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Hollywood Golden Age of Cinema

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Vault of authentic movie clips starring Hollywood's Golden Age legends. Timeless performances, rare moments, & pure silver screen magic! Posts by Neil Macready.

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Jack Lemmon and Virna Lisi in How to Murder Your Wife (1965).

Jack Lemmon and Virna Lisi in How to Murder Your Wife (1965).

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Gene Kelly in Du Barry Was a Lady (1943), directed by Roy Del Ruth. This was the last film in which Gene Kelly danced to choreography other than his own (Charles Walters was the choreographer). Beginning with Thousands Cheer (1943), Kelly began taking control of his own musical numbers, and his loan-out to Columbia for Cover Girl (1944) would firmly establish him as a choreographer of note. It would be thirteen years before Kelly again moved to another choreographer's steps, in this case Jack Cole's, for Les Girls (1957).

Gene Kelly in Du Barry Was a Lady (1943), directed by Roy Del Ruth. This was the last film in which Gene Kelly danced to choreography other than his own (Charles Walters was the choreographer). Beginning with Thousands Cheer (1943), Kelly began taking control of his own musical numbers, and his loan-out to Columbia for Cover Girl (1944) would firmly establish him as a choreographer of note. It would be thirteen years before Kelly again moved to another choreographer's steps, in this case Jack Cole's, for Les Girls (1957).

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Directed by Otto Preminger, Laura (1944) is widely regarded as a classic of film noir, a style of dark, atmospheric Hollywood cinema often associated with crime and moral ambiguity that flourished in the 1940s and 1950s. The story follows detective Mark McPherson (Dana Andrews) as he investigates the apparent murder of advertising executive Laura Hunt (Gene Tierney). As he interviews those who knew her, he becomes increasingly fascinated by her, leading to one of cinema’s most memorable twists.

Directed by Otto Preminger, Laura (1944) is widely regarded as a classic of film noir, a style of dark, atmospheric Hollywood cinema often associated with crime and moral ambiguity that flourished in the 1940s and 1950s. The story follows detective Mark McPherson (Dana Andrews) as he investigates the apparent murder of advertising executive Laura Hunt (Gene Tierney). As he interviews those who knew her, he becomes increasingly fascinated by her, leading to one of cinema’s most memorable twists.

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Sally Ann Howes landed the role of Truly Scrumptious in Chitty Chitty Bang Bang (1968) without auditioning, but there was one problem. “I don’t dance,” she later admitted. “I’m appalling.” Howes had told producers she could dance and now had to learn fast. The “Doll on a Music Box” number was “the most difficult thing in the whole world. I really was very proud of it,” Howes recalled. “I did it on the set. I was a bit nervous about it, with about 150 extras [looking on]. They put me up on this box and off I went. And I got it in one take!”

Sally Ann Howes landed the role of Truly Scrumptious in Chitty Chitty Bang Bang (1968) without auditioning, but there was one problem. “I don’t dance,” she later admitted. “I’m appalling.” Howes had told producers she could dance and now had to learn fast. The “Doll on a Music Box” number was “the most difficult thing in the whole world. I really was very proud of it,” Howes recalled. “I did it on the set. I was a bit nervous about it, with about 150 extras [looking on]. They put me up on this box and off I went. And I got it in one take!”

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Jack Lemmon playing it smooth with Virna Lisi, 1965.

Jack Lemmon playing it smooth with Virna Lisi, 1965.

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Sophia Loren and Marcello Mastroianni in “Yesterday, Today and Tomorrow” (Italian: “Ieri, oggi, domani”) (1963). The film won the Academy Award for Best Foreign Language Film at the 37th Academy Awards.

Sophia Loren and Marcello Mastroianni in “Yesterday, Today and Tomorrow” (Italian: “Ieri, oggi, domani”) (1963). The film won the Academy Award for Best Foreign Language Film at the 37th Academy Awards.

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By Follower Request!!! ... James Cagney walking down the stairs at the White House then breaking into a tap dance in Yankee Doodle Dandy (1942). According to TCM, it was completely ad-libbed.

By Follower Request!!! ... James Cagney walking down the stairs at the White House then breaking into a tap dance in Yankee Doodle Dandy (1942). According to TCM, it was completely ad-libbed.

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Costume Designer Edith Head about Grace Kelly : ― “I have never worked with anyone who had a more intelligent grasp of what she was doing. But she still has this rather charming childish quality ― the exuberance of a child in a candy shop.” Grace Kelly as Frances Stevens in Alfred Hitchcock’s “To Catch a Thief” (1955). This iconic blue chiffon gown was designed by Edith Head and is an appreciable nod to Christian Dior’s ‘New Look’, launched onto the fashion stage in 1947.

Costume Designer Edith Head about Grace Kelly : ― “I have never worked with anyone who had a more intelligent grasp of what she was doing. But she still has this rather charming childish quality ― the exuberance of a child in a candy shop.” Grace Kelly as Frances Stevens in Alfred Hitchcock’s “To Catch a Thief” (1955). This iconic blue chiffon gown was designed by Edith Head and is an appreciable nod to Christian Dior’s ‘New Look’, launched onto the fashion stage in 1947.

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Grace Kelly’s blue dress designed by Edith Head in To Catch a Thief (1955) 💙👗

Grace Kelly’s blue dress designed by Edith Head in To Catch a Thief (1955) 💙👗

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Vivien Leigh in a home movie, 1939 🌹

Vivien Leigh in a home movie, 1939 🌹

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The Major and the Minor (1942) As you know, Veronica Lake was known for her “peek-a-boo” hairstyle. “It isn’t true that I was born with a lock of blonde hair over my right eye, but if people want to say so, it’s all right with me,” Lake said at the time. “Actually, I didn’t think up that style at all. It was an accident. When I was making my first screen test, my hair dropped over my eye, and the studio went to work to exploit that different sort of hair-do. All I did was wear my hair the way I was told ... It’s a trademark now.”

The Major and the Minor (1942) As you know, Veronica Lake was known for her “peek-a-boo” hairstyle. “It isn’t true that I was born with a lock of blonde hair over my right eye, but if people want to say so, it’s all right with me,” Lake said at the time. “Actually, I didn’t think up that style at all. It was an accident. When I was making my first screen test, my hair dropped over my eye, and the studio went to work to exploit that different sort of hair-do. All I did was wear my hair the way I was told ... It’s a trademark now.”

