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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.

Shorts

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

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

76,711 Aufrufe

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).

588,516 Aufrufe

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!”

505,523 Aufrufe

Jack Lemmon playing it smooth with Virna Lisi, 1965.

Jack Lemmon playing it smooth with Virna Lisi, 1965.

666,422 Aufrufe

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.

299,875 Aufrufe

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.

15,995 Aufrufe

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.

89,665 Aufrufe

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) 💙👗

86,497 Aufrufe

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.

76,279 Aufrufe

Vivien Leigh in a home movie, 1939 🌹

Vivien Leigh in a home movie, 1939 🌹

58,625 Aufrufe

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.”

56,626 Aufrufe

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)

42,813 Aufrufe

“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.

41,170 Aufrufe

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.

32,579 Aufrufe

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

37,979 Aufrufe

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!!!❣️💘

32,330 Aufrufe

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.

23,465 Aufrufe

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 Aufrufe

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 Aufrufe

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Ann-Margret sketch comedy on Saturday Night Live which aired on NBC 14th May, 2011.

Ann-Margret sketch comedy on Saturday Night Live which aired on NBC 14th May, 2011.

Hollywood Golden Age of Cinema

279,379 Aufrufe • vor 3 Tagen

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 Aufrufe • vor 8 Monaten

“Hollywood Steps Out” (1941) ― Merrie Melodies Cartoon. “Hollywood Steps Out” is a 1941 Warner Bros. Merrie Melodies cartoon short directed by Tex Avery and produced by Leon Schlesinger. The cartoon features caricatures of over forty contemporary Hollywood celebrities (along with guest appearances). PLOT A group of “caricatured” Hollywood stars is having an expensive dinner at Ciro's nightclub in West Hollywood. The first stars seen are Claudette Colbert, Don Ameche, Adolphe Menjou and Norma Shearer. Greta Garbo, working as a cigarette girl, sells a pack to Cary Grant, then lights his cigarette by striking a match on her very large foot. Edward G. Robinson asks Ann Sheridan “How's the Oomph girl tonight?”. Sheridan responds by uttering the word “oomph” several times. Warner Bros. staffers Henry Binder and Leon Schlesinger are shown. A seat is reserved for Bette Davis, as is an extra-wide sofa for Kate Smith. More seats are reserved for the characters of the Blondie films, including a fire hydrant for Daisy the dog. In the cloakroom, Johnny Weissmuller checks a coat with Paulette Goddard that reveals his Tarzan outfit. Sally Rand leaves her trademark feather fans behind and is presumably naked. James Cagney prepares Humphrey Bogart and George Raft for a risky task: pitching pennies. Harpo Marx gives Garbo a hot foot, who reacts with a weary “Ouch”. Clark Gable turns his head around 180 degrees to observe a blonde girl, whom he follows offscreen. Bing Crosby introduces the evening's entertainment, interrupted frequently by a racehorse with an apparently unconscious jockey. Crosby presents conductor Leopold Stokowski, who wears a snood before performing “Ahí, viene la conga” (also known as “Here comes the conga” in English). The conga inspires Dorothy Lamour to invite James Stewart to dance with her, who stutters, stammers, and runs away scared. Gable dances by, following the girl he saw earlier. Tyrone Power dances with Sonja Henie. Frankenstein's monster dances stiffly and woodenly. The Three Stooges abuse each other in rhythm to the beat. Oliver Hardy's dance partner is revealed to be twin blonde women initially hidden by his obese frame. Cesar Romero dances clumsily with Rita Hayworth. Mickey Rooney, sitting with Judy Garland, is presented with an expensive bill, who turns to ask his Andy Hardy movie father (Lewis Stone) for a heart-to-heart talk. In the next scene, they are seen washing dishes. Gable is still pursuing the girl. Crosby then introduces Sally Rand (identified as “Sally Strand”), performing a bubble dance to “I'm Forever Blowing Bubbles”, as the camera cuts between the men's reactions and her dancing. Spectators at various tables include: Kay Kyser, William Powell, Spencer Tracy, Ronald Colman, Errol Flynn, Wallace Beery, and C. Aubrey Smith, who wolf-whistle in unison (by saying “Baby!”), Peter Lorre, Henry Fonda, whose “mother” pulls him away by his ear (in its reference to The Aldrich Family), J. Edgar Hoover, Boris Karloff, Arthur Treacher, Buster Keaton, and Mischa Auer, asked by Ned Sparks if they are having a good time, and Jerry Colonna, who reveals an invisible character next to him called “Yehudi”. Now that Strand is standing still on the stage, this allows Harpo Marx an opportunity to shoot her bubble with a slingshot. The bubble explodes on impact, and she reacts with shock, as it reveals she is wearing a barrel, held up by suspenders. Meanwhile, Gable has finally caught up to the girl he was chasing and insists she kiss him. The girl turns out to be Groucho Marx in drag. CAST Kent Rogers as James Cagney, Cary Grant, Edward G. Robinson, Clark Gable, Ned Sparks, Peter Lorre, Groucho Marx, Mickey Rooney, James Stewart, J. Edgar Hoover, Henry Fonda, Bing Crosby, Kay Kyser, and Lewis Stone. Mel Blanc as Jerry Colonna. Sara Berner as Greta Garbo, Ann Sheridan, Paulette Goddard, Dorothy Lamour, and Henry Fonda's mother. Directed by Supervision: Fred Avery Story by: Dave Monahan Produced by: Leon Schlesinger Starring Kent Rogers, Sara Berner, and Mel Blanc Edited by: Treg Brown Music by: Carl W. Stalling Animation by: Rod Scribner Color Process: Technicolor Production Company: Leon Schlesinger Productions Distributed by: Warner Bros. Pictures Release Dates: May 24, 1941 (original); October 2, 1948 (Blue Ribbon reissue).

