英国3DD Productions于2011年制作，一共制作播出了4季共计52集。2016年10月10日-14日CCTV引进并节选播出了5集。《银幕巨星》是一部介绍二十世纪世界最著名影星的系列片，他们在世界电影历史上都是里程碑式的人物。
本系列片记录了这些银幕上巨星的辉煌历程：初涉影坛，迅速成长，时代巨星，以及他们非凡的生活：多彩的爱情生活，波澜的情感历程，鲜为人知的内心世界。这些巨星的生活本身，就是一部波澜壮阔，感人至深的故事片。
全5集分别为：
第1集《伊丽莎白·泰勒 Elizabeth Taylor》、第2集《费雯·丽 Vivien Leigh》、第3集《英格丽·褒曼 Ingrid Bergman》、第4集《葛丽泰·嘉宝 Greta Garbo》、第5集《克拉克·盖博 Clark Gable》。

Father O'Malley is sent to St. Mary's, a run-down parochial school on the verge of condemnation. He and Sister Benedict work together in an attempt to save the school, though their differing methods often lead to good-natured disagreements.

A cynical woman with a disfigured face—a hardened criminal—gets an opportunity to change her ways when she meets a sympathetic plastic surgeon. She leaves her old life behind, but soon her old friends catch up with her.

A woman flees to avoid rumors of promiscuity, but is trailed by a reporter who wants to expose her dark past.

Set amid the military maneuvers and Quatorze Juillet carnivals of turn-of-the-century France, Jean Renoir’s delirious romantic comedy Elena and her Men stars a radiant Ingrid Bergman as a beautiful, but impoverished, Polish princess who drives men of all stations to fits of desperate love. When Elena elicits the fascination of a famous general, she finds herself at the center of romantic machinations and political scheming, with the hearts of several men—as well as the future of France—in her hands.

A scheming woman marries a nice but dimwitted intellectual out of convenience. She hears that her old lover is back in town. She decides to destroy his life, jealous of his love affair with another.

A personal and captivating account of the extraordinary life and work of Ingrid Bergman (1915-82), a young Swedish woman who became one of the most celebrated actresses in world cinema.

Russian exiles in Paris plot to collect ten million pounds from the Bank of England by grooming a destitute, suicidal girl to pose as heir to the Russian throne. While Bounin is coaching her, he comes to believe that she is really Anastasia. In the end, the Empress must decide her claim.

Between Paula and his half old Xu man Roger, should be said that there is no true love, even if Paula wants to be her true feelings in this living, also at Roger from time to time with the woman's deception and concealment repeatedly before hitting the wall. Paula than the young teenager Philip entered the heroine lonely soul, to classical pattern of a kind of "Brahms", to Paula with sympathy and consideration, care, cherish, but classical love after all, there is no perfect knot, she finally Philip did not accept this precious feelings, but somehow back to the foot of multi ship Roger.
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Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.

After the end of WWII, a young Lithuanian woman and a young Italian man from Stromboli impulsively marry, but married life on the island is more demanding than she can accept.

A dentist pretends to be married to avoid commitment, but when he falls for his girlfriend and proposes, he must recruit his lovelorn nurse to pose as his wife.

1944 film by George Cukor

1946 film by Alfred Hitchcock

1952 film directed by Roberto Rossellini

1989 film by Rob Reiner

In 1935, when his train is stopped by deep snow, detective Hercule Poirot is called on to solve a murder that occurred in his car the night before.

As Agnes slowly dies of cancer, her sisters are so immersed in their own psychic pains that they are unable to offer her the support she needs.

1954 film by Roberto Rossellini

When Dr. Anthony Edwardes arrives at a Vermont mental hospital to replace the outgoing hospital director, Dr. Constance Peterson, a psychoanalyst, discovers Edwardes is actually an impostor. The man confesses that the real Dr. Edwardes is dead and fears he may have killed him, but cannot recall anything. Dr. Peterson, however is convinced his impostor is innocent of the man's murder, and joins him on a quest to unravel his amnesia through psychoanalysis.