Hitchcock says no festival for you this year!
The 73rd edition of the Festival de Cannes, aka the Cannes Film Festival, would have kicked off today in the south of France, but was cancelled a while back. It's just one of a wave of event cancellations that will cascade through the year. Festivals as diverse as Burning Man and San Fermin, aka the Running of the Bulls, have also been shelved. But getting back to Cannes, we thought this would be a good moment to commemorate past fests with some historical photos. Above you see Alfred Hitchcock on a boat with the town in the background, in 1972, and below are about fifty pix from the 1940s through 1970s, documenting various iconic moments, and a few quieter ones. Maybe the Cannes Film Festival will back next year, maybe not. At this point, predicting anything is an exercise in futility. But at least we'll always have the memories.
Edith Piaf sings on the terrace of the Carlton Hotel on the iconic Boulevard de la Croisette at the first Festival de Cannes to be held under that name, in 1946. Back then the event took place in September and October, but would shift to May a bit later. Diana Dors and Ginger Rogers arrive at the fest the only way anyone should—breezing along the beachfront in a convertible, in 1956, with an unknown driver. Kirk Douglas holds court on the beach in 1953, and Brigitte Bardot soaks up rays in the foreground. Michele Morgan poses at the first Festival in 1946. Photo ops of this sort were essential sources of publicity for stars, and would soon become opportunities for non-stars seeking to be discovered. Case in point. Robert Mitchum poses with actress Simone Sylva in 1954. Sylva was allegedly not supposed to be there, but shucked her top and photo-bombed Douglas in an attempt to raise her profile. It didn't work. She made only a couple of credited movie appearances after her topless stunt. Romy Schneider and Alain Delon at the 1959 fest. An unidentified model or actress poses in the style of Anita Ekberg from La dolce vita in 1960. This looks like it was shot at Plage du Midi, which is a beach located a little ways west of the Cannes town center.
A unidentified partygoer is tossed into a swimming pool after La Dolce Vita won the the 1960 Palme d’Or. The Festival is almost as well known for legendary parties as for legendary film premieres. Another unidentified model or actress poses on the boardwalk in 1979. Generally, you don't have to be known to draw a crowd of photographers—you just have to be nearly bare. She's wearing lingerie, so that explains the interest, though this is modest garb for a Cannes publicity stunt. It's never a surprise to see a headline-seeking film hopeful strip all the way down to a string ficelle féminin, or thong, which is the limit of what is legal in Cannes Sidney Poitier and Jean Seberg have a laugh in 1961. This was the year Poitier's flick Paris Blues was released, so it's possible he had jetted down from the capital for the Festival. Philomène Toulouse relaxes on the sand in 1962 while a boy practices the classic French look of disgust he'll be using the rest of his life.
Actor Bernard Blier, 1975.
An unidentified bikini wearer boldly enjoys a lunch in a café on the Croisette, 1958.
Natalie Wood aboard a sailboat in 1962. Grace Kelly, 1955. Kelly times two—Grace Kelly and Gene Kelly, hanging out, also in 1955. Sammy Davis, Jr. poses in front of a billboard promoting his film A Man Called Adam, 1966.
Joan Scott gets sand between her toes in 1955. Scott is obscure. She isn't even the most famous Joan Scott anymore. The IMDB entry for the only Joan Scott near the appropriate age is for an actress born in 1920 who didn't begin acting until 1967. The Joan Scott above doesn't look thirty-five, though, and we doubt she would have been the subject of this somewhat well-known photo without parlaying it into a film appearance before twelve years had passed. So we don't think this is the Joan Scott referenced on IMDB.
Sharon Tate, with Roman Polanski, and solo, 1968. Marlene Dietrich brings glamour to a tiki themed bar in 1958. Tippi Hedren and Alfred Hitchcock release caged birds as a promo stunt for The Birds in 1963. Sophia Loren sits with husband Carlo Ponti, who was a member of the 1966 Festival jury. Raquel Welch poses on a motorcycle in 1966. Jane Birkin takes aim with one of her cameras in 1975.
