Miyu Living Dead

Miyu. I'm from Santiago, Chile.I'm 31. I fangirl a lot about things/people. I love Films, Beauty, Art, Photography, Music, Books, Graphic novels, Cats, Fashion, Vintage Cars, Veggie food, Sci-fi, Zombies, Vodka, Jägermeister & to smoke red Lucky Strikes.I'm mad about: Deftones, The Cure, Recoil, Siouxsie and the Banshees,QOTSA, The Beatles, Madness, David Bowie, The Prodigy, Tom Waits, Depeche Mode, Björk; BBC Shows, Dexter, The X-Files, Misfits, Spaced, The Office UK.. Michael Caine, Jerry Lewis, Jeff Bridges, Donald O'Connor, Marlene Dietrich, Hedy Lamarr, Sophia Loren, Anita Ekberg, Malcolm McDowell, Alan Wilder, Gary Oldman, John Wayne, Paul McCartney, Martin Freeman, Stellan Skarsgård, Stephen Fry.The 30's, 40's, 50's, 60's and 80's, to dance, and magic ...

[sackedaw]

When war broke out, I embraced it, with some inexplicable sense of relief… [an easier life] that’s the last thing I want.

[nonsensenonstar-deactivated2012]

[miyulivingdead-blog]

The thirty-or-so years of music covered in this photoset can’t even begin to cover everything he’s done… but, well, it tries.

[yunafire]

[tranimation]

This piece of galactic trash…. Why are you attractive?!?

[ragstocadillacs]

Jayne Mansfield

[timsheltress]

The Wolf || Mumford & Sons |x| Pt.1

[miyulivingdead-blog]

:3

[alwaysmarilynmonroe]

Marilyn at a press conference in February 1956.

[miyulivingdead-blog]

Jessica Stevenson(now Haynes) and Martin Freeman in “Confetti”(2006) I always love to see my favourite “flawless awesome” people together in a film… especially when they play a couple who wants to have a wedding inspired by the 30s-40s musical films… This is priceless! [* Did you know?: The film was acted out as an improvisation and was shot entirely in chronological order. OMG!] I saw this movie last night… and OMG! I caaaan’t with their cuteness overload!!!! These TWO are killing meee!!!… aawwwsdfghjklññlñlasdfwwwghhññ!

(*I need to squeeze or hug something)

[lisbethsalander-deactivated2018]

[miyulivingdead-blog]

Stellan Skarsgård

[grouchosmarx]

[miyulivingdead-blog]

Favourite Classic Films (in no particular order) The Quiet Man (1952), dir. John Ford

There’ll be no locks or bolts between us, Mary Kate…except those in your own mercenary little heart.

[cinematicromance]

[warnerbrosentertainment]

[miyulivingdead-blog]

“Figure a man’s only good for one oath at a time.” - Ethan Edwards‪

[twinspeaks-deactivated20121108]

[miyulivingdead-blog]

Films in 2012 → Without Reservations (1946)

You know I once met a girl on a train. She told me something I hope I’ll never forget. She said, ‘You gotta keep a feller on his toes. You gotta keep him worried and upset…make him jealous.’

[movie-go-round-deactivated20151]

Our turnin’ back don’t mean nothin’, not in the long run. She’s alive, she’s safe for a while. They’ll keep her and raise her as one of their own til, until she’s of an age to… Injun will chase a thing till he thinks he’s chased it enough. Then he quits. Same way when he runs. Seems like he never learns there’s such a thing as a critter that’ll just keep comin’ on. So we’ll find ‘em in the end, I promise you. We’ll find 'em. Just as sure as a turnin’ of the earth. - The Searchers (1956)

[nitratediva]

[miyulivingdead-blog]

Hedy Lamarr in Algiers (1938). Ponder this for a moment: you can thank this lady and her invention of frequency-hopping for the technology that you’re probably using to look at this gif.

[bridiequilty]

[kinohole]

“I’m Hard to Get, John T.” - Peter Bogdanovich on "Rio Bravo"

The idea for Rio Bravo (1959) began with Howard Hawks hating High Noon (1952). In 1962, Hawks explained this to me, referring to High Noon as that picture “in which Gary Cooper ran around trying to get help and no one would give him any. And that’s rather a silly thing for a man to do, especially since at the end of the picture he is able to do the job by himself. So I said, ‘We’ll do just the opposite, and take a real professional viewpoint.…”

The key word there is “professional,” because Cooper was playing a sheriff in a small town, to which a killer is about to return to murder him. Yet protecting the community was the sheriff’s job, for which he is being paid, and Hawks (who had himself done three movies with Cooper) deeply believed that his character’s behavior was, simply and thoroughly, unprofessional. So in Rio Bravo, when Sheriff John Wayne, in a similar situation, is offered help, he refuses it, saying in effect, “If they’re really good, I’ll take them. If not, I’ll just have to take care of them.” Hawks went on: “We did everything that way—the exact opposite of what annoyed me in High Noon—and it worked: people liked it.”

People loved it. Rio Bravo didn’t get any Academy Award nominations (High Noon got seven), but it was a far more popular movie with audiences than High Noon, for which Cooper won his second Best Actor Oscar (his first had been in 1941 for Hawks’ Sergeant York). Critically, Rio Bravo was received as a likable new John Wayne western, nothing much else. Some reviewers complained that it was crass of Hawks to have Dean Martin and Ricky Nelson (whose first grown-up part this was, as a gunslinger) sing in the movie. I mentioned this once to Hawks and he said, guilelessly, “Well, they were both known as singers, I thought the audience might like to hear them sing.” He didn’t mention that he’d had similar singing sequences in a number of his films, similarly used as a way of bonding the characters. That Rio Bravo was actually the brilliant culmination of a 40-year career by one of America’s finest film artists was something only the French New Wave and a couple of similarly minded Englishmen and Americans (like Andrew Sarris) pointed out.

As Jean-Luc Godard wrote: “The great filmmakers always tie themselves down by complying with the rules of the game.… Take, for example, the films of Howard Hawks, and in particular Rio Bravo. That is a work of extraordinary psychological insight and aesthetic perception, but Hawks has made his film so that the insight can pass unnoticed without disturbing the audience that has come to see a Western like all others. Hawks is the greater because he has succeeded in fitting all he holds most dear into a well-worn subject.”

[kinohole]

More at link.

[docwsb]

Twiggy by Bert Stern, 1967