Old Hollywood
Cinema
1900-1979

Nostalgia is a seductive liar - George Wildman Ball
Jean Marais in Beauty and the Beast (1946, dir. Jean Cocteau) (via)
“My method is simple: not to aim at poetry. That must come of its own accord. The mere whispered mention of its name frightens it away. I shall try to build a table. It will be up to you then to eat at it, to examine it or to chop it up for firewood.”
-Cocteau, Beauty and the Beast: Diary of a Film (1947)

Jean Marais in Beauty and the Beast (1946, dir. Jean Cocteau) (via)

“My method is simple: not to aim at poetry. That must come of its own accord. The mere whispered mention of its name frightens it away. I shall try to build a table. It will be up to you then to eat at it, to examine it or to chop it up for firewood.”

-Cocteau, Beauty and the Beast: Diary of a Film (1947)

Philip Glass - Overture (La Belle et la BêteAn Opera for Ensemble and Film)

Mia Farrow, 1964. Photo by Philippe Halsman (via)
“I want a big career, a big man, and a big life. You have to think big - that’s the only way to get it..I just couldn’t stand being anonymous. I don’t want to be just ‘one of the Farrows,’ third from the top and fifth from the bottom.”
-Farrow, 1965 

Mia Farrow, 1964. Photo by Philippe Halsman (via)

“I want a big career, a big man, and a big life. You have to think big - that’s the only way to get it..I just couldn’t stand being anonymous. I don’t want to be just ‘one of the Farrows,’ third from the top and fifth from the bottom.”

-Farrow, 1965 

Paul Newman & Robert Redford in Butch Cassidy and the Sundance Kid (1969, dir. George Roy Hill) (via)

Paul Newman & Robert Redford in Butch Cassidy and the Sundance Kid (1969, dir. George Roy Hill) (via)

Artie ShawPauline Byrne - Gloomy Sunday

Audrey Hepburn in Funny Face (1957, dir. Stanley Donen) (via)

Audrey Hepburn in Funny Face (1957, dir. Stanley Donen) (via)

Benny Goodman & Helen ForrestBewitched, Bothered and Bewildered

Kichiemon Nakamura & Shima Iwashita in Double Suicide (1969, dir. Masahiro Shinoda) (via)

Kichiemon Nakamura & Shima Iwashita in Double Suicide (1969, dir. Masahiro Shinoda) (via)

Wendy Carlos Timesteps (A Clockwork Orange: Wendy Carlos’s Complete Original Score)

From the liner notes:

Wendy was, by her own admission, “about three and a half minutes” into [composing] Timesteps when a friend gave her a paperback copy of A Clockwork Orange. Like so many other readers, Wendy fell under the spell of Anthony Burgess’ vision of a world of tomorrow filled with ultra-violence. She was also struck by the fact that her Timesteps music seemed to capture the exact feeling of the opening scenes of Burgess’ book. Further work, and Timesteps evolved, subconsciously, into a kind of musical poem based on Clockwork — a work that, as Wendy says, was an “autonomous composition with an uncanny affinity for Clockwork.”

Then, the same friend who had given her Clockwork sent a clipping from a London newspaper announcing that Stanley Kubrick had just begun production of a film based on Burgess’ book. Wendy and [her producer Rachel Elkind], both admirers of Kubrick’s previous work, began to share the same day-dream: “Wouldn’t it be great if…”

Timesteps and Beethoven’s Choral Movement were airmailed to Kubrick. Wendy and Rachel waited. Finally, came a request from Kubrick: Could they come to London and discuss the use of Wendy’s music in the film?”

James Dean during the filming of Rebel Without a Cause, inside the planetarium (1955) Photographer: Dennis Stock 
(via)

James Dean during the filming of Rebel Without a Cause, inside the planetarium (1955) Photographer: Dennis Stock 

(via)

Louise Brooks in a publicity still for The Canary Murder Case (1929, dir. Malcolm St. Clair) (via)

Louise Brooks in a publicity still for The Canary Murder Case (1929, dir. Malcolm St. Clair) (via)

M (1931, dir. Fritz Lang) (via)

M (1931, dir. Fritz Lang) (via)

L to R: Tod Browning, Carroll Borland, and Bela Lugosi on the set of Mark of the Vampire (1935, dir. Tod Browning) (via)

L to R: Tod BrowningCarroll Borland, and Bela Lugosi on the set of Mark of the Vampire (1935, dir. Tod Browning) (via)

Marilyn Monroe in contact sheets for Some Like it Hot (1959, dir. Billy Wilder) (Magnum)

Marilyn Monroe in contact sheets for Some Like it Hot (1959, dir. Billy Wilder) (Magnum)

Marilyn Monroe - I Wanna Be Loved By You (Some Like it Hot: Original Motion Picture Soundtrack)