Dorothy Dandridge frolics in 1955, when she was promoting her film Carmen Jones. Cinematic icon Catherine Deneuve and her sister Françoise Dorléac in 1965. Dorléac died in an automobile accident a couple of years later.
Robert Redford lounges on the beach in 1972. Based on his outfit you'd think he was in Cannes to promote The Sting, but he was actually there for his western Jeremiah Johnson, which screened May 7 of that year. Sophia Loren waves to well-wishers in 1964. Bogie and Bacall paired up and looking distinguished in 1957. John and Cynthia Lennon in 1965, and John with Yoko Ono in 1971. Every story John told on that second trip probably started with, “When I was here with the first love of my life...” until Yoko smacked him across the mouth. Rock Hudson and bicycle in 1966. Unidentified actresses pose on the beach in 1947. To the rear is the Hotel Carlton, mentioned in the Edith Piaf image, built on the Croisette and finished in 1910. George Baker, Bella Darvi (right—your right, not his), and an unknown acquaintance have a surfside run/photo op in 1956. Jayne Mansfield and Russian actress Tatiana Samoïlova enjoy a toast in 1958. Mansfield probably shared the story of how she once made Sophia Loren stare at her boobs, and Samoïlova said, “Cheers to you—well played, you provocative American minx.” French actor Fernandel, whose real name was Fernand Contandin, on his boat Atomic in 1956. Arlette Patrick figures out a different way to generate publicity—by walking her sheep on the Croisette in 1955. A pair of water skiers show perfect form in 1955, as a battleship floats in the background. Jeanne Moreau, for reasons that are unclear, poses on a banquet table in 1958. Most sources descibe this in such a way as to make it seem spontaneous, but we have our doubts. It's a great shot, though. Two unidentified women take in the scene from the terrace of the Hotel Carlton, 1958. This shot is usually said to portray two tourists, but the woman on the left is the same person as in the bikini lunch shot from earlier, which tells us she's a model or actress, and both photos are staged. Like we said, publicity is everything in Cannes.
Danielle Darrieux and Sophia Loren at the 11th Cannes Film Festival, 1958. Italian actress Monica Vitti chills on a boat in 1968. Aspiring stars catch some rays on the Croisette beach in 1955. The two large posters behind them are for The Country Girl with Grace Kelly, and Jules Dassin's Du rififi chez les hommes, both below. The renowned opera singer Maria Callas, 1960.
Big screen Thief gets the job done but isn't quite the perfect crime.
This is a spectacular Italian poster for Caccia al ladro, aka To Catch a Thief, with Cary Grant and Grace Kelly. The moviemakers opted for a photo-illustration rather than a painting, and it befits the star power of the movie. It was based on David Dodge's best seller of the same name, and in truth it's a pretty simple-minded adaptation of the book. You can just hear the studio execs saying: “We know it's in the novel, but we can't have the star in disguise half the movie, we can't have the romance go unacknowledged until the final reel, and we for damn sure can't have the secondary female lead be more beautiful than Grace Kelly.” Movies are a different medium than books, and changes always happen, but it's just interesting to observe what those changes are. The main change is this: Dodge's novel has suspense, while Hitchcock's adaptation does not. That probably wasn't intentional.
To Catch a Thief is a superstar vehicle, and with Grant and Kelly in the lead roles, and Hitchcock in the director's chair, it's pretty clear the studio considered the hard work done. Extensive French Riviera location shooting and VistaVision widescreen film processing are nice bonuses, but the honchos should have had screenwriter John Michael Hayes hammer the script out a little smoother. We're not being iconoclasts here. The movie received mixed reviews upon release, with some important critics calling it a failure. That's going too far—it isn't a failure. We don't think Grant, Kelly, and Hitchcock would have been capable of making anything but a good movie at this stage. But considering the source material it could have been a perfect movie. To Catch a Thief premiered in the U.S in early August 1955, and in Italy at the Venice Film Festival today the same year.
Their issues have gone way past the point of counseling.
Dial M for Murder, which starred Grace Kelly and Ray Milland as spouses whose problems make other bad marriages look like a Sunday picnic, is a very entertaining movie. For its Italian release today in 1954 it was called Delitto perfetto. This violent but brilliant promo poster was painted by the genius illustrator Angelo Cesselon, who we've featured before. And Hitchcock, nothing less than an international phenomenon in his day, gets his profile into the mix. See Cesselon at his best here.
