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Celebrating the Movie Stars and Films from Hollywood Golden Age of Cinema Managed and Curated by Neil Macready

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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).

588,516 次观看

I'm not sure about you, but I had no idea until now that the ending of Psycho (released across the USA on this day, September 8, 1960) involves a superimposition of three elements that many people fail to notice. The last shot of Norman Bates’ face has a still frame of a human skull superimposed on it. That skull is his Mother’s. This dissolves into a shot of the chain pulling out Marion’s car out of the swamp. The chain is placed so that it appears to be moving through where Norman/Mother’s heart would be, symbolically showing that the two are tied together. I have slowed down the movie frames considerably so you can see the superimposition for yourself.

I'm not sure about you, but I had no idea until now that the ending of Psycho (released across the USA on this day, September 8, 1960) involves a superimposition of three elements that many people fail to notice. The last shot of Norman Bates’ face has a still frame of a human skull superimposed on it. That skull is his Mother’s. This dissolves into a shot of the chain pulling out Marion’s car out of the swamp. The chain is placed so that it appears to be moving through where Norman/Mother’s heart would be, symbolically showing that the two are tied together. I have slowed down the movie frames considerably so you can see the superimposition for yourself.

90,623 次观看

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 次观看

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 次观看

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

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

77,668 次观看

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 次观看

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 次观看

Hedy Lamarr selling U.S. War Bonds during World War II. Lamarr wanted to join the National Inventors Council, but was reportedly told by NIC member Charles F. Kettering and others that she could better help the war effort by using her celebrity status to sell war bonds. Hedy participated in a war-bond-selling campaign with a sailor named Eddie Rhodes. Rhodes was in the crowd at each Lamarr appearance, and she would call him up on stage. She would briefly flirt with him before asking the audience if she should give him a kiss. The crowd would say yes, to which Hedy would reply that she would if enough people bought war bonds. After enough bonds were purchased, she would kiss Rhodes and he would head back into the audience. Then they would head off to the next war bond rally.

Hedy Lamarr selling U.S. War Bonds during World War II. Lamarr wanted to join the National Inventors Council, but was reportedly told by NIC member Charles F. Kettering and others that she could better help the war effort by using her celebrity status to sell war bonds. Hedy participated in a war-bond-selling campaign with a sailor named Eddie Rhodes. Rhodes was in the crowd at each Lamarr appearance, and she would call him up on stage. She would briefly flirt with him before asking the audience if she should give him a kiss. The crowd would say yes, to which Hedy would reply that she would if enough people bought war bonds. After enough bonds were purchased, she would kiss Rhodes and he would head back into the audience. Then they would head off to the next war bond rally.

14,082 次观看

Ingrid Bergman as Dr. Constance Petersen is immediately smitten with Gregory Peck as Dr. Anthony Edwardes in Alfred Hitchcock's psychological thriller film, Spellbound (1945).

Ingrid Bergman as Dr. Constance Petersen is immediately smitten with Gregory Peck as Dr. Anthony Edwardes in Alfred Hitchcock's psychological thriller film, Spellbound (1945).

19,705 次观看

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 次观看

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.

16,069 次观看

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 次观看

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At the conclusion of The Quiet Man (1952), Kate (Maureen O'Hara) and Sean (John Wayne) are standing in their garden waving good-bye. Kate turns to Sean and whispers something in his ear, evoking a priceless reaction from Wayne. What was said was known only to O'Hara, Wayne and director John Ford. In exchange for saying this unscripted bit of text, O'Hara insisted that the exact line never be disclosed by any involved parties. In her memoirs, Maureen O'Hara says that she refused to say the line at first as she “couldn't possibly say that to Duke”, but Ford insisted, claiming he needed a genuine shock reaction from Wayne. The line remains a mystery to this day, but the rumour is that it was something sexual.

