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Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts

October 1, 2021

Ingrid Bergman Wearing Arrow Love Collar in the Deleted Dream Sequence by Salvador Dalí for ‘Spellbound’ (1945)

Spellbound is one of several psychological thrillers produced in the 1940s when psychoanalysis was all the rage. Freudian dream interpretation, guilt complexes, and the miraculous power of psychoanalysis take center stage in this film.

Ingrid Bergman in the Greek Goddess dress with an arrow collar, conceived by Salvador Dalí for the dream sequence in Alfred Hitchcock’s Spellbound (1945). Costume design by Howard Greer.

Producer David O. Selznick had apparently enjoyed a highly successful bout of psychoanalysis, and he wanted Alfred Hitchcock to make a movie about it. Selznick was so enthused with psychoanalysis that he brought in his own therapist, Dr. May Romm, to serve as a technical advisor on the production. Dr. Romm and Hitchcock clashed frequently. When it came to the specifics of psychoanalysis, however, Hitchcock was less concerned with technicalities than Romm, and if she would offer her opinion, the director would purportedly tell her, “my dear, it’s only a movie”.

Further contention was caused by the hiring of surrealist artist Salvador Dalí to conceive certain scenes in the film’s key dream sequence. However, the sequence conceived and designed by Dalí and Hitchcock, once translated to film, proved to be too lengthy and complicated for Selznick, so the vast majority of what had been filmed ultimately was edited out. Two minutes of the dream sequence appear in the final film, but according to Ingrid Bergman, the original had been twenty minutes long.

One sequence was to have shown Ingrid Bergman turning into a statue. She was covered in plaster with arrows “piercing” her neck, and then she broke out of the plaster. They planned to project the sequence backwards so that she seemed to be turning into the statue instead of breaking out of one. Here are some images of this sequence from the filming:










September 27, 2021

Handsome Portrait Photos of Montgomery Clift During the Filming of ‘Red River’ (1948)

Red River is a 1948 American Western film, directed and produced by Howard Hawks and starring John Wayne and Montgomery Clift. It gives a fictional account of the first cattle drive from Texas to Kansas along the Chisholm Trail. The dramatic tension stems from a growing feud over the management of the drive, between the Texas rancher who initiated it (Wayne) and his adopted adult son (Clift).


The film’s supporting cast features Walter Brennan, Joanne Dru, Coleen Gray, Harry Carey, John Ireland, Hank Worden, Noah Beery Jr., Harry Carey Jr. and Paul Fix. Borden Chase and Charles Schnee wrote the screenplay, based on Chase’s original story (which was first serialized in The Saturday Evening Post in 1946 as “Blazing Guns on the Chisholm Trail”).

Upon its release, Red River was both a commercial and a critical success and was nominated for two Academy Awards. In 1990, Red River was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.” Red River was selected by the American Film Institute as the 5th greatest Western of all time in the AFI’s 10 Top 10 list in 2008.

Take a look at these vintage photos to see handsome portraits of a young Montgomery Clift during the filming of Red River in 1948.










September 22, 2021

The Amazing Story of Eddie Munster’s Kustom Chain-Link Bike From ‘The Munsters’ (1964)

Eddie Munster’s kustom chain-link bike built by famous customizer George Barris, who also built the Munster Koach and Grampa Munster’s coffin car: Dragula. The bicycle was never featured on the show, it was used by the child actor Butch Patrick to bike around Universal Studios backlot.


At one point during the show’s run George Barris came up with the idea that 11-year-old Butch Patrick, who played the series’ youngest character Eddie Munster, should also have a kustom-styled machine to ride around on. Barris thought it would be a fun thing to do for Butch  especially since the two of them got along so well together during his visits to the set. Butch was even invited by George to come over to the Barris kustom shop, where he was free to wander around and check out all the new projects.

