#Troy Donahue

[atomic-chronoscaph]

Monster on the Campus (1958)

[citizenscreen]

Suzanne Pleshette and Troy Donahue at an event in 1964, some time during their 6-month marriage.

[vintage-every-day]

Diane McBain and Troy Donahue publicity portraits for the film 𝑷𝒂𝒓𝒓𝒊𝒔𝒉, a 1961 American drama film made by Warner Bros.

[metropolicinema]

[hollywoodlady]

Troy Donahue, 1960s.

[trognak]

could you draw the barbie ken mugshot pics but with grognak and troy 🥺

Thank you for this suggestion, it's wonderful :)

[fandomfourever]

Figured there might be one or two people who find this entertaining in some way.

Last night I dreamed that Grognak The Destroyer had returned! And immediately ran into Steven Hayes. LetterJaye and FlawlessWhale noticed and quickly logged on as Posy and Troy and found a way to organically rp them into finding Grognak and Steven. Grognak insisted they all dress up as cops in order to do vigilante stuff which was going to quickly devolve into chaos and crime while posing as police. So as they were all going to change (except Steven who couldn't fit into any cop outfits lol), they all ended up running into Kiki, who joined in and dressed in her Fashion Police outfit.

Now, Troy kept trying to find a moment to confess his love for Grogank, but kept getting interrupted by the chaos. While this was happening Tyler had become alerted to what was going on and wanted to be part of the Grognak chaos, so logged on as Finn and was trying to come up with a way to have Finn get involved.

I also vaguely recall them getting stopped by the actual police and the officer was asking if Grognak realized they had broken the law, and Grognak responded with "I don't know how to read, so I can't read the laws. Well, I did learn how to read but my amnosia made me forget immediately." Cop: "What's amnosia?"

Grognak: "It's like amnesia, but it's not medically recognized. Are you discriminating against someone with a medical condition?"

The cop was trying to think of a response, and so they all sped off.

I woke up after that, lol. It was a fun dream! Now if it could come true, that'd be great

[ggswaywardgifrepository]

Some gifs in memory of Troy Donahue (01/27/1936 - 09/02/2001). To think, I share a birthday with his DOD (albeit my birth year is way earlier than 2001).

Blond haired, blue-eyed, and standing 6'3", it's not surprising that he was a late 50s and early 60s heartthrob. But he lived a complicated life and Hollywood was pretty shitty to him. I know him primarily for his starring role on Surfside 6 as playboy Sandy Winfield, though he did many films during this time as well.

A handsome guy who was treated like a product pretty much his entire career.

[kwebtv]

Series Premiere

Surfside 6 - Country Gentleman - ABC - October 6, 1960

Crime Drama

Running Time: 60 minutes

Written by Anne Howard Bailey & M. L. Schumann

Produced by Jerome L. Davis

Directed by Irving J. Moore

Stars:

Lee Patterson as Dave Thorne

Troy Donahue as Sandy Winfield II

Van Williams as Kenny Madison

Diane McBain as Dephne Dutton

Margarita Sierra as Cha Cha O'Brien

Mousie Garner as Mousie (credit only)

Ray Danton as Marty Hartman

Janet Lake as Paula Gladstone

Frank de Kova as Stinger

Fredd Wayne as Allan Abbott

John Hubbard as Roger Fielding

Robert Burton as Commodore Gladstone

Don 'Red' Barry as Lt. Snedigar (credit only)

Gary Conway as Tad Watson

[davealmost]

Dr. Alien

[uwu-ml]

Grognak rides Troy.

[blue123bubble]

Dave Thorne, Ken Madison and Sandy Winfield II from Surfside 6

[citizenscreen]

Troy Donahue (January 27, 1936 – September 2, 2001)

[vintage-every-day]

Diane McBain and Troy Donahue in 𝑷𝒂𝒓𝒓𝒊𝒔𝒉, a 1961 American drama film made by Warner Bros. It was written, produced and directed by Delmer Daves, based on Mildred Savage's 1958 novel of the same name.

[brokehorrorfan]

Cry-Baby will be released on 4K Ultra HD and Blu-ray on May 28 via Kino Lorber. The outrageous 1990 musical comedy is written and directed by cult filmmaker John Waters.

