Amazing Photographs of Alfred Hitchcock Taken by Gjon Mili on the Set of “Shadow of a Doubt” in 1942

In 1942, legendary photographer Gjon Mili captured a famous series of stroboscopic multiple-exposure photographs of director Alfred Hitchcock on the Hollywood set of his psychological thriller, Shadow of a Doubt.

Mili, a pioneer in using electronic flash and stroboscopic light to freeze rapid movement, photographed Hitchcock demonstrating various directorial actions, such as walking and pointing into the distance. The resulting images overlay multiple frames of Hitchcock’s silhouette into a single, fluid composition, perfectly mirroring the dramatic, suspenseful essence of the filmmaker’s work.

Mili utilized high-speed stroboscopic photography, a technique he heavily developed while working at MIT alongside Harold Edgerton. The photos were shot for LIFE Magazine to showcase Hitchcock’s highly animated and precise physical style of directing behind the scenes.

Shadow of a Doubt (released in 1943) was famously cited by Hitchcock himself as his personal favorite of all his films.

Stunning Portraits of Sharon Tate From “Don't Make Waves” (1967)

These stunning portraits capture the radiant beauty of Sharon Tate during the filming of the 1967 comedy Don’t Make Waves. Shot on set and in promotional sessions, the photographs showcase her natural charm, luminous smile, and effortless glamour that made her one of the most captivating stars of the late 1960s.

Whether posing in stylish period costumes or relaxing between takes, Tate’s presence shines through with a mix of innocence and sophistication. These images offer a delightful glimpse into her brief but unforgettable career at the height of her Hollywood appeal.

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John Wojtowicz Posing in Front of the Chase Manhattan Bank in Brooklyn He Tried to Rob, 1978

John Wojtowicz (also known as “Littlejohn” or “The Dog”) standing outside the Chase Manhattan Bank branch in Gravesend, Brooklyn (at 450 Avenue P), that he tried to rob on August 22, 1972. He is wearing a black T-shirt reading “I ROBBED THIS BANK.” The photo was taken after his release from federal prison in April 1978; he returned to the site to pose for pictures and sign autographs, capitalizing on his notoriety.

Wojtowicz (then 27), a Vietnam veteran, former Chase Manhattan teller, and married father of two who was also involved in New York’s gay scene, planned the heist primarily to fund gender-reassignment surgery for his lover, Ernest Aron (later Elizabeth Debbie Eden / Liz Eden). Aron had attempted suicide, and Wojtowicz believed the surgery would help. He recruited two accomplices, Salvatore (“Sal”) Naturile and Robert (“Bobby”) Westenberg. After some failed scouting attempts at other banks (and after watching The Godfather that day for inspiration), they targeted this branch near closing time.

Westenberg lost his nerve and fled. Wojtowicz and Naturile entered, presented a note inspired by The Godfather (“This is an offer you can’t refuse”), and took employees hostage. What was meant to be a quick job turned into a chaotic 14-hour standoff. Police and FBI surrounded the bank; a large crowd of onlookers and media gathered. Wojtowicz negotiated, played to the crowd (throwing money, demanding food and pizza, etc.), and demanded to see Aron (who was brought from a hospital). The vault had limited cash; they seized roughly $38,000 in cash plus traveler’s checks.

The situation ended when the hostages and robbers were taken to Kennedy Airport under the pretense of providing a plane. FBI agents shot and killed Naturile; Wojtowicz surrendered. He was sentenced to 20 years but served about five (released in 1978).

The story became a media sensation and inspired the 1975 film Dog Day Afternoon (directed by Sidney Lumet, with Al Pacino as a character based on Wojtowicz and John Cazale as the Naturile figure). Wojtowicz sold the rights and used some of the money to help fund Eden’s surgery; she had the operation in 1973. Their relationship later ended; Eden died of AIDS-related illness in 1987.

After release, Wojtowicz struggled to find steady work, he even applied unsuccessfully for a security job at the same bank. He leaned into his fame: standing outside the bank signing autographs and posing in the “I Robbed This Bank” shirt, as seen in the 1978 photo. He lived much of the rest of his life in Brooklyn (often with his mother), had further legal troubles, and died in 2006. A 2013 documentary, The Dog, covers his life in more detail.

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Rare Photos of Mark Knopfler as a Young Boy, Long Before He Co-Founded the Rock Band Dire Straits

Mark Knopfler got his first guitar, a red Hofner V-2, when he was 15. Never having taken music lessons, he relied on listening to various guitarists on records and on the radio to develop his chops. “Besides listening to the blues players,” he recalled, “I picked up the basics from people like the Shadows, the Everly Brothers, Duane Eddy, Rick Nelson, and Elvis.”

