30 Amazing Photos of George Clooney on the Set of “The Peacemaker” (1997)

George Clooney (born May 6, 1961) is an American actor and filmmaker. Known for his leading man roles on screen in both blockbuster and independent films, Clooney has received numerous accolades, including two Academy Awards, a BAFTA Award and four Golden Globe Awards as well as nominations for three Primetime Emmy Awards and a Tony Award.

On the set of The Peacemaker (1997), Clooney was described by director Mimi Leder as “fearless” for his commitment to realism and stunt work. As the first major release from DreamWorks Pictures, the production was high-stakes, and Clooney took a hands-on approach to his role as Lt. Col. Thomas Devoe. 

Co-star Nicole Kidman noted that Clooney made the set enjoyable, often leading to laughter and a relaxed atmosphere between takes despite the film's serious tone.

Despite his rising fame, Clooney was reportedly starstruck by veteran actor Armin Mueller-Stahl and would frequently offer to get him coffee on set. Because there was no rehearsal time for him and Kidman, Clooney made it a priority for them to become fast friends immediately to ensure their chemistry felt natural on screen.

During the production, Clooney famously bonded with the crew. When he realized that some of the local Slovakian crew members were being paid significantly less than their American counterparts, he reportedly lobbied for better conditions and used his own resources to ensure the team was well-fed and taken care of, a trait that became a hallmark of his future productions.

At the time of filming, Clooney was still adjusting to global superstardom. While filming in Bratislava, the local press and fans followed his every move, which reportedly fascinated him as it was one of his first experiences of intense international “paparazzi” culture outside of the United States.

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24 Photos of a Young and Beautiful Julianne Phillips in the 1980s

Julianne Phillips (born May 6, 1960) was a successful model and emerging actress in the 1980s, best known at the time as Bruce Springsteen’s first wife (married 1985–1989). She embodied classic 1980s beauty: tall (around 5'8" or model height), with long blonde hair (often styled with volume, bangs, or soft waves typical of the era), striking features, a fit athletic build, and an elegant yet approachable “all-American” look that landed her high-paying modeling gigs.

Phillips began the decade as one of the most successful models of the early 1980s. After being discovered and signing with the Elite Modeling Agency in 1982, she was marketed as the “perfect-ten package.” At the peak of her modeling career, she was reportedly earning as much as $2,000 a day.

She transitioned into acting by appearing in several notable 1980s projects. She appeared in the video for .38 Special’s “If I’d Been the One” (1983). Later, she appeared in the video for Bruce Springsteen’s “Glory Days” (1985).

In 1984, she landed roles in the made-for-TV films Summer Fantasy and His Mistress (opposite Robert Urich). Toward the end of the decade, she moved into feature films, starring in the 1986 comedy Odd Jobs and 1989’s Fletch Lives (with Chevy Chase) and Skin Deep (with John Ritter).

Phillips gained massive international media attention when she began dating rock legend Bruce Springsteen in late 1984. They married shortly after midnight on May 13, 1985, in Lake Oswego, Oregon. The ceremony was a major media event, though the couple took measures to avoid the paparazzi. The marriage was short-lived; Phillips filed for divorce in August 1988, citing irreconcilable differences. The divorce was finalized in March 1989.

The end of their relationship is famously cited as the primary inspiration for Springsteen’s introspective 1987 album, Tunnel of Love. While the 1980s cemented her celebrity status, Phillips would go on to achieve her greatest professional success in the early 1990s as Francesca “Frankie” Reed on the TV drama Sisters. 

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Milly Vitale: The Radiant Grace of Italian Cinema

Milly Vitale (1933–2006) was a radiant star of the post-war Italian cinema era, cherished for her delicate beauty and versatile acting range. Emerging during the height of the Hollywood-on-the-Tiber period, she became one of the few Italian actresses of her generation to successfully cross over into international productions.

Vitale is perhaps best remembered by global audiences for her poignant role in the 1955 musical film The Seven Little Foys, where she starred alongside Bob Hope. With her expressive eyes and graceful screen presence, she effortlessly transitioned between lighthearted comedies and intense dramas, embodying the elegance and resilience of 1950s womanhood.

