30 Fascinating Photos of Eva Gabor in the 1950s

Eva Gabor (February 11, 1919 – July 4, 1995) was a Hungarian-American actress and socialite. She gained fame for her role on the 1965–1971 television sitcom Green Acres as Lisa Douglas, the wife of Eddie Albert’s character Oliver Wendell Douglas.

In the 1950s, Gabor was a rising star in Hollywood and on Broadway, widely recognized as the most talented and grounded of the three famous Hungarian-born Gabor sisters. While her sisters Zsa Zsa and Magda were often in the headlines for their social lives, Eva focused on building a diverse acting career across film, stage, and the emerging medium of television.

In 1950, she earned critical acclaim for her performance in The Happy Time. This role established her as a capable performer and led to a Life Magazine cover in February 1950. She became one of the first women to host her own talk show, The Eva Gabor Show, which aired from 1953 to 1954.

She appeared in several major films during this decade, often in glamorous “bit parts” or supporting roles such as: The Last Time I Saw Paris (1954), Artists and Models (1955), My Man Godfrey (1957), Gigi (1958), and It Started with a Kiss (1959).

Eva was known for a warmer, softer personality compared to the more caustic Zsa Zsa. She maintained her trademark Hungarian accent and a high-fashion, socialite aesthetic that she would later parody in her most famous role as Lisa Douglas on Green Acres.

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Ann-Margret: The Sizzling Star of the Sixties

Ann-Margret burst onto the silver screen in the 1960s like a bolt of electricity, quickly becoming the era’s ultimate symbol of talent and charisma. With her fiery red hair and a voice that blended soulful depth with playful grit, she earned the title “the female Elvis Presley”, a moniker she lived up to in the legendary 1964 hit Viva Las Vegas. Her breakthrough in Bye Bye Birdie (1963) showcased a performer who could out-sing, out-dance, and out-shine anyone in Hollywood, capturing the vibrant, youthful spirit of the decade.

Yet, beneath the “sizzling” exterior lay a powerhouse of dramatic depth. Ann-Margret transitioned seamlessly from the high-energy musicals of the sixties to acclaimed, gritty roles in the seventies, earning two Academy Award nominations for Carnal Knowledge and Tommy.

Throughout her six-decade career, Ann-Margret has remained an enduring icon, a rare talent who combined the glamour of a pin-up with the raw, unstoppable force of a true artist.

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Michael Sherard: The Architect of Post-War Elegance

Michael Sherard (1910–1998) was a prominent British couturier and a leading figure in the London fashion scene during the mid-20th century. As a member of the elite Incorporated Society of London Fashion Designers (IncSoc), he stood alongside legends like Norman Hartnell and Hardy Amies, helping to restore London’s reputation as a global fashion capital after World War II. Sherard was celebrated for his refined craftsmanship and “romantic-classical” aesthetic, specializing in exquisitely tailored evening gowns and formal wear that catered to the British aristocracy and high society.

Beyond the runway, Sherard made a significant impact on the performing arts, designing costumes for approximately 30 West End productions, most notably the original 1952 production of Agatha Christie’s The Mousetrap. His designs were often characterized by luxurious fabrics and intricate detailing, such as his signature “leafy-tiered” skirts.

After closing his fashion house in 1964, Sherard transitioned into a distinguished academic career, sharing his expertise with future generations of designers. These glamorous photos capture portraits of model wearing fashion designs by Michael Sherard from the mid-20th century.

Barbara Goalen in evening dress with a graceful swirl of pleats and jewel-embroidered top, wrapped with swaths of marron tulle by Michael Sherard, photo by Richard Dormer, Harper's Bazaar UK, March 1949

Barbara Goalen in romantic white organdie dress hand-painted with London sparrows, the waist threaded with brown ribbon by Michael Sherard, photo by Richard Dormer, Harper' Bazaar UK, April 1949

Princess Helen Wolkonsky wearing a pleated evening dress of shaded yellow chiffon with a flying stole by Michael Sherard, photo by Jay at the Coloseum in Rome, Harper's Bazaar UK, May 1949

Shelagh Wilson in wonderful ball dress of tiny spiraling accordion pleats in three tiers in muted green silk taffeta with a spray of roses at the waist by Michael Sherard, photo by Henry Clarke, Harper's Bazaar UK, November 1949

Della Oake in a suit by Michael Sherard, photo by Lee Miller for the Picture Post, " London Says Dress To Suit Yourself", 1950

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“Heart-and-Dagger” Sweaters Fashion From the 1940s

The “bleeding heart” or “heart-and-dagger” sweaters were an iconic novelty fashion of the 1940s. The style is attributed to Los Angeles designer Suse (Susan) Dannenberg, who in the mid-1940s began applying elaborate felt appliqués to hand-knit sweaters to “distract from her portly figure.”

Her novelty sweaters became an immediate sensation, worn by numerous Hollywood starlets, including Barbara Stanwyck and Esther Williams, and were featured in LIFE magazine. The most famous design was the “Jezebel” sweater, which featured a bejeweled felt heart-and-dagger design, often shown as a bleeding or stabbed heart. Other variations included hearts with arrows (reminiscent of a design worn by Ginger Rogers in a 1938 film).