While in high school he played his Hofner in local bands. “I played with different groups in and around London,” he said, “and we did some real diabolical stuff. I even played bass for a while. Besides playing electric guitar, I’d also get asked to play some acoustic stuff. But, since I didn't have an acoustic guitar at the time, I used to borrow one from a friend so I could play folk joints.

“I was into playing American music, especially the blues. First, I learned how to fingerpick, just the basic stuff, and then I began developing a clawhammer style. And all during this time I was playing my solidbody without an amp of my own. While I was into many different types of music, and played with many different local groups, I really didn't have a band to call my own until Dire Straits was formed in 1977.”

Many professional players are asked what advice they’d give to aspiring musicians, and often their responses reflect the ethic of hard work and practice. But Knopfler approaches the question from a different, and some might say unique, angle: “Advice for young players? Well, I think they should learn boogie woogie piano. It’s very rudimentary, and no matter how you do it, you should just get familiar with it. I bad a piano long before I bad a guitar, and the practice I got just playing those three chords in a basic 12-bar blues song was very important. And another thing: Stay responsive to any environment that comes along, and try to reflect what you feel in a wide variety of styles and songs. I just want to be able to play and make people feel good with what I do. When you're thinking that way, anything can happen. And, usually, what happens is good.”

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Dalida: Timeless Icon of French Song

Dalida (1933–1987), born Iolanda Cristina Gigliotti in Cairo to Italian parents, was one of the most celebrated singers of the 20th century. After winning Miss Egypt in 1954 and moving to France, she achieved international fame with her 1956 hit “Bambino.” Over a career spanning three decades, she recorded more than 700 songs in multiple languages and sold over 140 million records worldwide.

Known for her powerful voice, emotional performances, and elegant stage presence, Dalida became a beloved figure across Europe, the Middle East, and beyond, leaving a lasting legacy in French chanson and popular music.

These vintage photos capture the timeless elegance, charisma, and emotional depth of Dalida, a true icon of French song whose voice continues to resonate across generations.

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Roland West the Morning After the Death of Thelma Todd in 1935

On the morning of Monday, December 16, 1935, film director Roland West faced the sudden discovery of the death of his business partner and on-and-off lover, actress Thelma Todd. Her body was found slumped inside her chocolate-brown Lincoln convertible in a garage on the hill above her Pacific Palisades café. Distraught and immediately thrust into the spotlight, West became a central figure in the intense police and grand jury investigations that followed.

Todd’s maid Mae Whitehead, found her employer inside her 1934 Lincoln Phaeton convertible. The car was parked inside the garage at Jewel Carmen’s residence, located roughly a block uphill from the Sidewalk Cafe. Todd was still wearing an evening gown, mink wrap, and jewelry. Whitehead later told police that Todd was slumped forward in the seat, her head tilted to one side. She also reported blood around Todd’s nose.

Investigators quickly established that West and Todd had quarreled the night before when she returned late from a party. West had locked the building’s doors, expecting her earlier. Because the garage belonged to West’s residence and the two shared a volatile, complex personal and business relationship, suspicion immediately fell on him, though he maintained his innocence during exhaustive inquiries.

Investigators carrying movie actress Thelma Todd’s body the morning after her death in 1935.

The official coroner’s ruling eventually pointed to carbon monoxide poisoning as an accident or suicide, but the strange circumstances fueled decades of Hollywood lore and rumors of foul play. Decades later, a claim emerged that West allegedly made a deathbed confession of murder, keeping the mystery alive.

1966 Pontiac GTO ‘Monkeemobile’ No. 3: Iconic TV Custom Classic

The 1966 Pontiac GTO ‘Monkeemobile’ No. 3 is a famous customized muscle car created for the popular 1960s television series The Monkees.

Based on a standard 1966 Pontiac GTO convertible, it was heavily modified with an exaggerated front end, split two-piece windshield, extended rear quarter panels, a third-row seat, and theatrical details like a rear-mounted parachute.

While the original two Monkeemobiles were built by customizer Dean Jeffries, No. 3 was a later promotional version associated with George Barris’s collection and used for public appearances.

With its bold, playful design and strong connection to 1960s pop culture, the Monkeemobile remains one of the most recognizable custom cars of the era. These photos capture the wild, fun-loving style of the 1966 Pontiac GTO ‘Monkeemobile’ No. 3, a true icon of 1960s television and American custom car culture.

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