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Marilyn Monroe and Jane Russell in the “tiara” scene from Gentlemen Prefer Blondes (1953) “I always say a kiss on the hand might feel very good, but a diamond tiara lasts forever.” (Marilyn Monroe as Lorelei Lee)

Marilyn Monroe and Jane Russell in the “tiara” scene from Gentlemen Prefer Blondes (1953) “I always say a kiss on the hand might feel very good, but a diamond tiara lasts forever.” (Marilyn Monroe as Lorelei Lee)

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Rare home video footage of Grace Kelly while on vacation with her family in Ocean City, New Jersey, clips from the mid-1930s and early-1940s. She would have been around 12 years old in the first few clips and 7-8 years old in the last one. Their seaside summer home in Ocean City certainly represented a place of fun memories and happy gatherings. The Kelly's spent time along the shore, swimming in the ocean and playing in the sand. In her teenage years, Grace worked as a waitress at The Chatterbox, an iconic American restaurant in Ocean City. Grace referred to it as her “favorite summer resort”, where, even after she transitioned to Princess of Monaco, she found herself returning to with Rainier and their children for family reunions. It is such a comfort to know that today the former Kelly residence still stands and looks the same as it did in those days.

Rare home video footage of Grace Kelly while on vacation with her family in Ocean City, New Jersey, clips from the mid-1930s and early-1940s. She would have been around 12 years old in the first few clips and 7-8 years old in the last one. Their seaside summer home in Ocean City certainly represented a place of fun memories and happy gatherings. The Kelly's spent time along the shore, swimming in the ocean and playing in the sand. In her teenage years, Grace worked as a waitress at The Chatterbox, an iconic American restaurant in Ocean City. Grace referred to it as her “favorite summer resort”, where, even after she transitioned to Princess of Monaco, she found herself returning to with Rainier and their children for family reunions. It is such a comfort to know that today the former Kelly residence still stands and looks the same as it did in those days.

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“Can you... manage?” 😏 The ever-sensational Sophia Loren — draped in Christian Dior and effortlessly stirring up trouble — plays it to perfection opposite the eternally gallant Gregory Peck in Arabesque, Stanley Donen’s 1966 Technicolor cocktail of espionage and elegance. Their on-screen chemistry wasn’t just movie magic. A genuine friendship sparked in 1963, when Loren handed Peck his Oscar for To Kill a Mockingbird, only to be reciprocated decades later when he presented her with an Honorary Academy Award in 1991. Call it mutual admiration with a touch of cinematic flair. In Arabesque, Loren’s smoldering glamour and unbothered badassery play the perfect foil to Peck’s cerebral charm. The film may have split the critics at first, but time has been kind — Arabesque is now a cult classic, treasured for its glossy blend of style, suspense, and sly wit.

“Can you... manage?” 😏 The ever-sensational Sophia Loren — draped in Christian Dior and effortlessly stirring up trouble — plays it to perfection opposite the eternally gallant Gregory Peck in Arabesque, Stanley Donen’s 1966 Technicolor cocktail of espionage and elegance. Their on-screen chemistry wasn’t just movie magic. A genuine friendship sparked in 1963, when Loren handed Peck his Oscar for To Kill a Mockingbird, only to be reciprocated decades later when he presented her with an Honorary Academy Award in 1991. Call it mutual admiration with a touch of cinematic flair. In Arabesque, Loren’s smoldering glamour and unbothered badassery play the perfect foil to Peck’s cerebral charm. The film may have split the critics at first, but time has been kind — Arabesque is now a cult classic, treasured for its glossy blend of style, suspense, and sly wit.

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Audrey Hepburn & Fred Astaire in ‘Funny Face’ (1957) ❤️ A musical set in Paris, Funny Face paired Audrey with fashion, photography, Fred Astaire and became her favourite film she ever worked on. In one of the movie’s most memorable scenes, Audrey wore a red Givenchy gown, a look that’s since become iconic in film and fashion history. “Audrey asked for me, and I was ready. This might be my one and only chance to work with the great and lovely Audrey Hepburn and I wasn’t going to miss it. Period!” — Fred Astaire

Audrey Hepburn & Fred Astaire in ‘Funny Face’ (1957) ❤️ A musical set in Paris, Funny Face paired Audrey with fashion, photography, Fred Astaire and became her favourite film she ever worked on. In one of the movie’s most memorable scenes, Audrey wore a red Givenchy gown, a look that’s since become iconic in film and fashion history. “Audrey asked for me, and I was ready. This might be my one and only chance to work with the great and lovely Audrey Hepburn and I wasn’t going to miss it. Period!” — Fred Astaire

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Grace Kelly and Jimmy Stewart in Rear Window (1954) ... The art of the backhanded compliment!!! ... Don't you just love the way Grace says “I do” with that smile!!!❣️💘

Grace Kelly and Jimmy Stewart in Rear Window (1954) ... The art of the backhanded compliment!!! ... Don't you just love the way Grace says “I do” with that smile!!!❣️💘

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Audrey Hepburn in Breakfast at Tiffany’s (1961) delivered one of the most iconic performances in film history. Playing Holly Golightly, she portrayed a charming, mysterious New York socialite with a mix of elegance, innocence, and sadness. Her character lived freely, chasing glamour and love while hiding loneliness behind her dazzling smile. Audrey’s black Givenchy dress, pearl necklace, and long cigarette holder became timeless symbols of class and style. Beyond fashion, her performance captured the delicate balance between vulnerability and sophistication, making Holly Golightly one of the most unforgettable characters in cinema.

Audrey Hepburn in Breakfast at Tiffany’s (1961) delivered one of the most iconic performances in film history. Playing Holly Golightly, she portrayed a charming, mysterious New York socialite with a mix of elegance, innocence, and sadness. Her character lived freely, chasing glamour and love while hiding loneliness behind her dazzling smile. Audrey’s black Givenchy dress, pearl necklace, and long cigarette holder became timeless symbols of class and style. Beyond fashion, her performance captured the delicate balance between vulnerability and sophistication, making Holly Golightly one of the most unforgettable characters in cinema.

