Old Hollywood
Cinema
1900-1979

Nostalgia is a seductive liar - George Wildman Ball
Entirely gratuitous photo of George Lazenby sunning himself on the set of On Her Majesty’s Secret Service (1969, dir. Peter Hunt)
Q: “Why did you give up the role of James Bond?   I’ve heard three stories.  I’ve heard that your relationship to Peter  Hunt lead to you being let go from the franchise, that Sean Connery  regretted not doing Majesty’s Secret Service after  seeing it and wanted the part back, and that you took poor advice from  your agent.  What is the most accurate reason?”
Lazenby: “The third is correct. I wanted to do the next one because  they offered me a million dollars under the table which is probably ten  million today. So I looked at my manager and said “What’s wrong with  that deal?” and he said “No. You’ll die doing Bond because it’s over. It’s finished.” 
It’s hard for people to understand that, because we are  back in a Bond-type culture. At that time we were into hippie  culture. You’d have to put yourself into long hair and bell bottoms and  peace and love-consciousness to be able to understand what rung through  to me. Otherwise, right now, it looks foolish. Back then it looked  foolish, but money was not the “in” thing at that time. Love and peace  was in. Guys running around with suits and guns couldn’t get laid. Honest to God. They thought you were a waiter or a cop or something. Nobody was wearing a suit. Not even Wall Street. They even took their  ties off. Unless you can put yourself in that time zone you’ll  understand that it wasn’t because I was that stupid, it was that I was  walking in Sean Connery’s shoes and wanted to walk in my own.” (via)

Entirely gratuitous photo of George Lazenby sunning himself on the set of On Her Majesty’s Secret Service (1969, dir. Peter Hunt)

Q: “Why did you give up the role of James Bond?  I’ve heard three stories.  I’ve heard that your relationship to Peter Hunt lead to you being let go from the franchise, that Sean Connery regretted not doing Majesty’s Secret Service after seeing it and wanted the part back, and that you took poor advice from your agent.  What is the most accurate reason?”

Lazenby: “The third is correct. I wanted to do the next one because they offered me a million dollars under the table which is probably ten million today. So I looked at my manager and said “What’s wrong with that deal?” and he said “No. You’ll die doing Bond because it’s over. It’s finished.” 

It’s hard for people to understand that, because we are back in a Bond-type culture. At that time we were into hippie culture. You’d have to put yourself into long hair and bell bottoms and peace and love-consciousness to be able to understand what rung through to me. Otherwise, right now, it looks foolish. Back then it looked foolish, but money was not the “in” thing at that time. Love and peace was in. Guys running around with suits and guns couldn’t get laid. Honest to God. They thought you were a waiter or a cop or something. Nobody was wearing a suit. Not even Wall Street. They even took their ties off. Unless you can put yourself in that time zone you’ll understand that it wasn’t because I was that stupid, it was that I was walking in Sean Connery’s shoes and wanted to walk in my own.” (via)

Anna May Wong in Piccadilly (1929, dir. Ewald André Dupont)

Anna May Wong in Piccadilly (1929, dir. Ewald André Dupont)

Anita O’Day - That Old Feeling

“I have always been driven by some distant music—a battle hymn no  doubt—for I have been at war from the beginning. I rode into the field  with sword gleaming and standard flying. I was going to conquer the  world.”
-Bette Davis, in her 1962 autobiography “The Lonely  Life”

“I have always been driven by some distant music—a battle hymn no doubt—for I have been at war from the beginning. I rode into the field with sword gleaming and standard flying. I was going to conquer the world.”

-Bette Davis, in her 1962 autobiography “The Lonely Life”

Picnic at Hanging Rock (1975, dir. Peter Weir)
“Horror need not always be a long-fanged gentleman in evening clothes or a dismembered corpse or a doctor who keeps a brain in his gold fish bowl. It may be a warm sunny day, the innocence of girlhood and hints of unexplored sexuality that combine to produce a euphoria so intense it becomes transporting, a state beyond life or death. Such horror is unspeakable not because it is gruesome but because it remains outside the realm of things that can be easily defined or explained in conventional ways.”
-Vincent Canby, Picnic at Hanging Rock

Picnic at Hanging Rock (1975, dir. Peter Weir)

“Horror need not always be a long-fanged gentleman in evening clothes or a dismembered corpse or a doctor who keeps a brain in his gold fish bowl. It may be a warm sunny day, the innocence of girlhood and hints of unexplored sexuality that combine to produce a euphoria so intense it becomes transporting, a state beyond life or death. Such horror is unspeakable not because it is gruesome but because it remains outside the realm of things that can be easily defined or explained in conventional ways.”