Hello, is this the murder helpline? I'd like help killing my cheating ass wife.
Most people who haven't seen the Alfred Hitchcock thriller Dial M for Murder jokingly ask, “How could anyone want to kill Grace Kelly?” Well, because she's cheating with another man. Not that infidelity justifies murder, but it certainly can be expected to provoke some sort of serious reaction. Probably Ray Milland, her husband, should have confronted her with the usual questions: “When did it start?” “Do you love him?” “Is his dick bigger than mine?” “Does he make you orgasm and if so how?”
But instead of being reasonable Milland decides his wife needs to be gone from the Earth, so he devises a foolproof murder plot. It goes wrong anyway and that's the fun of the movie—seeing how he cleverly improvises over and over only to have his scheme unravel anyway because of one tiny thing he neglects to consider. Dial M for Murder is another winner from Hitchcock, one you should see if you haven't. It went into general release in the U.S. today in 1954.
The famed poster for the movie was painted by Bill Gold, whose credits include everything from Casablanca to Unforgiven. Gold was active from 1941 to 2011, accumulating numerous awards along the way, and is now retired at age ninety-seven. If you want to learn more about him there's a website that discusses and showcases his seven decades of movie work which you can access at this link. It's well worth a visit.
Could he really be trying to kill me?
I guess it's possible, considering I cucked and humiliated him.
Maybe I shouldn't have told him I'm multi-orgasmic now.
For the crime of murdering the male ego I sentence you to hang by the neck until dead, dead, dead.
What? Seriously? But I've only gotten a third of the way through 101 Sex Positions.
Clothes encounters of the Hollywood kind.
We've been gathering rare wardrobe and hairdresser test shots from the golden era of Hollywood, and today seems like a good day to share some of what we've found. It was standard procedure for all the main performers in a movie to pose for such photos, but the negatives that survive tend to belong to the most popular stars, such as Cary Grant, who you see at right. You'll see Marilyn Monroe more than amply represented below. What can we do? She's possibly the most photographed Hollywood figure ever, and she was beautiful in every exposure. But we've also found shots of a few lesser known stars, such as Giorgia Moll and France Nuyen.
Some of the shots are worth special note. You'll see Doris Day as a mermaid for The Glass Bottom Boat, Liz Taylor as a kid for National Velvet and an adult for Cat On a Hot Tin Roof, Farrah Fawcett in lingerie, Sheree North in both front and rear poses, and Yul Brynner looking like an actual man by sporting a body that had to that point seemingly known neither razor nor wax (he ditched the fur for his actual onscreen appearances). Usually the photos feature a chalkboard or card with pertinent information about the production and star, but not always, as in the case of Brynner's photo, and in Audrey Hepburn's and Joan Collins' cases as well. If the names of the subjects don't appear on the chalkboards you can refer to the keywords at bottom, which are listed in order. We may put together another group of these wardrobe shots later.
Tonight they're gonna party like it's 1955.
Questions abound on this cover of Inside Story, but for each one there's an answer. What did Prince Rainier not tell Grace Kelly? That the palace in Monaco was cold and drafty, and she couldn't sleep in the nude anymore because the premises were open to the public from 9 to 5. What was the amazing Frank Sinatra hoax? His studio Carlyle Productions started a whisper campaign that he was such a dedicated actor that he actually used heroin while filming the heroin drama The Man with the Golden Arm. What is the secret fear that haunts Perry Como? That his family might be kidnapped.
All of these pieces are fascinating, but since it's baseball season and people are high on the front-running New York Yankees right now, we'll point to the story, “The Real Reason the Yankees Lost!” What they lost was the 1955 World Series, and it happened—according to Inside Story—because they were partying too hard. They were ensconced at the Concourse Hotel for the Series, a hole-up made possible by the fact that their opponents were the Brooklyn Dodgers. So with both the home and away games taking place in New York City, and the players barred from sleeping in their own houses to avoid family distractions, the superstar Yanks did some major league carousing.
