32 Amazing Photos of Michelle Pfeiffer as Isabeau d’Anjou on the Set of “Ladyhawke” (1985)

Michelle Pfeiffer’s role as Isabeau d’Anjou in the 1985 fantasy classic Ladyhawke is often cited as the moment she became a true Hollywood icon. While she was already known for Scarface, her presence on the set of Ladyhawke was marked by a mix of ethereal beauty and a determined effort to be seen as more than just a “pretty face.”

Pfeiffer was initially hesitant to take the role because she didn’t want to play a “damsel in distress” or a “Disney princess romping through the woods.” However, her audition tape stood out for an unexpected reason: her sense of humor. She filmed a scene with a then-unknown friend named Kevin Costner (who read the part of Gaston). What truly won over director Richard Donner was a moment where she playfully mimicked a hawk on camera, providing her own “bird voice-over.” This showed a range and wit that convinced him she was perfect for the complex, tragic Isabeau.

The production was filmed almost entirely in central and northern Italy, moving through stunning medieval castles and the rugged Apennine Mountains. Despite the “ethereal” look of the film, the shoot was physically demanding. Scenes were filmed in locations like the Rocca Calascio (a ruined fortress 4,800 feet up a mountain) and the Dolomites. Famed cinematographer Vittorio Storaro used a specific lighting palette to emphasize the dawn and dusk transitions. Pfeiffer often had to be filmed in the “golden hour,” requiring precise timing and long waits on cold, high-altitude sets.

One of the film’s most famous elements is that the two leads, Pfeiffer and Rutger Hauer (Navarre), are rarely on screen together due to the curse. On set, they had to maintain a “star-crossed” chemistry despite the logistical separation of their shooting schedules.

Pfeiffer worked alongside real red-tailed hawks (specifically one named Gift). Because she spent so much time with the bird handlers, she reportedly developed a great respect for the animals, even though she had to be careful; hawks are notoriously unpredictable on busy film sets.  

The makeup and costume teams worked to give Pfeiffer a pale, almost translucent look to contrast with the dark, gritty medieval world. This “Audrey Hepburn-esque” quality was intentional, meant to make Isabeau feel like a creature not entirely of the human world.

The set dynamic changed significantly before filming began. Kurt Russell was originally cast as Navarre but dropped out during rehearsals. He was replaced by Rutger Hauer, whose European intensity changed the tone of the production and provided a more “knight-like” foil to Pfeiffer’s delicate but resilient Isabeau. Pfeiffer’s performance earned her a Saturn Award nomination for Best Actress, solidifying her status as a leading lady capable of carrying big-budget genre films.

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Tilly Losch: The Fluid Grace of the Jazz Age

Tilly Losch (1903–1975) was a mesmerizing Austrian-born dancer, actress, and painter who epitomized the avant-garde glamour of the early 20th century. Celebrated for her ethereal beauty and “liquid” style of movement, she began her career as a prima ballerina in Vienna before taking the world stages of London and New York by storm.

Losch was a true muse of the Jazz Age, collaborating with legendary figures like Max Reinhardt and George Balanchine, and starring in opulent productions such as The Miracle and The Seven Deadly Sins. Beyond her technical brilliance, she was a cultural sensation whose life–marked by high-profile marriages and a later transition into evocative surrealist painting–remains a fascinating study of artistic reinvention and the haunting elegance of the Art Deco era.

These vintage photos capture the magnetic presence of Tilly Losch, a woman who moved through life with the same poetic grace she brought to the stage.

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18 Fascinating Portraits of Tammi Terrell in the 1960s

Tammi Terrell (born Thomasina Winifred Montgomery, April 29, 1945 – March 16, 1970) was an American singer-songwriter best known as a Motown Records star in the 1960s, particularly for her passionate, soulful duets with Marvin Gaye.

Terrell was born in Philadelphia, Pennsylvania, and showed talent early, singing in church and winning local talent contests. By her early teens, she performed in clubs and opened for acts like Patti LaBelle & the Bluebelles.