At the conclusion of The Quiet Man (1952), Kate (Maureen O'Hara) and Sean (John Wayne) are standing in their garden waving good-bye. Kate turns to Sean and whispers something in his ear, evoking a priceless reaction from Wayne. What was said was known only to O'Hara, Wayne and director John Ford. In exchange for saying this unscripted bit of text, O'Hara insisted that the exact line never be disclosed by any involved parties. In her memoirs, Maureen O'Hara says that she refused to say the line at first as she “couldn't possibly say that to Duke”, but Ford insisted, claiming he needed a genuine shock reaction from Wayne. The line remains a mystery to this day, but the rumour is that it was something sexual.

Hollywood Golden Age of Cinema

175,032 次观看 • 3 天前

In Remembrance of Hattie McDaniel Born | June 10, 1893 in Wichita, Kansas, USA Died | October 26, 1952 (aged 59) in Woodland Hills, California, USA Video | Hattie McDaniel as Mammy in Gone with the Wind (1939), for which she received the Oscar for Best Supporting Actress.

In Remembrance of Hattie McDaniel Born | June 10, 1893 in Wichita, Kansas, USA Died | October 26, 1952 (aged 59) in Woodland Hills, California, USA Video | Hattie McDaniel as Mammy in Gone with the Wind (1939), for which she received the Oscar for Best Supporting Actress.

Hollywood Golden Age of Cinema

31,942 次观看 • 1 天前

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 次观看 • 11 个月前

Cyd Charisse and James Mitchell in one of the most sensual and technically proficient dance routines in cinema history — “One Alone” (from 1926 operetta The Desert Song, lyrics by Oscar Hammerstein II and Otta A. Harbach) from the biographical musical film Deep in My Heart (1954) about the life of operetta composer Sigmund Romberg. The film, which takes its title from “Deep in My Heart, Dear”, a song from The Student Prince, 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 the ballerina Tamara Toumanova. Robert Easton, Russ Tamblyn, Susan Luckey, and Ludwig Stössel make uncredited appearances. Miss Charisse's stunning costume was designed by Helen Rose and Walter Plunkett designed all the men's costumes.

Cyd Charisse and James Mitchell in one of the most sensual and technically proficient dance routines in cinema history — “One Alone” (from 1926 operetta The Desert Song, lyrics by Oscar Hammerstein II and Otta A. Harbach) from the biographical musical film Deep in My Heart (1954) about the life of operetta composer Sigmund Romberg. The film, which takes its title from “Deep in My Heart, Dear”, a song from The Student Prince, 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 the ballerina Tamara Toumanova. Robert Easton, Russ Tamblyn, Susan Luckey, and Ludwig Stössel make uncredited appearances. Miss Charisse's stunning costume was designed by Helen Rose and Walter Plunkett designed all the men's costumes.

Hollywood Golden Age of Cinema

44,420 次观看 • 3 天前

Ann-Margret and Elvis Presley dancing to “C'mon Everybody” in Viva Las Vegas (1964), directed by George Sidney. The film is regarded by Elvis fans and film critics as one of Presley's best films, and it's noted for the real-life on-screen chemistry between Presley and Ann-Margret. Presley and Ann-Margret began an affair, which received considerable attention from film and music gossip columnists, and reportedly led to a showdown with Presley's worried girlfriend Priscilla Beaulieu. (Elvis and Priscilla married in 1967.) In her 1985 book Elvis and Me, Priscilla Presley describes the difficulties that she experienced when the gossip columnists erroneously “announced” that Ann-Margret and Presley had become engaged to be married. In her memoirs, Ann-Margret refers to Elvis Presley as her “soulmate” and stated: “We felt there was a need in 'The Industry' for a female Elvis Presley.” In addition, the filming of Viva Las Vegas reportedly produced unusually heated exchanges between the director, film veteran George Sidney, and Presley's manager, Colonel Tom Parker, who was not credited as a “Technical Advisor” in the film's credits. The arguments reportedly concerned the amount of time and effort allotted by the cinematographer, Joseph Biroc, to the song and dance numbers that featured Ann-Margret, ostensibly on the orders of the director. These scenes include views of Ann-Margret's dancing taken from many different camera angles, the use of multiple cameras for each scene, and several retakes of each of her song-and-dance scenes. David Winters, the film's choreographer, was recommended for the job by Ann-Margret, who was his dance student at the time. This was Winters's first job as a choreographer.

