Gloria Swanson & William Holden in Sunset Boulevard (1950, dir. Billy Wilder)
“Still wonderful, isn’t it? And no dialogue. We didn’t need dialogue. We had faces.”
Gold Diggers of 1933 (1933, dir. Mervyn LeRoy, choreography by Busby Berkeley) (“neon violin” sequence can be seen here)
“You touch me and you won’t live ‘till morning.”
-Ava Gardner in The Killers (1946, dir. Robert Siodmak) Photo by Ray Jones.
The Crucified Lovers (1954, dir. Kenji Mizoguchi)
Anne Bancroft in The Slender Thread (1965, dir. Sydney Pollack) (via)
Candace Hilligoss in Carnival of Souls (1962, dir. Herk Harvey)
“It’s funny. The world is so different in the daylight. In the dark, your fantasies get so out of hand. But in the daylight everything falls back into place again.”
Loew’s Commodore Theater, circa 1942, photo by Arthur “Weegee” Fellig
“I would look at that light as a pious boy might react to a shaft of sunlight in a cathedral. I still find it a slightly mystical experience. Something to do with forbidden and secret things.”
-David Lean, remembering sitting beneath the projector’s beam in the movie theater as a child
The Silence (1963, dir. Ingmar Bergman)
Alain Delon in Le Samourai (1967, dir. Jean-Pierre Melville)
“There is no solitude greater than a samurai’s, unless perhaps it is that of a tiger in the jungle.”
The Three Witches in Macbeth (1948, dir. Orson Welles)
Anthony Perkins in The Trial (1962, dir. Orson Welles)
The Innocents (1961, dir. Jack Clayton, screenplay by Truman Capote, based on Henry James’s The Turn of the Screw)
Alfred Hitchcock & Tippi Hedren on the set of Marnie (1964, dir. Alfred Hitchcock)
“To be the object of somebody’s obsession is a really awful feeling when you can’t return it.”
-Hedren, on working with Hitchcock
Orson Welles in The Third Man (1949, dir. Carol Reed)
