Juliette Binoche photographed by by Robert Doisneau, 1991
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Juliette Binoche photographed by by Robert Doisneau, 1991
You know what I want? The same thing as me? Right now. Anywhere. DANIEL AUTEUIL as Gabor & VANESSA PARADIS as Adèle LA FILLE SUR LE PONT (1999, dir. Patrice Leconte)
Donald Sutherland in Rome, 1975
"Honi soit qui mal y pense". It means "evil to him who evil thinks". A long, long time ago, a king said it when a beautiful lady dropped her garter at court. I'll remember that next time I'm in court. PEGGIE CASTLE and ANTHONY QUINN in "THE LONG WAIT" (1954)
You will not humble yourself. This I ask.
BARBARA STANWYCK as Vance Jeffords and GILBERT ROLAND as Juan Herrera in "THE FURIES" (Anthony Mann, 1950)
Wildest Wine (stronger than any he ever tried) The very first vision of The Archdemon of the Fifth Blight
Your likes & reblog support is more than important for me. My greatest gratitude for making my art visible and known
Good luck, Blackie.
DAN O'HERLIHY and HENRY FONDA in FAIL SAFE (Sydney Lumet, 1964)
Anthony Quinn by Sam Shaw. Tchin-Tchin. New York.
You think you know something, don't you? You think you're the clever little girl who knows something. There's so much you don't know. So much. What do you know, really? You're just an ordinary little girl living in an ordinary little town. You wake up every morning of your life and you know perfectly well that there's nothing in the world to trouble you. You go through your ordinary little day, and at night, you sleep your untroubled, ordinary little sleep filled with peaceful, stupid dreams. And I brought you nightmares. Or did I? Or was it a silly, inexpert little lie? You live in a dream. You're a sleepwalker, blind. How do you know what the world is like? Do you know the world is a foul sty? Do you know if you ripped the fronts off houses, you'd find swine? The world's a hell. What does it matter what happens in it? Wake up, Charlie. Use your wits. Learn something!
SHADOW OF A DOUBT
That glance would follow the cheerful sea-Hyperion with a settled meditative and melancholy expression, his eyes strangely suffused with incipient feverish tears. Then would Claggart look like the man of sorrows. Yes, and sometimes the melancholy expression would have in it a touch of soft yearning, as if Claggart could even have loved Billy but for fate and ban. But this was an evanescence, and quickly repented of, as it were, by an immitigable look, pinching and shrivelling the visage into the momentary semblance of a wrinkled walnut.
ROBERT RYAN AND TERENCE STAMP IN PETER USTINOV'S "BILLY BUDD" (1962)
Janet Elizabeth Aulisio
Now you're my prisoner. Or are you mine?
SAMSON AND DELILAH (1949)
Galata Ludovisi. Roma, Museo Nazionale Romano, Palazzo Altemps.
What strength can these hands have against him? Perhaps greater than a lion's and softer than a dove's.
HEDY LAMARR IN SAMSON AND DELILAH (1949)
Bi-Babes - Tubbs & Crockett
Miami Herald 1984