The sweaters were typically hand-knit with a high, rounded crew neck, wide shoulders, and a fitted, slightly cropped waist. The novelty designs were created using felt appliqués, embroidery, and sometimes beads or sequins.

This style was a key part of the 1940s novelty knitwear trend, which embraced playful motifs like animals, flowers, and seasonal icons, offering a touch of whimsy amidst the era's more practical, military-influenced fashion.

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Heath Ledger Without Makeup While Shooting the First Scene of “The Dark Knight” (2008)

Heath Ledger’s performance in the opening bank heist of The Dark Knight (2008) set a new standard for the genre, combining meticulous preparation with a “proof of concept” for large-scale filmmaking. Director Christopher Nolan chose the bank heist as the first sequence to be filmed to let Ledger ease into the role. Since the Joker is masked for most of the scene, it allowed Ledger to find the character’s physical presence before delivering the final, unmasked reveal.

This was the first time a major Hollywood feature used IMAX 70mm cameras for a narrative dramatic sequence. The cameras were so loud and bulky that they limited mobility, requiring every shot to be precisely pre-visualized. In the famous close-up where the Joker removes his mask and says, “I believe whatever doesn’t kill you simply makes you stranger,” the shot is actually slightly out of focus. Due to the experimental nature of IMAX at the time, there were technical issues, but Nolan kept the take because Ledger’s performance was so compelling.

The exterior “Gotham National Bank” was a fake extension built on a vacant lot in Chicago, while the interior was filmed in the lobby of the Old Chicago Main Post Office. The “death slide” zip-line from the 14th-floor window and the school bus crashing through the bank wall were both performed as real, physical stunts without CGI. 

Ledger’s iconic habit of licking his lips started as a practical solution to keep his silicone scars from peeling off during takes. Nolan noticed it added a “reptile-like” quality and encouraged him to keep it as part of the character. Impressed by Ledger’s vision, Nolan allowed him to direct the homemade hostage videos himself. For the second video featuring a kidnapped reporter, Nolan was so confident in Ledger that he didn’t even attend the shoot.

To stay in character, Ledger kept a “Joker Diary” on set filled with disturbing images and writings. On the final page of the diary, he wrote “BYE BYE” after filming concluded. 

Peveril of the Peak, a Historic Pub in Manchester, Has Welcomed Patrons Since 1820

Affectionately known to locals as “The Pev,” Peveril of the Peak is one of Manchester’s most iconic and visually striking landmarks. Located on a “triangular island” on Great Bridgewater Street, it is a rare surviving example of a detached Victorian-era pub.

The pub dates back to approximately 1820, though its most famous features were added much later. There are two primary theories regarding its name. It is widely believed to be named after Sir Walter Scott’s longest novel, Peveril of the Peak (published in 1823), which references Peveril Castle in Derbyshire. Others suggest it was named after the Manchester-to-London stagecoach that shared the name and famously made the journey in just two days.

The pub is a Grade II listed building, primarily famous for its exquisite wraparound green and yellow tile work. Originally a simple brick building, the pub underwent an extensive remodeling around 1900. This added the vibrant ceramic tiling (faience) and the stained-glass windows that remain today.

While it was once part of a dense network of terraced houses and factories (including the Atlas Locomotive Works), urban development in the 20th century cleared the surrounding buildings. The Pev survived, leaving it isolated on its own small plot of land surrounded by modern office blocks.

The pub has accumulated a variety of colorful stories over its two-century history. The pub has been run by the same family since 1971. The landlady, Nancy Swanick, is a legendary figure in the Manchester pub scene, having lived above the bar for over 50 years. Local legend claims the pub was used as a brothel by G.I.s stationed in Manchester during World War II. Staff and regulars have reported various hauntings, including glasses “levitating” or moving toward the glass wash on their own, a spirit often described as “helpful.”

It has been a favorite haunt for various celebrities, most notably Manchester United legend Eric Cantona. It was also used as a filming location for the 1990s crime drama Cracker, starring Robbie Coltrane.

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Irene Vanbrugh: The Grand Dame of the British Stage

Dame Irene Vanbrugh (1872–1949) was a towering figure in British theatre, celebrated for her remarkable versatility and sophisticated stage presence.

Over a career spanning more than half a century, Vanbrugh became the “muse” for some of the greatest playwrights of her time. She is perhaps best remembered for creating the role of Gwendolen Fairfax in the original 1895 production of Oscar Wilde’s The Importance of Being Earnest, as well as her acclaimed performances in the works of Arthur Wing Pinero and J.M. Barrie. Her acting style was defined by its polished wit and emotional depth, allowing her to transition seamlessly from high-society comedies to intense dramas.

In recognition of her immense contribution to the arts and her tireless work for theatrical charities, Vanbrugh was created a Dame Commander of the Order of the British Empire (DBE) in 1941. Her legacy lives on not only through her iconic roles but also through the Vanbrugh Theatre at the Royal Academy of Dramatic Art (RADA), which was named in honor of her and her sister, Violet.

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