George’s idea to make a kustom for Butch’s character Eddie Munster seemed like a great idea, especially since the Barris-made “Koach” and “Dragula” cars had been worth their weight in gold for appeal and publicity. This time around, though, it wasn’t going to be a spooky kustom car that would be made, but a spooky “kustom bicycle.” The bike that Barris proposed was not going to be any ordinary pedal-powered machine either, it was going be extraordinary. His expert team of specialists would see to that. A kustom bicycle for Eddie Munster had the potential to generate some good publicity; so, Barris gave the green light for the project to begin.

After Barris finalized the basic design concept it was decided that the main fabrication duties would be overseen by one of the shop’s most talented employees, Skip Barrett. The bike’s general specifications would be based around the popular 20-inch “high-rise” bikes available at the time, the Schwinn Stingray to be specific.

The outstanding feature of Eddie’s kustom bike would be its frame, which would be completely hand-made from lengths of welded steel chain, using Stingray frame tubes as a template. Of course some original Stingray frame components were used on the build, like the head tube, bottom bracket shell, rear dropouts, and a few inches of the seat post tube.

After getting the OK from Barris, Skip Barrett contacted the well-known fabricator and pin-striper Von Dutch, to see if he could do some of the fabrication work for the project. Von Dutch had done various jobs for the Barris shop over the years and seemed like the kind of guy who might be interested in an unusual project. Curiously, Von Dutch found the Eddie Munster chain bike project quite interesting, and immediately decided to sign onto the task of fabricating the chain link frame himself. Skip could not have been more pleased. In fact (as it turned out) the bike’s fabrication eventually wound up being a total collaborative effort between the two men.

Kool Components

The fork used on the Munster chain bike was a stock “Schwinn” unit, like the ones found on the Stingray “Super/Deluxe” model, (but with the chrome truss rods removed), and featured a small tassel hung off the spring bolt next to the rubber bumper.

The wheels were standard Stingray size (20”) with the rear sporting a “Sturmey-Archer” 3-speed hub (probably a S.A. “TriCoaster” model) controlled by a S.A. 3-speed trigger shifter mounted to the seat post.

The handlebars were standard “Wald” high-rise type, with a crossbar installed to serve as a mount for an antique bicycle lamp. A clear round “Plexiglas” windshield was mounted to the upper front section of the handlebars, and featured a spider web design- complete with spider. Arcing at the top of this windscreen was the hand-painted letters of Eddie’s name. Finishing off the handlebars were bright red Schwinn-type handle grips with tassels used for streamers, and a small looping bulb horn.

The seat was a plush banana-type  featuring black coffin-style upholstery and a decorative band of gold-colored trim running along its lower edge.  The sissy bar started off as stock 36-inch “Bill Mathews Corporation” unit, which was factory-made with a bent-back rounded top and a metal ring welded on about 8 inches above the seat mount holes. Von Dutch then gave it some additional metal work. Decorative elements were welded onto the tubes to give it an ornamental "creeping vine" type of effect, finished off with a coating of gold paint, the Chain Bike’s sissy bar was as wild as any seen on a chopper motorcycle. Mounted behind the seat was an antique brass tail lamp complete with a red lens. Finally, rounding off the rear of the bike was a chrome plated “Bill Mathews Corporation” nerf bar, similar in style to push bars seen on hot rods and dragsters, the nerf bar was bolt-mounted to the bottom axle holes of the sissy bar and covered the rear tire at the 10 o’clock position.


Rattling around at Universal Studios

When all these elements were put together it resulted in one of the wildest kustom bicycles made up to that point in time. Unfortunately, the bike never appeared in any episodes of The Munsters TV show. But as long as the series was being filmed, Butch Patrick had exclusive use of the chain bike to explore the back lots of Universal Studios. Between takes Butch would sometimes ride around on the bike in full costume- delighting everybody who saw him, and (supposedly) he even crashed the Chain Bike on at least one occasion.