Ann-Margret and Elvis Presley dancing to “C'mon Everybody” in Viva Las Vegas (1964), directed by George Sidney. The film is regarded by Elvis fans and film critics as one of Presley's best films, and it's noted for the real-life on-screen chemistry between Presley and Ann-Margret. Presley and Ann-Margret began an affair, which received considerable attention from film and music gossip columnists, and reportedly led to a showdown with Presley's worried girlfriend Priscilla Beaulieu. (Elvis and Priscilla married in 1967.) In her 1985 book Elvis and Me, Priscilla Presley describes the difficulties that she experienced when the gossip columnists erroneously “announced” that Ann-Margret and Presley had become engaged to be married. In her memoirs, Ann-Margret refers to Elvis Presley as her “soulmate” and stated: “We felt there was a need in 'The Industry' for a female Elvis Presley.” In addition, the filming of Viva Las Vegas reportedly produced unusually heated exchanges between the director, film veteran George Sidney, and Presley's manager, Colonel Tom Parker, who was not credited as a “Technical Advisor” in the film's credits. The arguments reportedly concerned the amount of time and effort allotted by the cinematographer, Joseph Biroc, to the song and dance numbers that featured Ann-Margret, ostensibly on the orders of the director. These scenes include views of Ann-Margret's dancing taken from many different camera angles, the use of multiple cameras for each scene, and several retakes of each of her song-and-dance scenes. David Winters, the film's choreographer, was recommended for the job by Ann-Margret, who was his dance student at the time. This was Winters's first job as a choreographer.

HGA | Hollywood Golden Age

1,636,087 次观看 • 3 个月前

Casablanca | An Unlikely Classic: Behind The Scenes Take a look at the creation of Casablanca in this short documentary which features commentary from directors Steven Spielberg, William Friedkin, and more!

Casablanca | An Unlikely Classic: Behind The Scenes Take a look at the creation of Casablanca in this short documentary which features commentary from directors Steven Spielberg, William Friedkin, and more!

Hollywood Golden Age of Cinema

13,663 次观看 • 1 天前

In Casablanca (1942), directed by Michael Curtiz, Rick (Humphrey Bogart) and Laszlo (Paul Henreid) are interrupted when Strasser (Conrad Veidt) leads a group of German officers in singing “Die Wacht am Rhein”. Laszlo orders the house band to play “La Marseillaise”, and Rick allows it. Patriotism grips the crowd and everyone joins in, drowning out the Germans. Afterwards, Strasser has Renault (Claude Rains) close the club on a flimsy pretext.

In Casablanca (1942), directed by Michael Curtiz, Rick (Humphrey Bogart) and Laszlo (Paul Henreid) are interrupted when Strasser (Conrad Veidt) leads a group of German officers in singing “Die Wacht am Rhein”. Laszlo orders the house band to play “La Marseillaise”, and Rick allows it. Patriotism grips the crowd and everyone joins in, drowning out the Germans. Afterwards, Strasser has Renault (Claude Rains) close the club on a flimsy pretext.

Hollywood Golden Age of Cinema

11,637 次观看 • 1 天前

Vera-Ellen's incredible tap dancing routine in Wonder Man (1945) which was her film debut.

Vera-Ellen's incredible tap dancing routine in Wonder Man (1945) which was her film debut.

Hollywood Golden Age of Cinema

28,515 次观看 • 4 天前

In the 1953 film noir Niagara (1953), Marilyn Monroe walked in high heels for a distance of 116 feet in a single, uninterrupted take, making it one of the longest on-camera walking sequences in cinema history. Marilyn's outfit was designed by Dorothy Jeakins.