Inside Story scribe Manuel Shaw describes an allegedly typical scene: “Mickey Mantle, Phil Rizzuto, and several other Yankees were sitting around the lobby of the hotel when three lovelies from a nearby night spot showed up. Since the cuties were entertainers familiar to one or two of the players, and were rabid Yankees boosters, it was not remarkable that they were soon in animated conversation with the group, which shortly adjourned from the lobby to an upstairs suite.”
Then he moves into this bit: “A beauteous brunette [was in the hall] clad only in a negligee. The two players wanted to spend some time with her, and they agreed that they would rather do it separately, but she insisted it would be more fun if they both stayed, and after a while she persuaded both of them to come back with her to her room. Soon a real party was underway, joined by many other Yankees, and several doting females who lived at the hotel.”
Well, what good is being a member of the famed Yankees if you can't do some Yankee doodle diddling? Most guys we know can't resist a free beer, let alone a woman in lingerie. A little later in the story, after the question of whether professional gamblers employed the party girls to distract the Yanks, we get this: “If true, this parallels the persistent story in gambling and diamond circles that the voluptuous Marilyn Monroe was introduced to Yankee star Joe DiMaggio just in order to take his attention off the Yankee pennant drive of a few years back.”
Did Inside Story really just say Marilyn Monroe was a mafia Trojan horse? Yup. They did. No ambiguity there. The magazine does not go so far as to say Monroe was aware of the set-up, so perhaps it was a matter of maneuvering her into the same space as DiMaggio at the same time and letting nature take its course. There are worse ways for a man to fall from the sporting mountaintop. And talk about a soft landing. We doubt the story, but you never know. There are far crazier tales starring Monroe. We have about thirty-five scans below, and more tabloids coming soon.
James Stewart sees the sights without ever leaving his apartment.
Belgian movie posters are often quite beautiful. We've already shared frameworthy examples for Vanessa and A Thousand and One Nights, as well as a few others, and above you see a promo for Alfred Hitchcock's classic Rear Window. The movie premiered in 1954 and first played in Belgium today in 1955, where it was titled Fenêtre sur cour, which means “window on the courtyard.” The poster was printed by S.P.R.L. Belgique and the artist is Wik, someone who is simultaneously well represented in vintage poster circles while being a total mystery. We plan to dig around, see if we can find more info on this person.
Everyone has a favorite Hitchcock movie. Rear Window is ours. The story, the stars, and the look of the film are all great, and the idea of everyone's lives under a microscope foreshadows the world in which we live in today. Raised shades aren't needed, though—metadata tells corporations and governments more than a glance in a window ever could. In Rear Window, once Jimmy Stewart realizes he is able to spy, he does it even though he knows it's wrong, and once he suspects a crime has been committed, any sense of guilt disappears—instead he feels entitled to intrude. Maybe that's why today's digital spies always claim to be ferreting out crime—because they know most people will accept that as an excuse.
But you don't need us to analyze Rear Window. More qualified writers have gone over every frame of the film. Instead we've decided to show you below what Stewart was looking at, thanks to series of promo images we managed to locate. Thus you see, from top to bottom, the rear courtyard which encompasses the story, the newlyweds Rand Harper and Havis Davenport, the murder suspect Raymond Burr, Miss Torso played by Georgine Darcy, Miss Lonely Hearts played by Judith Evelyn, and Grace Kelly with sidekick Thelma Ritter digging for body parts in the garden. If you haven't seen the film, definitely watch it. You'll have fun.
When Hollywood fleshed out source material it often changed the flesh tones too.
Just a bit more on Rear Window today. The movie was based on Cornell Woolrich's story "It Had To Be Murder," which appeared in Dime Detective Magazine of February 1942. As might be expected story and film are substantially different. Lisa Fremont doesn't exist at all and neither does the insurance company nurse Stella. They were both derived from one character—a valet named Sam who does all the hard work while Jeffries watches from his wheelchair. The relationship between these two is warm, but with strong overtones of status and race, with Jeffries at one point showing his pleasure with Sam by saying, "Go and build yourself a great big two-story whisky punch; you’re as close to white as you’ll ever be."
