Esiste un film di Hitchcock che non vedrete mai. Un copione così potente da essere morto insieme al suo unico, impossibile set
#alfredhitchcock #waltdisney #oldhollywood #disneyland #thriller #psycho
https://boomerissimo.it/2025/12/04/disney-il-no-a-hitchcock-capolavoro-mai-nato/
#2
Marilyn wants a Tesla!😍
We honor the memory of our beloved icons, and this little clip is to lift our spirits, dear friends. Thank you! #grok
@elonmusk
@SpaceX
@STARLINK
@tesla
#Marilyn #Vivien #Clark #ElonCompanies #Tesla #SpaceX #Starlink #Hollywood #Drama #Comedy #ClassicStars #PopCulture #OldHollywood #StarPower #RetroCinema #CelebrityLife
A look at how the Book of Esther grew everything from extra prayers to love triangles to cloven-hoofed devils once Hollywood got involved. Fidelity vs. embellishment says a lot about the storytellers—and the eras reshaping the tale.
#Esther #BibleHistory #FilmHistory #Adaptations #Cinema #OldHollywood #Purim #CulturalHistory #Storytelling #BiblicalStudies
https://pablohoneyfish.wordpress.com/2025/11/29/and-the-golden-rooster-goes-to-esther-and-the-king/
Shopworn (1932) [4K] #BarbaraStanwyck #PreCodeHollywood #ClassicDrama #OldHollywood
https://silverscreenrestored.com/shopworn-1932-4k-barbarastanwyck-precodehollywood-classicdrama-oldhollywood/?fsp_sid=1753
Con i capelli e senza vestiti: l’altro Yul Brynner che non ti aspetti, davanti all’obiettivo di George Platt Lynes. 🇬🇧 translation on site (orange tab)
#YulBrynner #ClassicCinema #HollywoodGoldenAge #OldHollywood #UnoCinema
Quella donna lo teneva per i capelli
https://boomerissimo.it/2024/04/26/humphrey-bogart-il-lato-nascosto-unamante-per-capello/
@cinema @spettacoli @spettacoli@diggita.com
#boomerissimo#humphreybogart #scandal #oldhollywood #laurenbacall #Unocinema
Reading “Not the Girl Next Door: Joan Crawford, a personal biography” by Charlotte Chandler.
Got this one for 75¢. Chandler apparently does a lot of these. Very in Joan’s voice, and not overly critical of her early life. Nice insights from the subject.
The Rock Stars
Musicians often looked to photographer George Hurrell when they wanted that old Hollywood look
1) Diana Ross
2) Grace Jones & Dolph Lundgren
3) Paul & Linda McCartney
4) Cass Elliot
#georgehurrell #photographer #portraitphotography #portraitphotographer #gracejones #casselliot #mamacass #mamacasselliot #dianaross #paulmccartney #dolphlundgren #lindamccartney #albumcovers #oldhollywood #rockstars #musicians #singers #fotografie #fotografia #portraiture
The Rock Stars
Musicians often looked to photographer George Hurrell when they wanted that old Hollywood look
1) Lindsey Buckingham
2) BetteMidler
3) David Bowie
4) Stevie Nicks
#georgehurrell #photographer #portraitphotography #portraitphotographer #lindseybuckingham #bettemidler #fotografie #fotografia #portraiture #davidbowie #bowie #albumcovers #oldhollywood #stevienicks #rockstars #musicians #singers
The Women
Photographer George Hurrell (1904-1992) captured old Hollywood glamour ...
1) Marlene Dietrich
2) Katherine Hepburn
3) Dorothy Lamour
4) Gypsy Rose Lee
#dorothylamour #GypsyRoseLee #georgehurrell #marlenedietrich #americanphotographer #katherinehepburn #hollywoodglamour #photographer #portraitphotographer #portraitphotography #hollywood #oldhollywood #actors #fotografia #fotografie
The Women
Photographer George Hurrell (1904-1992) captured old Hollywood glamour ...
1) Anna May Wong
2) Joan Crawford
3) Bette Davis
4) Veronica Lake
#AnnaMayWong #JoanCrawford #VeronicaLake #georgehurrell #americanphotographer #hollywoodglamour #photographer #portraitphotographer #portraitphotography #bettedavis #hollywood #oldhollywood #actors #fotografie #fotografia
The Men
Photographer George Hurrell (1904-1992) known for capturing old Hollywood glamour...
