Category: Film Legends

Amazing Candid Photos of World Famous People from the 20th Century

We rarely get to see the moments in the lives of famous people when they forgot the camera was looking and just relaxed. Before the days of excessive papparazzi-ism was a time when the photographer tagged along with the famous person, almost like an extended family member. This was especially true of famous musicians. Some of the most incredible photos of famous people were of course, never planned, staged, or arranged in advance. They were caught as life happened, giving the viewer a rare glimpse into the soul of the artist.

Amazing Candid Photos of World Famous People from the 20th Century
Jimi Hendrix & Mick Jagger, New York , 1969

The Beatles and Mohammad Ali, 1964

Martin Luther King Jr. and Marlon Brando (The Godfather)

Danny DeVito and Christopher Reeve

Charlie Chaplin and Albert Einstein

Chuck Norris and Bruce Lee

Paul Newman and Clint Eastwood

Henry Ford, Thomas Edison, Warren G. Harding, and Harvey Firestone, 1921

Steve Jobs and Bill Gates

James Dean and Elizabeth Taylor

Ian Fleming and Sean Connery

Johnny Cash and Ray Charles

Elvis Presley and Tom Jones

Jerry Lee Lewis, Carl Perkins, Elvis Presley and Johnny Cash

Ella Fitzgerald and Louis Armstrong

Charlie Chaplin and Gandhi

Marilyn Monroe and Sammy Davis Jr.

Alanna Nash of VANITY FAIR Solves the Famous Elvis Presley “Kiss Mystery

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Just about every other baby boomer I know has seen the enigmatic erotic photograph of a young Elvis Presley touching tongues with a mysterious shapely blonde backstage. For decades the photo was gossip fodder and speculation abounded as to who the mystery date might be. This past August, Alanna Nash, a writer for VANITY FAIR, finally solved the mystery, and in so doing introduced a historical treasure of rarely seen photographs of a young 21 year old Elvis Presley courting Barbara [ Bobbi ] Gray in Richmond Virginia during a two day concert date there. Enjoy.


1940s Sex Symbol and Brunette Bombshell Jane Russell Dies at 89

Copyright 2011-3011 By Artopia 444, All Rights Reserved. Cited article text Copyright Associated Press.

Jane Russell, the busty brunette who shot to fame as the sexy star of Howard Hughes‘ 1941 Western “The Outlaw,” died Monday of respiratory failure, her family said. She was 89.

Although Russell largely retired from Hollywood after her final film, 1970’s “Darker Than Amber,” she had remained active in her church, with charitable organizations and with a local singing group until her health began to decline just a couple weeks ago, said her daughter-in-law, Etta Waterfield. She died at her home in Santa Maria.

“She always said I’m going to die in the saddle, I’m not going to sit at home and become an old woman,” Waterfield told The Associated Press. “And that’s exactly what she did, she died in the saddle.”

Video: Hollywood legend Jane Russell dies (on this page)

Hughes, the eccentric billionaire, put her onto the path to stardom when he cast her in “The Outlaw,” a film he fought with censors for nearly a decade to get into wide release.

With her sultry look and glowing sexuality, Russell became a star before she was ever seen by a wide movie audience. The Hughes publicity mill ground out photos of the beauty in low-cut costumes and swim suits, and she became famous, especially as a pinup for World War II GIs.

Then in 1948 she starred opposite Bob Hope in the box-office hit, “The Paleface,” a comedy-western in which Russell was tough-but-sexy Calamity Jane to Hope’s cowardly dentist.

Although her look and her hourglass figure made her the subject of numerous nightclub jokes, unlike Marilyn Monroe, Rita Hayworth and other pinup queens of the era, Russell was untouched by scandal in her personal life. During her Hollywood career she was married to star UCLA and pro football quarterback Bob Waterfield.

“The Outlaw,” although it established her reputation, was beset with trouble from the beginning. Director Howard Hawks, one of Hollywood’s most eminent and autocratic filmmakers, rankled under producer Hughes’ constant suggestions and finally walked out.

“Hughes directed the whole picture — for nine bloody months!” Russell said in 1999.

The film’s rambling, fictional plot featured Russell as a friend of Billy the Kid as he tussles with Doc Holliday and Sheriff Pat Garrett.

It had scattered brief runs in the 1940s, earning scathing reviews. The Los Angeles Times called it “one of the weirdest Western pictures that ever unreeled before the public.”

But Hughes made sure no one overlooked his No. 1 star. The designer of the famous “Spruce Goose” airplane used his engineering skills to make Russell a special bra (which she said she never wore) and he bought the ailing RKO film studio to turn it into a vehicle for her.