Johnny Depp leads an ensemble cast that includes Amy Locane, Susan Tyrrell, Iggy Pop, Ricki Lake, Traci Lords, and Polly Bergen, with appearances by Troy Donahue, Mink Stole, Joe Dallesandro, Joey Heatherton, David Nelson, Patricia Hearst, and Willem Dafoe.

The theatrical cut has been newly restored in 4K from the original camera negative with Dolby Vision/HDR, while the director's cut has been newly restored in 4K from a combination of the original camera negative, the director's cut interpositive, and up-res of the SD master.

Special features are listed below.

Disc 1 - 4K UHD:

Theatrical cut (85 minutes)

Audio commentary by writer-director John Waters

Disc 2 - Blu-ray

Theatrical cut (85 minutes)

Director's cut (91 minutes)

Audio commentary by writer-director John Waters (new)

Bringing Up Baby - Interviews with writer-director John Waters, associate producer/casting director Pat Moran, cinematographer David Insley, and actress Mink Stole (new)

Interview with actress Amy Locane (new)

Interview with actress Traci Lords (new)

Interview with actor Iggy Pop (new)

Interview with actress Ricki Lake (new)

Interview with actor Patricia Hearst (new)

Interview with actor Darren E. Burrows (new)

Interview with actor Stephen Mailer (new)

Interview with hair & makeup artist Howard "Hep" Preston (new)

It Came from… Baltimore - 1990 featurette with cast and crew

5 deleted scenes

Theatrical trailer

Irresistible bad boy Wade "Cry-Baby" Walker's (Johnny Depp) amazing ability to shed one single tear drives all the girls wild - especially Allison Vernon-Williams (Amy Locane), a rich, beautiful "square" who finds herself uncontrollably drawn to the dream juvenile delinquent and his forbidden world of rockabilly music, fast cars and faster women.

Pre-order Cry-Baby.

[cantsayidont]

Haterating and hollerating in the 1950s:

SUDDEN FEAR (1952): Inventive but unsatisfying thriller about a middle-aged playwright and heiress (Joan Crawford) who discovers that her new husband (Jack Palance) and his ex-girlfriend (Gloria Grahame) are plotting to do away with her, and decides to concoct her own elaborate trap for the would-be killers, which doesn't go as planned. Palance is well-cast, walking an interesting line between charm and sociopathy, and the film gives Crawford one of her better '50s roles, but the script fails to pay off its own clever plot twists while allowing Crawford too many opportunities for her customary histrionics — particularly in a pair of over-the-top dream/fantasy sequences and in a crucial scene where the heroine has to express, without dialogue, that she's having second thoughts about her own plan. The finale, while undeniably tense and featuring striking nighttime cinematography by Charles B. Lang Jr., also feels like it belongs in a completely different movie.

THE GIRL NEXT DOOR (1953): Bright, attractively staged Fox musical (with two animated interludes) about the burgeoning romance between a successful stage star (June Haver) and her handsome new next-door neighbor (Dan Dailey), a comic strip artist and widower with a young son (Billy Gray) who's none too happy at this new competition for his father's attention. Haver and Dailey are great, and their easy repartee is very appealing. It's also interesting to see Dennis Day outside of his more familiar role as Jack Benny's idiot stooge. However, Billy Gray's character never quite rings true; there's no real reason for Joey to dislike the charming, good-humored Jeannie other than childish jealousy, so the story depends on his eventually getting over it rather than on Jeannie winning him over, which might have been more fun.

A SUMMER PLACE (1959): Overwrought Delmer Daves adaptation of a Sloan Wilson novel about two one-time lovers (Richard Egan and Dorothy McGuire), now unhappily married to others (Constance Ford and Arthur Kennedy), who decide to divorce their respective spouses so they can finally get married, only to face endless angst because their college-age kids (Sandra Dee and Troy Donahue) are also in love, in A Society That Just Doesn't Understand™. The story might have been considered daringly blunt by the standards of 1958–59, but to modern eyes, it succeeds mostly in putting the "turgid" in "dramaturgy." The script and direction are so unrelentingly heavy-handed that the actors seem like they're mining coal, with only Constance Ford (whose character is an unmitigated bitch) allowed to be anything other than laboriously tormented.