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In Remembrance of Hedy Lamarr. Born | November 9, 1914 in Vienna, Austria. Died | January 19, 2000 aged 85 in Casselberry, Florida, USA. Hedy Lamarr, the woman many critics and fans alike regard as the most beautiful ever to appear in films, was born Hedwig Eva Maria Kiesler in Vienna, Austria. She was the daughter of Gertrud (Lichtwitz), from Budapest, and Emil Kiesler, a banker from Lemberg (now known as Lviv). Her parents were both from Jewish families. Hedwig had a calm childhood, but it was cinema that fascinated her. By the time she was a teenager, she decided to drop out of school and seek fame as an actress, and was a student of theatre director Max Reinhardt in Berlin. Her first role was a bit part in the German film Geld auf der Straße (1930) (aka “Money on the Street”) in 1930. She was attractive and talented enough to be in three more German productions in 1931, but it would be her fifth film that catapulted her to worldwide fame. In 1932 she appeared in a Czech film called Ekstase (US title: “Ecstasy”) and had made the gutsy move to appear nude. It's the story of a young girl who is married to a gentleman much older than she, but she winds up falling in love with a young soldier. The film's nude scenes created a sensation all over the world. The scenes, very tame by today's standards, caused the film to be banned by the U.S. government at the time. Hedy soon married Fritz Mandl, a munitions manufacturer and a prominent Austrofascist. He attempted to buy up all the prints of “Ecstasy” he could lay his hands on (Italy's dictator, Benito Mussolini, had a copy but refused to sell it to Mandl), but to no avail (there are prints floating around the world today). The notoriety of the film brought Hollywood to her door. She was brought to the attention of MGM mogul Louis B. Mayer, who signed her to a contract (a notorious prude when it came to his studio's films, Mayer signed her against his better judgment, but the money he knew her notoriety would bring in to the studio overrode any moral concerns he may have had). However, he insisted she change her name and make good, wholesome films. Hedy starred in a series of exotic adventure epics. She made her American film debut as Gaby in Algiers (1938). This was followed a year later by Lady of the Tropics (1939). In 1942, she played the plum role of Tondelayo in the classic White Cargo (1942). After World War II, her career began to decline, and MGM decided it would be in the interest of all concerned if her contract were not renewed. Unfortunately for Hedy, she turned down the leads in both Gaslight (1940) and Casablanca (1942), both of which would have cemented her standing in the minds of the American public. At the beginning of World War II, along with composer George Antheil, Lamarr co-invented a radio guidance system for Allied torpedoes that used spread spectrum and frequency hopping technology to defeat the threat of radio jamming by the Axis powers. This approach, conceptualised as a “Secret Communication System”, was intended to provide secure, jam-resistant communication for weapon guidance by spreading the signal across multiple frequencies. Similar technology was used in operational systems only beginning in 1962, which was well after World War II and three years after the expiry of the Lamarr-Antheil patent. Frequency hopping, which existed and was utilised before the Lamarr-Antheil patent, is a foundational technology for spread spectrum communications. Its principles are utilised for secure wireless networking, including Bluetooth and early versions of Wi-Fi, which use variants of spread spectrum to protect data from interception and interference. In 1949, Hedy Lamarr starred as Delilah opposite Victor Mature's Samson in Cecil B. DeMille's epic Samson and Delilah (1949). This proved to be Paramount Pictures' then most profitable movie to date, bringing in $12 million in rental from theatres. The film's success led to more parts, but it was not enough to ease her financial crunch. She made only six more films between 1949 and 1957, the last being The Female Animal (1957). The 1970s was a decade of increasing seclusion for Lamarr. She was offered several scripts, television commercials, and stage projects, but none piqued her interest. In 1974, she filed a $10 million lawsuit against Warner Bros., claiming that the running parody of her name (“Hedley Lamarr”) in the Mel Brooks comedy Blazing Saddles infringed her right to privacy. Brooks said he was flattered. The studio settled out of court for an undisclosed nominal sum and an apology to Lamarr for “almost using her name”. Brooks said that Lamarr “never got the joke”. In 1981, with her eyesight failing, Lamarr retreated from public life and settled in Miami Beach, Florida. A large Corel-drawn image of Lamarr won CorelDRAW's yearly software suite cover design contest in 1996. For several years, beginning in 1997, it was featured on boxes of the software suite. Lamarr sued the company for using her image without her permission. Corel countered that she did not own rights to the image. The parties reached an undisclosed settlement in 1998. For her contribution to the motion picture industry, Lamarr has a star on the Hollywood Walk of Fame at 6247 Hollywood Boulevard adjacent to Vine Street where the walk is centered. Lamarr became estranged from her older son, James Lamarr Loder, when he was 12 years old. Their relationship ended abruptly, and he moved in with another family. They did not speak again for almost 50 years. Lamarr left James Loder out of her will, and he sued for control of the US$3.3 million estate left by Lamarr in 2000. He eventually settled for US$50,000. In her later years, Lamarr lived in Altamonte Springs, Florida, before moving to Casselberry, Florida, in the final months of her life. She communicated with family and friends almost exclusively by telephone. However, after moving to Casselberry, two friends who lived nearby would visit her at home to check on her a few times a week. On January 19, 2000, Lamarr was found dead at her home in Casselberry at the age of 85; the cause of death was heart disease. Her son Anthony Loder spread part of her ashes in Austria's Vienna Woods in accordance with her last wishes. In 2014, a memorial to Lamarr was unveiled in Vienna's Central Cemetery. The remainder of her ashes were buried there.

