Tagged
vintage


Buster Keaton, via vintagephoto

Buster Keaton, via vintagephoto


Via abbyjean:

A.L. Shafer, the head of photography at Columbia, took a photo that intentionally incorporated all of the 10 items banned by the Hays Code into one image. (via Sociological Images)

Via abbyjean:

A.L. Shafer, the head of photography at Columbia, took a photo that intentionally incorporated all of the 10 items banned by the Hays Code into one image. (via Sociological Images)


Left to right: Alfred Hitchcock, James Gregory, Vincent Price
Via vintagephoto; more Hitchcock here

Left to right: Alfred Hitchcock, James Gregory, Vincent Price

Via vintagephoto; more Hitchcock here



James Cagney shows Ed Sullivan how to do a James Cagney impression.



Shooting the Metro-Goldwyn-Mayer lion (1924), via The Blog of Record; more MGM lions here.

Shooting the Metro-Goldwyn-Mayer lion (1924), via The Blog of Record; more MGM lions here.


Via killingbambi (again), via theblogofrecord

Via killingbambi (again), via theblogofrecord


Photograph by Cecil Beaton; not sure who the model is. Via Preik.

Photograph by Cecil Beaton; not sure who the model is. Via Preik.


Via apatientboy:

Rod Serling talks censorship, art vs. commerce, selling out, and more in this brilliant interview with Mike Wallace from 1959 (just before The Twilight Zone premiered on television).

Part 1Part 2Part 3


Greta Garbo’s bookplate, via DRB.

Greta Garbo’s bookplate, via DRB.



I believe in censorship. I made a fortune out of it.
Mae West

Alla Nazimova as the title character in her screen adaptation of Oscar Wilde’s Salomé, 1923. John Coulthart writes: “Nazimova inaugurated the project, produced it and even part-financed it since the studios, increasingly worried by pressure from moral campaigners, regarded it as a dangerously decadent work. Nazimova had a rather colourful off-screen life and the stories of orgiastic revels at her mansion, the Garden of Allah, probably didn’t help matters.”
Via { feuilleton }; larger

Alla Nazimova as the title character in her screen adaptation of Oscar Wilde’s Salomé, 1923. John Coulthart writes: “Nazimova inaugurated the project, produced it and even part-financed it since the studios, increasingly worried by pressure from moral campaigners, regarded it as a dangerously decadent work. Nazimova had a rather colourful off-screen life and the stories of orgiastic revels at her mansion, the Garden of Allah, probably didn’t help matters.”

Via { feuilleton }; larger


“Der Mensch als Industriepalast (Man as Industrial Palace)” by Fritz Kahn, 1926; via { feuilleton }.
Larger

“Der Mensch als Industriepalast (Man as Industrial Palace)” by Fritz Kahn, 1926; via { feuilleton }.

Larger