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Stanley Kubrick’s New York photography.

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Cornell Capa, Early morning cold baths, Winchester College, England, 1951

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Marcello Mastroianni Algeria, 1967 © Pierluigi Praturlon

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Rodney Smith

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Standing - Robert Mulligan, William Wyler, George Cukor, Robert Wise, Jean-Claude Carrière and Serge Silberman. Sitting - Billy Wilder, George Stevens, Luis Buñuel, Alfred Hitchcock and Rouben Mamoulian. At Cukor’s house.

(Photo from 1972)

A story behind this wonderful picture (Jean-Claude Carrière—“I am the only one from this picture still alive”—gave his own account in the Telegraph)…:

Two years after Tristana, the 72-year-old director was in Los Angeles to present his next film, The Discreet Charm of the Bourgeoisie, at the L.A. Film Festival, and George Cukor, whom he had never met before, invited him to a lunch in his honor with “a few old friends” at his home in Bel Air. Until they arrived, Buñuel and Carrière had no idea that the guests would include the pantheon of Hollywood filmmaking. Carrière himself had the good sense to call up a photographer and document the gathering, which included (clockwise from top left) Robert Mulligan (Buñuel describes him as “a young director named Robert Mulligan” though he would have been 47 at the time), William Wyler, George Cukor, Robert Wise, Carrière, Buñuel’s producer Serge Silberman, Rouben Mamoulian, Alfred Hitchcock, Buñuel, George Stevens and Billy Wilder. And if that wasn’t enough, the space between Carrière and Silberman was left to represent John Ford, who had been at the lunch (Buñuel writes “we were the first to arrive at Cukor’s magnificent house, followed close behind by a large, muscular black man half-carrying an elderly gentleman with a patch over one eye. To my surprise, it was John Ford”) but didn’t stay long because of illness (he died the following year). What we wouldn’t all give to be at that lunch.

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Buñuel and Jean-Claude Carrière (1971) On the set of “The Discreet Charm of the Bourgeoisie”.

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Jacques Tati by Sam Levin

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YoYo (1965) Pierre Etaix

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YoYo (1965) with Philippe Dionnet Directed by Pierre Étaix

Produced by Paul Claudon

Written by Jean-Claude Carrière & Pierre Étaix “AN EFFERVESCENT EPIC… tied to the eras of silent cinema, talking pictures and television. In a hilarious scene that evokes Pre-Code Hollywood, a flapper lasciviously unbuttons his spats while he puffs distractedly on a cigarette. YOYO celebrates true love and creative freedom. It’s also a valentine to cinema, incorporating allusions to the work of artists ranging from Groucho Marx to Federico Fellini.” - Kristin Jones, The Wall Street Journal

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Jack Delano   Foggy night in New Bedford, Massachusetts, 1941

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Rosalind Russell wore this soft grey georgette evening dress with cross-draped bodice, for The Velvet Touch (1948).

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Pride Street W. Eugene Smith   “Pittsburgh (Boy Hanging on Colwell & Pride St. Sign) 1955-56”

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Louis Faurer, Penn Station, New York City, 1948.

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Cornell Capa, Early morning cold baths, Winchester College, England, 1951

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Stanley Kubrick's New York photography.

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Brassai, Lovers in a Small Cafe Brassai was a Hungarian photographer, sculptor, and filmmaker who rose to international fame in France in the 20th century. He was one of the numerous Hungarian artists who flourished in Paris beginning between the World Wars. In the early 21st century, the discovery of more than 200 letters and hundreds of drawings and other items from the period 1940-1984 has provided scholars with material for understanding his later life and career.

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Photo by Francesca Woodman. Untitled 1977-78 (Rome) Credit: Lorber Films / Betty and George Woodman