Vintage sex pictures from1950 s. Tag: Vintage Pinup 1950’s.



Vintage sex pictures from1950 s

Vintage sex pictures from1950 s

We still see the profound influence of WWII, we still see film noir and Westerns and the development of European neorealism. We also see the proliferation of color technology. There is also an emphasis on teen culture, perhaps best represented by the brief but meteoric career of James Dean. Television became mainstream, and Hollywood found itself with some stiff competition from the networks. The French New Wave was in full flow, with directors such as Jean-Luc Godard and Francois Truffaut defining what would come to be known as auteur theory.

The Tingler For William Castle, going to the movies was a matter of life and death. Or at least he wanted to convince you as much: The only way to live through The Tingler? And, to prove his medical conclusions, Castle introduces us to Dr. Scream for your lives! The Tingler is loose in the theater! Robinson, Vincent Price, Anne Baxter and Debra Padgett for starters , and gives it an opulent, sprawling, color-saturated, mind-blowingly excessive field on which to play that story out.

Lola Montes Way back in the early s, the films of German-born, Paris-based director Max Ophuls languished out of print. Ophuls anticipates such modern media circuses, eschewing simple biography for his heroine and setting her in a context more grandiose and garish: Aware of their slim chances of survival with the German army tightening its grip all the time, the remaining men and women of Lt.

But the confusion and strange terror down there, in the foul winding tunnels of an underground maze of waste, make them a pitiful few last hours. All sense of time and geography is lost: Cosima also plays in drag school bully Dargelos, who sees to it Elisabeth gets her karmic just desserts after jealousy leads her to thwart the romance between her brother and Agathe. Probably not the finest work of either Melville or Cocteau, Les Enfants Terribles remains an intriguing collaboration between two masters of mid-century French cinema.

Instead, Blackboard Jungle is a movie divided, willing to confront some serious issues but unwilling to make much noise about it. After all, a young teacher Glenn Ford with an expecting wife believes that every kid deserves a shot at a good education, but after his wife ends up in the hospital due to some harassment care of a few hooligans unafraid to go too far, he must admit that some bad apples are just straight-up rotten.

The roles here are also reversed: The monster this time around Christopher Lee is presented as dangerous but more or less thoughtless, an unfortunate automaton who is less than the sum of his stitched-together parts.

The true monster is Dr. Frankenstein himself, masterfully played by an imperious Peter Cushing. Garland is Esther Blodgett, a homely small-town aspiring singer who is groomed and manicured into a perfect ingenue. But her enormous talent soon eclipses her beloved mentor, James Mason.

Mason, a washed-up lush who is hopelessly in love with her. Almost Shakespearean in its tragedy—and in its epic length—A Star is Born is essential viewing. Picnic There are only two plots in all of storytelling. But the takeaway is that ultra-sexy can happen without anyone even touching. Black Orpheus The Greek myth of Orpheus and Eurydice has been the source of countless works of art over the centuries. Brenno Melo plays Orfeu, a talented guitarist in a somewhat reluctant engagement to Mira Lourdes de Olveira who falls in love with Eurydice Marpessa Dawn.

Eurydice is taken from him by Death. Orfeu tries to get her back, fails, and is killed by the jilted Mira. Visually lush and ebullient, this is a film to roll around in, not to be overly cerebral about. Lavishly sensuous, with stunning cinematography and a soundtrack to die for and come back from Hades to hear all over again.

The Browning Version Anthony Asquith directed this adaptation of a stage play by killer British playwright Terence Rattigan, who also supplied the screenplay. Together they afforded Michael Redgrave what just might be his best performance ever. He breathes life into a potentially airless character and his performance is riveting. Night and Fog Released 10 years after the liberation of prisoners from the Nazi concentration camps, Night and Fog was almost never made.

Any number of reasons contributed to its tenuous birth: Regardless, the film found release and is today, even at only 31 minutes, an eviscerating account of life in the camps: Yet, most of all, Night and Fog is a paean to the power of art to shake history down to its foundational precedents.

Look only to its final moments, in which, over images of the dead, emaciated and piled endlessly in mass graves, narrator Michel Bouquet simply asks to know who is responsible.

Who allowed this to happen? Rarely do documentaries ask such questions. Rarely is truth taken to task, bled of all subjectivity, and placed naked before the audience: Here is evil, undeniably—what will you do about this? Critical opinion was divided on Dean, whom some found pointlessly histrionic.

Others have pronounced his fiery confrontations with his pious father Raymond Massey to be compelling and masterful. Horror of Dracula is simply a gorgeous movie, with lush, gothic settings—crypts, foggy graveyards and stately manors—photographed with the Golden Age charm of Technicolor. It has the best version of Van Helsing ever put to film the aquiline, gaunt-looking Peter Cushing , some of the best sets and an omnipresent feeling of refinement and grandeur.

