Her neck of the woods is not a place you want to be.
Gale Sondergaard, born in 1899 in Minnesota, stands vigil in the woods in this promo photo made when she was filming 1939's The Cat and the Canary. Sondergaard went on to appear in Appointment in Berlin, A Night To Remember, The Invisible Man's Revenge, The Spider Woman Strikes Back, and numerous other films we'd like to watch. We did see The Cat and the Canary though, and talked about it last year. Check this link.
She likes to chill out, but never so much that she fully lets down her guard.
Above you see U.S. actress Judy Holliday, who debuted in cinema in 1938 and appeared in such films as Adam's Rib and The Solid Gold Cadillac. Her career was going okay until she was named in the red-baiting publication Red Channels: The Report of Communist Influence in Radio and TV as having communist connections. Called before a congressional committee, she refused to name names, but learned that freedom of association was an illusion in 1950s America. Holliday kept working in films until 1960, and died early five years later, at age 43, from throat cancer, in the place where she had been born and spent most of her life, New York City. The photo above was made in 1944, when she was filming Winged Victory.
If she were architecture she'd be streamline moderne.
Above, a Columbia Pictures promo image of Dutch actress Nina Foch made for her 1949 drama Johnny Allegro. She looks like she's getting her gloves on for some shady activity or other, which fits, since in the movie she plays a woman with a very mysterious background. We may revisit the subject later. In the meantime you can see another Foch photo here.
When you little scamps get together you're worse than a sewing circle.
Sex was her weapon! The line isn't about Uma Thurman. It comes from the cover of Harlot in Her Heart, the Norman Bligh novel she's holding in this promo shot made for her 1994 blockbuster hit Pulp Fiction. An interesting factoid about the movie is that it lost the Academy Award for best picture to a slice of saccharine nothingness called Forrest Gump thanks to a pathologically risk averse voter pool. It's an embarrasing miss for the Academy, because Pulp Fiction ranks as one of the most influential American movies ever. It took the disordered narrative structure that had been established in earlier films and elevated it to a new level. It borrowed the box-of-mystery gimmick that had already been turned on its head in movies like Kiss Me, Deadly and Belle du jour, and turned it on its head again. It incorporated a hip, ethnically mixed cast. It was funny as hell. And it placed Thurman at the center of its hyper-masculine narrative as the femme fatale Mia Wallace—who dug criminals, was tough-minded, graceful, impulsive, and smart. Her line about men being gossipy scamps was one of the best in the film. We can't imagine anyone else playing the role. As for Harlot in Her Heart, we may just buy it despite its exorbitant price. If so we reserve the right to use the cover again in a later post.
Trio decides it's a perfect day for pooling their resources.
Demonstrating the beauty of brown skin in its various subtle shades are Eartha Kitt, Jayne Kennedy, and Freda Payne, hanging poolside in Los Angeles and looking quite nice. If you're unfamiliar with who's who, we can also use the shades of their bikinis to identify them: Kitt is in orange, Kennedy is in black, and Payne is in yellow with killer abs. We bet she went through some payne in the gym to get those. This shoot resulted in a famous cover for the pop culture magazine Jet in July 1974, and says summer in a big way. See more of Kennedy here.
She's a lot more dangerous than she looks.
Claudia Jennings is back today, setting a lethal mantrap in this photo made for her 1974 guilty pleasure bayou adventure 'Gator Bait. The movie is what it is—a ridiculous piece of sexploitation-lite made to take advantage of landscape and bodyscape. And Jennings is what she is—an actress trying like hell to make a bad film better than it has any right to be. Mission accomplished—'Gator Bait is watchable. Not good, but watchable. You can read about it here.
They say you're only supposed to wear white at your first shooting, but you know what? Screw convention.
We last saw Jane Greer using a gun in a promo image we shared from the 1947 film noir classic Out of the Past, and here she is waving one around again in a shot made when she starred in 1949's The Big Steal, which reunited her with Out of the Past leading man Robert Mitchum. We haven't seen The Big Steal, but it's on the list now.
My last lover died right here of sheer pleasure. But I can hear his spirit talking to me, and he says it was worth it.
Lana Turner strikes a highly unusual pose in this photo made she was filming Marriage Is a Private Affair in 1944. She actually does this in the movie. This exact pose. But it has no sexual overtones—at least it isn't supposed to. Turner is actually sick and complaining. As for us, we feel much better after seeing this shot.
With warmth and tender loving care you can grow anything.
Above are two photos of actress Monica Strebel, who was born in Switzerland but mostly appeared in Italian films. She also, like many actresses of her era, appeared in photo novels and posed nude in magazines, such as the French publication Io, which is where the above shots originated in 1969. Several of Strebel's films had amusingly unwieldy titles, among them 1970's La lunga notte dei disertori - I 7 di Marsa Matruh, aka Operation Over Run, and the 1971 giallo La bestia uccide a sangue freddo, aka Cold Blooded Beast. Perhaps her most notable role was in 1972's Racconti proibiti... di niente vestiti, aka Master of Love. We have a promo shot from it below. Strebel plays Death in the form of a naked woman, and she and star Rossano Brazzi run away together across an open field. They don't make 'em like that anymore.
*smack* *smooch* You're so beautiful. I'll follow you anywhere. What's your name again? Did you say Lady Death? That's weird but whatever... *nuzzle* *smooch*
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