1. Notes: 64 / 3 years ago  from oldhollywood
    oldhollywood: Gary Cooper & Fay Wray in Legion of the Condemned (1928, dir. William A. Wellman) (via garycooperscrapbook), which has been classified as a “lost film” (no copies are known to have survived).

    oldhollywood:

    Gary Cooper & Fay Wray in Legion of the Condemned (1928, dir. William A. Wellman) (via garycooperscrapbook), which has been classified as a “lost film” (no copies are known to have survived).

     
  2. Notes: 113 / 3 years ago  from oldhollywood
    oldhollywood: Gary Cooper & Fay Wray in lost film Legion of the Condemned (1928, dir. William A. Wellman) (via garycooperscrapbook)

    oldhollywood:

    Gary Cooper & Fay Wray in lost film Legion of the Condemned (1928, dir. William A. Wellman) (via garycooperscrapbook)

     
  3. Notes: 75 / 3 years ago  from oldhollywood
    oldhollywood: Vivien Leigh, Kim Hunter, & Marlon Brando in A Streetcar Named Desire (1951, dir. Elia Kazan) Interviewer: “I thought in the beginning we’re supposed to be on Brando’s side and against her, and then the tables turn.” Elia Kazan: “Now this is another place where I did ambivalence. And I’ve been criticized for this a lot. Some people say I made Brando the hero. I didn’t mean to make Brando the hero. But I wanted to show exactly what [Tennessee] Williams meant, which is that he, as a homosexual, is attracted to the person he thinks is going to destroy him – the attraction you have for someone who’s on the other side, supposedly dead against you, but whose violence and force attract you. Now, that’s the essence of ambivalence.”

    oldhollywood:

    Vivien Leigh, Kim Hunter, & Marlon Brando in A Streetcar Named Desire (1951, dir. Elia Kazan)

    Interviewer: “I thought in the beginning we’re supposed to be on Brando’s side and against her, and then the tables turn.”

    Elia Kazan: “Now this is another place where I did ambivalence. And I’ve been criticized for this a lot. Some people say I made Brando the hero. I didn’t mean to make Brando the hero. But I wanted to show exactly what [Tennessee] Williams meant, which is that he, as a homosexual, is attracted to the person he thinks is going to destroy him – the attraction you have for someone who’s on the other side, supposedly dead against you, but whose violence and force attract you. Now, that’s the essence of ambivalence.”

     
  4. Notes: 217 / 3 years ago  from oldhollywood
    oldhollywood: Lauren Bacall in publicity still for The Big Sleep (1946, dir. Howard Hawks) She was worth a stare. She was trouble. She was tall and rangy and strong-looking. She had a good mouth and a good chin. There was a sulky droop to her lips and the lower lip was full. She had a drink. She took a swallow from it and gave me a cool level stare over the rim of the glass. -Raymond Chandler, The Big Sleep (1939)

    oldhollywood:

    Lauren Bacall in publicity still for The Big Sleep (1946, dir. Howard Hawks)

    She was worth a stare. She was trouble.

    She was tall and rangy and strong-looking. She had a good mouth and a good chin. There was a sulky droop to her lips and the lower lip was full. She had a drink. She took a swallow from it and gave me a cool level stare over the rim of the glass.

    -Raymond Chandler, The Big Sleep (1939)

     
  5. Notes: 323 / 3 years ago  from oldhollywood
    oldhollywood: Hedy Lamarr in Ekstase (1933, dir. Gustav Machaty) In Ekstase, a 19-year-old Hedy Lamarr plays a young woman who finds out on her honeymoon that her husband is both impotent and cold. She decides to rectify the situation by finding herself a lover. Ekstase was highly controversial in its time due to two scenes - the first was a swimming scene, in which Lamarr displayed full nudity. The other scene, pictured above, featured Lamarr & her lover kissing on a bed before his head is seen to drop out of the bottom of the frame. Much writhing ensues, making Ekstase the first non-pornographic film to depict sexual intercourse & the female orgasm onscreen (as captured through Lamarr’s facial expressions). The scene can be seen here, courtesy of hedy-lamarr.org.

    oldhollywood:

    Hedy Lamarr in Ekstase (1933, dir. Gustav Machaty)

    In Ekstase, a 19-year-old Hedy Lamarr plays a young woman who finds out on her honeymoon that her husband is both impotent and cold. She decides to rectify the situation by finding herself a lover.