-Vincent Canby, Picnic at Hanging Rock

“Being a star has made it possible for me to get insulted in places  where the average Negro could never hope to get insulted.”
-Sammy Davis, Jr. (1961, photos by Brian Duffy)

“Being a star has made it possible for me to get insulted in places where the average Negro could never hope to get insulted.”

-Sammy Davis, Jr. (1961, photos by Brian Duffy)

Anthony Perkins in The Trial (1962, dir. Orson Welles)

Anthony Perkins in The Trial (1962, dir. Orson Welles)

Julie London - Black Coffee

“I chose not to go public about this because, to misquote Casablanca, ‘I’m not too much at being noble, but it doesn’t take  much to see that the problems of one old actor don’t amount to a hill of  beans in this crazy old world.’
There are many who believe that this disease is God’s vengeance,  but I believe it was sent to teach people how to love and understand and  have compassion for each other. I have learned more about love, selflessness and human  understanding from the people I have met in this great adventure in the  world of AIDS than I ever did in the cutthroat, competitive world in  which I spent my life.”
-Anthony Perkins, in a statement released after his death from AIDS in 1992

“I chose not to go public about this because, to misquote Casablanca, ‘I’m not too much at being noble, but it doesn’t take much to see that the problems of one old actor don’t amount to a hill of beans in this crazy old world.’

There are many who believe that this disease is God’s vengeance, but I believe it was sent to teach people how to love and understand and have compassion for each other. I have learned more about love, selflessness and human understanding from the people I have met in this great adventure in the world of AIDS than I ever did in the cutthroat, competitive world in which I spent my life.”

-Anthony Perkins, in a statement released after his death from AIDS in 1992

Malcolm McDowell & Ludwig van in A Clockwork Orange (1971, dir. Stanley Kubrick)
Q. Alex loves rape and Beethoven: what do you think that implies? 
Stanley Kubrick: I think this suggests the failure of culture to have any morally refining  effect on society. Hitler loved good music and many top Nazis were  cultured and sophisticated men but it didn’t do them, or anyone else, much  good.
via Kubrick: The Definitive Edition by Michel Ciment, Gilbert Adair, & Robert Bononno

Malcolm McDowell & Ludwig van in A Clockwork Orange (1971, dir. Stanley Kubrick)

Q. Alex loves rape and Beethoven: what do you think that implies?

Stanley Kubrick: I think this suggests the failure of culture to have any morally refining effect on society. Hitler loved good music and many top Nazis were cultured and sophisticated men but it didn’t do them, or anyone else, much good.

via Kubrick: The Definitive Edition by Michel Ciment, Gilbert Adair, & Robert Bononno

 
Actress/singer Dorothy Lamour, 1941
On knowing your limitations:
“Asked whether she had ever studied acting, she replied with a chortle: ‘No! Can’t you tell?’
Had she ever studied singing? ‘No. Can’t you tell?’ laughing again.
Does she work with a vocal or acting coach now? ‘No!’ Her large, sparkling eyes widened at the preposterous thought.”
(via)

Actress/singer Dorothy Lamour, 1941

On knowing your limitations:

“Asked whether she had ever studied acting, she replied with a chortle: ‘No! Can’t you tell?’

Had she ever studied singing? ‘No. Can’t you tell?’ laughing again.

Does she work with a vocal or acting coach now? ‘No!’ Her large, sparkling eyes widened at the preposterous thought.”

(via)

via A Midsummer Night’s Dream (1935, dir. William Dieterle & Max  Reinhardt)

via A Midsummer Night’s Dream (1935, dir. William Dieterle & Max Reinhardt)

Mia Farrow, 1969. Photo by David Kennerly.
(via)

Mia Farrow, 1969. Photo by David Kennerly.

(via)

The latest in 1920’s astronaut style via Woman in the Moon (1929, Fritz Lang) 

The latest in 1920’s astronaut style via Woman in the Moon (1929, Fritz Lang) 

Jean Seberg in Bonjour Tristesse (1958, dir. Otto Preminger)

Jean Seberg in Bonjour Tristesse (1958, dir. Otto Preminger)