In Remembrance of Hedy Lamarr. Born | November 9, 1914 in Vienna, Austria. Died | January 19, 2000 aged 85 in Casselberry, Florida, USA. Hedy Lamarr, the woman many critics and fans alike regard as the most beautiful ever to appear in films, was born Hedwig Eva Maria Kiesler in Vienna, Austria. She was the daughter of Gertrud (Lichtwitz), from Budapest, and Emil Kiesler, a banker from Lemberg (now known as Lviv). Her parents were both from Jewish families. Hedwig had a calm childhood, but it was cinema that fascinated her. By the time she was a teenager, she decided to drop out of school and seek fame as an actress, and was a student of theatre director Max Reinhardt in Berlin. Her first role was a bit part in the German film Geld auf der Straße (1930) (aka “Money on the Street”) in 1930. She was attractive and talented enough to be in three more German productions in 1931, but it would be her fifth film that catapulted her to worldwide fame. In 1932 she appeared in a Czech film called Ekstase (US title: “Ecstasy”) and had made the gutsy move to appear nude. It's the story of a young girl who is married to a gentleman much older than she, but she winds up falling in love with a young soldier. The film's nude scenes created a sensation all over the world. The scenes, very tame by today's standards, caused the film to be banned by the U.S. government at the time. Hedy soon married Fritz Mandl, a munitions manufacturer and a prominent Austrofascist. He attempted to buy up all the prints of “Ecstasy” he could lay his hands on (Italy's dictator, Benito Mussolini, had a copy but refused to sell it to Mandl), but to no avail (there are prints floating around the world today). The notoriety of the film brought Hollywood to her door. She was brought to the attention of MGM mogul Louis B. Mayer, who signed her to a contract (a notorious prude when it came to his studio's films, Mayer signed her against his better judgment, but the money he knew her notoriety would bring in to the studio overrode any moral concerns he may have had). However, he insisted she change her name and make good, wholesome films. Hedy starred in a series of exotic adventure epics. She made her American film debut as Gaby in Algiers (1938). This was followed a year later by Lady of the Tropics (1939). In 1942, she played the plum role of Tondelayo in the classic White Cargo (1942). After World War II, her career began to decline, and MGM decided it would be in the interest of all concerned if her contract were not renewed. Unfortunately for Hedy, she turned down the leads in both Gaslight (1940) and Casablanca (1942), both of which would have cemented her standing in the minds of the American public. At the beginning of World War II, along with composer George Antheil, Lamarr co-invented a radio guidance system for Allied torpedoes that used spread spectrum and frequency hopping technology to defeat the threat of radio jamming by the Axis powers. This approach, conceptualised as a “Secret Communication System”, was intended to provide secure, jam-resistant communication for weapon guidance by spreading the signal across multiple frequencies. Similar technology was used in operational systems only beginning in 1962, which was well after World War II and three years after the expiry of the Lamarr-Antheil patent. Frequency hopping, which existed and was utilised before the Lamarr-Antheil patent, is a foundational technology for spread spectrum communications. Its principles are utilised for secure wireless networking, including Bluetooth and early versions of Wi-Fi, which use variants of spread spectrum to protect data from interception and interference. In 1949, Hedy Lamarr starred as Delilah opposite Victor Mature's Samson in Cecil B. DeMille's epic Samson and Delilah (1949). This proved to be Paramount Pictures' then most profitable movie to date, bringing in $12 million in rental from theatres. The film's success led to more parts, but it was not enough to ease her financial crunch. She made only six more films between 1949 and 1957, the last being The Female Animal (1957). The 1970s was a decade of increasing seclusion for Lamarr. She was offered several scripts, television commercials, and stage projects, but none piqued her interest. In 1974, she filed a $10 million lawsuit against Warner Bros., claiming that the running parody of her name (“Hedley Lamarr”) in the Mel Brooks comedy Blazing Saddles infringed her right to privacy. Brooks said he was flattered. The studio settled out of court for an undisclosed nominal sum and an apology to Lamarr for “almost using her name”. Brooks said that Lamarr “never got the joke”. In 1981, with her eyesight failing, Lamarr retreated from public life and settled in Miami Beach, Florida. A large Corel-drawn image of Lamarr won CorelDRAW's yearly software suite cover design contest in 1996. For several years, beginning in 1997, it was featured on boxes of the software suite. Lamarr sued the company for using her image without her permission. Corel countered that she did not own rights to the image. The parties reached an undisclosed settlement in 1998. For her contribution to the motion picture industry, Lamarr has a star on the Hollywood Walk of Fame at 6247 Hollywood Boulevard adjacent to Vine Street where the walk is centered. Lamarr became estranged from her older son, James Lamarr Loder, when he was 12 years old. Their relationship ended abruptly, and he moved in with another family. They did not speak again for almost 50 years. Lamarr left James Loder out of her will, and he sued for control of the US$3.3 million estate left by Lamarr in 2000. He eventually settled for US$50,000. In her later years, Lamarr lived in Altamonte Springs, Florida, before moving to Casselberry, Florida, in the final months of her life. She communicated with family and friends almost exclusively by telephone. However, after moving to Casselberry, two friends who lived nearby would visit her at home to check on her a few times a week. On January 19, 2000, Lamarr was found dead at her home in Casselberry at the age of 85; the cause of death was heart disease. Her son Anthony Loder spread part of her ashes in Austria's Vienna Woods in accordance with her last wishes. In 2014, a memorial to Lamarr was unveiled in Vienna's Central Cemetery. The remainder of her ashes were buried there.

21,096 görüntüleme

Lucille Ball and Bob Hope's first and last time sharing the screen. The 1949 film “Sorrowful Jones” was the first of four movies Lucille Ball made with Bob Hope. They remained lifelong friends frequently working together and appearing on one another's television shows. Bob appeared with Lucille for what would be her final television appearance on March 29th, 1989 at the 61st Academy Awards Ceremony where Bob and Lucille introduced the performance of the “I Wanna Be an Oscar Winner” musical number. Lucille Ball passed away less than a month later on April 26th, 1989 she was 77 years old. Bob Hope lived to be 100 years old passing away on July 27th, 2003.

Lucille Ball and Bob Hope's first and last time sharing the screen. The 1949 film “Sorrowful Jones” was the first of four movies Lucille Ball made with Bob Hope. They remained lifelong friends frequently working together and appearing on one another's television shows. Bob appeared with Lucille for what would be her final television appearance on March 29th, 1989 at the 61st Academy Awards Ceremony where Bob and Lucille introduced the performance of the “I Wanna Be an Oscar Winner” musical number. Lucille Ball passed away less than a month later on April 26th, 1989 she was 77 years old. Bob Hope lived to be 100 years old passing away on July 27th, 2003.

11,090 görüntüleme

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Grace Kelly's unforgettable blue gown in Alfred Hitchcock's To Catch a Thief (1955) was designed by legendary costume designer Edith Head and remains one of the most celebrated dresses in cinema history. The dress is an ethereal, ice blue to periwinkle silk chiffon evening gown that appears to float around Kelly as she moves. The strapless bodice is softly draped and precisely fitted, accentuating her shoulders and elegant neckline without looking overtly structured. From the waist, the skirt falls in multiple whisper-light layers of chiffon, creating a cloud-like silhouette that catches every movement. One of its defining features is the long, sheer chiffon stole that drapes from the back of the bodice and trails behind her like a veil. Rather than serving as a dramatic cape, it adds a sense of effortless movement, fluttering as she walks through the casino scene. The fabric's transparency and delicate layering give the gown an almost luminous quality, particularly under the film's Technicolor photography. Costume sketches describe it as "soft blue chiffon" and emphasise subtle blue-violet tones. The colour itself shifts depending on the lighting, appearing variously as powder blue, icy blue, periwinkle, or pale sapphire. This changing quality has become part of the gown's mystique, enhanced by the rich saturation of VistaVision and Technicolor cinematography. Kelly wears the dress with a matching blue purse and impeccably coiffed blonde hair and restrained styling with no jewellery to accessorise the gown allowing it to command attention while reflecting the character Frances Stevens' cool confidence and aristocratic glamour. Fashion historians often cite this gown as a masterclass in understated luxury. Rather than relying on heavy embellishment, Edith Head achieved drama through impeccable cut, fluid chiffon, and a perfectly judged shade of blue. Its influence has endured for decades, inspiring designers and famously echoing in Diana, Princess of Wales's ice blue Cannes gown in 1987. Music | “She's The One” ― Robbie Williams.