1) Clark Gable
2) Johnny Weissmuller
3) Gary Cooper
#georgehurrell #americanphotographer #hollywoodglamour #photographer #portraitphotographer #portraitphotography #clarkgable #johnnyweissmuller #garycooper #hollywood #fotografie #oldhollywood #actors #actor #headshots #portraiture #fotografia
The Men
Photographer George Hurrell (1904-1992) known for capturing old Hollywood glamour...
1) Errol Flynn
2) Douglas Fairbanks Jr
3) Robert Taylor
#georgehurrell #americanphotographer #hollywoodglamour #photographer #portraitphotographer #portraitphotography #douglasfairbanksjr #errolflynn #roberttaylor #photographer #hollywood #oldhollywood #actors #actor #fotografia #headshots #portraiture #fotografie
Credit to @vintageic0ns_ Carol Ohmart
House on Haunted Hill (1959)
#carolohmart #vintageic0ns_ #vincentprice #skeleton #houseonhauntedhill #scarymovies #vintage #oldhollywood
twee verschillende werelden... twee keer Ann Gillis (foto in Hollywood tijdens haar topjaren en foto in haar tuin in Hechtel, Limburg)
Ann in her character, hair and make-up test for My Love Came Back (1940)
#anngillis #cinema #actress #movies #hollywood #oldhollywood
Da fervente repubblicano a difensore di Carter: quando The Duke scrisse lettere infuocate a Reagan
#johnwayne #ronaldreagan #oldhollywood #cinema #ushistory #reagan
Robert Redford, Diane Keaton and the Twilight of the Gods – The Hollywood Reporter
Clockwise from top left: Warren Beatty, Jack Nicholson, Ellen Burstyn, Al Pacino, Robert De Niro, Faye Dunaway, Dustin Hoffman and Jane Fonda were among the actors free to define themselves in the 1960s and ’70s.Illustration by Layer Ø; Courtesy Everett CollectionRedford, Keaton and the Twilight of the Gods
The recent deaths of the icons cast a mournful light on a fading generation of actors who once redefined what movie stars could be — complex, messy, and all too human.
October 22, 2025
There was a moment, back in 2012, when Diane Keaton and Robert Redford nearly shared the screen. Both were reported to be “eyeing” the leads in a holiday-themed ensemble comedy titled The Most Wonderful Time, pitched as a Love Actually-style pastiche involving multiple interwoven tales of family and romance, all set against a backdrop of Christmas lights and yuletide meltdowns.
Alas, that movie never got made — at least not in that form — and Keaton and Redford never again came so close to working together. But in their own ways, these two very different actors — she, the eccentric spirit of New Hollywood comedy; he, the golden-boy stoic of the American pastoral — were bound by something even more powerful than onscreen chemistry: generational gravity. They belonged to the same loose orbit of 1970s-era performers who upended the rules of stardom and helped reshape what American movies could be.
Keaton died Oct. 11 at age 79 after a shockingly quick battle with pneumonia. Redford died in his sleep, at 89, a little less than a month earlier, on Sept. 16. Some from their cohort had gone before — Paul Newman in 2008, Shelley Duvall in 2024, Gene Hackman in February — while others have simply drifted from view. Warren Beatty, Jack Nicholson, Dustin Hoffman, Faye Dunaway — all now in their 80s — have largely stepped away from the spotlight.
Of course, this is nothing new. All stars, even the brightest, eventually flicker out as new generations take their place. But there’s something different — something more poignant — about watching this particular circle begin to vanish.
The stars who came before them had been shaped by the studio system — groomed, styled and slotted into types. They signed long-term contracts, wore what the wardrobe department handed them and gave interviews ghostwritten by studio publicists. Even the greats — Bogart, Hepburn, Gable, Davis — were often playing variations of a persona the system had helped construct. Their power came from polish, execution and consistency. Stardom was a product, and it was carefully managed.