Dracula, as played by Lee, is a creature of dualities—preferring to use very few words and simply influence through his magnetic presence, but also just moments away from leaping into action with ferocious animality. The first, however, is unquestionably the best—so effective that it typecast Christopher Lee as a horror icon for decades, exactly as Dracula did to Bela Lugosi.

A nostalgia-bomb comedy about an anxious father Spencer Tracy coming to terms with the fact that his baby Elizabeth Taylor is not a baby anymore.

Man, that guy was pitch perfect in pretty much everything, but put this jewel in the setting of a classic Hitchcock noir and you are in for a treat. Hitchcock made this film as a Technicolor reboot of his own treatment of the same story. Critical debate continues to percolate over which version is better. Some might call this a laconically paced thriller, but Hitchcock took the time to make ample use of the wonderful settings afforded by shooting on location in Morocco, and elicits wonderful performances from the whole cast.

Hire a couple of actors and have them alternate donning an unwieldy rubber monster suit, and then let them stomp all over a miniature Tokyo set, smashing buildings with wild abandon, and presto: However silly Godzilla sounds when broken down into its component parts, it remains every bit as meaningful today as it did back in , less than a decade after the U.

And studios just hated the guy. He was beset with financial tribulations and pull-outs and bait and switches and catfights every time he got behind a camera.

Many Shakespeare adaptations of this decade focused on extreme faithfulness to the original scripts—Welles cut Othello down to a zero-body-fat 92 minutes. Welles himself is a wonderful Othello, and Suzanne Cloutier as Desdemona matches his energy beautifully, but the real star here is the directorial moxie and quick-wittedness and sheer tenacity of vision that got the thing onscreen.

Down and out filmmaker discovers sizzling talent in Madrid nightclub, reignites his own career and starts hers, things happen, and Vargas ends up married to a count. There is much bling and sparkle and glam and a very unhappy ending. Critical opinion on the film was rather cleft when it was released: Some admired its decadence while others considered it exemplary of everything wrong with Hollywood culture, crass and unsubtle.

I see it as a great meditation on Show Biz cynicism. What most folks agreed on was that Gardner was the hottest thing on celluloid. But whether the film makes you weep more or less is, perhaps, besides the point.

When we talk about the classics of cinema, we talk about influence, and one note worth making about influence is that it comes in all shapes and sizes: Some movies have impact on a micro scale, others on a macro scale.

Nothing about Les Diaboliques dips into the scummy waters of cheap thrills: That the film ends with a warning to audiences to not give away the ending for others—perhaps Clouzot also helped invent the spoiler alert?

On the minus side, there are its thorny gender politics. The fact that Sean is an American—though of Irish origin, having been born in Innisfree, the village he returns to in the film—and Mary Kate a lifelong Irishwoman gives their dynamic a faint imperialist air as well.

And yet, Ford, more often than not, disarms criticism by sheer virtue of his lyrical sensibility, reserves of deep feeling, and humane attention to character detail. Here, in the looser-limbed and lighter-hearted The Quiet Man, Sean and the Irish locals eventually find common ground, albeit through a perversely extended brawl that plays as a purifying male-bonding session. Witness for the Prosecution A courtroom drama with noir leanings, based on a story by Agatha Christie and directed by the always-fascinating and sometimes really-damned-weird Billy Wilder?

Say it with me: Hijinks Ensue, Christie style. And if there was anyone who could match Christie for Twistedness factor, it was surely Billy Wilder. This is a master of suspense placed into the hands of a master or weirdness and subtlety and it is just plain riveting.

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Sentimental Journey, vintage men



Vintage sex pictures from1950 s

We still see the profound influence of WWII, we still see film noir and Westerns and the development of European neorealism. We also see the proliferation of color technology. There is also an emphasis on teen culture, perhaps best represented by the brief but meteoric career of James Dean. Television became mainstream, and Hollywood found itself with some stiff competition from the networks.

The French New Wave was in full flow, with directors such as Jean-Luc Godard and Francois Truffaut defining what would come to be known as auteur theory. The Tingler For William Castle, going to the movies was a matter of life and death. Or at least he wanted to convince you as much: The only way to live through The Tingler? And, to prove his medical conclusions, Castle introduces us to Dr. Scream for your lives!

The Tingler is loose in the theater! Robinson, Vincent Price, Anne Baxter and Debra Padgett for starters , and gives it an opulent, sprawling, color-saturated, mind-blowingly excessive field on which to play that story out.

