Jacqueline Sassard: The Delicate Grace of Postwar European Cinema

Though born in France, Jacqueline Sassard (1940–2021) achieved her greatest cinematic triumphs under the warm sun of Italian cinema during the late 1950s and ’60s. With her soft features, expressive eyes, and an innate aura of melancholic innocence, she became the ultimate muse for directors looking to capture the bittersweet transition from youth to womanhood.

Sassard delivered unforgettable performances in Valerio Zurlini’s romantic drama Violent Summer (1959) and Alberto Lattuada’s Guendalina (1957), epitomizing a quiet, delicate grace that stood out in an era dominated by bolder sex symbols. By the late 1960s, she returned to French cinema to star in Claude Chabrol’s psychological drama Les Biches (1968), a film that marked both the artistic peak and the final chapter of her acting career.

Shortly after, Sassard chose to walk away from the spotlight at the height of her beauty, leaving behind a brief but luminous filmography that remains a masterclass in understated elegance. These elegant vintage photographs capture the soft beauty, quiet intensity, and refined sensitivity of Jacqueline Sassard, a memorable and graceful presence in postwar European cinema.

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Hunter S. Thompson, John Cusack and Johnny Depp Driving Along Sunset Strip, Los Angeles With a Blow-Up Doll, 1996

The famous 1996 story involving Johnny Depp, John Cusack, Hunter S. Thompson, and a blow-up doll is a real-life Gonzo escapade that took place on September 7, 1996, along Hollywood’s Sunset Strip. The trio spent the night cruising around in a rented BMW Z3 convertible, causing chaos with a life-sized inflatable doll before taking the stage for a wild event at the Viper Room.

In September 1996, Depp was preparing for his iconic role as Hunter S. Thompson in the upcoming film adaptation of Fear and Loathing in Las Vegas. Thompson was in Los Angeles for a scheduled speaking appearance and interview at the Viper Room. Minutes before he was due to go on, a typically erratic Thompson refused to take the stage unless Depp joined him. John Cusack, who had dropped by to visit, was quickly “shanghaied” into participating in the madness as well.

According to later retellings from Depp’s perspective and various Hollywood lore, the adventure began when they took to the streets with an inflatable sex doll. The three men crammed into a small convertible, inching down Sunset Boulevard. Thompson was reportedly spilling whiskey everywhere while proudly towing a life-sized blow-up doll (whom he sometimes referred to as “Ling Ling”).

Lore suggests Thompson decided it was the doll’s birthday. The trio reportedly carried her into local dive bars, took photos with patrons, and sang “Happy Birthday” to her. As they approached the venue to park, Thompson abruptly decided the right move was to hurl the defenseless inflatable doll directly into the heavy Sunset Strip traffic.

The stunt caused a massive screeching of tires from startled drivers, paired with a “horrified, ultra-high-pitched scream” from Thompson himself. Police allegedly received reports of a man "mercilessly beating a blow-up doll" in the middle of the intersection, though Thompson managed to escape with just a warning.

After retrieving the doll from the street, the trio calmly walked inside and took the stage at the Viper Room. The bizarre evening, which included Thompson manhandling the doll on stage while being interviewed, was partially captured on film and later featured in Wayne Ewing’s 2003 cinema verité documentary, Breakfast with Hunter.

1953 Glasspar G2 Roadster: America’s Fiberglass Pioneer

The 1953 Glasspar G2 Roadster was one of the earliest and most influential American fiberglass sports cars. Designed by Bill Tritt and built by Glasspar in Santa Ana, California, it featured a sleek, hand-laid fiberglass body mounted on a modified Ford chassis.

With its low, sporty profile, distinctive front grille, and clean, flowing lines, the G2 captured the spirit of postwar American enthusiasm for European-style sports cars. It was typically powered by Ford or Mercury V8 engines, offering respectable performance in a lightweight package.

As one of the first production fiberglass automobiles in the United States, predating the Chevrolet Corvette, the 1953 Glasspar G2 Roadster played a pioneering role in the development of American sports car culture and helped prove the viability of fiberglass as a material for automotive bodies.

These striking vintage photos capture the clean, futuristic lines and pioneering spirit of the 1953 Glasspar G2 Roadster, a true icon that helped pave the way for the American fiberglass sports car movement.

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Meryl Streep Photographed by Jack Mitchell in New York, 1976

In August 1976, iconic photographer Jack Mitchell captured a series of portraits of Meryl Streep in New York City. At the time, Streep was a 27-year-old rising stage actress and a true Hollywood ingénue, long before The Deer Hunter (1978) or her first Oscar win catapulted her into global stardom.

According to the archives of legendary arts photographer Jack Mitchell, this particular shoot was commissioned for After Dark magazine (eventually published in May 1977). Mitchell often recalled a stark contrast between this first session and their later collaborations. Streep was relatively unknown to the general public. She arrived at Mitchell’s Manhattan studio completely on her own, taking a standard yellow taxi. Mitchell shot a beautiful series of portraits of her, capturing a raw, fresh-faced charisma.

