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Cyd Charisse in Silk Stockings. The striptease sequence was considered so risqué at the time that it reportedly worried Production Code censors. How does it hold up today?

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

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

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CYD CHARISSE and GENE KELLY Dance Sequence | SINGIN' IN THE RAIN (1952). Cyd Charisse as the woman in the green sequined dress and hair in the style of Louise Brooks as well as in a white dress and long wind-blown train, who vamps Gene Kelly in the “Broadway Melody” dance sequence in Singin' in the Rain (1952). Cyd was a technically skilled dancer in Hollywood’s golden age of movie musicals. Famous for her long legs, graceful style, and dramatic presence, she became a major star at Metro-Goldwyn-Mayer (MGM) during the 1940s and 1950s. In this clip from Gene Kelly’s Singin’ in the Rain (1952), her “Broadway Melody” sequence, where she appeared as a sultry flapper, made her an overnight star. Interestingly, Cyd Charisse had no speaking lines in the film — her entire role was expressed through dance. Gene Kelly choreographed his dance scenes with Cyd Charisse to hide the fact that she was taller than he was. To keep the height difference from being obvious, Kelly staged the routine so that the two were rarely upright when standing next to each other, always bending toward or away from one another instead.

CYD CHARISSE and GENE KELLY Dance Sequence | SINGIN' IN THE RAIN (1952). Cyd Charisse as the woman in the green sequined dress and hair in the style of Louise Brooks as well as in a white dress and long wind-blown train, who vamps Gene Kelly in the “Broadway Melody” dance sequence in Singin' in the Rain (1952). Cyd was a technically skilled dancer in Hollywood’s golden age of movie musicals. Famous for her long legs, graceful style, and dramatic presence, she became a major star at Metro-Goldwyn-Mayer (MGM) during the 1940s and 1950s. In this clip from Gene Kelly’s Singin’ in the Rain (1952), her “Broadway Melody” sequence, where she appeared as a sultry flapper, made her an overnight star. Interestingly, Cyd Charisse had no speaking lines in the film — her entire role was expressed through dance. Gene Kelly choreographed his dance scenes with Cyd Charisse to hide the fact that she was taller than he was. To keep the height difference from being obvious, Kelly staged the routine so that the two were rarely upright when standing next to each other, always bending toward or away from one another instead.

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MOULIN ROUGE! was released 25 years ago today. Nicole Kidman wore a diamond necklace in the film that was reportedly worth around $1 million at the time, making it one of the most expensive pieces of jewelry ever created for a movie production.

MOULIN ROUGE! was released 25 years ago today. Nicole Kidman wore a diamond necklace in the film that was reportedly worth around $1 million at the time, making it one of the most expensive pieces of jewelry ever created for a movie production.

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HOW DOES GUMA HOLD IT IN I WAS LAUGHING FOR SO LONG I GENUINELY LOST IT

HOW DOES GUMA HOLD IT IN I WAS LAUGHING FOR SO LONG I GENUINELY LOST IT

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For this scene in Tread Softly Stranger (1958), Diana Dors wore shorts that was considered shocking for the time. The black-and-white photography blended the fabric's edges into the background, and many still debate how the British Board of Film Censors passed it uncut.

For this scene in Tread Softly Stranger (1958), Diana Dors wore shorts that was considered shocking for the time. The black-and-white photography blended the fabric's edges into the background, and many still debate how the British Board of Film Censors passed it uncut.

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This clever crow figured out how to pull up the bin bag and hold it with its claws so that it can reach the food inside. Seen today in Munich

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This is the famous “Girl Hunt Ballet” sequence, where Cyd Charisse steps out of her trench coat to reveal a stunning red dress. The scene was originally much shorter, but Minnelli expanded it into a full noir style dance film within the film, making it one of the earliest examples of genre parody in a Hollywood musical. 📽️ The Band Wagon (1953)

This is the famous “Girl Hunt Ballet” sequence, where Cyd Charisse steps out of her trench coat to reveal a stunning red dress. The scene was originally much shorter, but Minnelli expanded it into a full noir style dance film within the film, making it one of the earliest examples of genre parody in a Hollywood musical. 📽️ The Band Wagon (1953)

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The Matrix Sequence was considered to be one of the coolest things seen on the indies at the time in 2002!

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ALIEN was released 47 years ago today. H. R. Giger’s disturbing biomechanical designs were considered so unsettling during production that parts of the set reportedly made cast and crew physically uncomfortable while filming.

ALIEN was released 47 years ago today. H. R. Giger’s disturbing biomechanical designs were considered so unsettling during production that parts of the set reportedly made cast and crew physically uncomfortable while filming.

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ALIEN was released 47 years ago today. H. R. Giger’s disturbing biomechanical designs were considered so unsettling during production that parts of the set reportedly made cast and crew physically uncomfortable while filming.

ALIEN was released 47 years ago today. H. R. Giger’s disturbing biomechanical designs were considered so unsettling during production that parts of the set reportedly made cast and crew physically uncomfortable while filming.

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.Kari Lake: "This was written straight from the heart. In the days after our victory was stolen, I was in a pretty dark place. I was a little worried that it would end up like a Stephen King, you know, horror book because I was so angry at the time. But it was actually very therapeutic."

.Kari Lake: "This was written straight from the heart. In the days after our victory was stolen, I was in a pretty dark place. I was a little worried that it would end up like a Stephen King, you know, horror book because I was so angry at the time. But it was actually very therapeutic."

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

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

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Jessica Simpson was reportedly considered for the role of Violet Sanford in Coyote Ugly (2000), but her team (her father tbh) decided to turn it down by concerning over her image at the time, particularly her clean-cut, Christian persona. So they gave it to Piper Perabo.

Jessica Simpson was reportedly considered for the role of Violet Sanford in Coyote Ugly (2000), but her team (her father tbh) decided to turn it down by concerning over her image at the time, particularly her clean-cut, Christian persona. So they gave it to Piper Perabo.

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The studio hated Gregory Peck's authentic period mustache in 'The Gunfighter' (1950). In fact, the head of production at Fox, Spyros P. Skouras, was out of town when production began. By the time he got back, so much of the film had been shot that it was too late to order Peck to shave it off and reshoot. After the film did not do well at the box office, Skouras ran into Peck and reportedly said, "That mustache cost us millions." (Source: IMDb) Remembering the great American actor, Gregory Peck, on his 110th birthday!

The studio hated Gregory Peck's authentic period mustache in 'The Gunfighter' (1950). In fact, the head of production at Fox, Spyros P. Skouras, was out of town when production began. By the time he got back, so much of the film had been shot that it was too late to order Peck to shave it off and reshoot. After the film did not do well at the box office, Skouras ran into Peck and reportedly said, "That mustache cost us millions." (Source: IMDb) Remembering the great American actor, Gregory Peck, on his 110th birthday!

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“This is also an opportunity to win the SEC Championship. Does that matter? Does anybody care about that anymore? I grew up thinking that was the greatest game in the world.” It does. We do. So did we, Coach. Win it ALL. #GoDawgs

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