Seraphic Secret

Robert J. Avrech: Emmy Award winning screenwriter. Movie fanatic. Helplessly and hopelessly in love with my wife since age nine.

Friday Photos: True Hollywood Confessions

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“Men don’t get sore if their womenfolk like me on the screen. I’m one of them, they know it, so it’s a compliment to them. If I can do it, they can do it, and they figure it might be fun to go home and make love to their wives. ”
—Clark Gable

Eye catching poster for Picture Snatcher, 1933

 

Lee Friedlander
Dallas, Texas, 1975

 

Andy Galsworthy
Red Leaves on Cracked Earth, 2006

 

Marilyn Monroe, c. 1947

 

Victor Pasmore (1908-1998) Yellow Abstract, 1961  Oil paint on board, 1219 x 1219 mm, Tate Museum

 

Tea Service
Josef Hoffmann (Austrian, Pirnitz 1870–1956 Vienna)
Manufacturer: Wiener Werkstätte
ca. 1910
Silver, amethyst, carnelian, and ebony

 

“Actors are not made, they are born.”
— Angela Lansbury

 

Domenico Ghirlandaio
Portrait of a Girl, c1490
Tempera on panel
44.1 x 29.2 cm
Private Collection

 

Blake Andrews
Paris, 2010

 

Bert Stern
Sue Lyon, 1960

 

Miriam Hopkins and Edward Everett Horton, Design for Living, 1933
Screenplay by Ben Hecht
Based on the play Design for Living by Noël Coward

 

Felix Vallotton
Woman Reading to a Little Girl, 1900
oil on cardboard
58 x 70 cm
Private Collection

 

“There’s a wonderful story where O’Toole was making a film at Shepperton, or Pinewood, one of the big studios in England. And they said, ‘OK, we don’t need you for an hour, Peter, off you go, we’re lighting the next scene.’ ” When they were ready for O’Toole, the assistant charged with fetching him went to the star’s dressing room only to find it empty. There was no sign of Peter at all. Gone. Vanished. He looked around the dressing room, and the television was on. And it was covering a local horse race, and this is God’s truth, the camera zoomed into the crowd and Peter O’Toole was actually in the crowd. The star of the film had bolted from the studio and gotten a cab to the local racecourse. “And this poor assistant had to go back, and said, ‘He’s at the local races.” ‘How do you know that?’ ‘He’s actually on the television, cheering the winner.’ “
—from Hellraisers: The Life and Inebriated Times of Richard Burton, Richard Harris, Peter O’Toole and Oliver Reed By Robert Sellers

 

Andrew Wyeth
Witching Hour, 1977
Tempera on panel

 

Rick McGinnis
Still life, Parkdale, 1998

 

1930 Jaguar SS 100

 

Barbara Mullen wearing a headpiece by Lilly Daché, New York, 1951. Photo by Richard Avedon

 

Passover plate, Spain, ca. 1480, earthenware

 

Bette Davis photographed by Irving Lippman (Warner Bros., c. 1932)

 

Pinchas and Ariel wish all our friends and relatives a lovely and inspirational Shabbat.

 

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Comments

  1. I ordered “Hellraisers.”

    I am trying to think of an American movie star who has the qualities of Clark Gable. He seemed very comfortable in his own skin. A college roommate of mine was Rich Lang who was a very interesting guy. Among other things he was a ham radio guy with his own little “radio shack” behind his parent’s house in Brentwood. On his desk there was Gable’s Oscar for “It Happened One Night.” Gable had given it to him. Rich’s mother was “Fieldsie”who was Carol Lombard’s personal rep, as my mother in law was Jane Russell’s.

  2. The ubiquity of Marilyn sometimes makes me wonder “why her?” – especially with so many competing starlets during the same period. I have to watch the movies again to remind myself of her talent as a comedienne, and that vulnerability that was so rare. And then there’s pictures like this, that underline the peculiar quality she had – not just another pretty girl, but one with a fresh, captivating look that never felt hard or wary. (Though to be honest, she probably could have benefited from some hardness or wariness, in hindsight.)

  3. Nice pictures! I can’t get over the “before and after” of Marilyn Monroe.

    These days cars have a generic quality but in the Sir Wm Lyon days (who founded the Swallow Sidecar Co) a Jag always gave a lot for relatively little money. Compare say an E-Type of 1964 to an Aston Marton DB5 of the same year, and twice the price.

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