Wisely, he also loaned her to Paramount to make “The Paleface,” because at RKO she starred in a series of potboilers such as “His Kind of Woman” (with Robert Mitchum), “Double Dynamite” (Frank Sinatra, Groucho Marx), “The Las Vegas Story” (Victor Mature) and “Macao” (Mitchum again).

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Hughes had rewarded her with a unique 20-year contract paying $1,000 a week, then he sold RKO and quit making movies. Russell continued receiving the weekly fee, but never made another film for Hughes.

Her only other notable film was “Gentlemen Prefer Blondes,” a 1953 musical based on the novel by Anita Loos. She and Monroe teamed up to sing “Two Little Girls From Little Rock” and seek romance in Paris.

At a 2001 film festival appearance, Russell noted that Monroe was five years younger, saying, “It was like working with a little sister.”

She followed that up with the 1954 musical “The French Line,” which like “Gentlemen Prefer Blondes” had her cavorting on an ocean liner. The film was shot in 3-D, and the promotional campaign for it proclaimed “J.R. in 3D. Need we say more?”

In 1955, she made the sequel “Gentlemen Marry Brunettes” (without Monroe) and starred in the Westerns “The Tall Men,” with Clark Gable, and “Foxfire,” with Jeff Chandler. But by the 1960s, her film career had faded.

“Why did I quit movies?” she remarked in 1999. “Because I was getting too old! You couldn’t go on acting in those years if you were an actress over 30.”

She continued to appear in nightclubs, television and musical theater, including a stint on Broadway in Stephen Sondheim‘s “Company.” She formed a singing group with Connie Haines and Beryl Davis, and they made records of gospel songs.

For many years she served as TV spokeswoman for Playtex bras, and in the 1980s she made a few guest appearances in the TV series “The Yellow Rose.”

She was born Ernestine Jane Geraldine Russell on June 21, 1921, in Bemidji, Minn., and the family later moved to the San Fernando Valley in Los Angeles. Her mother was a lay preacher, and she encouraged the family to build a chapel in their back yard.

Despite her mother’s Christian preachings, young Jane had a wild side. She wrote in her 1985 autobiography, “My Paths and Detours,” that during high school she had a back-alley abortion, which may have rendered her unable to bear children.

Her early ambition was to design clothes and houses, but that was postponed until her later years. While working as a receptionist, she was spotted by a movie agent who submitted her photos to Hughes, and she was summoned for a test with Hawks, who was to direct “The Outlaw.”

“There were a lot of other unknowns who were being tested that day,” she recalled in a 1999 Associated Press interview. “I figured Jack Beutel was going to be chosen to play Billy the Kid, so I insisted on being tested with him.”

Both were cast, and three months would pass before she met Hughes. The producer was famous for dating his discoveries as well as numerous Hollywood actresses, but his contract with Russell remained strictly business. Her engagement and 1943 marriage to Waterfield assured that.

She was the leader of the Hollywood Christian Group, a cluster of film people who gathered for Bible study and good works. After experiencing problems in adopting her three children, she founded World Adoption International Agency, which has helped facilitate adoptions of more than 40,000 children from overseas.

She made hundreds of appearances for WAIF and served on the board for 40 years.

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As she related in “My Path and Detours,” her life was marked by heartache. Her 24-year marriage to Waterfield ended in bitter divorce in 1968. They had adopted two boys and a girl.

That year she married actor Roger Barrett; three months later he died of a heart attack. In 1978 she married developer John Peoples, and they lived in Sedona, Ariz., and later, Santa Barbara. He died in 1999 of heart failure.

Over the years Russell was also beset by alcoholism.

Always she was able to rebound from troubles by relying on lessons she learned from her Bible-preaching mother.

“Without faith, I never would have made it,” she commented a few months after her third husband’s death. “I don’t know how people can survive all the disasters in their lives if they don’t have any faith, if they don’t know the Lord loves them and cares about them and has another plan.”

Survivors include her children, Thomas K. Waterfield, Tracy Foundas and Robert “Buck” Waterfield, six grandchildren and 10 great-grandchildren.

A public funeral is scheduled March 12 at 11 a.m. at Pacific Christian Church in Santa Maria.

In lieu of flowers the family asks that donations be made in her name to either the Care Net Pregnancy and Resource Center of Santa Maria or the Court Appointed Special Advocates of Santa Barbara County.

© 2011 The Associated Press.

On October 8th 2008 Someone in America Wanted a “V” Revolution: Video Artifact

Copyright 2011-3011 Artopia 444, All Rights Reserved.

