Old Hollywood
Cinema
1900-1979

Nostalgia is a seductive liar - George Wildman Ball
“On a microscopic piece of sand that floats through space is a fragment of a man’s life. Left to rust is the place he lived in and the machines he used. Without use, they will disintegrate from the wind and the sand and the years that act upon them. All of Mr. Corry’s machines - including the one made in his image, kept alive by love, but now obsolete - in the Twilight Zone.”
-Rod Serling, “The Lonely”, The Twilight Zone (1959)
It’s that time again - ride out your hangover with the New Year’s Eve/Day Syfy TZ marathon (schedule here)

“On a microscopic piece of sand that floats through space is a fragment of a man’s life. Left to rust is the place he lived in and the machines he used. Without use, they will disintegrate from the wind and the sand and the years that act upon them. All of Mr. Corry’s machines - including the one made in his image, kept alive by love, but now obsolete - in the Twilight Zone.”

-Rod Serling, “The Lonely”, The Twilight Zone (1959)

It’s that time again - ride out your hangover with the New Year’s Eve/Day Syfy TZ marathon (schedule here)

Julie LondonI’d Like You For Christmas

Pascal Lamorisse in The Red Balloon (1956, dir. Albert Lamorisse) (via)

Pascal Lamorisse in The Red Balloon (1956, dir. Albert Lamorisse) (via)

Audrey Hepburn on the set of Funny Face (1956, photo by David Seymour) (via)
“Why, she was pressed, does she think she provoked such strong feelings of empathy from her audiences? After all, she was not a sex symbol (‘I sure wasn’t’), so what was it - her beauty, her vulnerability, her sense of humor, her sensitivity? - that gave her that special aura?
‘It’s impossible for me to know,’ [Audrey Hepburn] said with hesitation, ‘but if you asked me what I would like it to be, though it may sound presumptuous to say so, it’s an experience I’ve had with other performers who somehow make you open up to them. For me, it always has to do with some kind of affection, love, a warmth.’
‘I myself was born with an enormous need for affection and a terrible need to give it,’ she went on. ‘That’s what I’d like to think maybe has been the appeal. People have recognized something in me they have themselves — the need to receive affection and the need to give it. Does that sound soppy?’”
-excerpted from New York Times interview, April 1991

Audrey Hepburn on the set of Funny Face (1956, photo by David Seymour) (via)

“Why, she was pressed, does she think she provoked such strong feelings of empathy from her audiences? After all, she was not a sex symbol (‘I sure wasn’t’), so what was it - her beauty, her vulnerability, her sense of humor, her sensitivity? - that gave her that special aura?

‘It’s impossible for me to know,’ [Audrey Hepburn] said with hesitation, ‘but if you asked me what I would like it to be, though it may sound presumptuous to say so, it’s an experience I’ve had with other performers who somehow make you open up to them. For me, it always has to do with some kind of affection, love, a warmth.’

‘I myself was born with an enormous need for affection and a terrible need to give it,’ she went on. ‘That’s what I’d like to think maybe has been the appeal. People have recognized something in me they have themselves — the need to receive affection and the need to give it. Does that sound soppy?’”

-excerpted from New York Times interview, April 1991

Simone Signoret & Paul Meurisse in Diabolique (1955, dir. Henri-Georges Clouzot) (via)
“I sought only to amuse myself and the little child who sleeps in all our hearts— the child who hides her head under the bed-covers and begs, ‘Daddy, Daddy, frighten me!”
-Clouzot, on directing Diabolique

Simone SignoretPaul Meurisse in Diabolique (1955, dir. Henri-Georges Clouzot) (via)

“I sought only to amuse myself and the little child who sleeps in all our hearts— the child who hides her head under the bed-covers and begs, ‘Daddy, Daddy, frighten me!”

-Clouzot, on directing Diabolique

Dakota Staton - The Thrill is Gone

Audrey Hepburn on the set of Sabrina (1954) Photographer: Dennis Stock (via)

Audrey Hepburn on the set of Sabrina (1954) Photographer: Dennis Stock (via)

Cary Grant & Grace Kelly on the set of To Catch a Thief (1955, dir. Alfred Hitchcock) (via)

Cary Grant & Grace Kelly on the set of To Catch a Thief (1955, dir. Alfred Hitchcock) (via)

Carroll Baker in Baby Doll (1956, dir. Elia Kazan) (via)

Carroll Baker in Baby Doll (1956, dir. Elia Kazan) (via)

Orson Welles performing the “Broomstick Suspension” magic trick with Lucille Ball during the filming of the I Love Lucy episode, “Lucy Meets Orson Welles” (1956) 
“I’ve never had a friend in my life who wanted to see a magic trick, you know. I don’t know anybody who wants to see a magic trick. So I do it professionally; it’s the only way I get to perform.
I went once to a birthday party for [MGM boss] Louis B. Mayer with a rabbit in my pocket which I was going to take out of his hat. On came Judy Garland and Danny Kaye and Danny Thomas and everybody you ever heard of and then Al Jolson sang for two hours and my rabbit was peeing all over me, you know. And the dawn was starting to rise over the Hillcrest Country Club as we said goodnight to Louis B. Mayer and nobody’d asked me to do a magic trick. So the rabbit and I went home.”
-Welles, in the 1982 documentary The Orson Welles Story

Orson Welles performing the “Broomstick Suspension” magic trick with Lucille Ball during the filming of the I Love Lucy episode, “Lucy Meets Orson Welles” (1956) 

“I’ve never had a friend in my life who wanted to see a magic trick, you know. I don’t know anybody who wants to see a magic trick. So I do it professionally; it’s the only way I get to perform.

I went once to a birthday party for [MGM boss] Louis B. Mayer with a rabbit in my pocket which I was going to take out of his hat. On came Judy Garland and Danny Kaye and Danny Thomas and everybody you ever heard of and then Al Jolson sang for two hours and my rabbit was peeing all over me, you know. And the dawn was starting to rise over the Hillcrest Country Club as we said goodnight to Louis B. Mayer and nobody’d asked me to do a magic trick. So the rabbit and I went home.”

-Welles, in the 1982 documentary The Orson Welles Story

Gort escorts Patricia Neal to his space shuttle in The Day The Earth Stood Still (1951, dir. Robert Wise) (via)

Gort escorts Patricia Neal to his space shuttle in The Day The Earth Stood Still (1951, dir. Robert Wise) (via)

Bernard Herrmann - Prelude/Outer Space/Radar (The Day The Earth Stood Still: Original Motion Picture Soundtrack)

“[Herrmann’s score for the sci-fi classic The Day The Earth Stood Still] was another scoring milestone that anticipated the era of electronic music with its then unheard of instrumentation for electric violin, electric bass, two high and low electric theremins, four pianos, four harps and a ‘very strange section of about 30-odd brass.’…What the film needed was an extraterrestrial strangeness, a sense of the bizarre and unsettling; this Herrmann achieved through his wisely sparse electronic soundtrack.

If the music’s impact is lessened today, the reason is not the score itself but the host of inferior imitations its success spawned.”

-excerpted from A Heart at Fire’s Center: The Life and Music of Bernard Herrmann by Steven Smith

Guilt Is My Shadow (1950, dir. Roy Kellino) (via)

Guilt Is My Shadow (1950, dir. Roy Kellino) (via)

Brigitte Bardot, 1958. Photo by Nicolas Tikhomiroff (via)

Brigitte Bardot, 1958. Photo by Nicolas Tikhomiroff (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)