Lady Snowblood

_{Happy Birthday Rosalind Russell!}
_{(June 4, 1907-November 28, 1976)}
_{Flops are a part of life’s menu and I’ve never been a girl to miss out on any courses.}

scottlava:

“Hey, did Hyun-seo describe any special traits of the sewer?”

scottlava:

“He chose poorly.”

the-dark-city:

justjonnyy:
Jean Harlow and Robert Williams share a pre-code kiss (it’s on a *gasp* bed!) - Platinum Blonde(1931)
This is sort of a big deal, because when the Hays Code passed in 1934, couples could no longer be shown as sharing a single bed (double beds became the rule), let alone kissing on one.
Contrary to popular belief there was no rule within the motion picture production code of America, (commonly referred to as the Hays Code) that prohibited this act per se.
Actually there was - http://en.wikipedia.org/wiki/Motion_Picture_Production_Code item # 19. After the Hays Code passed in mid 1934, all married couples were shown in twin beds, including the wonderful Thin Man series - kissing on a double bed like this, that they obviously shared, would no longer be seen. I dont base my posts on “popular belief”, I actually have been studying pre code films for years and have many books on the subject which I refer to frequently - it’s one of my favorite eras in cinema of all time, and I try to share what I’ve learned with my followers, because hopefully, it makes this blog more interesting and fun.

hedylamarr:

Hedy Lamarr on the set of Crossroads (1942)

That happens a lot.

beautyandterrordance:

Vincent Price for Smirnoff, Life magazine, 1955. Photo by Bert Stern, via theniftyfifties.

Don Draper at his drunkest pitch ever.

deforest:

Joseph Cotten on the set of The Third Man (1949)

Film Noir (from the French meaning Black Film) is a genre of cinema that emerged during the early 1940s and continued until the late 1950s. It is characterised by it’s distintive stylisation of cinematography and it’s focus on crime, mystery and sex. Taking many cues from early German expressionism, Film Noir offered an immersive thematic experience that was very different to that of other contemporary melodramas. Several techniques and plot devices came to define the genre, including voiceovers, the inventive use of light and shadow, the protagonist’s need to seek out some truth, and the famed ‘femme fatale’ figure.