Kids who watched The Munsters in the 1960s never got to see Eddie’s chain bike, and only a few insiders knew anything about the chain bike story until about ten years ago. Luckily, the bike itself has survived, along with a couple of vintage snapshots and a few documentation photos taken by Barris after the bike was completed. The main reason we know of the bike today is because a bicycle magazine (Lowrider Bicycle) ran an article on it back in the late 1990s, they managed to locate a few old photos of the chain bike and then speculated on what its significance was, effectively creating an origin myth for the lowrider bicycle movement.

The Chain Bike Survives

Barris eventually sold the bike a few years after The Munsters series stopped production. It wound up on display at Jim Brucker’s “Movieworld- Cars of the Stars” museum in California (where Von Dutch worked) sometime before 1973, and was eventually sold at auction in 1985. The bike has had a few different owners over the years, and is presently in the collection of a Munster aficionado living in the American West.




Although the bike is still essentially intact, it is now missing its windshield, head and tail lamps, and rear nerf bar. It appears that these parts were taken off the chain bike sometime in the late 1960s.

(This original story was published on That 70’s Page)




September 20, 2021

Photos of Mark Frechette and Daria Halprin During the Filming of ‘Zabriskie Point’ (1970)

Zabriskie Point is a 1970 American drama film directed by Michelangelo Antonioni and starring Mark Frechette, Daria Halprin, and Rod Taylor. It was widely noted at the time for its setting in the counterculture of the United States. Some of the film’s scenes were shot on location at Zabriskie Point in Death Valley.

The film was an overwhelming commercial failure, and was panned by most critics upon release. Its critical standing has increased, however, in the decades since. It has to some extent achieved cult status and is noted for its cinematography, use of music, and direction.

Following prolonged publicity and controversy in North America throughout its production, Zabriskie Point had its premiere at Walter Reade’s Coronet Theatre in New York City on February 5, 1970, almost four years after Antonioni began pre-production and over a year and a half after shooting began, before being generally released on February 9, 1970. Despite the explicit language and sexual content, the film received an R rating rather than an X, in a shift in the MPAA’s policy.

These vintage photos captured portraits of Mark Frechette and Daria Halprin together during the filming of Zabriskie Point.










September 12, 2021

Publicity Photos of Bond Girl Martine Beswick as Paula Caplan in ‘Thunderball’ (1965)

Martine Beswick is an English-Jamaican actress and model perhaps best known for her roles in two James Bond films, From Russia with Love (1963) and Thunderball (1965).


Although Beswick auditioned for the first Bond film Dr. No, she was cast in the second film From Russia with Love as the fiery gypsy girl, Zora. She engaged in a “catfight” scene with her rival Vida (played by former Miss Israel Aliza Gur). Beswick later stated that there was as much bad feeling with Gur offscreen as well as on, with the film’s director, Terence Young encouraging Beswick to get rough with Gur.

“I was a very nice girl but Aliza was a cow. We had terrible clashes and I was disgusted with her. I had a lot of anger inside of me so that [fight] scene was a perfect way to work it out. We rehearsed the fight for three weeks but when we shot it, Aliza was really fighting. Everyone encouraged me to fight back, so I did. We got into a real scrapping match.”

She was incorrectly billed as “Martin Beswick” in the title sequence. Beswick then appeared as the ill-fated Paula Caplan in Thunderball. She had been away from the Caribbean so long that she was required to sunbathe constantly for two weeks before filming, to look like a local.

“Oh yes! I hadn’t seen the sun in years. I was too busy having fun at night. I was pale and skinny. I was too busy dancing my feet off! When I arrived, I was given strict instructions just to sun myself and eat. For two weeks, that was literally all I had to do. So it was that in the day and parties in the evening. Terence spoiled us all, champagne and caviar for real! It was one of the best jobs I ever had!










September 8, 2021

20 Beautiful Photos of Silvia Monti During the Filming of ‘Le Cerveau’ in 1968

Born 1946 in Venice, Italian actress Silvia Monti is mostly known for the female lead role, Sofia Scannapieco, mafioso Frankie Scannapieco’s sister, in the 1969 Gérard Oury caper film Le Cerveau (aka The Brain). In the movie, she has a spectacular scene where she gets down from a balcony using a rope on a song by Caterina Caselli, Cento Giorni.