In the 1953 film noir Niagara (1953), Marilyn Monroe walked in high heels for a distance of 116 feet in a single, uninterrupted take, making it one of the longest on-camera walking sequences in cinema history. Marilyn's outfit was designed by Dorothy Jeakins.

Hollywood Golden Age of Cinema

75,411 次观看 • 14 天前

Cyd Charisse's striptease to the title number in Silk Stockings (1957). “This scene 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.” (Source: IMDb).

Cyd Charisse's striptease to the title number in Silk Stockings (1957). “This scene 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.” (Source: IMDb).

Hollywood Golden Age of Cinema

55,425 次观看 • 10 天前

In Remembrance of Mildred Natwick Born | June 19, 1905 in Baltimore, Maryland, USA Died | October 25, 1994 (aged 89) in Manhattan, New York City, USA Video | Robert Redford, Jane Fonda and Mildred Natwick in Barefoot in the Park (1967), directed by Gene Saks.

In Remembrance of Mildred Natwick Born | June 19, 1905 in Baltimore, Maryland, USA Died | October 25, 1994 (aged 89) in Manhattan, New York City, USA Video | Robert Redford, Jane Fonda and Mildred Natwick in Barefoot in the Park (1967), directed by Gene Saks.

Hollywood Golden Age of Cinema

12,393 次观看 • 2 天前

In Remembrance of Maureen O'Hara. Born | August 17, 1920 in Ranelagh, Dublin, Republic of Ireland. Died | October 24, 2015 (aged 95) in Boise, Idaho, USA. Video | The wind-swept kiss between Maureen O'Hara and John Wayne in The Quiet Man (1952), directed by John Ford.

In Remembrance of Maureen O'Hara. Born | August 17, 1920 in Ranelagh, Dublin, Republic of Ireland. Died | October 24, 2015 (aged 95) in Boise, Idaho, USA. Video | The wind-swept kiss between Maureen O'Hara and John Wayne in The Quiet Man (1952), directed by John Ford.

Hollywood Golden Age of Cinema

13,027 次观看 • 3 天前

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

305,613 次观看 • 3 个月前

Remembering Robert Shaw who was born on this day. Born | August 9, 1927 in Westhoughton, Lancashire, England, UK. Died | August 28, 1978 (aged 51) in Tourmakeady, County Mayo, Ireland. Video | Robert Shaw as Colonel Martin Hessler in Battle of the Bulge (1965).

Remembering Robert Shaw who was born on this day. Born | August 9, 1927 in Westhoughton, Lancashire, England, UK. Died | August 28, 1978 (aged 51) in Tourmakeady, County Mayo, Ireland. Video | Robert Shaw as Colonel Martin Hessler in Battle of the Bulge (1965).

Hollywood Golden Age of Cinema

213,285 次观看 • 2 个月前

Happy 95th Birthday to ANGIE DICKINSON. Born | September 30, 1931 in Kulm, North Dakota, USA. Video | Angie Dickinson, John Wayne, Dean Martin, and Walter Brennan in the final scene of Rio Bravo (1959), directed by Howard Hawks. American retired actress Angeline Dickinson (née Brown) began her career on television, appearing in many anthology series during the 1950s, before gaining her breakthrough role in Gun the Man Down (1956) with James Arness and the Western film Rio Bravo (1959) with John Wayne and Dean Martin, for which she received the Golden Globe Award for New Star of the Year. Dickinson has appeared in more than 50 films, including China Gate (1957), Cry Terror! (1958), Ocean's 11 (1960), Rio Bravo (1960), The Sins of Rachel Cade (1961), Jessica (1962), Captain Newman, M.D. (1963), The Killers (1964), The Art of Love (1965), The Chase (1966), Point Blank (1967), Pretty Maids All in a Row (1971), The Outside Man (1972), Big Bad Mama (1974), and Dressed to Kill (1980). From 1974 to 1978, Dickinson starred as Sergeant “Pepper” Anderson in the NBC crime series Police Woman, for which she received the Golden Globe Award for Best Actress ― Television Series Drama and three Primetime Emmy Award for Outstanding Lead Actress in a Drama Series nominations. She starred in Brian De Palma's erotic crime thriller Dressed to Kill (1980), for which she received a Saturn Award for Best Actress. During her later career, Dickinson starred in several television movies and miniseries including Hollywood Wives (1985) and Wild Palms (1993), also playing supporting roles in films such as Even Cowgirls Get the Blues (1994), Sabrina (1995), Pay It Forward (2000), and Big Bad Love (2001). Her last performance to date was in the Hallmark Channel film Mending Fences (2009).