    Ekstase was highly controversial in its time due to two scenes - the first was a swimming scene, in which Lamarr displayed full nudity. The other scene, pictured above, featured Lamarr & her lover kissing on a bed before his head is seen to drop out of the bottom of the frame. Much writhing ensues, making Ekstase the first non-pornographic film to depict sexual intercourse & the female orgasm onscreen (as captured through Lamarr’s facial expressions).

    The scene can be seen here, courtesy of hedy-lamarr.org.

     
  6. Notes: 130 / 3 years ago  from oldhollywood
    oldhollywood: “I am a real ham. I love an audience. I work better with an audience. I am dead, in fact, without one.” -Lucille Ball (photo by Philippe Halsman, via pbs.org)

    oldhollywood:

    “I am a real ham. I love an audience. I work better with an audience. I am dead, in fact, without one.”

    -Lucille Ball (photo by Philippe Halsman, via pbs.org)

     
  7. Notes: 42 / 3 years ago  from oldhollywood
    oldhollywood: Barbara Stanwyck & Fred MacMurray in Double Indemnity (1946, dir. Billy Wilder) “Murder is never perfect. It always comes apart sooner or later. When two people are involved, it’s usually sooner. Sometime, somewhere, they’ve got to meet. Their emotions are all kicked up. Whether it’s love or hate, it doesn’t matter. They can’t keep away from each other. They may think it’s twice as safe because there are two of them. But it isn’t twice as safe. It’s ten times as dangerous. They’ve committed a murder. And it’s not like taking a trolley ride together where they can get off at different stops. They’re stuck with each other and they’ve got to ride all the way to the end of the line. And it’s a one-way trip and the last stop is the cemetery.”

    oldhollywood:

    Barbara Stanwyck & Fred MacMurray in Double Indemnity (1946, dir. Billy Wilder)

    “Murder is never perfect. It always comes apart sooner or later. When two people are involved, it’s usually sooner. Sometime, somewhere, they’ve got to meet. Their emotions are all kicked up. Whether it’s love or hate, it doesn’t matter. They can’t keep away from each other. They may think it’s twice as safe because there are two of them. But it isn’t twice as safe. It’s ten times as dangerous.

    They’ve committed a murder. And it’s not like taking a trolley ride together where they can get off at different stops. They’re stuck with each other and they’ve got to ride all the way to the end of the line. And it’s a one-way trip and the last stop is the cemetery.”

     
  8. Notes: 62 / 3 years ago  from oldhollywood

    oldhollywood:

    Barbara Stanwyck & Fred MacMurray in Double Indemnity (1946, dir. Billy Wilder)

    Innuendo doesn’t get much better than this scene.

  9. Notes: 92 / 3 years ago  from oldhollywood
    oldhollywood: Gene Tierney & Dana Andrews in Laura (1944, dir. Otto Preminger) (via drmacro) “You’d better watch out, McPherson, or you’ll finish up in a psychiatric ward. I doubt they’ve ever had a patient who fell in love with a corpse.”

    oldhollywood:

    Gene Tierney & Dana Andrews in Laura (1944, dir. Otto Preminger) (via drmacro)

    “You’d better watch out, McPherson, or you’ll finish up in a psychiatric ward. I doubt they’ve ever had a patient who fell in love with a corpse.”

     
  10. Notes: 37 / 3 years ago  from oldhollywood
    oldhollywood: John Garfield, Lana Turner, and the not long for this world Cecil Kellaway as Turner’s husband in The Postman Always Rings Twice (1946, dir. Tay Garnett) (via drmacro) Like death row, for example: “With my brains and your looks, we could go places.”

    oldhollywood:

    John Garfield, Lana Turner, and the not long for this world Cecil Kellaway as Turner’s husband in The Postman Always Rings Twice (1946, dir. Tay Garnett) (via drmacro)

    Like death row, for example:

    “With my brains and your looks, we could go places.”