Though she retired relatively early from the spotlight to focus on her personal life, Milly Vitale remains a beloved figure of Italy’s golden age of film, a luminous talent whose charm continues to captivate vintage cinema enthusiasts today. Explore these vintage portraits to rediscover the captivating allure of Milly Vitale, a true pioneer of the Italian crossover era.

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Michelle Pfeiffer at the Miss California Beauty Pageant in 1978

Did you know that Michelle Pfeiffer was in beauty pageants once upon a time? She won the Miss Orange County beauty pageant in 1978 and finished sixth in the Miss California contest the same year. After her appearances in these pageants, Pfeiffer acquired an agent and began to audition for television and film roles.

Before she was an Academy Award-nominated actress and a Hollywood icon, 19-year-old Michelle Pfeiffer used the pageant circuit as a stepping stone to break into the industry.  

In 1978, she competed in the Miss California pageant held at the Magic Mountain theme park in Valencia. While she didn’t take home the top crown, her participation was a pivotal moment in her early career.

She qualified for Miss California after winning the Miss Orange County title earlier that year. She ultimately finished in sixth place but was awarded the title of Miss Photogenic.

Pfeiffer famously entered the contest because one of the judges was a Hollywood agent. Her plan worked; the exposure helped her land her first agent, leading to her television debut later that year in an episode of Fantasy Island. At the time of the pageant, she was a student at Golden West College and worked as a check-out clerk at a Vons supermarket.

In a strange twist of Hollywood fate, the 1954 Miss California winner, Lee Meriwether, also went on to play Catwoman (in the 1966 Batman film), a role Pfeiffer would redefine decades later in Batman Returns (1992).  

Pfeiffer has often looked back on her pageant days with a mix of humor and humility, noting that she initially viewed it as a practical way to bypass the “waiting in line” phase of pursuing an acting career. “I needed to learn how to act... in the meantime, I was playing bimbos and cashing in on my looks.”

Charles Verschuuren Jr.: Bridging Illustration and Fine Art

Charles Verschuuren Jr. (1891–1955) was a distinguished Dutch-American illustrator and painter, celebrated for his versatile talent that seamlessly transitioned between the worlds of commercial art and fine portraiture.

Born into an artistic family in the Netherlands, Verschuuren brought a European sensibility to the vibrant American art scene, eventually becoming a prominent figure in New York. He is perhaps best remembered for his dynamic posters and sophisticated advertisements, which often featured a bold use of color and a keen sense of composition that defined the aesthetic of the early 20th century.

Beyond his commercial success, Verschuuren was a masterful portraitist, known for his ability to capture the dignity and character of his subjects with a graceful, refined touch. His body of work stands as a testament to an era where art and industry converged, leaving behind a legacy of elegance and visual storytelling.

Through these works, we can appreciate the meticulous craftsmanship that made Verschuuren one of the most sought-after illustrators of his generation.

Drukkerij Kotting, circa 1917

Café-Restaurant "Moderne", 1917

Ravensberg, Voor Straat Reclame, 1917

Darmoer je zien! Flora Revue, 1918

Oranje Hein, 1918

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The Queen of Fox: 36 Stunning Portraits of a Young and Beautiful Alice Faye in the 1930s

Alice Faye (born Alice Jeanne Leppert; May 5, 1915 – May 9, 1998) was a major Hollywood musical star and singer, often called the “Queen of Fox” at 20th Century-Fox during the 1930s. She rose from Broadway chorus girl and radio performer to one of the top box-office draws of the era, starring in hits like George White’s Scandals (1934), On the Avenue (1937), Alexander’s Ragtime Band (1938), and In Old Chicago (1938).

She started with a break in 1934 replacing Lillian Harvey in the film version of George White’s Scandals, where she performed with Rudy Vallée (a connection from her radio and Broadway days). Studio head Darryl F. Zanuck became her mentor and shaped her image. She transitioned from brassy, wisecracking showgirl roles to more wholesome, youthful, and sometimes “motherly” parts.

