Stuff

Things that take my fancy

[anitapallenberg]

Yield to the Night AKA Blonde Sinner (1956) | Dir. J. Lee Thompson

[anstee]

[robert-mitchum]

While filming their first film together, His Kind of Woman, Bob and Jane got along like old buddies.  From her stand-in and friend Carmen Cabeen, Russell was already well acquainted with some of Bob’s more depraved antics and she had prepared herself for his “shocking side,” but the fact that he was also so “intellectual, gentle, caring” came as a most pleasant surprise. She would rave about his astounding command of the English language–even as he would tell her she was the most inarticulate girl he knew.  He would tease her about her God-fearing ways, but he understood she was no Loretta Young, wallowing in piety.  He loved to tell the one about the pestering reporter who couldn’t believe a girl with her “image” read the Bible and went to church each Sunday.  “Hey Buddy,” she told him, “Christians have big breasts, too.“  She was good-natured, generous, strong-minded when she had to be, a stand-up guy.  Mitchum nicknamed her “Hard John.“  They became fast friends.  "I think she really adored Bob, loved him deeply, but without any hankypanky.  Because she’s a very straight girl. And he loved her.  It was just a marvelous combination,” commented Vincent Price.

Robert Mitchum said of Jane: “Jane Russell is an authentic original. She is pragmatic in her faith and fanatic in her loyalties. She disdains the weakness of vanity, and guards the truth with moral zeal. She tells it how it is.”

[ard-it]

Twiggy

(via jordanhannah93)

[marypickfords]

Beggars of Life (William A. Wellman, 1928)

[sugarhiccupy]

[aphroditeinfurs-deactivated2017]

L’Enfer (1964)

[gatabella]

Anita Ekberg  by Milton H. Greene in cherry print swimsuit on diving board. Swimsuit designed by Jantzen, 1950s

[movie-gifs]

‘野良犬’ Stray Dog — 1949 directed by Akira Kurosawa

[normasshearer]

FEMME FATALES OF THE 1940s & 1950s (insp)

Double Indemnity (1944) dir. Billy Wilder Leave Her to Heaven (1945) dir. John M. Stahl The Killers (1946) dir. Robert Siodmak Detour (1945) dir. Edward G. Ulmer The Postman Always Rings Twice (1946) dir. Tay Garnett Out of the Past (1947) dir. Jacques Tourneur The Maltese Falcon (1941) dir. John Huston Scarlet Street (1945) dir. Fritz Lang Dead Reckoning (1946) dir. John Cromwell Niagara (1953) dir. Henry Hathaway Gilda (1946) dir. Charles Vidor

[thingsiwant-nl]

[summers-in-hollywood]

Gregory Peck & Tamara Toumanova in Days of Glory, 1944. The film marked both of their feature film debuts. 

[vintage-tigre]

[charnel-grounds]

Elsa Lanchester as The Bride of Frankenstein | 1935 | dir. James Whale

from 8mm film clip

[summertimenoir]

Sylvia Sidney in Merrily We Go To Hell (1932)

[inthedarktrees]

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

[darker-than-bl4k-deactivated202]

She hate me. Like others.

The Bride of Frankenstein (1935), dir. James Whale