She began her professional recording career around 1960 under the name Tammy Montgomery with Scepter/Wand Records, releasing singles like “If You See Bill.” She later toured with James Brown’s Revue for several months and recorded for his Try Me label, then briefly attended the University of Pennsylvania on a scholarship before focusing on music.

In 1965, she signed with Motown after being spotted by Berry Gordy. Her early solo singles for the label included “I Can’t Believe You Love Me” and “Come On and See Me,” though they had modest success. She also released the solo album Irresistible.

Terrell’s biggest fame came from her chemistry with Marvin Gaye. Starting in 1967, the duo recorded a string of classic hits written and produced largely by Nickolas Ashford and Valerie Simpson, including: “Ain’t No Mountain High Enough” (inducted into the Grammy Hall of Fame), “Your Precious Love,” “Ain’t Nothing Like the Real Thing” and “You’re All I Need to Get By.”

These songs defined Motown’s romantic, upbeat soul sound and became enduring standards. They released three duet albums together and scored multiple Top 40 hits on the Billboard Hot 100, with strong R&B chart performance. Their partnership is often remembered for its emotional depth and vocal harmony.

Tragically, Terrell’s career was cut short. In late 1967, she collapsed on stage during a performance with Gaye. She was diagnosed with a malignant brain tumor. Over the next couple of years, she underwent eight brain surgeries, which led to severe complications including memory loss, partial paralysis, blindness, hair loss, and significant weight loss (down to about 93 pounds). She eventually went into a coma after her final surgery and died on March 16, 1970, in Philadelphia at the age of 24. Her death deeply affected Marvin Gaye, who later described it as a profound personal loss that influenced his music and outlook.

Despite her short life and career (active mainly from 1960 to 1969), Tammi Terrell left a lasting mark on soul and R&B music. Her powerful yet warm vocals and the timeless duets with Gaye continue to be celebrated and sampled. Compilations of her solo work (such as “Come On and See Me”) have highlighted that she was a talented artist in her own right beyond the duets. She is remembered as one of Motown’s brightest but most tragic stars.

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Uma Thurman on Vogue Covers Throughout the Years

Uma Thurman has graced numerous Vogue covers throughout her multifaceted career, beginning as a teenage model and evolving into a celebrated actress and fashion icon.

Her modeling journey began in her teens, leading to early cover appearances in British Vogue in the mid-1980s. Her 1997 US Vogue cover coincided with her rising Hollywood fame, featuring an interview titled “Beautiful Girl” where she discussed beauty and relationships.

The November 2003 US Vogue cover, shot by Annie Leibovitz, included an in-depth feature on Thurman’s transformative year, discussing her intense training and personal growth. In July 2008, British Vogue’s “Ageless Style” issue showcased Thurman, emphasizing timeless fashion and beauty.

After a 14-year hiatus from Vogue covers, Thurman returned on Vogue España’s March 2022 issue, photographed by Tess Ayano, marking a celebrated comeback.

Vogue UK December 1985, by Patrick Demarchelier.

Vogue UK May 1986, by Patrick Demarchelier.

Vogue UK November 1990, by Michel Haddi.

Vogue UK January 1994, by Albert Watson.

Vogue Brasil September 1994.

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Irene of New York: A Legacy of Manhattan Millinery

Irene of New York (born Irene Stone) was a distinguished American milliner who significantly influenced mid-20th-century fashion from the 1940s through the 1960s. Operating her boutique on East 54th Street, she became a household name for sophisticated, high-end headwear sold at luxury retailers like Saks Fifth Avenue and Henri Bendel.

Unlike some of her contemporaries who focused on theatrical avant-garde styles, Irene and her design partner, H. Robert Greene, were celebrated for creating “wearable” elegance. Her signature designs often featured innovative materials like ciré-finished organza and intricate details such as floral garlands and tailored silk turbans.

Her hats are still highly collectible vintage pieces, often recognizable by the “Irene of New York” label, representing a golden era of Manhattan’s custom millinery. These vintage photos showcase the incredible artistry of Irene of New York, reminding us of a time when a hat was the ultimate signature of a woman’s style and grace.