“Hollywood Steps Out” (1941) ― Merrie Melodies Cartoon. “Hollywood Steps Out” is a 1941 Warner Bros. Merrie Melodies cartoon short directed by Tex Avery and produced by Leon Schlesinger. The cartoon features caricatures of over forty contemporary Hollywood celebrities (along with guest appearances). PLOT A group of “caricatured” Hollywood stars is having an expensive dinner at Ciro's nightclub in West Hollywood. The first stars seen are Claudette Colbert, Don Ameche, Adolphe Menjou and Norma Shearer. Greta Garbo, working as a cigarette girl, sells a pack to Cary Grant, then lights his cigarette by striking a match on her very large foot. Edward G. Robinson asks Ann Sheridan “How's the Oomph girl tonight?”. Sheridan responds by uttering the word “oomph” several times. Warner Bros. staffers Henry Binder and Leon Schlesinger are shown. A seat is reserved for Bette Davis, as is an extra-wide sofa for Kate Smith. More seats are reserved for the characters of the Blondie films, including a fire hydrant for Daisy the dog. In the cloakroom, Johnny Weissmuller checks a coat with Paulette Goddard that reveals his Tarzan outfit. Sally Rand leaves her trademark feather fans behind and is presumably naked. James Cagney prepares Humphrey Bogart and George Raft for a risky task: pitching pennies. Harpo Marx gives Garbo a hot foot, who reacts with a weary “Ouch”. Clark Gable turns his head around 180 degrees to observe a blonde girl, whom he follows offscreen. Bing Crosby introduces the evening's entertainment, interrupted frequently by a racehorse with an apparently unconscious jockey. Crosby presents conductor Leopold Stokowski, who wears a snood before performing “Ahí, viene la conga” (also known as “Here comes the conga” in English). The conga inspires Dorothy Lamour to invite James Stewart to dance with her, who stutters, stammers, and runs away scared. Gable dances by, following the girl he saw earlier. Tyrone Power dances with Sonja Henie. Frankenstein's monster dances stiffly and woodenly. The Three Stooges abuse each other in rhythm to the beat. Oliver Hardy's dance partner is revealed to be twin blonde women initially hidden by his obese frame. Cesar Romero dances clumsily with Rita Hayworth. Mickey Rooney, sitting with Judy Garland, is presented with an expensive bill, who turns to ask his Andy Hardy movie father (Lewis Stone) for a heart-to-heart talk. In the next scene, they are seen washing dishes. Gable is still pursuing the girl. Crosby then introduces Sally Rand (identified as “Sally Strand”), performing a bubble dance to “I'm Forever Blowing Bubbles”, as the camera cuts between the men's reactions and her dancing. Spectators at various tables include: Kay Kyser, William Powell, Spencer Tracy, Ronald Colman, Errol Flynn, Wallace Beery, and C. Aubrey Smith, who wolf-whistle in unison (by saying “Baby!”), Peter Lorre, Henry Fonda, whose “mother” pulls him away by his ear (in its reference to The Aldrich Family), J. Edgar Hoover, Boris Karloff, Arthur Treacher, Buster Keaton, and Mischa Auer, asked by Ned Sparks if they are having a good time, and Jerry Colonna, who reveals an invisible character next to him called “Yehudi”. Now that Strand is standing still on the stage, this allows Harpo Marx an opportunity to shoot her bubble with a slingshot. The bubble explodes on impact, and she reacts with shock, as it reveals she is wearing a barrel, held up by suspenders. Meanwhile, Gable has finally caught up to the girl he was chasing and insists she kiss him. The girl turns out to be Groucho Marx in drag. CAST Kent Rogers as James Cagney, Cary Grant, Edward G. Robinson, Clark Gable, Ned Sparks, Peter Lorre, Groucho Marx, Mickey Rooney, James Stewart, J. Edgar Hoover, Henry Fonda, Bing Crosby, Kay Kyser, and Lewis Stone. Mel Blanc as Jerry Colonna. Sara Berner as Greta Garbo, Ann Sheridan, Paulette Goddard, Dorothy Lamour, and Henry Fonda's mother. Directed by Supervision: Fred Avery Story by: Dave Monahan Produced by: Leon Schlesinger Starring Kent Rogers, Sara Berner, and Mel Blanc Edited by: Treg Brown Music by: Carl W. Stalling Animation by: Rod Scribner Color Process: Technicolor Production Company: Leon Schlesinger Productions Distributed by: Warner Bros. Pictures Release Dates: May 24, 1941 (original); October 2, 1948 (Blue Ribbon reissue).

