26 Photos of a Very Young Susan Saint James in the 1960s

Emmy-winning actress Susan Saint James died on Monday, October 26, 2026, at the age of 80 following a battle with pancreatic cancer. While she became a household name in the 1970s and 1980s starring in McMillan & Wife and Kate & Allie, her meteoric rise to fame began in the mid-to-late 1960s, where she established herself as a remarkably talented, charismatic, and refreshing young presence on television.

Saint James landed her first major television job at age 20 in the TV movie pilot Fame Is the Name of the Game. Audiences instantly fell in love with her portrayal of Peggy Maxwell, a sharp and inquisitive editorial research assistant. When the pilot was picked up as a full wheel-series titled The Name of the Game in 1968, she continued her role. Her performance was a massive critical success, earning her three Emmy nominations and a win for Outstanding Supporting Actress in a Drama Series in 1969.

In an era of traditional Hollywood glamour, Saint James intentionally downplayed her high-fashion model looks for a relatable, “girl next door” magnetism. She infused her characters with a delightful mix of down-to-earth charm, intelligence, and playful klutziness. She further showcased her comedic chops as a recurring quirky thief alongside Robert Wagner in It Takes a Thief (1968) and appeared in the 1968 comedy film Where Angels Go, Trouble Follows.

She transitioned out of the 1960s as one of television’s brightest young stars, paving the way for her legendary run as Sally McMillan in the 1970s. She is remembered by her family and fans not just for her six-decade career, but for her immense kindness, vibrant personality, and lifelong advocacy work with the Special Olympics.

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30 Fascinating Vintage Photos of People Walking Around Brussels in the 1940s

These fascinating vintage photos capture people walking around Brussels in the 1940s, a decade shaped by wartime occupation and postwar recovery. The images show everyday street life in the Belgian capital: pedestrians on busy avenues, shoppers, workers, and ordinary residents navigating the city’s streets and squares.

From the subdued atmosphere of the occupation years to the renewed energy after liberation, the photos preserve a vivid record of daily movement and urban life. They offer a compelling and nostalgic glimpse of Brussels more than eighty years ago.

Young woman walking on a Brussels street, circa 1940s

Woman and child walking on a Brussels street, circa 1940s

Boulevard Adolphe Max, Brussels, March 1941

Boulevard Adolphe Max, Brussels, November 1942

Boulevard Adolphe Max during the German occupation, Brussels, 1943

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Amazing Photos of a Very Young Elsa Lanchester From the Early Days of Her Career in the Late 1920s

Elsa Sullivan Lanchester (October 28, 1902 – December 26, 1986) was a British actress with a long career in theatre, film and television. During the 1920s, she established herself as a vibrant, avant-garde force in bohemian London through a multi-faceted career spanning cabaret ownership, comedic music hall performances, early independent film roles, and serious stage acting. Long before she achieved global Hollywood fame as the iconic title character in The Bride of Frankenstein (1935), her 1920s career was defined by theatrical entrepreneurship and subversive satire.

Lanchester co-founded and ran The Cave of Harmony in the early 1920s, a popular London nightclub and cabaret venue. It became a central hub for avant-garde artists and intellectuals, including writers like Evelyn Waugh, Christopher Isherwood, and Osbert Sitwell.

She gained a fierce reputation for performing cheeky, socially critical sketches and singing satirical, old Victorian ballads. Clad in top hats, tights, and high heels, she subverted traditional expectations with highly physical, witty acts. Her performances became so popular that Columbia Records signed her, resulting in 78 rpm recordings of her famous comic numbers like “Please Sell No More Drink to My Father” (recorded in 1926) and “Don’t Tell My Mother I’m Living in Sin.”

Her film career was catalyzed by her bohemian social circle. In 1924, Evelyn Waugh cast her as a seductress in his amateur silent film The Scarlet Woman. This smoothly transitioned her into mainstream British silent cinema later in the decade, securing parts in shorts and features like One of the Best (1927) and Blue Bottles (1928).

Her eccentric cabaret work acted as a springboard into prestigious stage plays. In 1927, she starred in Arnold Bennett’s play Mr. Prohack. It was on the set of Mr. Prohack that Lanchester first met fellow cast member Charles Laughton. The two formed an instant artistic connection, marrying in 1929 and beginning one of the most distinctive, unconventional acting partnerships in cinema history.

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1953 Chevrolet Corvette: The Birth of America’s Sports Car

The 1953 Chevrolet Corvette marked the beginning of one of the most iconic American sports cars. Unveiled as a concept at the 1953 GM Motorama in New York, it entered limited production later that year with only 300 hand-built examples completed in Flint, Michigan.

