#Old hollywood

[thecinamonroe]

Marilyn Monroe by her piano in her New York apartment, April, 1958. Photo by Sam Shaw.

[bettie-forever]

[lady-arryn]

Frances Stevens + costumes TO CATCH A THIEF (1955) dir. Alfred Hitchcock

[haveyouseenthismovie-poll]

[classic-hollywood-glam]

Ava Gardner

[silver-screen-divas]

Myrna Loy

[alovelywaytospendanevening]

Sometimes, Walt Disney’s relentlessness tested the patience of his closest collaborators. In 1932, he became fixated on securing exclusive use of Technicolor’s brand-new three-color process for the studio’s Silly Symphony animated shorts, part of Disney’s single-minded pursuit of greater realism. But on paper, it didn’t make much business sense. The Technicolor process, writes Neal Gabler, was “three times as much as black-and-white in lab costs and about a fourth more in production costs.” Roy Disney, who managed the company’s books, was “adamantly opposed” to using it.  As was so often the case in his life, Walt won the day and proved that creative ambition could pay off in the long run. The exclusive Technicolor rights, says Becky Cline, put Disney “eons ahead, because he was the only one making these full-color cartoons for several years” — further cementing the Disney brand as one of peerless quality. (x)

 Walt Disney Studios' technicolor department, 1941

[secretceremonies]

jane fonda, 1960s

[summertimenoir]

Myrna Loy in Libeled Lady (1936)

[kimberlypierce]

I know wearing this would drive me batty, but that picture makes me want it.

The Elizabeth Taylor effect, kids.

Elizabeth Taylor shot for “Father's Little Dividend” by Virgil Apger, 1951.

[thursdaymurderbub]

Silver Screen magazine, November 1938

[thecinamonroe]

Marilyn Monroe on the set of The Misfits, 1960. Photo by Inge Morath.

[whentoyzattack]

Such a great film.

Laura is the face in the misty light Footsteps that you hear down the hall The laugh that floats on a summer night That you can never quite recall

DANA ANDREWS in Laura (1944) dir. Otto Preminger

[marilyn-and]

[twixnmix]

Jean Harlow and her pomeranian Oscar photographed by Clarence Sinclair Bull, 1933.