Nina de Voogt in coat that wraps closely or hangs loosely of wheat wool tweed by Ben Zuckerman, black silk organdy sailor by Irene of New York, photo by Horst P. Horst, Vogue, February 1, 1952

Evelyn Tripp in wonderful, peau-de-soie dancing dress with a long moulded torso, in a mixture of beige and brown by Ceil Chapman, small pink satin hat by Irene of New York, photo by Horst P. Horst, Vogue, September 15, 1954

Evelyn Tripp in Alaska Sealskin polo coat with flap pockets and low half-belt by Fredrica, ermine toque by Irene of New York, photo by Louise Dahl-Wolfe, Harper's Bazaar, November 1955

Mary Jane Russell in gently tailored taupe satin suit by Ben Barrack, fitch beret by Irene of New York, jewelry by Verdura, photo by Karen Radkai, Vogue, September 15, 1955

Model in Anglo wool suit with a 7/8 length topcoat by Ben Zuckerman, Karakul tambourine by Irene of New York, Kislav gloves, photo by Erwin Blumenfeld, Town & Country, September 1955

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Photos of Teenage Penélope Cruz on the Set of Her Debut Movie “Jamón Jamón” (1992)

Penélope Cruz was 17 years old during the filming of her feature film debut, Jamón jamón (1992). Despite the film launching her to international fame as a major sex symbol in Spain, she later revealed that the experience was emotionally devastating and that she felt completely unprepared for the movie’s explicit and sensual scenes.

Cruz has admitted she “did not handle it at all well” and was terrified that her performance, specifically her first nude scenes, would ruin her career before it truly began. On the last day of shooting, she was in tears, convinced she would never shoot another movie again.

“I remember the last day of filming; I was crying, saying, ‘What if I never shoot a movie again?’ The feeling was devastating. ‘Who knows when I will see these people again?’ Including Javier.”

The experience was so taxing that it caused a strong psychological reaction; following the film, she cut her hair short and refused to do any romantic or intimate scenes, even simple kissing, for several years.

The movie was shot in the Los Monegros Desert in Aragon, Spain — a harsh, sun-drenched landscape that mirrored the burning passions and emotional isolation of the characters. 

Despite her personal struggle, Cruz noted that the crew and her co-stars were highly respectful of her age and the challenging nature of the material. Director Bigas Luna encouraged a daring and spontaneous atmosphere on set, often letting scenes evolve naturally to capture raw, unfiltered performances.

Cruz met her future husband, Javier Bardem, on this set in 1992. While Bardem later noted their “obvious chemistry,” describing the film as a “document of our passion,” the two remained strictly colleagues and friends for 15 years before beginning a romantic relationship in 2007.

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How Three Canadian Soldiers Saved an Abandoned Baby During World War II

On September 23, 1941, a British mother abandoned her newborn baby behind blackberry bushes in Horsell Common, a 355-hectare park on the outskirts of London.

Stationed in England, three Canadian soldiers (Gunner Robert C. Griffin of Regina, Saskatchewan, Lance Sergeant Ernest Curtis of Brandon Manitoba, and Gunner Alonzo J. Brackett of Terrace, British Columbia) happened to be nearby. The three members of the Royal Canadian Artillery heard a strange noise coming from the bushes and discovered the baby who was clinging to life.

They immediately cut the remaining umbilical cord with a knife, and wrapped the little girl in a white shirt. An entry in the 8th Field Regiment's war diary from that day says: “found a newborn baby in the gun area.” The baby girl was rushed to a nearby hospital, and survived.

She was later adopted by an English couple, who named her Mary, and growing up in Hertfordshire unaware of her dramatic beginnings. It wasn’t until 2018, at age 79, that Mary discovered an old photograph of the three soldiers holding a tiny baby, revealing the truth of her miraculous rescue. “Tears were rolling down my face,” said Mary. “I owe my life to them.” Her three guardian angels had already passed away, but in 2019, Mary found and got in touch with Harry Curtis, the son of Lance Sergeant Ernest Curtis.

At her home in Hertfordshire, England, Mary Crabb displays the 1941 photo featuring her as a baby, surrounded by the Canadian soldiers who saved her life.