By the time Redford, Keaton, Beatty and the others were coming of age as actors, the old studio scaffolding was already coming apart, with the contract system unraveling and the great moguls who once ruled the town with an iron fist fading from the scene. There was no longer a press-office puppeteer telling actors how to dress or what to say, no studio image to protect. They were free to define themselves — onscreen and off — and to let those two identities blur. Their personas could be withholding, eccentric, neurotic, ambiguous, strange. They could play characters the previous generation never got near: complicated people with unresolved feelings and messy inner lives.
On the big screen, Robert Redford transitioned from a clean-cut leading man into someone more introspective and morally uncertain. Illustration by Layer Ø; Courtesy Everett CollectionAt the same time, a new kind of director had taken over the asylum — such mavericks as Mike Nichols, Robert Altman, Hal Ashby, Alan J. Pakula and Martin Scorsese — filmmakers who weren’t interested in preserving the system. They wanted to blow it up. Their films — Carnal Knowledge, McCabe & Mrs. Miller, Shampoo, Klute, Taxi Driver — didn’t just break the rules, they rewrote the language of cinema itself. And that reinvention gave this young, liberated generation of actors a canvas as unbound and unconventional as they were — a kind of free-spirited platform that hadn’t existed before and hasn’t really existed since.
Few actors made better use of that freedom than Redford and Keaton. In such films as The Candidate, Three Days of the Condor and The Way We Were, Redford turned the clean-cut leading man into something more introspective and morally uncertain — a figure torn between idealism and self-interest. Keaton took the same open, idiosyncratic presence that made Annie Hall so engaging and revealed its darker shades in The Godfather and Looking for Mr. Goodbar, proving she could be fearless, complex, even unsettling. Both found truth in contradiction. They made uncertainty look thrilling.
But by the early 1980s, as the counterculture spirit of the previous decade gave way to something more box office-driven and less tolerant of creative chaos, a different model of movie star started taking over. Actors weren’t seeking to challenge the system anymore; they were the system, powering tentpoles, sequels and high-concept hits that could sell in every corner of the world. This was the era of the Event Movie, when opening-weekend grosses became the new measure of stardom. The actors who began appearing on marquees — Schwarzenegger, Stallone, Willis, Gibson, Cruise — weren’t celebrated for subtlety or transformation or their onscreen bravery, but for their box office clout.
Diane Keaton turned her engaging presence in Annie Hall into something darker in The Godfather and Looking for Mr. Goodbar. Illustration by Layer Ø; Courtesy Everett CollectionSure, by the 1990s, there was a parallel indie movement where some of these stars could unfurl their dramatic range, ’70s-style — Cruise in Magnolia, Stallone in Cop Land — but for all the critical acclaim and Oscar attention those roles might attract, what defined success in 1980s and ’90s Hollywood were the ticket sales for such tentpoles as Top Gun, Die Hard, the Rambo movies and The Terminator. Actors had become commodities of scale, defined largely by their ability to summon $100 million grosses.
When the new millennium arrived, that equation shifted yet again, even if the focus on money hadn’t. Hollywood’s center of gravity moved from stars to franchises. The IP became the real draw — superheroes, wizards, Jedi and other branded worlds. The costume, often spandex, mattered more than the actor inside it (even Redford got in on the act, playing a Marvel villain in Captain America: The Winter Soldier). Stardom no longer was the engine of the movie business; it was just another interchangeable part of the business.
Then, in the 2010s and ’20s, stardom started moving from the big screen to a much smaller stage — the phone. Hollywood was still turning out superhero sagas, prestige dramas and cozy seasonal fare (like that Christmas movie, The Most Wonderful Time, eventually rewritten and released in 2015 as the forgettable Love the Coopers, with Keaton still starring and Redford’s role taken by, of all people, John Goodman). But the real competition for attention was moving elsewhere — to feeds and timelines, where fame was measured not by box office totals but by followers.
Continue/Read Original Article Here: Robert Redford, Diane Keaton and the Twilight of the Gods
#2025 #America #Books #DianeKeaton #Education #Film #Films #History #Libraries #LibraryOfCongress #Movies #OldHollywood #RobertRedford #Stars #TheHollywoodReporter #TwilightOfTheGods #UnitedStates
From silent movies to a David Bowie film, Bessie Love had one of Hollywood's longest careers. https://www.youtube.com/shorts/IuvH40IcSJ4 #oldhollywood #thehunger1983
