Royce. On one of those mornings, B.B. saw a stray, starving dog and ordered her driver to stop. It was love at first sight. The starving mutt loved B.B. and the Rolls, and B.B. loved the mutt. B.B. put all her retainers on the case. She would make a perfect life for this “adorable” dog.

Her hairdresser bathed the dog. Her chauffeur tore off in the Rolls for filet mignon. The dog never left her side until the fourth day when he keeled over dead from too much of the good life.

B.B. started to cry and worked herself up to uncontrollable wailing. She locked her dressing room door. Cast and crew [including co-star Sean Connery] were standing by. Lunch time came and went. The wailing went on and on. The whole day was lost; mucho dinero.

 

Woody Allen in Vegas, 1966:

It was a pivotal year for Woody. He published stories in the New Yorker, wrote and directed his first film, What’s Up Tiger Lily? and had a Broadway hit, Don’t Drink the Water. He was on fire, and LIFE wanted to celebrate him with a cover story. I was given the job of shooting Woody in Las Vegas, along with any other photos I could get of his other activities.

The Woody I met at Caesars Palace was one of the quietest, most cooperative people I’ve ever worked with. The only problem was that he didn’t do anything except stay in his room, write, and practice his clarinet until it was time for his standup routine. Then I remembered the kitschy nude Roman statues in front of Caesars. With trepidation, I asked Woody if he would pose with one of the nudes. He thought it was a funny idea and said “sure.” That was a relief and I pressed my luck, asking him if he would wear a red sweater that I happened to have with me.

“Is it cashmere?” he asked. It wasn’t; it was wool.

Woody said he was allergic to wool, but after some pleading, he agreed to wear it.

I needed the contrast with the white statue, and a bit of red never hurt for a cover shoot. The statue seemed to inspire Woody, and he really came to life. He hugged and vamped and swung around. It was tremendous fun.

Phone calls and telexes from New York assured me the shots were great and would run with the story.

But LIFE was a weekly and would use a news cover whenever they could. Unfortunately for me, some damn thing happened that week and LIFE scrapped the Woody Allen cover. It was heartbreaking but I still had the great thrill of working with one on the comic geniuses of my time.

Pvt. Elvis Presley in Brooklyn, 1958, before leaving the States to serve in Germany.

Bill RayThe LIFE Picture Collection © Meredith Corporation

Gina Lollobrigida signed autographs in front of New York’s old Metropolitan Opera House, 1958.

Bill Ray

Frank Sinatra on the set of the movie, “Can-Can,” 1959.

Bill Ray

Elizabeth Taylor 1959

Bill Ray

John Wayne, Toots Shor, 1959

Bill Ray

Jackie Kennedy 1960

Bill Ray

Ella Fitzgerald 1962

Bill Ray

Marilyn Monroe 1962

Bill Ray

Sonny Liston, Floyd Patterson, 1963

Bill Ray

Natalie Wood 1963

Bill Ray

Jill St. John 1963

Bill Ray

Marlon Brando and Paul Newman 1963

Bill Ray

Senta Berger 1964

Bill Ray Time & Life Pictures/Shutterstock

The Beatles 1964

Bill Ray Time & Life Pictures/Shutterstock

Woody Allen 1966

Bill Ray

Michael Caine 1966

Bill Ray Time & Life Pictures/Shutterstock

Ray Charles performed at Carnegie Hall, 1966.

Bill Ray/The LIFE Picture Collection © Meredith Corporation

Nancy Sinatra 1966

Bill Ray Time & Life Pictures/Shutterstock

Faye Dunaway and Steve McQueen 1967

Bill Ray Time & Life Pictures/Shutterstock

Lew Alcindor 1967

Bill Ray Time & Life Pictures/Shutterstock

Brigitte Bardot 1968

Bill Ray

Sharon Tate and Roman Polanski 1968

Bill Ray Time & Life Pictures/Shutterstock

Jane Fonda and daughter 1971

Bill Ray Time & Life Pictures/Shutterstock

George Harrison and Bob Dylan at the Concert for Bangladesh in New York, 1971.

Bill Ray/The LIFE Picture Collection © Meredith Corporation

Ann Margaret 1972

Bill Ray

Diahann Carroll and David Frost

Bill Ray Time & Life Pictures/Shutterstock

The post Photographer Spotlight: Bill Ray’s Classic Celebrity Portraits appeared first on LIFE.

The images shown here, taken by legendary photographer Bert Stern for a story that ran in the Dec. 20, 1963 issue of LIFE, depict some of the most prominent actors of the day as they take on the roles of their dream performers. The wonderfully playful (yet somehow near-reverent) series of portraits is testament to the fact that each and every generation grows up with its own heroes. Witness the debonair Cary Grant embodying an unlikely, yet totally convincing, impersonation of Charlie Chaplin’s Little Tramp, or Paul Newman’s gleeful transformation into the swashbuckling matinee idol, Douglas Fairbanks.

While the movie studios had created idols since the days of silent films, a cover of LIFE magazine could make all the difference. And a photographer with a strong relationship with a magazine wielded a lot of influence. In fact, the ’60s saw the birth of the photographer as hero, and Bert Stern was the archetype of this new figure. Alongside Penn and Avedon, he was one of the most respected and sought-after fashion, portrait and advertising photographers of the era.

Best known for his iconic “Last Sitting” photographs of Marilyn Monroe, taken six short weeks before her death, Stern photographed the world’s most beautiful women Sophia Loren, Audrey Hepburn, Liz Taylor, Bridget Bardot and some of Hollywood’s most charismatic leading men, like Gary Cooper, Marlon Brando and Richard Burton.

But long before he made those iconic images, he was an ideas man, a pioneer in the Golden Age of advertising. In the early 1950s, Stern conceived and executed photographic concepts that, for the first time, made advertising as compelling, refined and beautiful as any editorial page.

By the time the photographs in this gallery were made for LIFE, Stern was at the height of his fame a celebrity in his own right. He made commercials, shot covers for the world’s most prestigious magazines and more. Stern was seemingly capable of anything.

In a revealing 2013 documentary, Bert Stern: Original Mad Man, Stern tells his compelling and extraordinary story of his passions and obsessions, his successes and his failings, and the stories behind of some of the most remarkable and iconic images of the age.

Bert Stern is living proof, if ever proof was needed, that they really don’t make them like they used to.

—photo editor Phil Bicker wrote this tribute on the occasion of Stern’s death in 2013.

Paul Newman as Douglas Fairbanks

© Bert Stern

Cary Grant as Charlie Chaplin

© Bert Stern

Natalie Wood and Tony Curtis

© Bert Stern

Audrey Hepburn

© Bert Stern

Cary Grant as Charlie Chaplin

© Bert Stern

Jack Lemmon

© Bert Stern

Shirley MacLaine

© Bert Stern

Rock Hudson as Doctor Jekyll

© Bert Stern

Cary Grant as Charlie Chaplin

© Bert Stern

December 20,1963

LIFE Magazine

December 20,1963

LIFE Magazine

December 20,1963

LIFE Magazine

December 20,1963

LIFE Magazine

December 20,1963

LIFE Magazine

December 20,1963

LIFE Magazine

December 20,1963

LIFE Magazine

The post Stars Playing Their Dream Roles: Photos by Bert Stern appeared first on LIFE.