Taken on the set of the 1956 film, WHILE THE CITY SLEEPS, this photo features director Fritz Lang discussing a scene with Ida Lupino and Dana Andrews, and it looks like Miss Lupino is expressing one of her own ideas.
I love Olivia de Havilland.
Although many people today may not know the name or even the face, Louis Hayward was without doubt a unique and talented man. Despite not gaining supreme stardom, Louis’ fans will always remember him as a talented actor, a war hero and a lovely human being. 27 years ago, Lung Cancer took this great man out of the world too soon. I took it upon myself to put together this small tribute. Below are quotes from some of Louis’ many fans who continue to keep his memory alive everyday.
“Louis’ marriage to June Hanson was one of the most exciting things to happen in the family. He was so handsome, and an actor, whom my mother adored and he married her cousin June in 1951. As a little girl I remember watching every movie with my mother and her sisters that Louis was in and how they would be just sitting on the edge of their seats taking in every word he was saying. When Louis & June would make a trip to Seattle to her parents my mother would always try to go to see them with one of her aunties. My mother thought Louis & June were the sweetest couple and that they seemed very happy together.” - Shirley Phillips
“Suave, handsome, athletic, and that voice! Louis Hayward played a hero in films such as The Man in the Iron Mask, Son of Monte Cristo, The Duke of West Point, and Black Arrow. But he was a real hero in the U. S. Marines in World War 2 with a camera in one hand and a pistol in the other, leading the first-ever crew of combat cameramen filming the battle of Tarawa and earning a Bronze Star. Louis will always be my hero. RIP Louis.” - Pat
Everything about this photo is awesome.
you all need to watch this. It’s Ida Lupino and her husband Howard Duff on I’ve Got a Secret. Ida is so adorable and classy and gorgeous. And I love how everyone on the panel gets upset after the law where he yells at her. Clearly they’re all on Team Ida.
Oh my gosh. I’m so excited! I’m going to watch this right now! Thanks for sharing!!! :D
In Hollywood the most important look for a woman to have is the “sexy look.” The sexy dress begins just below the kneww and is of a striking color and a glossy fabric. Satin, taffeta, moiré — any cloth which catches the lights and molds. Design, cut, pleats, buttons, belts — details of any kind are of no concern; it’s the outline that is underlined. The dress must cling to, sculpture, and emphasize the thighs, hips and waist, and stop at the sternum — in the front. I mean, not the back. And en route it must strain itself over an oversized bust. If the lady wearing the dress doesn’t have an oversized bust, she must buy one.
Of course, when I arrived in France I found that the prevailing mode had nothing whatever to do with the look I left behind me. In fact, the sexy look had never been heard of. In France it’s assumed that if you’re a woman you are sexy, and you don’t have to put on a dress to prove it.
Ida Lupino To Make Unwed Mother Film
BY BOB THOMAS
HOLLYWOOD—(AP)—At first she didn’t succeed, but Ida Lupino is trying again. A year ago, Ida took a whirl at being a movie producer. The deal netted her a continual headache and no picture. Today, she’s at it again, this time on a saner basis. She will soon start “Not Wanted,” a film about unwed mothers which she says will cost “under $200,000.” My guess is that it will run considerably under that sum.
"What we’re after," she told me, are pictures that look like $500,000 pictures, but cost much less. After all, ‘Shoe Shine’ and ‘Open City’ the great Italian films, cost as much as our budget."
Ida and four fellow stockholders, including husband Collier Young and producer Anson Bond, have already made one film, “The Judge.”
"We wrote it in two days and two nights and filmed it for $45,000, using the sets left over when Enterprise Pictures folded," she said proudly. IT has already been booked by the biggest theater chain in the West.
Ida is currently doing much of the writing on the “Not Wanted” script and has conferred with the nuns at the St. Anne’s Home for Unwed Mothers. Naturally with such a subject, she has also heard from the industry censors at the Breen Office.
"I found them amazingly helpful," she said. "We went over the script with them and they pointed out what it must do. They practically wrote the story for us. They showed that the story must be aimed at three classes:
"1. Teen-age girls, since the majority of unwed mothers are between 11 and 18. Their own emotions are immature and their biggest fear is pain. Therefore we must show as much of labor as we can.
"2. Older girls, whose emotions are more developed. They must be shown the painfulness of having to give up their child, as most unwed mothers must, for economic reasons.
"3. Parents, We must show that because they have brought a daughter into the world they must share the responsibility for her, no matter what happens."
The Tuscaloosa News - Feb 9, 1949
I like the fact that…
When you go on Wikipedia and look up “Man”, they have a picture of Errol Flynn as one of the examples.
Hahahaha!! I love Bette!! <33
Funniest blooper ever.
Bette Davis and Errol Flynn are amazing. I loved this when I saw it in the bloopers and I love it as a gif
Subject(s): Ida Lupino and Louis Hayward Setting: Scene from Ladies in Retirement Date (approx.): 1941 Photographer: Whitey Schafer
OMG!!! This is so freaking amazing!