Grace Kelly's unforgettable blue gown in Alfred Hitchcock's To Catch a Thief (1955) was designed by legendary costume designer Edith Head and remains one of the most celebrated dresses in cinema history. The dress is an ethereal, ice blue to periwinkle silk chiffon evening gown that appears to float around Kelly as she moves. The strapless bodice is softly draped and precisely fitted, accentuating her shoulders and elegant neckline without looking overtly structured. From the waist, the skirt falls in multiple whisper-light layers of chiffon, creating a cloud-like silhouette that catches every movement. One of its defining features is the long, sheer chiffon stole that drapes from the back of the bodice and trails behind her like a veil. Rather than serving as a dramatic cape, it adds a sense of effortless movement, fluttering as she walks through the casino scene. The fabric's transparency and delicate layering give the gown an almost luminous quality, particularly under the film's Technicolor photography. Costume sketches describe it as "soft blue chiffon" and emphasise subtle blue-violet tones. The colour itself shifts depending on the lighting, appearing variously as powder blue, icy blue, periwinkle, or pale sapphire. This changing quality has become part of the gown's mystique, enhanced by the rich saturation of VistaVision and Technicolor cinematography. Kelly wears the dress with a matching blue purse and impeccably coiffed blonde hair and restrained styling with no jewellery to accessorise the gown allowing it to command attention while reflecting the character Frances Stevens' cool confidence and aristocratic glamour. Fashion historians often cite this gown as a masterclass in understated luxury. Rather than relying on heavy embellishment, Edith Head achieved drama through impeccable cut, fluid chiffon, and a perfectly judged shade of blue. Its influence has endured for decades, inspiring designers and famously echoing in Diana, Princess of Wales's ice blue Cannes gown in 1987. Music | “She's The One” ― Robbie Williams.

Hollywood Golden Age of Cinema

172,004 görüntüleme • 3 gün önce

A rare glimpse into an initially deleted scene from ‘Breakfast at Tiffany’s’ (1961), featuring Beverly Powers as a burlesque dancer, Audrey Hepburn and George Peppard.

A rare glimpse into an initially deleted scene from ‘Breakfast at Tiffany’s’ (1961), featuring Beverly Powers as a burlesque dancer, Audrey Hepburn and George Peppard.

Hollywood Golden Age of cinema

8,763,671 görüntüleme • 7 ay önce

Bob Fosse’s famous choreography in Sweet Charity (1969) This was Fosse’s directorial debut, but the film barely made a proft and received very mixed reviews. Despite this, Universal gave Fosse another chance, and he made Cabaret (1972), for which he became the first director in history to win an Oscar, a Tony, and an Emmy in the same year.

Bob Fosse’s famous choreography in Sweet Charity (1969) This was Fosse’s directorial debut, but the film barely made a proft and received very mixed reviews. Despite this, Universal gave Fosse another chance, and he made Cabaret (1972), for which he became the first director in history to win an Oscar, a Tony, and an Emmy in the same year.

Hollywood Golden Age of Cinema

32,943 görüntüleme • 1 gün önce

The stunning Ann Miller shows off her incredible tap dancing skills in the classic musical “Kiss Me Kate” (1953)! 💖

The stunning Ann Miller shows off her incredible tap dancing skills in the classic musical “Kiss Me Kate” (1953)! 💖

Hollywood Golden Age of Cinema

46,726 görüntüleme • 3 gün önce

The Nicholas Brothers didn’t just dance in Stormy Weather (1943). They rewrote what audiences thought was physically possible! Fayard and Harold Nicholas combined tap, acrobatics, and perfect timing into a sequence that still feels impossible more than 80 years later. Leaping over each other, dancing across pianos, and finishing with their legendary staircase routine, they performed every move for real. Fred Astaire later called it the greatest dance sequence ever filmed, and it’s easy to see why. Some performances age. This one just keeps raising the bar.

The Nicholas Brothers didn’t just dance in Stormy Weather (1943). They rewrote what audiences thought was physically possible! Fayard and Harold Nicholas combined tap, acrobatics, and perfect timing into a sequence that still feels impossible more than 80 years later. Leaping over each other, dancing across pianos, and finishing with their legendary staircase routine, they performed every move for real. Fred Astaire later called it the greatest dance sequence ever filmed, and it’s easy to see why. Some performances age. This one just keeps raising the bar.

Hollywood Golden Age of Cinema

51,958 görüntüleme • 4 gün önce

Sally Ann Howes as Truly Scrumptious singing “Doll on a Music Box” in Chitty Chitty Bang Bang (1968). “Doll on a Music Box” is a song originally from the 1968 musical film, Chitty Chitty Bang Bang. It was subsequently performed in the 2002/2005 stage musical Chitty Chitty Bang Bang as well. It is both a musical and lyrical counterpoint to the more free flowing, legato song, “Truly Scrumptious”. In the song, Truly is disguised as a wind up music box doll, metaphorically and actually on a pedestal. In the song, Truly sings about herself and her rigid nature, all behind the mask of the “doll” she is portraying. In the motion picture, the part of Truly was played by actress Sally Ann Howes. In the stage musical version, the part was re-created by 19-year-old London actress, Emma Williams. In 2005, the Broadway “Truly” was portrayed by actress Erin Dilly, who was nominated for a Tony Award that year for the role. Wardrobe Truly Scrumptious sports a dirndl in this sequence consisting of a forest green satin bodice (trimmed in black velvet and accented with stitched crisscrossed red ribbon straps down the front and gold buttons), white blouse (the sleeves are double puffed done in delicate white silk satin; there are three yellow ribbons stitched to the sleeves for added detail; the collar is also trimmed in lace), full, printed (in the shape of gold diamonds) cotton red skirt (a tea length petticoat) and white, cotton apron (with a German inspired floral motif). Truly also wore white tights and black pumps (with a silver buckle near the toe area) with a Tyrolean hairstyle incorporating both pigtails and braids. “Doll on a Music Box” was written by Robert B. Sherman & Richard M. Sherman.