Hollywood Golden Age of Cinema

42,061 Aufrufe • vor 2 Tagen

Barbra Streisand as Katie and Robert Redford as Hubbell in “The Way We Were” (1973), directed by Sydney Pollack. Years after their divorce, Katie and Hubbell meet by chance in front of the Plaza Hotel in New York City, where Katie is demonstrating to “Ban the Bomb”. A taxi interrupts their reunion and they part with a tender, bittersweet farewell. A box-office success, “The Way We Were” was nominated for several awards and won the Academy Awards for Best Original Dramatic Score (Marvin Hamlisch) and Best Original Song for the theme song “The Way We Were”. It ranked at number six on AFI's 100 Years...100 Passions survey of the top 100 greatest love stories in American cinema. The “The Way We Were” soundtrack album became a gold record and hit the Top 20 on the Billboard 200, while the title song became a gold single, topping the Billboard Hot 100 and selling more than two million copies. Billboard named “The Way We Were” as the number 1 pop hit of 1974. In 1998, the song was inducted into the Grammy Hall of Fame and finished at number eight on the American Film Institute's 100 Years...100 Songs list of top tunes in American cinema in 2004. It also was included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts.

Barbra Streisand as Katie and Robert Redford as Hubbell in “The Way We Were” (1973), directed by Sydney Pollack. Years after their divorce, Katie and Hubbell meet by chance in front of the Plaza Hotel in New York City, where Katie is demonstrating to “Ban the Bomb”. A taxi interrupts their reunion and they part with a tender, bittersweet farewell. A box-office success, “The Way We Were” was nominated for several awards and won the Academy Awards for Best Original Dramatic Score (Marvin Hamlisch) and Best Original Song for the theme song “The Way We Were”. It ranked at number six on AFI's 100 Years...100 Passions survey of the top 100 greatest love stories in American cinema. The “The Way We Were” soundtrack album became a gold record and hit the Top 20 on the Billboard 200, while the title song became a gold single, topping the Billboard Hot 100 and selling more than two million copies. Billboard named “The Way We Were” as the number 1 pop hit of 1974. In 1998, the song was inducted into the Grammy Hall of Fame and finished at number eight on the American Film Institute's 100 Years...100 Songs list of top tunes in American cinema in 2004. It also was included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts.

Hollywood Golden Age of Cinema

142,850 Aufrufe • vor 9 Tagen

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

178,996 Aufrufe • vor 17 Tagen

Paul Newman, George Kennedy and Strother Martin in the “failure to communicate” scene from Cool Hand Luke (1967). After writing the line, screenwriter Frank R. Pierson worried that the phrase was too complex for the warden. To explain its origin, he created a backstory that was included in the stage directions. Pierson explained that in order to advance in the Florida prison system, officers had to take criminology and penology courses at the state university, showing how the warden might know such words. Strother Martin later clarified that he felt the line was the kind that his character would very likely have heard or read from some “pointy-headed intellectuals” who had begun to infiltrate his character's world under the general rubric of a new, enlightened approach to incarceration. The quotation was listed at number 11 on the American Film Institute's list of the 100 most memorable movie lines.

