Bettie Page in Irving Klaw’s Varietease (1954).
Bettie Page in Irving Klaw’s Teaserama (1955).
Buster Keaton in The Goat (1921).
Harold Lloyd tries out his “Cave Man” method on flapper Judy King in Girl Shy (1924).
Harold Clayton Lloyd
(April 20, 1893 – ∞)
"My character symbolized something important. I symbolized the little, struggling man, working at menial types of jobs…. He was really no different from anybody else. But he did things that other people would like to have done."
Marlene Dietrich in Orson Welles’s Touch of Evil (1958). It was so fun watching this on a huge screen at TCMFF and listening to the faint sound of hundreds of people, both male and female, lusting over Marlene at the same time.
From the Spanish-language version of Dracula (1931).
From Stella Maris (1918).
Ninety years ago on this date, April 17, 1924, three companies merged to form Metro-Goldwyn-Mayer, better known as M-G-M, which would become the largest, wealthiest, and most prolific studio of Hollywood’s Golden Age. As founder Louis B. Mayer said, “I want to make beautiful pictures about beautiful people.”
Many of the most important and beloved American movies, including The Big Parade, Grand Hotel, The Wizard of Oz, and Singin’ in the Rain, to name just a few, were made at M-G-M. It has been estimated that about one fifth of movies ever made in the United States were partially shot at the studio. This footage comes from a behind-the-scenes tour short, made in 1925, soon after the establishment of M-G-M.
When you think somebody’s going to kiss you and then… sigh. Clara Bow and Buddy Rogers in Wings (1927).
Mabel Normand and Charlie Chaplin in Gentlemen of Nerve (1914).
I got to be the number-one fan of Hitchcock’s The Lodger (well, at least first in line), which was my last screening of TCMFF, complete with live accompaniment by the Mont Alto Motion Picture Orchestra.