Sally Ann Howes as Truly Scrumptious singing “Doll on a Music Box” in Chitty Chitty Bang Bang (1968). “Doll on a Music Box” is a song originally from the 1968 musical film, Chitty Chitty Bang Bang. It was subsequently performed in the 2002/2005 stage musical Chitty Chitty Bang Bang as well. It is both a musical and lyrical counterpoint to the more free flowing, legato song, “Truly Scrumptious”. In the song, Truly is disguised as a wind up music box doll, metaphorically and actually on a pedestal. In the song, Truly sings about herself and her rigid nature, all behind the mask of the “doll” she is portraying. In the motion picture, the part of Truly was played by actress Sally Ann Howes. In the stage musical version, the part was re-created by 19-year-old London actress, Emma Williams. In 2005, the Broadway “Truly” was portrayed by actress Erin Dilly, who was nominated for a Tony Award that year for the role. Wardrobe Truly Scrumptious sports a dirndl in this sequence consisting of a forest green satin bodice (trimmed in black velvet and accented with stitched crisscrossed red ribbon straps down the front and gold buttons), white blouse (the sleeves are double puffed done in delicate white silk satin; there are three yellow ribbons stitched to the sleeves for added detail; the collar is also trimmed in lace), full, printed (in the shape of gold diamonds) cotton red skirt (a tea length petticoat) and white, cotton apron (with a German inspired floral motif). Truly also wore white tights and black pumps (with a silver buckle near the toe area) with a Tyrolean hairstyle incorporating both pigtails and braids. “Doll on a Music Box” was written by Robert B. Sherman & Richard M. Sherman.

Hollywood Golden Age of Cinema

29,659 görüntüleme • 2 gün önce

Glenn Miller and his orchestra perform “In the Mood” in Sun Valley Serenade (1941), delivering one of the defining musical moments of the swing era. The tight brass, unforgettable saxophone melody, and effortless chemistry between the musicians show exactly why this performance has stood the test of time. Originally recorded in 1939, “In the Mood” became Glenn Miller’s signature hit and helped define an entire generation of American music. Decades later, the recording was inducted into the Grammy Hall of Fame, added to the National Recording Registry, and recognised by NPR as one of the 100 most important American musical works of the 20th century.

Glenn Miller and his orchestra perform “In the Mood” in Sun Valley Serenade (1941), delivering one of the defining musical moments of the swing era. The tight brass, unforgettable saxophone melody, and effortless chemistry between the musicians show exactly why this performance has stood the test of time. Originally recorded in 1939, “In the Mood” became Glenn Miller’s signature hit and helped define an entire generation of American music. Decades later, the recording was inducted into the Grammy Hall of Fame, added to the National Recording Registry, and recognised by NPR as one of the 100 most important American musical works of the 20th century.

Hollywood Golden Age of Cinema

34,348 görüntüleme • 5 gün önce

Rita Hayworth and Fred Astaire make this tap dancing routine in You'll Never Get Rich (1941) look effortless. Every step is perfectly timed, every turn flows naturally, and neither dancer ever seems to be chasing the music. Their movement feels so smooth that it’s easy to forget just how difficult this level of precision really is. It wasn’t just their technical ability. They trusted each other completely, creating a connection that made every routine feel natural, elegant, and unforgettable.

Rita Hayworth and Fred Astaire make this tap dancing routine in You'll Never Get Rich (1941) look effortless. Every step is perfectly timed, every turn flows naturally, and neither dancer ever seems to be chasing the music. Their movement feels so smooth that it’s easy to forget just how difficult this level of precision really is. It wasn’t just their technical ability. They trusted each other completely, creating a connection that made every routine feel natural, elegant, and unforgettable.

Hollywood Golden Age of Cinema

29,669 görüntüleme • 5 gün önce

I Confess (1953) is one of Alfred Hitchcock’s most underrated masterpieces. It follows Father Michael Logan, played by Montgomery Clift, a Catholic priest who hears a murderer’s confession but cannot reveal the killer’s identity because of the sacred seal of confession. Hitchcock builds suspense using his well-known principle of dramatic irony: the audience knows the truth while the characters do not, creating tension as an innocent priest becomes the prime suspect. Montgomery Clift, one of the pioneers of Method acting in Hollywood, delivers a highly restrained and deeply sensitive performance, internalising Father Logan’s moral agony rather than playing it melodramatically. He expresses the character’s conflict through silence, controlled stillness, and subtle nuances. Because the role offers very little dialogue and requires constant emotional suppression, much of the performance’s weight rests on Clift’s magnificent and expressive eyes.

I Confess (1953) is one of Alfred Hitchcock’s most underrated masterpieces. It follows Father Michael Logan, played by Montgomery Clift, a Catholic priest who hears a murderer’s confession but cannot reveal the killer’s identity because of the sacred seal of confession. Hitchcock builds suspense using his well-known principle of dramatic irony: the audience knows the truth while the characters do not, creating tension as an innocent priest becomes the prime suspect. Montgomery Clift, one of the pioneers of Method acting in Hollywood, delivers a highly restrained and deeply sensitive performance, internalising Father Logan’s moral agony rather than playing it melodramatically. He expresses the character’s conflict through silence, controlled stillness, and subtle nuances. Because the role offers very little dialogue and requires constant emotional suppression, much of the performance’s weight rests on Clift’s magnificent and expressive eyes.

Hollywood Golden Age of Cinema

17,427 görüntüleme • 4 gün önce

Errol Flynn and Olivia de Havilland in a scene from “The Adventures of Robin Hood” (1938), directed by Michael Curtiz. During one fight sequence, Errol Flynn was jabbed by an actor who was using an unprotected sword ― Flynn asked him why he didn't have a guard on the point. The other player apologised and explained that director Michael Curtiz had instructed him to remove the safety feature in order to make the action “more exciting”. Flynn reportedly climbed up a gantry where Curtiz was standing next to the camera, took him by the throat and asked him if he found that “exciting enough.”

Errol Flynn and Olivia de Havilland in a scene from “The Adventures of Robin Hood” (1938), directed by Michael Curtiz. During one fight sequence, Errol Flynn was jabbed by an actor who was using an unprotected sword ― Flynn asked him why he didn't have a guard on the point. The other player apologised and explained that director Michael Curtiz had instructed him to remove the safety feature in order to make the action “more exciting”. Flynn reportedly climbed up a gantry where Curtiz was standing next to the camera, took him by the throat and asked him if he found that “exciting enough.”

Hollywood Golden Age of Cinema

617,845 görüntüleme • 7 ay önce

Gone with the Wind (1939) Opening Credits and Musical Score by Austrian composer Max Steiner, one of the greatest musical composers in the history of motion pictures. Steiner composed over 300 film scores with RKO Pictures and Warner Bros. and was nominated for 24 Academy Awards, winning three: The Informer (1935); Now, Voyager (1942); and Since You Went Away (1944). Besides his Oscar-winning scores, some of Steiner's popular works include King Kong (1933), Little Women (1933), Jezebel (1938), and Casablanca (1942), though he did not compose its love theme, “As Time Goes By”. In addition, Steiner scored The Searchers (1956), A Summer Place (1959), and Gone with the Wind (1939), which ranked second on the AFI's list of best American film scores, and is the film score for which he is best known.