Happy 95th Birthday to ANGIE DICKINSON. Born | September 30, 1931 in Kulm, North Dakota, USA. Video | Angie Dickinson, John Wayne, Dean Martin, and Walter Brennan in the final scene of Rio Bravo (1959), directed by Howard Hawks. American retired actress Angeline Dickinson (née Brown) began her career on television, appearing in many anthology series during the 1950s, before gaining her breakthrough role in Gun the Man Down (1956) with James Arness and the Western film Rio Bravo (1959) with John Wayne and Dean Martin, for which she received the Golden Globe Award for New Star of the Year. Dickinson has appeared in more than 50 films, including China Gate (1957), Cry Terror! (1958), Ocean's 11 (1960), Rio Bravo (1960), The Sins of Rachel Cade (1961), Jessica (1962), Captain Newman, M.D. (1963), The Killers (1964), The Art of Love (1965), The Chase (1966), Point Blank (1967), Pretty Maids All in a Row (1971), The Outside Man (1972), Big Bad Mama (1974), and Dressed to Kill (1980). From 1974 to 1978, Dickinson starred as Sergeant “Pepper” Anderson in the NBC crime series Police Woman, for which she received the Golden Globe Award for Best Actress ― Television Series Drama and three Primetime Emmy Award for Outstanding Lead Actress in a Drama Series nominations. She starred in Brian De Palma's erotic crime thriller Dressed to Kill (1980), for which she received a Saturn Award for Best Actress. During her later career, Dickinson starred in several television movies and miniseries including Hollywood Wives (1985) and Wild Palms (1993), also playing supporting roles in films such as Even Cowgirls Get the Blues (1994), Sabrina (1995), Pay It Forward (2000), and Big Bad Love (2001). Her last performance to date was in the Hallmark Channel film Mending Fences (2009).

Hollywood Golden Age of Cinema

64,568 次观看 • 27 天前

Sophia Loren, at just 23 years old, in Boy on a Dolphin (1957). In the full bloom of her youth, she exuded a magnetic freshness, revealing dazzling beauty and the irresistible radiance of a rising star.

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Sophia Loren, at just 23 years old, in Boy on a Dolphin (1957). In the full bloom of her youth, she exuded a magnetic freshness, revealing dazzling beauty and the irresistible radiance of a rising star.

Hollywood Golden Age of Cinema

145,375 次观看 • 2 个月前

Cyd Charisse's striptease dance to “Satin and Silk” in the 1957 MGM musical romantic comedy film, Silk Stockings, directed by Rouben Mamoulian. • Cyd Charisse's striptease to the title number was met with a couple of raised eyebrows from the Hays film censors. For one two-second instant, Charisse 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. • In his vision for Silk Stockings, director Rouben Mamoulian was determined that the film would rely less on dialogue and instead dramatise the relationship between the two leads through elaborate dance numbers. He explained, “I had two of the best dancers in the world, and what interested me was to give greater importance to the dancing than to the action proper, which was merely a repeat of Ninotchka (1939). The psychological and dramatic development existed only in the dances.” • The exquisite gown that Cyd Charisse wears immediately after this dance was designed by Helen Rose.

