Good Old-fashioned Lvr Boy | Buster Keaton

Another photo- these are from a Vanity Fair shoot in 1948. Photographed by George Platt Lynes.

I don’t want to be married to Tess Harding any more than I want you to be just Mrs. Sam Craig. Why can’t you be Tess Harding Craig? I think it’s a wonderful name.

Spencer Tracy and Katharine Hepburn as Sam Craig and Tess Harding in WOMAN OF THE YEAR (1942) dir. George Stevens

Deleted scene from movie Suspicion, 1941. Directed by Alfred Hitchcock Starring Cary Grant & Joan Fontaine

“I think that just being alive is a tremendous opportunity.”

Greta Garbo and Constance Bennett in Two-Faced Woman (1941)

“Garbo is a revolutionary in many ways. She swims against the tide, she is a nonconformist (or rather she does not conform to the ideas others have of her and of what she “should” do). She has always resented the cheap sentiment of most of her roles on the screen, and she dislikes sentimentality in any form; yet she is capable of moaning “Alles ist verwahrlost” at the least provocation. 

Garbo’s physical mystery — and mastery — still apparent today, was not the creation of the wizards of Hollywood. Although they cast her in stereotyped roles, they could not diminish her ability to entrance both men and women. Garbo’s inescapable magnetism could not be defined, but it could be exploited. And whatever private grief it may have cost her when she built her wall around herself and let the world regard her as an enigma if not an outright curiosity, she has never let herself be exploited again.” The Divine Garbo by Frederick Sands & Sven Broman.

Prague, one of the best DA cities. Just love living here.

Greta Garbo and John Gilbert in Love (1927)

The first scene of Flesh and the Devil Greta Garbo and John Gilbert filmed together was the scene at the train station where their characters meet.  The immense chemistry between the two of them was obvious to everybody on set.  There was no denying there was a very real connection with them and as their scenes got more passionate, they had no problem keeping their performances up.  Clarence Brown, the movie’s director, said of them:

“It was the damnedest thing you ever saw. It was the sort of thing Elinor Glyn used to write about. When they got into that first love scene…nobody else was even there. Those two were alone in a world of their own. It seemed like an intrusion to yell “Cut!” I used to just motion the crew over to another part of the set and let them finish what they were doing. It was embarrassing.”

- Clarence Brown

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