Just two years later, when The New York Times magazine assigned Mitchell to photograph her again, everything had changed. This time, she arrived at the studio in a limousine, flanked by a publicist and her longtime makeup artist, J. Roy Helland.

The images from that August 1976 session showcase Meryl Streep with her signature long blonde hair, minimal makeup, and an effortlessly luminous, candid presence. They stand as a definitive visual record of an icon on the absolute precipice of fame.

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Cyndi Lauper of Blue Angel Posing for a Portrait Session in Amsterdam, Netherlands, 1980

Before she became a global solo superstar with She’s So Unusual in 1983, Cyndi Lauper was the frontwoman of a retro-rockabilly and new wave band called Blue Angel. In 1980, they released their self-titled debut (and only) album.

Moving away from the hard rock she had sung in cover bands, Blue Angel mixed 1950s rockabilly, girl-group pop, and modern 1980s new wave. The album put Cyndi’s massive, four-octave vocal range on full display. It featured her first recording of “I’m Gonna Be Strong” (a Gene Pitney cover), a song she would famously re-record later in her solo career.

Even in 1980, Cyndi was cultivating her signature look. She sported a vintage, brassy look with bright hair, thrift-store style, and a vibrant energy that previewed her iconic ’80s solo aesthetic.

The band was signed to Polydor Records and recorded the album with high hopes. It received positive reviews from critics who praised Cyndi’s powerhouse vocals, but it ultimately failed to chart significantly. Despite their potential, 1980 proved to be a bittersweet turning point. Because the album sold poorly, the band fired their manager, Steve Massarsky. Massarsky sued the band for $80,000, which eventually forced Cyndi Lauper to file for Chapter 7 bankruptcy in 1981.

“Leaving Blue Angel was terrifying because we were completely broke and the industry had written me off, Cyndi Lauper later recalled. “But I knew I needed to find my own voice without any compromises. When I started working on my solo material, I wanted to create music that was vibrant, fun, and empowering for women. Taking that risk allowed me to finally express who I truly was, both visually and musically.”

To make ends meet, Cyndi spent the immediate post-Blue Angel period singing in retail stores and working as a waitress. However, her distinct talent in Blue Angel had caught the eye of music executives, eventually leading to her solo contract with Portrait Records.

Rolling Stone magazine later gave the Blue Angel album a retrospective nod, praising it as a brilliant blend of classic rock-and-roll innocence and punk-era edge, highlighting that Lauper was already a force to be reckoned with.

(Photos by Govert De Roos)

France Anglade: The Radiant Smile of 1960s French Cinema

France Anglade (1942–2014) was a charming and radiant French actress who became one of the fresh faces of European cinema in the 1960s.

With her bright smile, sparkling eyes, and natural, girl-next-door beauty, Anglade embodied the youthful elegance and playful spirit of the decade. She gained popularity through films such as The Sultans (1966), The Young Wolves (1968), and several successful Italian and French productions.

Though her acting career was relatively brief, Anglade left a lasting impression as a symbol of 1960s French femininity: sweet yet modern, innocent yet alluring. Her warmth and photogenic presence made her a favorite among audiences during the Swinging Sixties.

These charming vintage photos capture the bright smile, natural grace, and youthful vitality of France Anglade, one of the most endearing and photogenic actresses of 1960s French and European cinema.

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18 Portraits of Judy Holliday in the 1940s

Judy Holliday (born Judith Tuvim, June 21, 1921 – June 7, 1965) was an American actress, comedian, singer, and songwriter. In the 1940s, Holliday transformed from a struggling nightclub performer into one of Broadway’s brightest stars, laying the groundwork for her Hollywood success. Despite possessing a genius IQ of 172, she built her fame by playing variations of the squeaky-voiced, seemingly airheaded “dumb blonde” character.

She spent the early part of the decade performing with a satirical comedy troupe called “The Revuers” alongside future Broadway legends Betty Comden and Adolph Green. To make ends meet in New York, she worked as a switchboard operator at Orson Welles’s Mercury Theatre. The Revuers moved to Los Angeles and signed with 20th Century Fox. Holliday appeared in minor, forgettable bit parts in mid-1940s films like Winged Victory and Greenwich Village before the studio dropped her.

Returning to New York, she made her formal Broadway debut in the 1945 play Kiss Them for Me, winning critical praise for playing a wistful prostitute. Her life changed forever when she was cast as Billie Dawn in Garson Kanin’s Born Yesterday (1946). Playing the dim-witted but secretly sharp mistress of a corrupt tycoon, Holliday became an overnight sensation. The stage production ran for four years and skyrocketed her to theatrical stardom.

Columbia Pictures initially hesitated to cast her in the movie adaptation of Born Yesterday. To prove her on-screen viability, her friend Katharine Hepburn and director George Cukor custom-tailored a scene-stealing supporting role for her in the classic romantic comedy Adam’s Rib (1949).

Her brilliant, hilarious performance as a woman who shoots her cheating husband convinced Columbia executive Harry Cohn that she was a star. This secured her the leading role in the 1950 film version of Born Yesterday, which ultimately won her an Academy Award for Best Actress.

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