20 Photos of Shirley MacLaine on the Set of “The Children’s Hour” (1961)

The Children’s Hour is a 1961 American psychological drama produced and directed by William Wyler from a screenplay by John Michael Hayes, based on the 1934 play of the same title by Lillian Hellman. The film stars Audrey Hepburn, Shirley MacLaine, and James Garner, with Miriam Hopkins, Fay Bainter (in her final film role), and Karen Balkin.

During the filming of The Children’s Hour, MacLaine portrayed Martha Dobie, a role that remains one of the most emotionally raw performances of her career. On set, she and her co-star Audrey Hepburn shared a close camaraderie and mutual respect that was noted by the production crew.

MacLaine later recalled that director William Wyler, “trepidatious” about the film’s controversial subject matter, cut several intimate scenes, such as her character lovingly brushing Hepburn’s hair, fearing they would be too much for audiences at the time.

MacLaine deeply admired Hepburn, describing her as a “healer” who tried to take on others’ pain. Despite the heavy themes of the film, they reportedly never explicitly discussed the underlying subtext of their characters' sexualities while filming.

The set was a hub for Hollywood elite; notable figures like Frank Sinatra and Dean Martin visited the cast and crew at Paramount Studios during production.

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Eleonora Rossi Drago: The Aristocratic Soul of Italian Cinema

Eleonora Rossi Drago (1925–2007) was a luminous star of Italian cinema during its golden post-war era. Originally a fashion model and a Miss Italy contestant, she quickly transcended her beauty queen roots to become a powerhouse of dramatic acting. Known for her refined features and commanding screen presence, she became a favorite of legendary directors like Michelangelo Antonioni, most notably in the 1955 masterpiece Le Amiche.

Unlike many of her contemporaries who leaned into provocative roles, Rossi Drago was celebrated for her portrayal of sophisticated, often melancholic women navigating the complexities of modern life. Her elegance was not just a style, but an aura, making her one of the most respected and unforgettable figures of European silver screen history.

Take a journey through these vintage photos to discover the captivating beauty of Eleonora Rossi Drago during the 1950s and 1960s.

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The Bell That Rang One Last Time, Dachau, Germany, 1945 (They Rang It When the Gates Opened)

In the harsh and oppressive environment of Dachau concentration camp, where despair was a constant companion, prisoners found a way to preserve a shred of hope and humanity by creating a small bell from scrap metal and wire. This fragile instrument became a secret symbol of resistance, gently rung to mark significant moments—birthdays, the New Year, or the passing of a fellow prisoner. Each soft chime was a quiet rebellion against the dehumanization around them, reminding all that time and life persisted even in the darkest of places.

On April 29, 1945, as American troops neared and finally liberated Dachau, the bell’s sound rang out loud and clear, no longer hidden but celebrated. Its ringing shattered years of silence and fear, signaling not just freedom from captivity but the reclaiming of dignity and hope. For those who heard it, the bell marked a triumphant moment: the end of suffering and the beginning of a new life beyond the camp’s gates.

After liberation, the prisoners buried the bell in the camp yard, a solemn act symbolizing the close of a painful chapter and the preservation of memory. Many years later, the bell was uncovered, rusted yet whole, standing as a powerful relic of endurance and survival. Its story continues to inspire, reminding the world of the human spirit’s ability to resist and remember, even amid overwhelming darkness.

The 1902 Arrol-Johnston 10/12hp Dogcart: A Masterpiece of Early Scottish Engineering

The 1902 Arrol-Johnston 10/12hp Dogcart is a remarkable piece of British automotive history, representing one of the earliest motor cars produced in Scotland by the Mo-Car Syndicate Ltd. Designed by George Johnston and financed by Sir William Arrol, this vehicle is instantly recognizable for its “dogcart” body style, which features three rows of seats capable of carrying six passengers, with the driver uniquely positioned in the middle row.

Technically, it was quite advanced for its time, powered by a twin-cylinder opposed-piston engine that could reach speeds of up to 25 miles per hour. Its rugged construction, including a solid wooden frame and spoon-type brakes that pressed directly onto the rear tires, allowed it to handle the rough, unpaved roads of the early 20th century.

Today, surviving examples serve as a testament to the pioneering spirit of early British motoring. Step back in time and explore the timeless elegance of the Arrol-Johnston Dogcart in the stunning gallery below.

