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Shirley MacLaine was the product of a strict middle-class background from which she and her brother, the future actor Warren Beatty, escaped into the fantasy world of show-biz. Her ballet training and her long-legged pixie charm led to rapid success on Broadway in musical comedy.

Inevitably, Hollywood called and by 1955 Shirley was cast in Hitchcocks The Trouble With Harry. It wasn't too long before the fine dramatic roles also came to her opposite the most popular leading men of the time, like Fred MacMurray, Jack Lemmon, Frank Sinatra, Clint Eastwood and Robert Mitchum. It was apparent that this once perky gypsy of Broadway would leave her mark as one of the finest actresses of her day, an Academy-Award winner, who is ready and able to tackle any role that seems equal to her intelligence and talent. Her widely varied interests encompass the political, the literary and the mystical.

A salute to movement in various forms, both literal (the physical movement of a dancer or gymnast) and figurative (movement in a relationship between two people).

Shirley MacLaine uses music and drama to look at ways in which things are not necessarily what they seem to be.

Shirley MacLaine in concert, featuring highlights from her films like Sweet Charity and Irma La Douce. There's also a dramatic reading from The Turning Point and an entertaining illustration of how the styles of some of her famed choreographers differ.

Shirley MacLaine discusses her life and career with TCM host Robert Osborne.

Musical Special featuring Shirley MacLaine in her tribute to chorus dancers, colloquially known as "gypsies." Produced by Cy Coleman and Fred Ebb, the special uses a self-referential show business plot in which the star rehearses for her television special about the life of a dancer. MacLaine performed a wide range of songs including "Lucy's Back in Town," during which Lucille Ball made a "surprise" appearance. The program won Outstanding Special: Comedy-Variety or Music at that year's Emmys as well as awards for writing (Ebb), music composition (Coleman), and choreography (Tony Charmoli).

A speculative look forward at the United States' next 200 years.

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