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Diary of a Lost Girl (1929)

Gary Cooper and Clara Bow CHILDREN OF DIVORCE (1927)

Natalie said later her favorite scene from Rebel was one between herself and Dean that was cut from the film: “It was in the car. I was waiting for him and he comes up and we talk to each other. There was a section of the scene where I imply that I’ve sort of been around, that I’m not really pure. I say to him, ‘Do you think that’s bad?’ And he says, ‘No, I just think it’s lonely. It’s the loneliest time.’ I thought it was a wonderful line—right on the cutting room floor.”

Natalie Wood and James Dean during the making of Rebel Without a Cause, 1955 | Sid Avery

memoriesofthingspast

✨🌱🌊🔥🌬️🍃⛪️

normasshearer

It wasn't anybody's fault but my own. I was looking… up at the 102nd floor. It was the nearest thing to heaven. You see… you were there.

IRENE DUNNE as Terry McKay in LOVE AFFAIR (1939) dir. Leo McCarey

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BALL OF FIRE (1941), dir. Howard Hawks — “What's your method, professor?”

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Maurice Chevalier, Marlene Dietrich, and Gary Cooper at the Hollywood premiere of Cecil B. DeMille’s The Sign of the Cross, 1932.

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trivia & fun facts

It Happened One Night (1934)

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Intolerance (1916)

normasshearer

Barbara Stanwyck as Elizabeth Lane in CHRISTMAS IN CONNECTICUT (1945) dir. Peter Godfrey Costume design by Edith Head

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Like most of its silent contemporaries, The Phantom of the Opera made extensive use of color. An array of vibrant tints were used as storytelling tools, evoking different times of day, lighting conditions, and moods for each scene. But the film didn’t stop at these usual embellishments: one of the biggest productions of its year, Phantom also employed natural color systems Prizma Color and an early form of Technicolor in several sequences. For the famous “Apollo’s Lyre” scene in which Christine betrays the Phantom’s secret, the semi-automated Handschiegl color process was used to tint Erik’s lavish, billowing red cape. Sadly, no original print of Phantom survives today, and these tints are now lost—instead, preservationists have approximated them digitally, reconstructing the Phantom’s magnificent “Red Death” costume with the aid of computerized colorization in lieu of gelatin and dye.

THE PHANTOM OF THE OPERA (1925) Directed by Rupert Julian et al. Shot by Charles Van Enger

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Fredric March and Claudette Colbert in The Sign of the Cross (1932)

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Sylvia Sidney and Gary Cooper — City Streets (1931) dir. Rouben Mamoulian

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“I immediately recognized our dolls, that one after another, almost sixty years ago, had been launched, mine by Lila, Lila's by me, into a cellar of our neighborhood. It was them, it was Tina and Nu. The dolls that we had never recovered, although we had gone underground to look for them.

With the money that Don Aquiles gave us we bought Little Women, the novel that had led Lila to write The Blue Fairy, and me to become what I am today.

That's what she had done: she had deceived me, she had dragged me where she wanted.

Or maybe not.

Maybe those two dolls that had gone through more than half a century and had arrived in Turin just meant that she was all right and that she loved me.

That she had broken her limits and finally wanted to travel the world, no longer smaller than hers, living in old age according to a new truth, her life, that had been forbidden to her in her youth, and that she had forbidden herself.

Now that Lila has shown herself so clearly, I must resign myself to not seeing her again.”

L'amica Geniale - Chapter 34 - Restitution