Every 1953 Corvette was finished in Polo White with a red interior and powered by a 150-horsepower “Blue Flame” inline-six engine paired exclusively with a two-speed Powerglide automatic transmission. Featuring a groundbreaking fiberglass body, the car combined sleek European-inspired styling with American engineering.

Though production was modest and performance modest by later standards, the 1953 model established the Corvette name and laid the foundation for decades of legendary sports cars to follow. These classic photos capture the pioneering style and historic significance of the 1953 Chevrolet Corvette, the first of its kind.

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Candid Photographs of a Young and Beautiful Teresa Wright Taken by Bob Landry in 1942

In May 1942, LIFE magazine photographer Bob Landry captured a famous, stylized photo session of Academy Award-winning actress Teresa Wright (October 27, 1918 – March 6, 2005). The photo shoot took place during a breakthrough year in Wright’s Hollywood career. In 1942, she starred in two highly acclaimed films: The Pride of the Yankees alongside Gary Cooper, and Mrs. Miniver, for which she won the Academy Award for Best Supporting Actress.

Bob Landry was one of LIFE magazine’s prominent staff photographers during the Golden Age of Photojournalism. He is particularly famous for photographing Hollywood stars for wartime portrait features, as well as capturing Rita Hayworth’s famous 1941 nightgown portrait and later documenting World War II as a war correspondent during D-Day.

Landry’s 1942 portraits shifted away from the traditional, heavily staged studio close-ups of the era. Instead, he photographed her in dynamic, casual outdoor settings (posing on lawns, by a swimming pool, and sitting on a garden wall) showcasing a modern, relaxed elegance.

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30 Fascinating Photos of Nanette Fabray in the 1950s

Nanette Fabray (October 27, 1920 – February 22, 2018) was an American actress, singer and dancer. During the 1950s, Fabray reached the peak of her mainstream fame, transitioning seamlessly from a celebrated Broadway star into a household name on television and the big screen.

After making guest appearances on Your Show of Shows early in the decade, Fabray achieved massive TV success when she joined Sid Caesar as his main comedic partner on Caesar’s Hour (1954–1957). Her brilliant sketch comedy timing and musical talents earned her three Emmy Awards during her run on the show. She unexpectedly left the hit series in 1956 due to a severe contractual misunderstanding between her business manager and Caesar, a rift that took years to heal.

Fabray starred in what many critics consider one of the greatest movie musicals of all time, Metro-Goldwyn-Mayer’s The Band Wagon (1953). She played Lily Marton, a vibrant playwright modeled directly after the real-life Broadway legend Betty Comden. She performed the definitive version of “Louisiana Hayride” and joined Fred Astaire and Jack Buchanan for the legendary comedic musical number “Triplets,” where all three performed dressed as infants.

Behind her exuberant performances, Fabray faced severe, progressive hearing loss caused by otosclerosis. She performed through intense anxiety on live television and Broadway before undergoing four separate surgeries that ultimately restored her hearing. This personal battle inspired her to spend the rest of her life working as a pioneering humanitarian and advocate for the deaf and hard-of-hearing.

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Filmmaker Jean-Luc Godard Being Detained by Police in Paris While Filming Student Protests in May 1968

During the massive civil unrest of May 1968 in Paris, legendary French New Wave filmmaker Jean-Luc Godard was detained by police while documenting the street protests. Deeply embedded in the political climate, Godard spent considerable time directly on the streets capturing clashes between university students, striking workers, and law enforcement.

What began as a series of student-led protests challenging government authority, social conditions, and rigid educational institutions rapidly escalated into a nationwide movement. Over 10 million French workers joined in solidarity, occupying factories and launching general strikes that brought the country’s economy and infrastructure to a near-total standstill.

Just days prior, on May 18, Godard along with fellow director François Truffaut successfully shut down the 1968 Cannes Film Festival by physically clinging to the theater curtains to stop screenings, famously declaring it offensive to debate camera techniques while the French working class was facing a national crisis.

His arrest and firsthand involvement in the riots marked an permanent turning point in his creative path, pushing him to abandon conventional narrative cinema entirely.

During the heat of the movement, Godard produced numerous “Ciné-tracts”—anonymous, short, raw film sequences designed as “cinematic leaflets” to be screened rapidly at occupied factories and university assemblies. Later that year, he released the experimental political documentary A Film Like Any Other (1968), pairing raw footage of the Paris demonstrations with unscripted, roundtable discussions between the striking factory workers and students.

The visual of a vulnerable, un-sunglassed Godard being escorted away by the gendarmerie remains a permanent cultural shorthand for the era, a brief flashpoint where European cinema and literal street revolution became entirely indistinguishable.