Old Hollywood
Cinema
1900-1979

Nostalgia is a seductive liar - George Wildman Ball
Diana “Baby Peggy” Cary, age 5, in Darling of New York (1923, dir. King Baggot)
And today’s child stars think they have it rough:
“[While filming a fire sequence for Darling of New York], King Baggot and my father walked me through the set and  showed me how the crew had lined the windows & the only door with sawdust  soaked in kerosene, which would be set afire for the scene. I was warned  it would only be “one take” as the set would be completely burned. I was  shown the two different windows in the kitchen which would be ablaze  when the camera rolled. I was to look at them but turn away and run to  the door. It would not be torched by the crew, Baggot said, and I was to  escape immediately through that door.  But when filming began and I reached the door I found the crew had  mistakenly set it ablaze. The door knob was already too hot to touch.  But the camera, Baggot, and my father, shooting from a distance through  the window above the kitchen sink, could not see the flames. I knew I  could not spoil the scene by explaining the situation to them. So while  they kept shouting at me to “GO OUT THE DOOR!” I ran back to the sink & the window above it, which was not burning as fiercely as was the  door. Moving fast I clambered through the burning open window and gave  the camera an unexpected close up of me escaping through the flames!
…Surprising as it seems, I worked with fire even as a toddler, and in  other dangerous situations often over the years. I learned that my  guides did not always see the dangers I saw up close. I realized early  on that it was up to me to take care of myself and do whatever  it took to get through a scene safely without ruining the film.”
-excerpted from Diana Cary’s piece on the good old days before child labor legislation at Starts Tuesday

Diana Baby Peggy Cary, age 5, in Darling of New York (1923, dir. King Baggot)

And today’s child stars think they have it rough:

“[While filming a fire sequence for Darling of New York], King Baggot and my father walked me through the set and showed me how the crew had lined the windows & the only door with sawdust soaked in kerosene, which would be set afire for the scene. I was warned it would only be “one take” as the set would be completely burned. I was shown the two different windows in the kitchen which would be ablaze when the camera rolled. I was to look at them but turn away and run to the door. It would not be torched by the crew, Baggot said, and I was to escape immediately through that door. 

But when filming began and I reached the door I found the crew had mistakenly set it ablaze. The door knob was already too hot to touch. But the camera, Baggot, and my father, shooting from a distance through the window above the kitchen sink, could not see the flames. I knew I could not spoil the scene by explaining the situation to them. So while they kept shouting at me to “GO OUT THE DOOR!” I ran back to the sink & the window above it, which was not burning as fiercely as was the door. Moving fast I clambered through the burning open window and gave the camera an unexpected close up of me escaping through the flames!

…Surprising as it seems, I worked with fire even as a toddler, and in other dangerous situations often over the years. I learned that my guides did not always see the dangers I saw up close. I realized early on that it was up to me to take care of myself and do whatever it took to get through a scene safely without ruining the film.”

-excerpted from Diana Cary’s piece on the good old days before child labor legislation at Starts Tuesday

Martial Solal -  La Mort (Breathless/À bout de souffle: Original Motion Picture Soundtrack)

Jean Seberg in Breathless (1960, dir. Jean-Luc Godard)

Jean Seberg in Breathless (1960, dir. Jean-Luc Godard)

Paul Newman & Joanne Woodward struggle to get through the crowd at the premiere of Butch Cassidy & the Sundance Kid. It’s not clear what that crazy-eyed fan is struggling to do, but judging from the expression on Woodward’s face, she’s going to regret it.
(1969, via)

Paul Newman & Joanne Woodward struggle to get through the crowd at the premiere of Butch Cassidy & the Sundance Kid. It’s not clear what that crazy-eyed fan is struggling to do, but judging from the expression on Woodward’s face, she’s going to regret it.

(1969, via)

Or else.
(Jane Russell, circa 1956)

Or else.

(Jane Russell, circa 1956)

Publicity shot of Bette Davis registering to vote at 20th Century Fox studios (1964)
On contemporary politics:
“But my God, the witch hunt today! Is there any human being alive who hasn’t done something bad in their youth - like maybe smoked marijuana once? And [Judge Douglas Ginsburg, a Reagan Supreme Court nominee who withdrew from consideration when his use of marijuana while in his mid-30s came to light] found it necessary to admit it! My God! It would be like Mr. Jack Kennedy sitting down and listing all the women he knew!”
-Davis in 1987 San Francisco Chronicle interview

Publicity shot of Bette Davis registering to vote at 20th Century Fox studios (1964)

On contemporary politics:

“But my God, the witch hunt today! Is there any human being alive who hasn’t done something bad in their youth - like maybe smoked marijuana once? And [Judge Douglas Ginsburg, a Reagan Supreme Court nominee who withdrew from consideration when his use of marijuana while in his mid-30s came to light] found it necessary to admit it! My God! It would be like Mr. Jack Kennedy sitting down and listing all the women he knew!”

-Davis in 1987 San Francisco Chronicle interview

Ethel Ennis - The Moon Was Yellow (And The Night Was Young)

The rejection slip the motion picture studio Essanay Film Manufacturing Company  (1907-1925) sent screenwriters whose submissions were found wanting. Essanay is best remembered today for its series of Charlie Chaplin films.
(via Silent Movies: The Birth of Film and the Triumph of Movie Culture)

The rejection slip the motion picture studio Essanay Film Manufacturing Company (1907-1925) sent screenwriters whose submissions were found wanting. Essanay is best remembered today for its series of Charlie Chaplin films.

