Old Hollywood
Cinema
1900-1979

Nostalgia is a seductive liar - George Wildman Ball
Monica Vitti in Red Desert (1964, dir. Michelangelo Antonioni) (via)
“I shot some of Red Desert along a road where half the horizon was filled with the pine trees that still surrounds Ravenna - though they are vanishing fast - while the other half of the skyline was taken up with a long line of factories, chimneys, tanks, grain silos, buildings, machinery. I felt that the skyline filled with things made by man, with those colors, was more beautiful and richer and more exciting for me than the long, green, uniform line of pinewoods, behind which I still sensed empty nature.
…In this film, machines, with their intrigue of power, beauty, and squalor, have an enormous effect and they have taken the place of the natural landscape. But machines are not the cause of the crisis of the anguish that people have been talking about for years. I mean that we must not long for the more primitive times, thinking that they were a more natural landscape for man.”
-Antonioni, quoted in Michelangelo Antonioni: Interviews

Monica Vitti in Red Desert (1964, dir. Michelangelo Antonioni) (via)

“I shot some of Red Desert along a road where half the horizon was filled with the pine trees that still surrounds Ravenna - though they are vanishing fast - while the other half of the skyline was taken up with a long line of factories, chimneys, tanks, grain silos, buildings, machinery. I felt that the skyline filled with things made by man, with those colors, was more beautiful and richer and more exciting for me than the long, green, uniform line of pinewoods, behind which I still sensed empty nature.

…In this film, machines, with their intrigue of power, beauty, and squalor, have an enormous effect and they have taken the place of the natural landscape. But machines are not the cause of the crisis of the anguish that people have been talking about for years. I mean that we must not long for the more primitive times, thinking that they were a more natural landscape for man.”

-Antonioni, quoted in Michelangelo Antonioni: Interviews

Dorothy Dandridge on the set of Porgy and Bess (1959, dir. Otto Preminger) 
“Dandridge was a staggeringly beautiful actress. She was born and raised in Los Angeles, in an upper-middle-class family. In the late 1940s or early 1950s, one of her uncles died and the family went to Augusta, Georgia, for the funeral. She described the utter terror she felt in that small Southern city – the looks the people gave her, the comments they made, the blatant racism and hatred she encountered there.”
-photographer Phil Stern (via)

Dorothy Dandridge on the set of Porgy and Bess (1959, dir. Otto Preminger) 

“Dandridge was a staggeringly beautiful actress. She was born and raised in Los Angeles, in an upper-middle-class family. In the late 1940s or early 1950s, one of her uncles died and the family went to Augusta, Georgia, for the funeral. She described the utter terror she felt in that small Southern city – the looks the people gave her, the comments they made, the blatant racism and hatred she encountered there.”

-photographer Phil Stern (via)

Helen Humes - Blue Prelude

Charlie Chaplin in the final scene of The Tramp (1915, dir. Charlie Chaplin)

Charlie Chaplin in the final scene of The Tramp (1915, dir. Charlie Chaplin)

Brigitte Helm in Metropolis (1927, Fritz Lang) (via)

Brigitte Helm in Metropolis (1927, Fritz Lang) (via)

Brigitte Helm, Fritz Lang, Heinrich George and assorted cast & crew on the set of Metropolis (1927, dir. Fritz Lang) Photographer: Horst von Harbou (via)

Lalo Schifrin - Main Title (The Amityville Horror: Music from the Original Motion Picture Soundtrack)

Lon Chaney publicity photo (MGM), circa 1925 (via)

Lon Chaney publicity photo (MGM), circa 1925 (via)

Corinne Marchand - Sans Toi/Without You (Cleo from 5 to 7: Original Motion Picture Soundtrack) 

English translation here. Written by Michel Legrand

Poster art: French edition (click on individual posters for artist/film info) (via)

Etta Jones (a.k.a. “Not Etta James”) - Don’t Go To Strangers

Crimefighter/master of disguise “Judex” (Channing Pollock) at the masked ball in Georges Franju’s Judex (1963) (scene here)
(via)

Crimefighter/master of disguise “Judex” (Channing Pollock) at the masked ball in Georges Franju’s Judex (1963) (scene here)

(via)

Elizabeth Taylor on the set of Suddenly, Last Summer (1959, dir. Joseph L. Mankiewicz) Photographer: Burt Glinn (via)

Elizabeth Taylor on the set of Suddenly, Last Summer (1959, dir. Joseph L. Mankiewicz) Photographer: Burt Glinn (via)

Bernard Herrmann - Prelude (The Ghost & Mrs. Muir: Original Motion Picture Soundtrack)

Gene Tierney in The Ghost and Mrs. Muir (1947, dir. Joseph L. Mankiewicz) Photographer: Jim Reid (via)

Gene Tierney in The Ghost and Mrs. Muir (1947, dir. Joseph L. Mankiewicz) Photographer: Jim Reid (via)