Kay Kendall: A Luminous Star of British Cinema’s Golden Years

Kay Kendall was a luminous British actress whose brief but brilliant career left an indelible mark on 1950s cinema. Best known for her exquisite blend of sophisticated beauty and impeccable comedic timing, she shot to international stardom in the 1953 hit Genevieve.

Kendall possessed a rare “screwball” energy, often compared to the great stars of Hollywood’s Golden Age, which she showcased perfectly in films like Les Girls (1957), earning her a Golden Globe. Beyond her professional success, her life was marked by a poignant elegance; she was married to the legendary Rex Harrison, who stayed by her side until her untimely death from leukemia at the age of only 33.

Kendall is remembered not just as a fashion icon of her era, but as one of the most talented comediennes to ever grace the British screen. Explore this collection of images that capture the timeless elegance and vivacious spirit of a true screen legend.

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40 Vintage Films and Filming Magazine Covers From the 1960s

Films and Filming was a prestigious British cinema magazine that played a vital role in film journalism from its inception in 1954 until the early 1990s.

Unlike many mainstream publications of its time, the magazine was celebrated for its intellectual and sophisticated approach, prioritizing “art house” cinema and international directors over typical Hollywood gossip. The magazine was particularly famous for its high-quality, artistic photography and its progressive stance; it often featured provocative imagery that challenged the era's social norms, making it a landmark publication for both cinephiles and the LGBTQ+ community.

By treating filmmaking as a serious art form rather than mere commercial entertainment, Films and Filming provided a deep archive of the transition from the Golden Age of cinema to the radical movements of the late 20th century. Below is a collection of vintage Films and Filming magazine covers from the 1960s.

Dean Stockwell and Trevor Howard in “Sons and Lovers”, Films and Filming magazine cover, May 1960

Horst Buchholz in “The Death Ship”, Films and Filming magazine cover, April 1960

Marlon Brando and Anna Magnani in “The Fugitive Kind”, Films and Filming magazine cover, August 1960

Montgomery Clift and Albert Dekker in “Suddenly Last Summer”, Films and Filming magazine cover, January 1960

Peter Sellers and Sophia Loren in “The Millionairess”, Films and Filming magazine cover, November 1960

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35 Glamorous Photos of Cyd Charisse in the 1950s

Cyd Charisse (March 8, 1922 – June 17, 2008) in the 1950s was the undisputed queen of the MGM musical, a period often cited as the “Golden Age” of the genre. Known for her incredible athleticism, elegance, and those famously long legs, she transitioned from a featured dancer into a top-tier leading lady.

While many stars of the era were known for their voices, Charisse was pure movement. Legend has it that MGM insured her legs for $5 million in 1952. She brought a level of technical ballet precision to Hollywood that few could match, moving with a “cool fire” that was both sophisticated and incredibly modern.

The 1950s were her defining decade. She starred alongside Gene Kelly in Singin’ in the Rain (1952) and Brigadoon (1954), and with Fred Astaire in The Band Wagon (1953) and Silk Stockings (1957). Both Kelly and Astaire praised her as their favorite partner. Astaire famously said, “When you’ve danced with Cyd Charisse, you’ve stayed danced with.” Kelly appreciated her strength, as she was one of the few dancers tall enough and powerful enough to match his athletic, grounded style.

In the 1950s, Charisse represented a shift in femininity. She wasn’t the “girl next door” like Debbie Reynolds or the bubbly blonde like Marilyn Monroe; she was the sophisticated, statuesque woman. Her costumes, often designed by Helen Rose or Adrian, emphasized her height and grace, making her a high-fashion icon of the era.

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40 Photos of a Young Lynn Redgrave in the 1960s

In the 1960s, Lynn Redgrave (March 8, 1943 – May 2, 2010) was the “it girl” who didn’t fit the mold. While her sister Vanessa was the ethereal, classical beauty of the Redgrave dynasty, Lynn became the face of the “unconventional” woman in Swinging London—quirky, vulnerable, and brilliantly funny.

Before she was a movie star, Lynn was a powerhouse on the stage. In 1963, she was a founding member of Britain’s National Theatre under Sir Laurence Olivier. She honed her craft in classics like Hamlet and Much Ado About Nothing. Her comedic timing was legendary; she stood out in Noël Coward’s Hay Fever (1964) as a “scatterbrained flapper,” proving she could hold her own against veterans like Maggie Smith.

In 1966, Lynn became an international sensation playing the title role in Georgy Girl. At a time when the “dolly bird” (the thin, mod, hyper-glamorous girl) was the aesthetic standard, Redgrave’s Georgy was the “ugly duckling.” She played a character who felt awkward and “plain” next to her roommate (played by Charlotte Rampling). Georgy was independent, free-thinking, and more interested in her own integrity than fitting into a mini-skirt. The film was such a hit that Lynn was nominated for an Academy Award for Best Actress. In a legendary bit of family history, she was up against her sister, Vanessa Redgrave, that same year.

