Serge Gainsbourg & Brigitte Bardot - Bonnie & Clyde 1968
The biggest names in Hollywood making history, signing to become
United Artists Corporation (UA), they did not want to be controlled by a big film studio they wanted control and ownership of their films.
UA was incorporated as a joint venture on February 5, 1919, by four of the leading figures in early Hollywood: Mary Pickford, Charles Chaplin, Douglas Fairbanks, and D. W. Griffith. Each held a 20% stake, with the remaining 20% held by lawyer William Gibbs McAdoo.
It is now owned by Metro-Goldwyn-Meyer
Gladys Mary Moore was Mary Pickford’s legal name at that time as she was still married to Owen Moore her first husband, they divorced in March of 1920
I like how they’re all happy and Griffith is all poker-face.
Criss Cross 1948 - Director: Robert Siodmak
Gewagtes Alibi - Das Neue Filmprogramm
Burt Lancaster, Yvonne De Carlo, Dan Duryea, Stephen McNally
( with a young unknown Tony Curtis dancing with Yvonne DeCarlo in the club)
Criss Cross 1948 […more Images]
Steve Thompson (Burt Lancaster) returns home after a few years of knocking around the country following his divorce from good-time girl Anna (Yvonne De Carlo). Getting his old job back driving an armored car, and not even convincing himself that he’s making a new start, he also wants his old wife back. When he finds Anna, he quickly learns that she is involved with gangster Slim Dundee (Dan Duryea). Nonetheless, they carry on a clandestine affair, with Steve foolishly believing that Anna will return to him. Even after she marries Slim, Steve, with her encouragement, masochistically clings to this doomed obsession. So when Slim catches them together, Steve ad libs plans for an armored car robbery that includes Slim. The two rivals form an uneasy and untrusting collaboration, but Steve and Anna plan to double cross Slim.
Happy Birthday to William Horatio Powell (July 29, 1892 — March 5, 1984)Bill Powell, whose screen image was that of the dashing, debonair man about town, once said of the Hollywood scene, “You can live on hey-hey for a while, but it’s a diet that tears you down instead of building you up… You ask yourself how many real friends you have among all the good-time Charlies. You wonder if you haven’t had a one-sided education, concentrating on parties and night-clubs. You wonder if you aren’t missing something. You wonder if there isn’t something in books, fine music, outdoor life, travel. In short you, grow up. You go into solitary confinement, just for a change, and find it the least confining life you’ve ever known.”
A few years ago during a talk to the cinema students at UCLA, I described how different directors would direct a scene. [Allan] Dwan used sarcasm. He would say, for instance, ‘To the left, you see your love approaching. You fear that he doesn’t love you any more. He comes up and kisses you tenderly. You burst into tears of happiness and relief — if you can manage it.’
[Thomas] Ince would have yelled, ‘You see him coming. You love him. God, how you love him! What pain you feel — you are in an agony of suspense! He kisses you! What happiness! Cut! Let’s do it again!’
[Frank] Borzage was just as emotional, but quieter. He would weep as he directed. He would sob, ‘You see him. He means everything to you. He may not love you any more! He is your whole life! — Doesn’t he care for you now?’ By this time, Borzage would be in tears. ‘He kisses you! Oh, what joy!’ Frank would be too choked up to go on.
Sherlock Jr’s “movie within a movie”: The scenery changes around Buster Keaton very quickly. He suddenly finds himself in a doorway to a garden, on a crowded city street to on top of a rock, etc. Keaton later recalled that his cameraman, Byron Houck, had used surveying instruments to position him and the camera at the exact correct distances and positions to give the illusion of continuity as the scenes changed. Long before CGI, Keaton created a vivid world with its own laws.
How amazing is this photo?! Helen Keller and Charlie Chaplin have a chat…1918!
The amazing Metropolis. 1927
The original premiere cut of Metropolis eventually disappeared, and a quarter of the original film was long believed to be lost forever. However on July 1st 2008, film experts in Berlin announced that a 16 mm reduction negative of the original cut of the film had been discovered in the archives of the Museo del Cine in Buenos Aires, Argentina. Along with additional footage found in New Zealand, a long restoration process began. The fully restored film was finally shown on large screens in Berlin and Frankfurt simultaneously on February 12th 2010