The film is about a second train robbery by the brain behind the Great Train Robbery of 1963. It was the most popular movie at the French box office in 1969.

Monti stopped her career in 1974. She is currently married to Carlo De Benedetti.

These beautiful photos were taken by Ron Galella that show portraits of Silvia Monti sighting on location filming Le Cerveau (The Brain) on August 28, 1968 in Paris, France.










September 5, 2021

40 Beautiful Photos of Anna Karina During the Filming of ‘Vivre sa vie’ (1962)

Vivre sa vie (My Life to Live) is a 1962 French New Wave drama film directed by Jean-Luc Godard. It was a turning point for Godard and remains one of his most dynamic films, combining brilliant visual design with a tragic character study.


The lovely Anna Karina, Godard’s greatest muse, plays Nana, a young Parisian who aspires to be an actress but instead ends up a prostitute, her downward spiral depicted in a series of discrete tableaux of daydreams and dances.

Featuring some of Karina and Godard’s most iconic moments—from her movie theater vigil with The Passion of Joan of Arc to her seductive pool-hall strut—Vivre sa vie is a landmark of the French New Wave that still surprises at every turn.

In the United Kingdom, Vivre sa vie was released under the title It’s My Life. It was shot over the course of four weeks for $40,000. The film was the fourth most popular movie at the French box office in its year of release. It won the Grand Jury Prize in 1962 Venice Film Festival.

These vintage photos captured beautiful portraits of Anna Karina during the filming of Vivre sa vie in 1962.










Behind the Scenes Photos of Anne Francis With Robby the Robot in a Promotion Shot for ‘Forbidden Planet’ (1956)

Forbidden Planet is a 1956 American science fiction film produced by Nicholas Nayfack, directed by Fred M. Wilcox and starring Walter Pidgeon, Anne Francis and Leslie Nielsen. Shot in Eastmancolor and CinemaScope, it is considered one of the great science fiction films of the 1950s, and a precursor of contemporary science fiction cinema.


Forbidden Planet pioneered several aspects of science fiction cinema. It was the first science fiction film to depict humans traveling in a faster-than-light starship of their own creation. It was also the first to be set entirely on another planet in interstellar space, far away from Earth. The Robby the Robot character is one of the first film robots that was more than just a mechanical “tin can” on legs; Robby displays a distinct personality and is an integral supporting character in the film.

For author George R.R. Martin, the best science-fiction film ever made remains MGM’s 1956 Forbidden Planet. He was about 8 years old when he first saw it at the DeWitt Theater in Bayonne, New Jersey. “It was amazing,” Martin recalled. “At that time the big difference between science fiction in print and in movies was that science-fiction films were stupid. But Forbidden Planet got much of it right ... the special effects were state-of-the-art for the time. Robby the Robot was incredible. I’ve seen it over 100 times since.”










August 26, 2021

37 Vintage Photos of Sean Connery as James Bond Through the Years

Sean Connery's breakthrough in his acting career came in the role of British secret agent James Bond. He was reluctant to commit to a film series, but understood that if the films succeeded, his career would greatly benefit. Between 1962 and 1967, Connery played 007 in Dr. No (1962), From Russia with Love (1963), Goldfinger (1964), Thunderball (1965), and You Only Live Twice (1967), the first five Bond films produced by Eon Productions. After departing from the role, Connery returned for the seventh film, Diamonds Are Forever, in 1971. Connery made his final appearance as Bond in Never Say Never Again, a 1983 remake of Thunderball produced by Jack Schwartzman's Taliafilm. All seven films were commercially successful.


Although Bond had made him a star, Connery grew tired of the role and the pressure the franchise put on him, saying “[I am] fed up to here with the whole Bond bit” and “I have always hated that damned James Bond. I'd like to kill him”.

Take a look back at Connery as the secret agent through 37 vintage photographs below:

'Dr. No'

'Dr. No'

'Dr. No'

'From Russia With Love'






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