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Portraits of Joyce DeWitt as Janet Wood on the ABC Sitcom “Three’s Company” (1977–1984)

Joyce DeWitt starred as Janet Wood on the ABC sitcom Three’s Company from its debut in 1977 until the series concluded in 1984. Known for her signature brunette bob, Janet was the pragmatic, smart, and “reliable” roommate who served as the voice of reason in Apartment 201. Her grounded personality acted as a vital foil to the ditziness of Chrissy Snow (Suzanne Somers) and the physical, often zany comedy of Jack Tripper (John Ritter).

Janet was the “straight woman” of the trio. As the manager of the Arcade Flower Shop, she was depicted as the most career-oriented and responsible of the three. Her role was crucial because her reactions to Jack’s antics or the Ropers’ (and later Mr. Furley’s) misunderstandings provided the “reality check” the audience needed to find the absurdity funny.

In the early seasons, Janet was known for her dark, short pixie cut and her reliable, “girl-next-door” wardrobe. As the show moved into the 1980s, her style evolved with the trends, featuring the iconic “shag” haircut and more polished professional attire. Unlike Chrissy or Cindy, Janet was never a pushover. She was frequently the one to stand up to the landlords or call Jack out on his schemes.

The chemistry between Joyce DeWitt and John Ritter was built on a deep, platonic “best friend” energy. While Jack was constantly chasing women, he often turned to Janet for genuine advice. She often acted as a protector for the more naive blonde roommates (Chrissy, Cindy, and Terri), frequently keeping them out of trouble.

Joyce DeWitt was cast in the second pilot of the show. Before her, the “sensible roommate” character was played by different actresses in unaired versions. By the end of the series, DeWitt’s Janet finally got her own romantic resolution, marrying Phillip Dawson in the series finale, which served as a lead-in to the spin-off Three’s a Crowd (though Janet did not appear in the spin-off).

 

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50 Fascinating Black and White Photos of Sandra Dee in the 1960s

Sandra Dee (born Alexandra Zuck; April 23, 1942 – February 20, 2005) was an American actress. Dee began her career as a child model, working first in commercials and then film in her teenage years. Best known for her portrayal of ingénues, Dee earned a Golden Globe Award as one of the year’s most promising newcomers for her performance in Robert Wise’s Until They Sail (1957). She became a teenage star for her performances in Imitation of Life, Gidget and A Summer Place (all released in 1959), which made her a household name.

Coming off the massive success of Gidget and A Summer Place, Dee entered the 1960s as a top-tier box office draw. She took over the role of Tammy Tyree from Debbie Reynolds, starring in Tammy Tell Me True (1961) and Tammy and the Doctor (1963).

Between 1960 and 1963, she was consistently voted one of the top ten most popular money-making stars in the U.S., peaking at No. 6 in 1961. She was marketed as the ultimate “ingénue”—the perky, blonde, and virtuous girl-next-door. This image became so iconic that it was famously parodied years later in Grease with the song “Look at Me, I’m Sandra Dee.”

In 1960, while filming Come September in Italy, the 18-year-old Dee met pop idol Bobby Darin. They married the same year and became one of Hollywood’s most photographed couples. The pair capitalized on their real-life romance by starring together in three lighthearted comedies: Come September (1961), If a Man Answers (1962) and That Funny Feeling (1965).

As the 1960s progressed, the “sugary-sweet” movies Dee was known for began to feel outdated in the face of the gritty New Hollywood movement and the counterculture. In 1967, Universal Pictures dropped her contract. She was one of the last stars to be held under the old-fashioned “studio contract” system. Her marriage to Bobby Darin ended in divorce in 1967. Though they remained close until his death in 1973, the split significantly impacted her career and personal well-being.

Toward the end of the decade, she attempted to break her “good girl” mold with more mature roles, notably in the 1970 horror film The Dunwich Horror, but she never regained her early-1960s stardom.

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30 Beautiful Vintage Photos of People and Their Beloved Dogs

Dogs and humans have shared a special bond for thousands of years, originally rooted in survival and utility. In the past, people primarily kept dogs as working partners; they were essential for hunting, herding livestock, and guarding homes against intruders.

From the ancient Egyptians who revered dogs as sacred symbols to Roman soldiers who used them for protection, these animals were valued for their loyalty and physical capabilities. Over time, as societies became more settled, the relationship shifted from a purely functional one to a companionship-based bond, paving the way for dogs to become the “best friends” we know today.

Take a look at these beautiful vintage photos that capture the special bond between people and their loyal companions from years gone by.

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