She was hugely popular for her warm contralto singing voice, girl-next-door charm mixed with glamour, and reliable box-office success—her films rarely lost money. She introduced many hit songs and became a top-10 draw by the late 1930s.

Early in her Hollywood career (mid-1930s), the studio initially styled her as a platinum blonde Jean Harlow type—with very light hair, pencil-thin eyebrows, and a bolder, brassier look (common in Pre-Code Hollywood). Zanuck soon gave her a softer makeover for broader appeal. Warmer, more natural blonde shade (less harsh platinum). Softer, more mature makeup instead of extreme glamour. A wholesome yet glamorous "girl next door" vibe that suited Technicolor musicals and romantic leads.

She typically had soft, styled blonde hair (often with waves or curls), elegant 1930s fashion (bias-cut gowns, tailored suits with emphasized shoulders, glamorous evening wear), and a sunny, approachable beauty that contrasted with edgier stars. Her look evolved across the decade from Harlow-inspired to a polished, elegant Fox musical star ideal—think luminous skin, defined but natural brows, and romantic appeal.

She remained active into the early 1940s before stepping back for family, but the 1930s marked her big rise to stardom. Vintage portraits from the era highlight her as a classic Golden Age beauty.

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Mongol Princess Nirgidma of Torghut With Her Hunting Eagle, 1932

In 1932, a powerful and graceful moment was captured by photographer Maynard Owen Williams for The National Geographic Magazine—Princess Nirgidma of Torhout standing beside her hunting eagle. Dressed in traditional Mongolian attire, the image radiated both nobility and cultural pride.

Princess Nirgidma of Torhout (also known as Nirgidma de Torhout, Princess Palta, or Nina de Torghut) was a remarkable Torghut (Torhout/Torghut) Mongol noblewoman whose life bridged the nomadic traditions of the Central Asian steppes and the cosmopolitan world of 20th-century Europe and Asia.

Born in 1907 in Tokyo, she was the daughter of Prince Palta (a Mongolian statesman, scholar, and governor of the Altai region, educated in military science in Japan) and his Torghut wife Orloma. Her lineage traced back through the Torghut (Oirat/Kalmyk) Mongols to figures like Ayuka Khan and ultimately to Genghis Khan via the Borjigin line. The Torghuts were nomadic Buddhist people famous for their horsemanship, migrations (including from the Volga region back to Central Asia), and warrior-hunter heritage.

Her father emphasized education for all his children, blending Western, Chinese, and traditional elements. Nirgidma studied at the Sacred Heart School in Peking (Beijing), then pursued political science, literature, and music at universities in Paris and Brussels. She became a polyglot, fluent in French, English, Chinese, Russian, Mongolian, and later Persian and Arabic. She traveled widely as a journalist and observer of political and cultural affairs across Central Asia and the Middle East.

Nirgidma embodied a blend of tradition and modernity. She published Dix-Huit Chants et Poèmes Mongols (1937), a collection of Mongolian songs and poems she transcribed, offering rare Western insight into authentic Oirat-Mongol culture. She wrote a foreword for Danish explorer Henning Haslund-Christensen’s book Men and Gods in Mongolia (1935) and contributed an article to The Spectator in 1935 titled “The Disadvantages of Women’s Rights,” reflecting on gender, emancipation, and cultural values. She was friends with intellectuals like Pierre Teilhard de Chardin and sculptor Lucile Swan.

In 1938, she married French diplomat Michel Georges Eugène Bréal (later consul general in China and ambassador to Afghanistan, Laos, and Thailand). They had a son, and she supported her family through turbulent times, including World War II. She lived much of her later life in France, where she died in Paris in 1983 at age 75. She enjoyed horse-riding, gardening, music, and the steppe traditions of her youth.

Contemporary accounts describe her as a slender, charming woman of serene yet lively presence, an oriental beauty who moved effortlessly in Western circles while remaining proud of her Torghut roots. She was independent, intellectually sharp, tolerant, and spiritually inclined—traveling on pilgrimage and valuing both freedom and tradition. Dutch diplomat Carl Barkman, who met her in Peking in 1947, was deeply impressed and later dedicated a novel to her memory.