Cyd Charisse's striptease dance to “Satin and Silk” in the 1957 MGM musical romantic comedy film, Silk Stockings, directed by Rouben Mamoulian. • Cyd Charisse's striptease to the title number was met with a couple of raised eyebrows from the Hays film censors. For one two-second instant, Charisse 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. • In his vision for Silk Stockings, director Rouben Mamoulian was determined that the film would rely less on dialogue and instead dramatise the relationship between the two leads through elaborate dance numbers. He explained, “I had two of the best dancers in the world, and what interested me was to give greater importance to the dancing than to the action proper, which was merely a repeat of Ninotchka (1939). The psychological and dramatic development existed only in the dances.” • The exquisite gown that Cyd Charisse wears immediately after this dance was designed by Helen Rose.

HGA | Hollywood Golden Age

163,587 次观看 • 2 个月前

In Remembrance of GEORGE PEPPARD on his Birthday Born | October 1, 1928 in Detroit, Michigan, USA. Died | May 8, 1994 (aged 65) in Los Angeles, California, USA. Video | Audrey Hepburn and George Peppard in the final scene from Breakfast at Tiffany's (1961), directed by Blake Edwards. Handsome and elegant George Peppard occasionally displayed considerable talent through his career, whether action roles or dramatic. Following Broadway and television experience, he made a strong film debut in The Strange One (1957). He started getting noticed when he played Robert Mitchum's illegitimate son in the popular melodrama Home from the Hill (1960). He then established himself as a leading man, giving arguably his most memorable film performance as Audrey Hepburn's love interest in Breakfast at Tiffany's (1961). Seen by the studios as a promising young star, Peppard was subsequently cast in some of the major blockbusters of the early/mid-1960s: How the West Was Won (1962), The Victors (1963), The Carpetbaggers (1964) and Operation Crossbow (1965). He reached the peak of his popularity in another such lavish production, The Blue Max (1966), in which he effectively played an obsessively competitive German flying officer during World War I. However, by the late 1960s, he seemed to settle as a tough lead in more average, often hokum, adventures, including House of Cards (1968), Cannon for Cordoba (1970) and The Groundstar Conspiracy (1972). In the early 1970s, his declining popularity was temporarily boosted thanks to the television series Banacek (1972). With his film roles becoming increasingly uninteresting, he acted in, directed and produced the drama Five Days from Home (1978), but the result was rather disappointing. In the mid-1980s, he again obtained success on television as Colonel John “Hannibal” Smith, the cigar-chomping leader of The A-Team (1983).

In Remembrance of GEORGE PEPPARD on his Birthday Born | October 1, 1928 in Detroit, Michigan, USA. Died | May 8, 1994 (aged 65) in Los Angeles, California, USA. Video | Audrey Hepburn and George Peppard in the final scene from Breakfast at Tiffany's (1961), directed by Blake Edwards. Handsome and elegant George Peppard occasionally displayed considerable talent through his career, whether action roles or dramatic. Following Broadway and television experience, he made a strong film debut in The Strange One (1957). He started getting noticed when he played Robert Mitchum's illegitimate son in the popular melodrama Home from the Hill (1960). He then established himself as a leading man, giving arguably his most memorable film performance as Audrey Hepburn's love interest in Breakfast at Tiffany's (1961). Seen by the studios as a promising young star, Peppard was subsequently cast in some of the major blockbusters of the early/mid-1960s: How the West Was Won (1962), The Victors (1963), The Carpetbaggers (1964) and Operation Crossbow (1965). He reached the peak of his popularity in another such lavish production, The Blue Max (1966), in which he effectively played an obsessively competitive German flying officer during World War I. However, by the late 1960s, he seemed to settle as a tough lead in more average, often hokum, adventures, including House of Cards (1968), Cannon for Cordoba (1970) and The Groundstar Conspiracy (1972). In the early 1970s, his declining popularity was temporarily boosted thanks to the television series Banacek (1972). With his film roles becoming increasingly uninteresting, he acted in, directed and produced the drama Five Days from Home (1978), but the result was rather disappointing. In the mid-1980s, he again obtained success on television as Colonel John “Hannibal” Smith, the cigar-chomping leader of The A-Team (1983).

Hollywood Golden Age of Cinema

50,285 次观看 • 26 天前

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 次观看 • 11 个月前