Paul Newman, George Kennedy and Strother Martin in the “failure to communicate” scene from Cool Hand Luke (1967). After writing the line, screenwriter Frank R. Pierson worried that the phrase was too complex for the warden. To explain its origin, he created a backstory that was included in the stage directions. Pierson explained that in order to advance in the Florida prison system, officers had to take criminology and penology courses at the state university, showing how the warden might know such words. Strother Martin later clarified that he felt the line was the kind that his character would very likely have heard or read from some “pointy-headed intellectuals” who had begun to infiltrate his character's world under the general rubric of a new, enlightened approach to incarceration. The quotation was listed at number 11 on the American Film Institute's list of the 100 most memorable movie lines.

Hollywood Golden Age of Cinema

64,145 Aufrufe • vor 6 Tagen

Cary Grant, Sophia Loren and Harry Guardino ― “The Gold Dress” (Designed by Edith Head) scene in Houseboat (1958). Cary Grant initially accepted his role because he was dating Sophia Loren, with whom he was madly in love. After she married Carlo Ponti in September 1957, a heartbroken Grant wanted to back out. He couldn't, but the director made sure the production was a smooth one. The original screenplay was written by Betsy Drake, Cary Grant's wife at the time. Grant originally wanted it to star her, but his extramarital affair with Sophia Loren complicated the project. Grant decided to have Loren replace Drake. Adding insult to injury, it was drastically rewritten to accommodate Loren by two other writers, Jack Rose and Melville Shavelson (who also directed). Bearing little resemblance to her original script, Drake received no writing credit, and the reworked script was Oscar-nominated for Best Original Story and Screenplay.

Cary Grant, Sophia Loren and Harry Guardino ― “The Gold Dress” (Designed by Edith Head) scene in Houseboat (1958). Cary Grant initially accepted his role because he was dating Sophia Loren, with whom he was madly in love. After she married Carlo Ponti in September 1957, a heartbroken Grant wanted to back out. He couldn't, but the director made sure the production was a smooth one. The original screenplay was written by Betsy Drake, Cary Grant's wife at the time. Grant originally wanted it to star her, but his extramarital affair with Sophia Loren complicated the project. Grant decided to have Loren replace Drake. Adding insult to injury, it was drastically rewritten to accommodate Loren by two other writers, Jack Rose and Melville Shavelson (who also directed). Bearing little resemblance to her original script, Drake received no writing credit, and the reworked script was Oscar-nominated for Best Original Story and Screenplay.

Hollywood Golden Age of Cinema

49,513 Aufrufe • vor 6 Tagen

A rare glimpse into the life of Grace Kelly Music | “The First Time Ever I Saw Your Face” ― Roberta Flack

A rare glimpse into the life of Grace Kelly Music | “The First Time Ever I Saw Your Face” ― Roberta Flack

Hollywood Golden Age of Cinema

24,726 Aufrufe • vor 3 Tagen

Cary Grant and Grace Kelly in a scene from Alfred Hitchcock's romantic thriller film, To Catch a Thief (1955). When Frances (Grace Kelly) parks above Monaco about 1 hour into the film, she points and says “Just look at the colours of the sea down there”. Just before her hand drops back down, she very briefly points towards the road which was later renamed Avenue Princesse Grace in honour of Grace Kelly. The road can be seen on the left side of the screen, immediately to the left of the top of the tallest plant in the foreground.

Cary Grant and Grace Kelly in a scene from Alfred Hitchcock's romantic thriller film, To Catch a Thief (1955). When Frances (Grace Kelly) parks above Monaco about 1 hour into the film, she points and says “Just look at the colours of the sea down there”. Just before her hand drops back down, she very briefly points towards the road which was later renamed Avenue Princesse Grace in honour of Grace Kelly. The road can be seen on the left side of the screen, immediately to the left of the top of the tallest plant in the foreground.