Screenplay choices are always interesting, and we can see the addition of Grace Kelly's Fremont character making sense (though this being Hitchcock, he'd have put a blonde in the movie no matter what, since they represented a fantasy woman for him), but we wish Stella had been left out and Sam kept intact. We understand that changing Jeffries into a rogue photographer from a rich Manhattanite meant taking away his valet, but Sam could have been transformed into the insurance company employee. But that's just our opinion. You can decide for yourself by reading or downloading "It Had To Be Murder" yourself at this link. It's well worth the time.
The view from here is just about perfect.
Since we were talking about Rear Window yesterday, here's a shot of co-star Grace Kelly wearing one of the famed Edith Head designed dresses made for the movie. This is the most written about outfit from the film, the one Kelly tells Jimmy Stewart cost $1,100 dollars, which would be almost $10,000 in today's money. Her character quickly follows that up by saying it's a good thing she didn't have to pay for it (because she works in the fashion industry and gets free clothes). That was the clever solution to making Kelly as glamorous as possible, but without alienating the ticket-buying audience. Though this dress is nice, it's the green and white backless number she wears later that really sticks in the memory. Unfortunately, there are few good shots of that ensemble, and none showing her without the covering jacket. That may seem amazing, but Rear Window promo photos are somewhat rare. We have a couple of screenshots below, but if you want to see Kelly in action you'll just have to watch the movie.
Stewart violates the norms of neighborliness and ends up with a mystery on his hands.
Above are two iconic posters for Alfred Hitchcock’s Rear Window, 1954. This is a great movie, but definitively not a film noir—instead it’s a big Technicolor drama, bright and vibrant in a way movies aren’t today. It’s also only nominally a mystery, as the question is never who is the murder suspect, nor who is the murder victim, but whether there was actually a murder at all. This is one of Hitchcock’s greatest achievements, with James Stewart at his likeable best even as a voyeur, and Grace Kelly fueling the fantasies of male cinemagoers as the perfect girlfriend Lisa Fremont. Is the movie perfect? No. It fumbles its attempt to underline Stewart’s reckless nature, putting him in a wheelchair for the unbelievable act of running onto the middle of a Formula 1 track to get a photo. It also requires the audience to believe he can see all from his apartment, but his neighbors never notice him. Yet Rear Window overcomes those annoyances and is deservedly considered an all-time classic. Seeing it on the big screen as patrons of the Noir City Film Festival will tonight would be a treat, but see it in any case.
The headlines that mattered yesteryear.
1964—Warren Commission Issues Report
The Warren Commission, which had been convened to examine the circumstances of John F. Kennedy's assassination, releases its final report, which concludes that Lee Harvey Oswald, acting alone, killed Kennedy. Today, up to 81% of Americans are troubled
by the official account of the assassination.
1934—Queen Mary Launched
The RMS Queen Mary, three-and-a-half years in the making, launches from Clydebank, Scotland. The steamship enters passenger service in May 1936 and sails the North Atlantic Ocean until 1967. Today she is a museum and tourist attraction anchored in Long Beach, U.S.A.
1983—Nuclear Holocaust Averted
Soviet military officer Stanislav Petrov, whose job involves detection of enemy missiles, is warned by Soviet computers that the United States has launched a nuclear missile at Russia. Petrov deviates from procedure, and, instead of informing superiors, decides the detection is a glitch. When the computer warns of four more inbound missiles he decides, under much greater pressure this time, that the detections are also false. Soviet doctrine at the time dictates an immediate and full retaliatory strike, so Petrov's decision to leave his superiors out of the loop very possibly prevents humanity's obliteration. Petrov's actions remain a secret until 1988, but ultimately he is honored at the United Nations.
2002—Mystery Space Object Crashes in Russia
In an occurrence known as the Vitim Event, an object crashes to the Earth in Siberia and explodes with a force estimated at 4 to 5 kilotons by Russian scientists. An expedition to the site finds the landscape leveled and the soil contaminated by high levels of radioactivity. It is thought that the object was a comet nucleus with a diameter of 50 to 100 meters.
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