Barbara Stanwyck and Billy Wilder on the set of Double Indemnity.
“The very best screenplay I was ever sent was `Double Indemnity.’ It’s brilliant, but what’s amazing is that not one word was changed while we were shooting. Billy had it all there, and I mean all – everything you see on the screen was in the script. The moves, the business, the atmosphere, all written. When I mention `atmosphere’ in `Double Indemnity’ – that gloomy, horrible house the Dietrichsons lived in, the slit of sunlight slicing through those heavy drapes – you could smell that death was in the air, you understood why she wanted to get out of there, away, no matter how. And for an actress, let me say that the way those sets were lit, the house, Walter’s apartment, those dark shadows, those slices of harsh light at strange angles -all that helped my performance.”
— Barbara Stanwyck
Edward Hopper, House at Dusk, 1935
Fred MacMurray and Barbara Stanwyck, Double Indemnity, 1944
Screenplay by
Billy Wilder, Raymond Chandler
Based on Double Indemnity
by James M. Cain
Eugene von Bruenchenhein, Untitled (n. 832), 1959. Courtesy of Andrew Edlin Gallery.
Stanley Kubrick
New York Subway, 1946
Poster for the Polish release of Rosemary’s Baby, 1968
Anna May Wong by Paul Tanqueray, 1929
Stutz Bearcat, 1914
“I don’t think I am going to be popular in Hollywood because I loathe public pawing, and am not crazy about parties.”
— Miriam Hopkins
Photographer: Eugene Robert Richee (1931)
Edward Hopper, Chop Suey, 1929
Farm Children, 1927, August Sander
Alex Katz, Luna Park, 1965
Rick McGinnis
On the Polar Bear Express, July 2017
Poster for the Polish release of The Getaway, 1972
Lee Remick, New York, 1958, Sam Shaw
1936 Peugeot 402 Darl’mat Coupe
Creampot
Maker: Paul Revere Jr. (American, Boston, Massachusetts 1734–1818 Boston, Massachusetts)
Date: ca. 1795
Medium: Silver
Dimensions: Overall: 6 3/4 x 4 1/2 in. (17.1 x 11.4 cm); 5 oz. 18 dwt. (184.1 g)
Foot: 2 9/16 x 2 9/16 in. (6.5 x 6.5 cm)
Bequest of Alphonso T. Clearwater, 1933
This matched set of covered sugar bowl and creamer is fashioned in the fluted Neoclassical style so popular with Revere’s postwar clients. Urn-shaped sugar bowls, both plain and fluted, appear repeatedly in Revere’s ledgers as “sugar urns” or “fluted sugar vases.” The helmet-shaped creampot with high looped handle and square plinth also epitomizes Neoclassical taste. Each piece is engraved with bright-cut bands of tasseled swags and wavescroll ornament. According to family tradition, these objects were made as a gift for a Virginia bride. via: Metmuseum
Marilyn Monroe and Mitzi Gaynor at Shiela Graham’s wedding, 1953.
“How can I explain it to you… she kind of glowed in the dark. I first saw her in person in the hairdressing department at Fox. I was doing one of my Girl pictures, “The Golden Girl”, “The I Don’t Care Girl”, something like that, and this girl came in, very shiny and had last night’s makeup on, and hadn’t taken a shower, and I didn’t know who she was. I mean to come in with last night’s makeup on! I mean, “puff puff darling”, we were really insane with ‘teehee’s. We didn’t realise she was up all night because she was learning her lines, and suffering!
What she was doing, I think, at that time beginning to create “Marilyn Monroe”. She was known as a dumb blonde. Well she was about as dumb as Winston Churchill. She knew what she wanted, she knew how to get it – it killed her – she was used! She gave and gave and gave, maybe you can tell by how I’m talking about her, I was one of her biggest fans.”
– Mitzi Gaynor, co-star in There’s No Business Like Show Business
Edward Hopper, The City, 1927
Boy with Hockey Gloves, 1968, Arthur Tress
Michelangelo
Study of an Inclined Head
1529-30
Red chalk, 355 x 270 mm
Casa Buonarroti, Florence
Eva Marie Saint, 1954
Poster for the Polish release of M.A.S.H., 1970
Henry Clarke
Dovima, 1956
1938 Hispano-Suiza H6B “Xenia”
The Star of David in the oldest surviving complete copy of the Masoretic text, the Leningrad Codex, dated 1008.
Livia wishes all our friends and relatives a lovely and inspirational Shabbat.
Ariel Chaim Avrech, ZT'L, May His Righteous Memory be a Blessing.
9 Comments
Re Billy Wilder. I am not convinced that is him. Is there another angle?
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Not a different angle, but the same clothing and the caption under this pic says it’s him:
https://onset.shotonwhat.com/gallery/double-indemnity-1944/
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I guess so.
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“The Hispano-Suiza”……….I………………….want!
Robert, I just watched a movie about my tribe called “The Rising of the Moon” a John Ford production, have you seen it?
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Saw the film years ago. Irish Anthology film. Good stuff.
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Eugene von Bruenchenhein must have seen one too many Godzilla movies. Little did he know how many more there would be.
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EvB was probably bi-polar so that might have something to do with the look of his art.
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I love Edward Hopper’s paintings. I can’t think of a single Hopper painting that you’ve featured on Friday Photos that I wouldn’t want to own.
The Hispano-Suiza and the Peugeot are both excellent examples of the 1930’s design we’ve discussed previously. Both of these cars look fast just standing still.
Eva Marie Saint certainly represents the classic 1950’s “sweater girl” image! Lee Remick could qualify as well, although she’s wearing a sleeveless summer top. As an aside, I don’t know who looks more dangerous — Lee or the 3 young turks crossing the street!
The “Farm Children” photo amuses me because all 3 subjects seem to have the same facial expression 🙂
In regard to Mitzi Gaynor’s quote: “She was known as a dumb blonde. Well she was about as dumb as Winston Churchill.” Yeah, that’s what I’ve read, and that makes the whole affair even more tragic.
Finally, Livia is rocking the hat at the beach!
Have a wonderful Sabbath everyone!
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We were in Chicago a week ago and went ti the Art Institute. They had a nice Gauguin exhibit but I saw an Edward Hopper from a half block away. There is nothing like his.
We always visit The Lady in the Red Hat, as we have a print over our bed.
Between Hopper and Gauguin, we did not have time this year, Next time.
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