This extremely talented, intense, British-born artist hailed from a family with theatrical credits going back to the Renaissance. Lupino got her start in films when her youthful-looking mother auditioned for an ingenue role but director Allan Dwan took greater interest in the woman who accompanied her that day—her daughter. Looking slightly older than her almost-15 years, Lupino got the job, dyed her hair platinum blonde (which it would remain for much of the 1930s) and made her debut in “Her First Affaire” (1932), promoted as “the English Jean Harlow”.
Moving to Hollywood the following year and eliminating all but slight traces of her British accent, Lupino appeared for the rest of the decade in a series of modest ingenue roles, several of which (“Peter Ibbetson” 1935, “Anything Goes” 1936) gave her at least a slight chance to sparkle. It was not until 1939, though, that she really attracted critical attention as Ronald Colman’s tormented Cockney painter’s model in “The Light That Failed”, a showy supporting role Lupino snagged after vigorously campaigning for the role and auditioning for director William Wellman. Dusky-voiced and dark-haired, with large eyes and a small, slightly angular face, Lupino came into her own playing headstrong, grasping women in a string of Warner Bros. melodramas through the 1940s. Especially memorable roles include a scheming waitress who cracks up in court on the witness stand in “They Drive By Night” (1940); John Garfield’s and Humphrey Bogart’s romantic interest in, respectively, “The Sea Wolf” and “High Sierra” (both 1941); the austere housekeeper turned murderess in “Ladies in Retirement” (1941, her favorite role); the ambitious “stage-sister” determined to make her sibling a star in “The Hard Way” (1943); the world-weary nightclub singer in the wonderful sudser “The Man I Love” (1946); and the shy, stuttering woman who shelters an escaped convict in the touching “Deep Valley” (1947).
Combining the nervous energy and, to a lesser extent, the clipped speech patterns of Bette Davis with a toughness characteristic of Barbara Stanwyck, Lupino managed to score an impressive lineup of characterizations at Warners despite the fact that she, Ann Sheridan and other stars were often left to dicker for the roles Davis turned down. Free-lancing after 1947, she continued to shine in melodramas including such worthy entries as “Lust for Gold” (1949), “On Dangerous Ground” (1952), “The Big Knife” (1955) and “While the City Sleeps” (1956). The restless actress began to tire of performing in the same types of melodrama she had done for years, though, and, caring more about “develop(ing) talent in others … than in my own”, Lupino formed a series of production companies and began developing projects. After managing to get several modest films off the ground as producer, she took to directing one herself, the skillfully told story of an unwed mother, “Not Wanted” (1949), when credited director Elmer Clifton had a heart attack after three days shooting. She made her credited directorial debut soon after with “Never Fear” (1949), a semi-documentary styled look at a dancer stricken with polio, an affliction Lupino herself had known as a child.
One of the few women directors to succeed in a male-dominated field, Lupino’s seven low-budget feature films have generally attracted less critical attention than fellow director Dorothy Arzner’s dozen-plus, partly because Lupino’s work, often showing the victimization of women, seemed to some to be “feminist films made from an unfeminist viewpoint”. More recent critics dissent, however, finding in her oeuvre compelling portraits of both victims and aggressors wandering through artfully delineated back-street milieus of postwar America. Although perhaps none of her features is an unsung masterpiece, her work is technically very competent (her editing skills being especially notable) and, long before the advent of the TV-movie, dealt with timely, controversial social issues in an intimate, measured manner. Her work includes such films as “Outrage” (1950), an early study of the effects of rape on a young woman, “Hard, Fast and Beautiful” (1951), an entertaining melodrama about an ambitious stage mother in the world of professional tennis, “The Hitchhiker” (1953), a gripping suspense noir, and “The Bigamist” (1953), a deftly handled melodrama which avoids placing the blame too simply on either a man or his two wives.
Reputed to be the young medium’s first female helmer, Lupino did most of her subsequent directing for TV, much of it featuring a brand of skillful camerawork that typed her in action drama rather than in the drawing room. She turned out over 100 episodes of such series as “The Untouchables”, “The Twilight Zone”, “Have Gun, Will Travel”, “The Fugitive” and her own show, “Mr. Adams and Eve”. During the 60s and 70s, she made occasional TV and feature film acting appearances in “guest star” types of roles. On TV Lupino was the villainous Dr. Cassandra on “Batman”. Most notably she was Steve McQueen’s oddly youthful mother in Sam Peckinpah’s gentle, low-key “Junior Bonner” (1972). Lupino’s final acting job was a guest shot on “Charlie’s Angels”. She was married to actor Louis Hayward (1938-45), executive Collier Young (1948-50), who executive produced “Mr. Adams and Eve” in the late 50s, and actor Howard Duff (1951-73), her co-star in “Mr. Adams and Eve”.
“Born to Be Bad” 1950 - Joan Fontaine, Robert Ryan
She’s got to be dangerous! Look at the angle at which she hangs from the very top of the advert!
What a female savage. Look at those ridiculous breasts, those are NOT Joan’s. Joan is basically a teenage boy.
When she hangs upside down, though, everything looks bigger. Unlike lying on the back, which makes things disappear.
This is true. And since she’s hanging on a diagonal, things are just going to be pushed forward that much more. Because obviously, she really is hanging on a diagonal.