It is a restless moment. She has kept her head lowered… to give him a chance to come closer. But he could not, for lack of courage. She turns and walks away.
250 Favorite Classic Films in no particular order
⇨ Night Must Fall (1937)
Well, here we all are perfectly ordinary English people. We woke up this morning thinking, hmmm, here’s another day. We got up, looked at the weather, talked… Here we all are still talking and… all the time…there may be something lying in the woods, hidden under a bush… with two feet showing, perhaps a high heel catching the sunlight with a bird perched on the end of it, and the other, the other stockinged foot with blood that’s dried on the stocking… and somewhere, somewhere there’s a man walking about and talking just like us, and he got up in the morning, and he looked at the world… and he killed her.
Warner’s Gold Diggers of 1933 (1933) opens up with the iconic musical number “The Gold Diggers’ Song (We’re in the Money)” sung by Ginger Rogers. On the second chorus of the song, Ginger sings the lyrics in Pig Latin where, in an extreme close-up of her face, ”We’re in the Money” becomes “Ereway inhay the oneymay”. This version of the chorus was Ginger’s idea.
One day on the set, Ginger was handed the song and told to learn it by that evening since the number was to be shot the following day. After practising the lyrics for hours, Ginger started goofing around and, instead of singing the song as it was written, she translated it into Pig Latin. Warner’s production chief at the time, Darryl F. Zanuck, heard her and was so struck by the novelty of the queer play of words that he ordered Ginger to sing in Pig Latin when the shot was taken.
Live action models Helene Stanley and Ed Kemmer during the production of the animated Walt Disney film ‘Sleeping Beauty,’ August 1958. (via)
Charles Farrell & Dolores del Río in The Red Dance (Raoul Walsh, 1928)
Carmen Miranda, c. 1940s.
1951. Santa Barbara, California. “Lana Turner by pool at the Coral Casino.” Color transparency by Earl Theisen for Look magazine.
William Powell in The Baroness and the Butler (1938)
“Clift had a deep connection with children, friends said, not because he talked to them or treated them as children but because he treated them as fellow human beings. They instantly flocked to him and he to them”. C. Petofi
My Love: Montgomery Clift (here with Kevin & Augusta McCarthy’s kid)
Favourite People: Sam Rockwell
↳ "I have no skills. There’s absolutely nothing I know how to do. So I’d be fucked otherwise. I’m very fortunate to be an actor. I know I’m very lucky to be doing this."
“But here I was, twenty years old, and I really had it all. And it was more or less handed to me. I hadn’t had years of struggle and deprivation- my struggle seemed a lot more to me at the time, but it was nothing, if not overdramatized. I hadn’t starved, I hadn’t really supported myself before California. I’d had to be careful with money- I knew about work- there were no luxuries- but I’d never really suffered for my art. I was to learn something about that much later.”
-LAUREN BACALL, 1978.
Jane Fonda cooking at home, 1968.
Joanne Woodward in The Three Faces of Eve (1957)
Thelma Todd in Hal Roach Comedies 1931-1935
During the early 1930s the supremely talented ‘Ice Cream Blonde’, Thelma Todd, lit up the screen in a series of comedy shorts. Her wit, charm and comedic timing make her performances popular and timeless. Teamed with the likes of ZaSu Pitts, Patsy Kelly, The Marx Brothers, Charley Chase, Laurel and Hardy and even the great Buster Keaton, Todd’s comedic talent is certainly a force to be reckoned with. Not only a great comedienne, she also had a flair for drama and a screen presence that is beyond compare. With her sharp tongue, vivacious demeanour and dry humour, Thelma truly embodied the spirit of the down-and-out depression era working girl.
With a career that was as vibrant and wonderful as it was, she deserves better than to be defined by her death.