Gone with the Wind (1939) Opening Credits and Musical Score by Austrian composer Max Steiner, one of the greatest musical composers in the history of motion pictures. Steiner composed over 300 film scores with RKO Pictures and Warner Bros. and was nominated for 24 Academy Awards, winning three: The Informer (1935); Now, Voyager (1942); and Since You Went Away (1944). Besides his Oscar-winning scores, some of Steiner's popular works include King Kong (1933), Little Women (1933), Jezebel (1938), and Casablanca (1942), though he did not compose its love theme, “As Time Goes By”. In addition, Steiner scored The Searchers (1956), A Summer Place (1959), and Gone with the Wind (1939), which ranked second on the AFI's list of best American film scores, and is the film score for which he is best known.

Hollywood Golden Age of Cinema

15,030 görüntüleme • 4 gün önce

Travis Bickle’s mohawk in Taxi Driver wasn't De Niro's idea. It came from Victor Magnotta, a friend of Scorsese's who had served in Vietnam and played a Secret Service agent in the film. Magnotta told them that in Saigon, if you saw a soldier with a mohawk, it meant he was ready to go into a Special Forces operation and you stayed away from him. De Niro couldn't actually shave his head because he was about to start filming The Last Tycoon with Elia Kazan right after. So he called Dick Smith, the makeup artist behind The Godfather and The Exorcist, who later won an Oscar for Amadeus. Smith built a latex bald cap and glued each bit of hair onto it individually. The cap was so uncomfortable that De Niro had to keep his neck completely stiff all day to stop it from peeling off. That stiffness ended up becoming part of the character; Travis doesn't move his head like a normal person in those scenes because De Niro physically couldn't. The whole film cost $1.9 million. The mohawk is still intact and you can visit it at the Museum of the Moving Image in Astoria, Queens. Description and photos sourced from Filmatic. Filmatic on X (Twitter) | Filmatic Filmatic on Instagram |

Travis Bickle’s mohawk in Taxi Driver wasn't De Niro's idea. It came from Victor Magnotta, a friend of Scorsese's who had served in Vietnam and played a Secret Service agent in the film. Magnotta told them that in Saigon, if you saw a soldier with a mohawk, it meant he was ready to go into a Special Forces operation and you stayed away from him. De Niro couldn't actually shave his head because he was about to start filming The Last Tycoon with Elia Kazan right after. So he called Dick Smith, the makeup artist behind The Godfather and The Exorcist, who later won an Oscar for Amadeus. Smith built a latex bald cap and glued each bit of hair onto it individually. The cap was so uncomfortable that De Niro had to keep his neck completely stiff all day to stop it from peeling off. That stiffness ended up becoming part of the character; Travis doesn't move his head like a normal person in those scenes because De Niro physically couldn't. The whole film cost $1.9 million. The mohawk is still intact and you can visit it at the Museum of the Moving Image in Astoria, Queens. Description and photos sourced from Filmatic. Filmatic on X (Twitter) | Filmatic Filmatic on Instagram |

Hollywood Golden Age of Cinema

173,532 görüntüleme • 2 ay önce

Julie Andrews reaction to this is everything. 🥹 Celebrating the 65th anniversary of the song “Edelweiss” with this ✨WICKED✨ performance from Cynthia Erivo. Credit: The 48th AFI Life Achievement Award: A Tribute to Julie Andrews 2022 Courtesy of the American Film Institute.

Julie Andrews reaction to this is everything. 🥹 Celebrating the 65th anniversary of the song “Edelweiss” with this ✨WICKED✨ performance from Cynthia Erivo. Credit: The 48th AFI Life Achievement Award: A Tribute to Julie Andrews 2022 Courtesy of the American Film Institute.

Hollywood Golden Age of Cinema

536,722 görüntüleme • 7 ay önce

Cyd Charisse started dancing lessons at six to build up her strength after a bout of polio. At 12 she studied ballet in Los Angeles with Adolph Bolm and Bronislava Nijinska, and at 14 she auditioned for and subsequently danced in the Ballet Russe de Monte-Carlo as “Felia Siderova” and, later, “Maria Istomina”. Charisse was educated at the Hollywood Professional School. Deep in My Heart (1954) primarily consists of a series of cameo turns by nearly every significant singer or dancer on the MGM lot at the time. These include dancer Cyd Charisse, Rosemary Clooney (José Ferrer's wife), Vic Damone, Howard Keel, Gene Kelly and his brother Fred Kelly (their only on-screen appearance together), Tony Martin, Ann Miller, James Mitchell, Jane Powell, Joan Weldon, and ballerina Tamara Toumanova. Robert Easton, Russ Tamblyn, Susan Luckey, and Ludwig Stössel make uncredited appearances. Cyd Charisse's stunning costume was designed by Helen Rose who designed all the women's costumes for Deep in My Heart while Walter Plunkett designed all the costumes for the men. In this video clip, we see Cyd Charisse and James Mitchell dancing to “The Desert Song” in Deep in My Heart (1954) ― one of the greatest dance sequences performed by two of the best dancers from the Golden Age of cinema.

Cyd Charisse started dancing lessons at six to build up her strength after a bout of polio. At 12 she studied ballet in Los Angeles with Adolph Bolm and Bronislava Nijinska, and at 14 she auditioned for and subsequently danced in the Ballet Russe de Monte-Carlo as “Felia Siderova” and, later, “Maria Istomina”. Charisse was educated at the Hollywood Professional School. Deep in My Heart (1954) primarily consists of a series of cameo turns by nearly every significant singer or dancer on the MGM lot at the time. These include dancer Cyd Charisse, Rosemary Clooney (José Ferrer's wife), Vic Damone, Howard Keel, Gene Kelly and his brother Fred Kelly (their only on-screen appearance together), Tony Martin, Ann Miller, James Mitchell, Jane Powell, Joan Weldon, and ballerina Tamara Toumanova. Robert Easton, Russ Tamblyn, Susan Luckey, and Ludwig Stössel make uncredited appearances. Cyd Charisse's stunning costume was designed by Helen Rose who designed all the women's costumes for Deep in My Heart while Walter Plunkett designed all the costumes for the men. In this video clip, we see Cyd Charisse and James Mitchell dancing to “The Desert Song” in Deep in My Heart (1954) ― one of the greatest dance sequences performed by two of the best dancers from the Golden Age of cinema.