     
  11. Notes: 95 / 3 years ago  from oldhollywood
    oldhollywood: Groucho Marx cuts a rug in A Day at the Races (1937, dir. Sam Wood)

    oldhollywood:

    Groucho Marx cuts a rug in A Day at the Races (1937, dir. Sam Wood)

     
  12. Notes: 49 / 3 years ago  from oldhollywood
    oldhollywood: Vivien Leigh in A Streetcar Named Desire (1951, dir. Elia Kazan) “The thing about the ‘tradition’ in the 19th century was that it worked then. It made a woman feel important, with her own secure positions and functions, her own special worth. It also made a woman at that time one with her society. But today it is an anachronism. So Blanche requires protection - a haven, a harbor. She is a refugee, punch drunk and on the ropes, making her last stand, trying to keep up a gallant front, because she is a proud person. But still - she’s also a misfit, a liar, her ‘airs’ alienate people…She doesn’t know how to make a living. She doesn’t know to work…She’s a last dying relic of the last century now adrift in our unfriendly day.” -Elia Kazan on Blanche

    oldhollywood:

    Vivien Leigh in A Streetcar Named Desire (1951, dir. Elia Kazan)

    “The thing about the ‘tradition’ in the 19th century was that it worked then. It made a woman feel important, with her own secure positions and functions, her own special worth. It also made a woman at that time one with her society. But today it is an anachronism. So Blanche requires protection - a haven, a harbor. She is a refugee, punch drunk and on the ropes, making her last stand, trying to keep up a gallant front, because she is a proud person. But still - she’s also a misfit, a liar, her ‘airs’ alienate people…She doesn’t know how to make a living. She doesn’t know to work…She’s a last dying relic of the last century now adrift in our unfriendly day.”

    -Elia Kazan on Blanche

     
  13. Notes: 87 / 3 years ago  from oldhollywood
    oldhollywood: “Sometimes I dread the truth of the lines I say. But the dread must never show.” -Vivien Leigh (via drmacro)

    oldhollywood:

    “Sometimes I dread the truth of the lines I say. But the dread must never show.”

    -Vivien Leigh (via drmacro)

     
  14. Notes: 132 / 3 years ago  from oldhollywood
    oldhollywood: Stills via Cinderella (1950, dir. Clyde Geronimi, Wilfred Jackson, Hamilton Luske) “Fantasy, if it’s really convincing, can’t become dated, for the simple reason that it represents a flight into a dimension that lies beyond the reach of time. In this new dimension, whatever it is, nothing corrodes or gets run down at the heel or gets to look ridiculous like, say, the celluloid collar or the bustle.” -Walt Disney

    oldhollywood:

    Stills via Cinderella (1950, dir. Clyde Geronimi, Wilfred Jackson, Hamilton Luske)

    “Fantasy, if it’s really convincing, can’t become dated, for the simple reason that it represents a flight into a dimension that lies beyond the reach of time. In this new dimension, whatever it is, nothing corrodes or gets run down at the heel or gets to look ridiculous like, say, the celluloid collar or the bustle.”

    -Walt Disney

     
  15. Notes: 149 / 3 years ago  from oldhollywood
    oldhollywood: “Every script I’m offered has Cary Grant’s paw prints on it”. -Gregory Peck (via getty)

    oldhollywood:

    “Every script I’m offered has Cary Grant’s paw prints on it”.

    -Gregory Peck (via getty)

     
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My name is Baker -+- I'm a Southern Belle living in New York City -+- Gabriel is the light and love of my life -+- Jack the Ripper is my favorite serial killer -+- History: The Civil War and World War II -+- Cable is for losers. I'm addicted to Classic Hollywood movies -+-
My cat, Chevy, is better than you.
Chevy strikin a pose.

- I enjoy capturing life.
Road to the Grand CanyonChickamauga National Civil War BattlefieldYoung interest.Right outside the Grand Canyon
 
 

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