I have been researching the far reaching effects of the motion picture film from 2005, “V Is For Vendetta.” I located an unusual video clip from 2008 in which an unknown V wannabe tries to convince Americans to vote for a third party [just anyone] and therefore throw away their vote. Interesting, huh? Four years later this same fictional movie character has inspired an Islamic Revolution in the Mideast. 2011 is destined to be the year of events transpiring that no one ever imagined would, or could transpire.

I’ve included several more video clips along this theme that I found to be either entertaining, tragic, intriguing, troubling or some combination of all.

3 Hollywood Deaths in One Week: Dead Sex Kittens, Farewell to 3 Icons of Film Eroticism

Faster, Pussycat! Kill! Kill!

Image via Wikipedia

Copyright 2011-3011 By Chase Kyla Hunter, All Rights Reserved. Writer’s Copyright Displayed.

Farewell to Three Stunning Icons of Movie Eroticism

Article By Richard Corliss, Copyright Richard Corliss

Dead: Maria Schneider, 58, in Paris on Thursday; Lena Nyman, 66, in Stockholm, and Tura Satana, 72 (or maybe 75), in Reno on Friday

A trio of movie actresses died within a day of one another last week: Maria Schneider, 58, in Paris on Thursday; Lena Nyman, 66, in Stockholm, and Tura Satana, 72 (or maybe 75), in Reno on Friday. Each was known mainly for a single film, and the three could be written off as one-hit wonders, except that the films they starred in — Satana in Russ Meyer‘s 1965 Faster, Pussycat! Kill! Kill!, Nyman in Vilgot Sjöman‘s 1967 I Am Curious (Yellow) and Schneider in Bernardo Bertolucci‘s 1972 Last Tango in Paris — stand today as monuments to cinema’s wildest and most adventurous decade.

Remembering Maria Schneider:

In the Vietnam era, which saw the toppling of so many social standards, these actresses gave face and especially form to a seismic, worldwide change in movies, when suddenly everything could be said and shown. They provided a view of the bold, confrontational, sexually liberated woman — from the perspective, that is, of the avid, controlling men behind the camera and in the audience. (Read TIME’s cover story on the shadow of Vietnam.)

Remembering Lena Nyman:

In the mid- to late 1960s, as young America exploded in opposition to the Vietnam engagement, and French youth shut down their country in the manifestations of May ’68, a cultural revolution was brewing in movies. Just a few years before, U.S. jurisdictions had banned films showing an unseemly amount of skin; in 1964 Lenny Bruce was convicted of obscenity. The Hollywood factory was still grinding out family films starring Doris Day, Jerry Lewis and Elvis Presley, and handing out Oscars to the likes of The Sound of Music and Oliver!. But in corners of the cinema world some directors threw out the play book that had held since the coming of talking pictures in the 1920s.

Remembering Tura Satana:

The new rule was that there were no rules; movies could spout obscenities, show nudity and copulation, operate under the same freedoms that applied to artists in any other medium. Within a decade, every movie outrage that had been a crime became the Hollywood norm, and hard-core pornography was both public and chic. (See the Best and Worst Super Bowl Commercials of 2011.)

Tura Satana
The filmmakers who shattered the old icons came from two different directions: up from the grindhouse and over from the art house. Meyer, a combat cameraman in World War II and then a cheesecake photographer (his portrait of his wife Eve was used as an early Playboy centerfold), graduated to feature films with the 1959 nudie-cutie The Immoral Mr. Teas, which was made for $24,000 and grossed more than $1 million. Within a few years Meyer had ditched the color comedy genre for mad melodrama in monochrome: epics like Common Law Cabin, Mudhoney and Motor Psycho, all featuring convoluted plots, ripe dialogue and riper starlets. Deemed disposable drive-in fodder on their first release, they quickly found adherents among film critics and proto-fanboys, and in 1969 Meyer was hired by a major studio, 20th Century-Fox, to direct Beyond the Valley of the Dolls from a script by one of his young critical admirers, Roger Ebert.

Tura Satana in Faster Pussycat! Kill! Kill!

Faster, Pussycat! Kill! Kill! — the title encapsulates Meyer’s tripartite vision of movies: speed, babes and violence — has plenty of those commodities, but, surprise, no nudity. Its narrative tone, though, is lurid to the max. The movie follows three strippers, led by Satana as Varna, who love racing their cars on the California salt flats. They race one guy who’s brought his girlfriend along; uber-tough Varna gets into a fight with the guy, snaps his spine and kills him and takes the girl as a hostage. Hearing of a rich coot (Stuart Lancaster) with a hidden fortune, Varna and the three women pay him a visit, only to discover that he’s as crazy and ruthless as they are. But the old man is accurate enough in his appraisal of Varna. “She’s a cold one, all right,” the coot says. “More stallion than mare. There’s too much for one man to handle.”