Hollywood Golden Age of Cinema

46,520 görüntüleme • 20 gün önce

Happy 80th Birthday to GOLDIE HAWN Born | November 21, 1945 in Washington, DC, USA Video | Worrying is the WORST Thing You Can Do! | Goldie Hawn American actress, producer, dancer, and singer Goldie Jeanne Hawn achieved stardom and acclaim for playing light-hearted comedic roles in film and television. In a career spanning six decades, she has received several awards, including an Academy Award and a Golden Globe Award as well as nominations for a BAFTA Award and two Primetime Emmy Awards. She rose to fame on the NBC sketch comedy program Rowan & Martin's Laugh-In (1968–1970). She made her screen debut in a minor role in the western comedy The One and Only, Genuine, Original Family Band (1968), before going on to receive the Academy Award for Best Supporting Actress and Golden Globe Award for Best Supporting Actress for her comedic role in Cactus Flower (1969). She was nominated for the Academy Award for Best Actress for playing a woman who enlists for the army in the comedy Private Benjamin (1980). Hawn has also starred in such comedy films as There's a Girl in My Soup (1970), Butterflies Are Free (1972), The Sugarland Express (1974), Shampoo (1975), Foul Play (1978), and Seems Like Old Times (1980). She later starred in Overboard (1987), Bird on a Wire (1990), Death Becomes Her, Housesitter (both 1992), The First Wives Club (1996), The Out-of-Towners (1999), and The Banger Sisters (2002). Hawn made her return to film with roles in Snatched (2017), The Christmas Chronicles (2018), and The Christmas Chronicles 2 (2020). Hawn is the mother of actors Oliver Hudson, Kate Hudson, and Wyatt Russell. She has been in a relationship with Kurt Russell since 1983. In 2003, she founded the Hawn Foundation, which educates underprivileged children.

Happy 80th Birthday to GOLDIE HAWN Born | November 21, 1945 in Washington, DC, USA Video | Worrying is the WORST Thing You Can Do! | Goldie Hawn American actress, producer, dancer, and singer Goldie Jeanne Hawn achieved stardom and acclaim for playing light-hearted comedic roles in film and television. In a career spanning six decades, she has received several awards, including an Academy Award and a Golden Globe Award as well as nominations for a BAFTA Award and two Primetime Emmy Awards. She rose to fame on the NBC sketch comedy program Rowan & Martin's Laugh-In (1968–1970). She made her screen debut in a minor role in the western comedy The One and Only, Genuine, Original Family Band (1968), before going on to receive the Academy Award for Best Supporting Actress and Golden Globe Award for Best Supporting Actress for her comedic role in Cactus Flower (1969). She was nominated for the Academy Award for Best Actress for playing a woman who enlists for the army in the comedy Private Benjamin (1980). Hawn has also starred in such comedy films as There's a Girl in My Soup (1970), Butterflies Are Free (1972), The Sugarland Express (1974), Shampoo (1975), Foul Play (1978), and Seems Like Old Times (1980). She later starred in Overboard (1987), Bird on a Wire (1990), Death Becomes Her, Housesitter (both 1992), The First Wives Club (1996), The Out-of-Towners (1999), and The Banger Sisters (2002). Hawn made her return to film with roles in Snatched (2017), The Christmas Chronicles (2018), and The Christmas Chronicles 2 (2020). Hawn is the mother of actors Oliver Hudson, Kate Hudson, and Wyatt Russell. She has been in a relationship with Kurt Russell since 1983. In 2003, she founded the Hawn Foundation, which educates underprivileged children.

Hollywood Golden Age of cinema

448,075 görüntüleme • 7 ay önce

I hope this might give some of you a laugh and don't we need one!!! 😂🤣... “Ann-Margret” (Kristen Wiig) trying to throw a piece of paper away into a trash can. This skit aired on NBC's Saturday Night Live (SNL) in 2014.

I hope this might give some of you a laugh and don't we need one!!! 😂🤣... “Ann-Margret” (Kristen Wiig) trying to throw a piece of paper away into a trash can. This skit aired on NBC's Saturday Night Live (SNL) in 2014.

Hollywood Golden Age of Cinema

440,573 görüntüleme • 7 ay önce

Grace Kelly's entrance in Alfred Hitchcock's Rear Window (1954) has been called “the most perfect entrance made by an actress on film”. 💋😙👩‍❤️‍💋‍👨 According to Hitchcock’s associate producer, Herbert Coleman, “it was the most beautiful shot of a woman I have ever seen in my life”.

Grace Kelly's entrance in Alfred Hitchcock's Rear Window (1954) has been called “the most perfect entrance made by an actress on film”. 💋😙👩‍❤️‍💋‍👨 According to Hitchcock’s associate producer, Herbert Coleman, “it was the most beautiful shot of a woman I have ever seen in my life”.

Hollywood Golden Age of cinema

421,458 görüntüleme • 7 ay önce

This scene of Cyd Charisse from Silk Stockings (1957 was met with a least a couple of raised eyebrows from the Hays film censors. For one two-second instant, she is seen at length in a silk camisole exposing her legendary legs. This was considered too risqué by the Hays office, and a high-back chair was integrated into the dance for her to run behind. After she emerges from behind the chair, she has slipped on a swirling petticoat, but it is transparent and gives quick glimpses of her legs anyway, which were what most viewers wanted to see. The costume at the end of this clip was designed by Helen Rose.

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This scene of Cyd Charisse from Silk Stockings (1957 was met with a least a couple of raised eyebrows from the Hays film censors. For one two-second instant, she is seen at length in a silk camisole exposing her legendary legs. This was considered too risqué by the Hays office, and a high-back chair was integrated into the dance for her to run behind. After she emerges from behind the chair, she has slipped on a swirling petticoat, but it is transparent and gives quick glimpses of her legs anyway, which were what most viewers wanted to see. The costume at the end of this clip was designed by Helen Rose.

Hollywood Golden Age of Cinema

218,410 görüntüleme • 4 ay önce

In the 1953 film “Niagara”, Marilyn Monroe left her mark on cinema history with one of the most iconic walks ever captured on screen ― and in one continuous shot! 👠 Her graceful steps, the way her costume highlighted her silhouette, and the confidence in her gaze turned a simple walk into pure legend. Designed by Dorothy Jeakins, the costume perfectly framed Marilyn’s unforgettable presence. Her walk in “Niagara” is remembered as one of the longest — and most unforgettable — in the history of cinema.

In the 1953 film “Niagara”, Marilyn Monroe left her mark on cinema history with one of the most iconic walks ever captured on screen ― and in one continuous shot! 👠 Her graceful steps, the way her costume highlighted her silhouette, and the confidence in her gaze turned a simple walk into pure legend. Designed by Dorothy Jeakins, the costume perfectly framed Marilyn’s unforgettable presence. Her walk in “Niagara” is remembered as one of the longest — and most unforgettable — in the history of cinema.

Hollywood Golden Age of Cinema

352,124 görüntüleme • 7 ay önce