(via Silent Movies: The Birth of Film and the Triumph of Movie Culture)

Production still from Dante’s Inferno (1935, dir. Harry Lachman)  (via Sin in Soft-Focus: Pre-Code Hollywood)
Dante’s Inferno, which stars Spencer Tracy as a greedy & unscrupulous businessman, isn’t a straightforward re-telling of Dante’s tale (for that, try 1911’s L’Inferno). Rather, during an extraordinary 8-minute dream sequence, Tracy’s character is shown a vision of the hell that awaits him in the afterlife if he doesn’t change his ways. In the scene pictured above, the souls of suicides are entombed in trees in the seventh circle of hell & fed on by harpies.
The dream sequence can be seen online starting here.

Production still from Dante’s Inferno (1935, dir. Harry Lachman)  (via Sin in Soft-Focus: Pre-Code Hollywood)

Dante’s Inferno, which stars Spencer Tracy as a greedy & unscrupulous businessman, isn’t a straightforward re-telling of Dante’s tale (for that, try 1911’s L’Inferno). Rather, during an extraordinary 8-minute dream sequence, Tracy’s character is shown a vision of the hell that awaits him in the afterlife if he doesn’t change his ways. In the scene pictured above, the souls of suicides are entombed in trees in the seventh circle of hell & fed on by harpies.

The dream sequence can be seen online starting here.

Alfred Hitchcock & the Jeff Alexander Orchestra -I Don’t Stand a Ghost of a Chance With You (via Alfred Hitchcock PresentsMusic to be Murdered By)

Previously

Ricardo Cortez in production still from D.W. Griffith’s Faustian tale The Sorrows of Satan (1926), based on Marie Corelli’s 1895 novel of the same name.

Ricardo Cortez in production still from D.W. Griffith’s Faustian tale The Sorrows of Satan (1926), based on Marie Corelli’s 1895 novel of the same name.

Franz Waxman - Crucifixion/Monster Breaks Out (Bride of Frankenstein: Original Motion Picture Soundtrack) Performed by the Westminster Philharmonic Orchestra.

Better Homes & Gardens: Dream Evil Labs edition II - The set for Bride of Frankenstein’s (1935, dir. James Whale) creation scene.
Set design by Charles D. Hall.

Better Homes & Gardens: Dream Evil Labs edition II - The set for Bride of Frankenstein’s (1935, dir. James Whale) creation scene.

Set design by Charles D. Hall.

Kronos Quartet - The Castle (composed by Philip Glass, via Philip Glass: Dracula, his score for 1931’s Dracula)

 
Dorothy Tree, Geraldine Dvorak, & Cornelia Thaw as Dracula’s brides in Dracula (1931, Tod Browning) (via Sin in Soft-Focus: Pre-Code Hollywood)
“I was not alone.
The room was the same, unchanged in any way since I came into it; I could see along the floor, in the brilliant moonlight my own footsteps marked where I had disturbed the long accumulation of dust. In the moonlight opposite me were three young women, ladies by their dress and manner. I thought at the time that I must be dreaming, for though the moonlight was behind them, they threw no shadow on the floor.
They came close to me and looked at me for some time and then whispered together. Two were dark and had high aquiline noses like the Count’s, and great dark, piercing eyes that seemed almost red when contrasted with the pale yellow moon. The other was fair, fair as can be, with golden hair and eyes like pale sapphires. All three had brilliant white teeth that shone like pearls against the ruby of their voluptuous lips. There was something about them that made me uneasy, some longing and at the same time some deadly fear. I felt in my heart a wicked, burning desire that they would kiss me with those red lips.
They whispered together,  and then they all three laughed, such a silvery, musical laugh, but as hard as though the sound never could  have come through the softness of human lips.  It was like the intolerable, tingling sweetness of waterglasses when played on by a cunning hand. The fair girl shook her head coquettishly, and the other two urged her on.
One said: “Go on! You are first, and we shall follow; yours is the right to begin.”
The other added: “He is young and strong; there are kisses for us all.”
-Bram Stoker, Dracula (1897)

Dorothy Tree, Geraldine Dvorak, & Cornelia Thaw as Dracula’s brides in Dracula (1931, Tod Browning) (via Sin in Soft-Focus: Pre-Code Hollywood)

“I was not alone.

The room was the same, unchanged in any way since I came into it; I could see along the floor, in the brilliant moonlight my own footsteps marked where I had disturbed the long accumulation of dust. In the moonlight opposite me were three young women, ladies by their dress and manner. I thought at the time that I must be dreaming, for though the moonlight was behind them, they threw no shadow on the floor.

They came close to me and looked at me for some time and then whispered together. Two were dark and had high aquiline noses like the Count’s, and great dark, piercing eyes that seemed almost red when contrasted with the pale yellow moon. The other was fair, fair as can be, with golden hair and eyes like pale sapphires. All three had brilliant white teeth that shone like pearls against the ruby of their voluptuous lips. There was something about them that made me uneasy, some longing and at the same time some deadly fear. I felt in my heart a wicked, burning desire that they would kiss me with those red lips.

They whispered together, and then they all three laughed, such a silvery, musical laugh, but as hard as though the sound never could have come through the softness of human lips. It was like the intolerable, tingling sweetness of waterglasses when played on by a cunning hand. The fair girl shook her head coquettishly, and the other two urged her on.

One said: “Go on! You are first, and we shall follow; yours is the right to begin.”

The other added: “He is young and strong; there are kisses for us all.”

-Bram Stoker, Dracula (1897)