Natalie Wood was a one-of-a-kind screen presence from the Golden Age of Hollywood. From glamorous musicals at the beginning of the decade to counterculture touchstones at its end (like West Side Story and Bob & Carol & Ted & Alice), she never seemed to run out of material.

She died, mysteriously, of a drowning accident off the coast of California’s Catalina Island.

This 1947 film tugged at audience hearts with the story of a young girl’s doubts about Santa Claus. It was Wood’s first starring role. Director Irving Pichel had spotted her in the small role of a girl who drops an ice cream cone in his movie Happy Land at age four, but she had only 15 seconds of screen time. He kept in contact with her family and helped her land a bigger role in the film Tomorrow Is Forever with Claudette Colbert and Orson Welles.

The film marked the feature debut of character actor Thelma Ritter as the mother and Jack Albertson in a bit role as the mail room worker who communicates with Kris in one of the movie’s signature scenes. Thelma Ritter and Wood shared a Best Supporting Actress Oscar for their performances.

After Miracle on 34th Street, Wood starred in West Side Story as an emotionally troubled teenager torn by desire and social convention. She made only four more theatrical films before her death, including the thriller Pepper and the science fiction Meteor (1979), which was released posthumously. Author Finstad does a fine job of describing Wood’s career and life, and gives readers a better understanding of what was driving this talented and complicated woman.

Rebel Without a Cause (1955)

Wood’s breakthrough role as Judy, the troubled girlfriend of Jim Stark (James Dean) in 1955’s Rebel Without a Cause remains a landmark film depicting teenage rebellion and angst. The movie was controversial at the time, but today the movie plays like a satire of our culture’s misguided views on adolescent sexual freedom and the difficulty of blending parental guidance with individuality.

Wood was just 16 at the time of the film’s release. Her chemistry with Dean and her ability to communicate the confusion of being an outsider were key factors in this film’s success. The movie also served as a springboard for the careers of both stars.

Like many films that spotlight the compulsive cruelty of youth, such as Blackboard Jungle and The Wild One, Rebel Without a Cause has a tragically bleak real-life undercurrent. It wasn’t long after the film’s premiere that Hedda Hopper, who played Natalie Wood’s mother in the movie, died from pneumonia at age 58; actor Edward Platt who played Wood’s father died of an overdose at 55; and Nick Adams who played Chick, a gang member, killed himself at 36. Several other people involved in the production of the movie also met untimely ends.

The Searchers (1956)

The Searchers —which ranks number one on the American Film Institute’s list of best films and has been listed as a “must-see” by critics, fans, and other film historians—is a film that demands multiple viewings to appreciate fully. It is a sprawling, complicated western, and it takes some time for its themes to germinate and stew.

It was a flop at the box office, but it is now considered a classic and an important work. Its controversial subject matter and the performances of Wood and John Wayne make it a benchmark in the history of American cinema.

Unlike many other films from the era, The Searchers did not shy away from portraying the racism and dehumanization of Native Americans. However, the movie has some odd flaws and does not hold up well to modern viewing. The blending of unregenerate violence with doltish comic set pieces, all set against Ford’s signature landscapes and sets, feels off-putting to the contemporary sensibility.

After this success, Wood continued to receive offers for roles, though most of them were family films. She also appeared in television movies and the televised version of Tennessee Williams’ Cat on a Hot Tin Roof. She married screenwriter Richard Gregson Wagner in 1972, and they had a daughter before her death. She made four more theatrical films before retiring from acting, including the mystery comedy Peeper (1975), the science fiction Meteor (1979), and the drama The Last Married Couple in America (1980).

Peeper (1975)

Sometimes a film that isn’t great upon its initial release can benefit from the passage of time and become an overlooked gem. Such is the case with Peeper, a fun little spoof of film noir that wears its influences on its sleeve.

This picture boasts a good cast and a competent director in Peter Hyams, and it contains a few decent (if unspectacular) moments. Its major problem, however, is that it never rises above the level of a silly comedy. The film spoofs noir clichés without really capturing any of the essence of the genre.

Michael Caine, who starred in another homage to the noir genre – Pulp – is miscast as Tucker, the English private eye here. He sounds too chipper delivering the pseudo-hard-boiled dialogue, and his delivery lacks the beats that define so many noir voices.

The one bright spot is Wood, who looks stunning in a series of gorgeous soft focus shots and delivers her lines with aplomb. She also is backed by Kitty Winn and Thayer David, both of whom are solid. Dorothy Adams plays the Prendergast matriarch, her last on-screen role.

Meteor (1979)

Long before Deep Impact or Armageddon there was this schlocky disaster flick. Unlike many of its ilk, it has the courage to focus less on soap operas centred around the supporting cast and more on the global political situation of US-Soviet distrust and antipathy. The script is actually quite decent and far more interesting than the usual claptrap in this genre.

Sadly the effects aren’t as good as those in later films but they do stand up pretty well given that they were made in 1979. Wood’s performance is one of her best and she is supported by a stellar cast including Henry Fonda, Brian Keith and Karl Malden. The late John Derek also makes an appearance as the President. He was so moved by the final scene that he delivered a 2 1/2 minute speech to the crew and 200 extras which was sadly cut from the film.

Meteor was made the old fashioned way – sign big stars (with big salaries); spend a lot of money on special effects; and then hope that it pays off at the box office. Unfortunately it didn’t and AIP folded and sold the rights to Filmways. Wood would go on to make a number of other films but her acting was never the same again.

The Last Married Couple in America (1980)

An A-list Hollywood actress vanishes off a yacht, and her leading man husband, a legendary actor who accompanied her on the cruise, insists she fell overboard. But LA homicide detectives have some very troubling questions about the coroner’s ruling, bruises on her body, and an argument between the pair that was heard by a ship’s skipper.

After West Side Story, Wood grew into a mature actress, showing greater depth in her roles and witty dialogue in films such as Gypsy (1962), The Great Race (1965), and Inside Daisy Clover (1965). She also made some notable television appearances, including Cat on a Hot Tin Roof and the miniseries From Here to Eternity.

In 1969, she married British producer Richard Gregson and had a daughter, Natasha. She then went into semi-retirement as a wife and mother, but returned to acting with the comedy film Bob & Carol & Ted & Alice (1969) and the science fiction movie Meteor (1979). The last theatrical films she appeared in were Peeper (1975), Pepper (1975), and the posthumously released Brainstorm in 1983. During this time, Wood was a favorite subject of fan magazines and was the object of much media attention.

Brainstorm (1983)

One of the more esoteric high-concept science fiction flicks from the ’80s, Douglas Trumbull’s Brainstorm has the seeds of greatness. The film centers around a scientist (Christopher Walken) who invents a device that can record a person’s perceptual experience and transfer it to another person. Walken’s character is convinced that this technology can lead to life after death, and he struggles to keep his invention out of the hands of the U.S. military, who plan to use it for unsavory applications.

While the premise is intriguing, the film is not without its flaws. The plot is often disjointed and a bit incoherent, especially as the film progresses towards its climax. Moreover, the effects are sometimes disappointingly cheap and dull, particularly during a sequence that seems to predict virtual porn.

Despite these issues, Wood’s performance remains strong and convincing. Her chemistry with Walken is also enjoyable to watch, and the actress’s character feels fully realized. Ultimately, Brainstorm is a compelling if somewhat flawed film that serves as an appropriate final chapter for Natalie Wood’s career. She would only appear in four more theatrical films before her death. This book examines those films, as well as her illustrious career.