Following her success, she starred in Smashing Time (1967), a vibrant, slapstick satire of the very “Swinging London” scene she helped define. Teaming up with Rita Tushingham, she played a girl from the North trying to make it as a “Mod” superstar. It’s a time capsule of 1960s fashion: outlandish sunglasses, PVC coats, and pop-art sets.

In the 1960s, Lynn’s look was defined by her expressive, wide eyes and what TIME magazine called a “sparkling sanity.” Often seen in shift dresses, textured knits, and voluminous hair, she projected a “natural” vibe that felt approachable compared to the era’s more detached fashion icons. Much of her 1960s narrative involved navigating her identity as the “youngest Redgrave.” She often spoke about feeling like the “plump” sibling, a sentiment she channeled into her relatable, “down-to-earth” performances.

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40 Wonderful Photochrom Prints of Cornwall in the Late 19th Century

In the late 19th century, Cornwall was a land of dramatic contrast, where the rugged industrial heritage of tin mining met the emerging allure of the “Cornish Riviera.”

As the deep shafts of the Levant and Botallack mines began to fall silent, the region reinvented itself through the arrival of the Great Western Railway, which brought Victorian travelers to its jagged Atlantic shores for the very first time. This era was defined by a unique, salt-aired romanticism, a world of whitewashed fishing cottages in St. Ives, the mystical silhouette of St. Michael’s Mount, and the bustling harbors of Penzance crowded with traditional luggers.

Life in Cornwall during this period was deeply tied to the rhythms of the sea and the soil. While the fishing fleets hauled in vast catches of pilchards, a new generation of artists, most notably the Newlyn School, flocked to the coast, captivated by the extraordinary clarity of the light and the raw, honest lives of the local people.

These wonderful Photochrom prints of late 19th-century Cornwall capture a fleeting moment in history: a maritime kingdom caught between its ancient Celtic roots and the burgeoning modern world, all framed by the restless, turquoise waters of the Celtic Sea.

Boscastle, the village street, Cornwall, England, circa 1890s

Boscastle, view from New Road, Cornwall, England, circa 1890s

Bedruthan Steps, Cornwall, England, circa 1890s

Boscastle and Forraburg, Cornwall, England, circa 1890s

Boscastle, harbor looking west, Cornwall, England, circa 1890s

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Rick Steves’ First Trip to Europe, 1973

1973 was a pivotal year for Rick Steves. He graduated from Edmonds High School (now Edmonds-Woodway) in 1973, and it immediately set off the adventure that would define his life. On June 20, 1973, the day after his high school graduation, he packed the biggest backpack he could find with what he later admitted was needless stuff, and flew to Europe for his first trip without any parents. He would later call it, in retrospect, the best European trip of his life.

On a $3/day budget, the future PBS fixture traversed Europe through the gutter. He remembers most vividly “the fear and thrill of being over there with no safety net,” nobody even knew where he was.

“Here I am, heading off to Europe the day after high school graduation in 1973 — with a budget of $3 a day, a ten-week Eurail pass in my pocket, and the biggest backpack I could find, jam-packed. I came home with no money, a malnourished body, and an enduring love of Europe.”

Since that 1973 trip, he has spent roughly 120 days a year in Europe, about a third of his adult life living out of a suitcase. That first solo journey essentially launched everything: the guidebooks, the PBS series, the tour company, and his lifelong philosophy of immersive, budget-conscious travel.

Northern Argentina in the 1930s Through Fascinating Photos

In contrast to the European elegance of Buenos Aires, everyday life in Northern Argentina during the 1930s moved to a different, more ancestral rhythm.

In provinces like Salta, Jujuy, and Tucumán, the decade was defined by a deep connection to the land and colonial traditions that had remained unchanged for centuries. The dusty streets of Andean villages were often filled with pack mules and horse-drawn carts, while the local markets served as the vibrant heart of the community, a place where indigenous heritage and Spanish influence blended into a unique cultural tapestry.

These fascinating photos, via Wolfgang Wiggers, capture the raw, sun-drenched beauty of the North: from the vast tobacco and sugar cane plantations where laborers worked under the immense sky, to the quiet dignity of families gathered outside their adobe homes.

A 100-year-old Indian woman in Northern Argentina, circa 1930s

A group of Indians, Northern Argentina, circa 1930s

A native of Salta, Northern Argentina, circa 1930s

A Pullman wagon, Northern Argentina, circa 1930s

At the edge of the forest, Northern Argentina, circa 1930s

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