Old Hollywood
Cinema
1900-1979
Nostalgia is a seductive liar - George Wildman Ball

Herbie Hancock - Main Title (Blow-Up: Original Motion Picture Soundtrack)

Woody Allen (center) and giant marauding breast on the set of Everything You Always Wanted to Know About Sex, But Were Afraid to Ask (1972, dir. Woody Allen) (via)

Woody Allen (center) and giant marauding breast on the set of Everything You Always Wanted to Know About Sex, But Were Afraid to Ask (1972, dir. Woody Allen) (via)

Elmer Bernstein - Main Titles (The Magnificent Seven: Original Motion Picture Soundtrack) 

Elizabeth Taylor in Suddenly, Last Summer (1959, dir. Joseph L. Mankiewicz) Photo by Burt Glinn (via)

Elizabeth Taylor in Suddenly, Last Summer (1959, dir. Joseph L. Mankiewicz) Photo by Burt Glinn (via)

Dracula’s Brides in a production still from Dracula (1931, Tod Browning) Art direction by Charles D. Hall (via)

Dracula’s Brides in a production still from Dracula (1931, Tod Browning) Art direction by Charles D. Hall (via)

Michael Riesman - The End of Dracula (composed by Philip Glass)

This track comes from a re-recording of  Glass’s Dracula, which he composed as a soundtrack for the 1931 film. The music was originally written for string quartet, but for this recording, Michael Riesman arranged the entire score for solo piano.

The original version of this track, perfomed by Kronos Quartet, was previously posted here.

Stanley Kubrick & Malcolm McDowell on the set of A Clockwork Orange (1971, dir. Stanley Kubrick) (via)

Wendy Carlos - Country Lane (A Clockwork Orange: Wendy Carlos’s Complete Original Score)

From the liner notes: Scored, but never used, Country Lane “depicts Alex’s near drowning at the hands of his ex-Droogs, utilizes motifs from Rossini’s The Thieving Magpie plus the medieval religious theme of Dies Irae (Day of Wrath), which is also heard in the title music, plus authentic rain storm sounds, plus a suggestion of Singin’ in the Rain. In its few minutes, this Country Lane manages to sum up the mood of the entire film.”

John Huston on the set of The Unforgiven (1960, dir. John Huston) Photo by Inge Morath (via) “God Almighty, looking at what’s going on here, or having looked at what’s been going on here for the last generation or so, must surely have turned to the bottle, and he’s obviously away on an extended bat in another constellation…I prefer to think of God as away on a bat. Not dead, just drunk.” -Huston, quoted in John Huston: Interviews

John Huston on the set of The Unforgiven (1960, dir. John Huston) Photo by Inge Morath (via)

“God Almighty, looking at what’s going on here, or having looked at what’s been going on here for the last generation or so, must surely have turned to the bottle, and he’s obviously away on an extended bat in another constellation…I prefer to think of God as away on a bat. Not dead, just drunk.”

-Huston, quoted in John Huston: Interviews

Marilyn Monroe and Eli Wallach on the set of The Misfits (1961, dir. John Huston) (via) Photo by Eve Arnold

Marilyn Monroe and Eli Wallach on the set of The Misfits (1961, dir. John Huston) (via)

Photo by Eve Arnold

Marilyn Monroe - (This Is) A Fine Romance

Anjelica Huston during the filming of A Walk with Love & Death (1969, dir. John Huston) (via) Photo by Eve Arnold

Anjelica Huston during the filming of A Walk with Love & Death (1969, dir. John Huston) (via)

Photo by Eve Arnold

Raquel Welch in the clutches of a pterosaur in One Million Years B.C. (1966, dir. Don Chaffey) (via)

Raquel Welch in the clutches of a pterosaur in One Million Years B.C. (1966, dir. Don Chaffey) (via)

Artie Shaw - Begin The Beguine 

Eugène Thiébault’s Henri Robin and a Specter, in which a man about to shoot himself is confronted by his own ghost. Thiébault achieved the effect of the ghost through the use of double exposure. (via)

Eugène Thiébault’s Henri Robin and a Specter, in which a man about to shoot himself is confronted by his own ghost. Thiébault achieved the effect of the ghost through the use of double exposure.

(via)