Hollywood Golden Age of Cinema

68,110 Aufrufe • vor 13 Tagen

“The Trolley Song” performed by Judy Garland and Chorus in Meet Me in St. Louis (1944), directed by Vincente Minnelli. Its lyrics were written by Ralph Blane with composition from Hugh Martin and was nominated for Best Original Song at the 1945 Academy Awards but lost to “Swinging on a Star” from Going My Way. Meet Me in St. Louis became the second-highest-grossing film of the year, behind only Going My Way and was also MGM's most successful musical of the 1940s.

“The Trolley Song” performed by Judy Garland and Chorus in Meet Me in St. Louis (1944), directed by Vincente Minnelli. Its lyrics were written by Ralph Blane with composition from Hugh Martin and was nominated for Best Original Song at the 1945 Academy Awards but lost to “Swinging on a Star” from Going My Way. Meet Me in St. Louis became the second-highest-grossing film of the year, behind only Going My Way and was also MGM's most successful musical of the 1940s.

Hollywood Golden Age of Cinema

38,912 Aufrufe • vor 8 Tagen

Grace Kelly's entrance in Alfred Hitchcock’s Rear Window (1954) has been called “the most perfect entrance made by an actress on film”, and rightly so. 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”, and rightly so. 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

46,659 Aufrufe • vor 14 Tagen

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

52,978 Aufrufe • vor 18 Tagen

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

49,651 Aufrufe • vor 17 Tagen

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 Aufrufe • vor 7 Monaten

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 Aufrufe • vor 8 Monaten

Ann Miller ― “Shakin' the Blues Away” ― Easter Parade (1948) Easter Parade marked Ann Miller's major MGM debut. Miller had previously been under contract to RKO in the 1930s and then to Columbia Pictures in the early to mid-1940s, replacing Cyd Charisse, who withdrew from the production due to torn ligaments in her knee.

Ann Miller ― “Shakin' the Blues Away” ― Easter Parade (1948) Easter Parade marked Ann Miller's major MGM debut. Miller had previously been under contract to RKO in the 1930s and then to Columbia Pictures in the early to mid-1940s, replacing Cyd Charisse, who withdrew from the production due to torn ligaments in her knee.

Hollywood Golden Age of Cinema

17,507 Aufrufe • vor 6 Tagen

Richard Attenborough as Squadron Leader Roger Bartlett (“Big X”) and Gordon Jackson as Flight Lieutenant Andy MacDonald (“Intelligence”) in The Great Escape (1963), directed by John Sturges. MacDonald is tricked into speaking English by a Gestapo officer while boarding a bus with Bartlett. They try to escape from the Germans, but end up being caught shortly thereafter and ultimately executed.

Richard Attenborough as Squadron Leader Roger Bartlett (“Big X”) and Gordon Jackson as Flight Lieutenant Andy MacDonald (“Intelligence”) in The Great Escape (1963), directed by John Sturges. MacDonald is tricked into speaking English by a Gestapo officer while boarding a bus with Bartlett. They try to escape from the Germans, but end up being caught shortly thereafter and ultimately executed.

Hollywood Golden Age of Cinema

25,498 Aufrufe • vor 10 Tagen

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 Aufrufe • vor 2 Monaten

Maureen O'Hara and John Wayne in a clip from The Quiet Man (1952), directed by John Ford. When Maureen O'Hara passed away in October 2015, her family stated she listened to music from The Quiet Man during her final hours.

Maureen O'Hara and John Wayne in a clip from The Quiet Man (1952), directed by John Ford. When Maureen O'Hara passed away in October 2015, her family stated she listened to music from The Quiet Man during her final hours.

Hollywood Golden Age of Cinema

23,764 Aufrufe • vor 9 Tagen

Danny Kaye's brilliant slapstick comedy and quick-witted wordplay performing the tongue twister “The pellet with the poison's in the vessel with the pestle; the chalice from the palace has the brew that is true!” in the historical musical comedy film, The Court Jester (1955). Danny Kaye's daughter, Dena Kaye, said for the rest of his life, when people recognised Danny in a restaurant, they would walk up and spout the entire “brew that is true” speech.

Danny Kaye's brilliant slapstick comedy and quick-witted wordplay performing the tongue twister “The pellet with the poison's in the vessel with the pestle; the chalice from the palace has the brew that is true!” in the historical musical comedy film, The Court Jester (1955). Danny Kaye's daughter, Dena Kaye, said for the rest of his life, when people recognised Danny in a restaurant, they would walk up and spout the entire “brew that is true” speech.

Hollywood Golden Age of Cinema

25,823 Aufrufe • vor 11 Tagen