Lola Montes Way back in the early s, the films of German-born, Paris-based director Max Ophuls languished out of print. Ophuls anticipates such modern media circuses, eschewing simple biography for his heroine and setting her in a context more grandiose and garish: Aware of their slim chances of survival with the German army tightening its grip all the time, the remaining men and women of Lt.

But the confusion and strange terror down there, in the foul winding tunnels of an underground maze of waste, make them a pitiful few last hours. All sense of time and geography is lost: Cosima also plays in drag school bully Dargelos, who sees to it Elisabeth gets her karmic just desserts after jealousy leads her to thwart the romance between her brother and Agathe.

Probably not the finest work of either Melville or Cocteau, Les Enfants Terribles remains an intriguing collaboration between two masters of mid-century French cinema. Instead, Blackboard Jungle is a movie divided, willing to confront some serious issues but unwilling to make much noise about it. After all, a young teacher Glenn Ford with an expecting wife believes that every kid deserves a shot at a good education, but after his wife ends up in the hospital due to some harassment care of a few hooligans unafraid to go too far, he must admit that some bad apples are just straight-up rotten.

The roles here are also reversed: The monster this time around Christopher Lee is presented as dangerous but more or less thoughtless, an unfortunate automaton who is less than the sum of his stitched-together parts. The true monster is Dr. Frankenstein himself, masterfully played by an imperious Peter Cushing.

Garland is Esther Blodgett, a homely small-town aspiring singer who is groomed and manicured into a perfect ingenue. But her enormous talent soon eclipses her beloved mentor, James Mason. Mason, a washed-up lush who is hopelessly in love with her. Almost Shakespearean in its tragedy—and in its epic length—A Star is Born is essential viewing.

Picnic There are only two plots in all of storytelling. But the takeaway is that ultra-sexy can happen without anyone even touching. Black Orpheus The Greek myth of Orpheus and Eurydice has been the source of countless works of art over the centuries. Brenno Melo plays Orfeu, a talented guitarist in a somewhat reluctant engagement to Mira Lourdes de Olveira who falls in love with Eurydice Marpessa Dawn.

Eurydice is taken from him by Death. Orfeu tries to get her back, fails, and is killed by the jilted Mira. Visually lush and ebullient, this is a film to roll around in, not to be overly cerebral about.

Lavishly sensuous, with stunning cinematography and a soundtrack to die for and come back from Hades to hear all over again. The Browning Version Anthony Asquith directed this adaptation of a stage play by killer British playwright Terence Rattigan, who also supplied the screenplay. Together they afforded Michael Redgrave what just might be his best performance ever.

He breathes life into a potentially airless character and his performance is riveting. Night and Fog Released 10 years after the liberation of prisoners from the Nazi concentration camps, Night and Fog was almost never made. Any number of reasons contributed to its tenuous birth: Regardless, the film found release and is today, even at only 31 minutes, an eviscerating account of life in the camps: Yet, most of all, Night and Fog is a paean to the power of art to shake history down to its foundational precedents.

Look only to its final moments, in which, over images of the dead, emaciated and piled endlessly in mass graves, narrator Michel Bouquet simply asks to know who is responsible. Who allowed this to happen? Rarely do documentaries ask such questions. Rarely is truth taken to task, bled of all subjectivity, and placed naked before the audience: Here is evil, undeniably—what will you do about this? Critical opinion was divided on Dean, whom some found pointlessly histrionic.

Others have pronounced his fiery confrontations with his pious father Raymond Massey to be compelling and masterful. Horror of Dracula is simply a gorgeous movie, with lush, gothic settings—crypts, foggy graveyards and stately manors—photographed with the Golden Age charm of Technicolor. It has the best version of Van Helsing ever put to film the aquiline, gaunt-looking Peter Cushing , some of the best sets and an omnipresent feeling of refinement and grandeur.

Dracula, as played by Lee, is a creature of dualities—preferring to use very few words and simply influence through his magnetic presence, but also just moments away from leaping into action with ferocious animality.

The first, however, is unquestionably the best—so effective that it typecast Christopher Lee as a horror icon for decades, exactly as Dracula did to Bela Lugosi.

A nostalgia-bomb comedy about an anxious father Spencer Tracy coming to terms with the fact that his baby Elizabeth Taylor is not a baby anymore.

Man, that guy was pitch perfect in pretty much everything, but put this jewel in the setting of a classic Hitchcock noir and you are in for a treat. Hitchcock made this film as a Technicolor reboot of his own treatment of the same story. Critical debate continues to percolate over which version is better. Some might call this a laconically paced thriller, but Hitchcock took the time to make ample use of the wonderful settings afforded by shooting on location in Morocco, and elicits wonderful performances from the whole cast.

Hire a couple of actors and have them alternate donning an unwieldy rubber monster suit, and then let them stomp all over a miniature Tokyo set, smashing buildings with wild abandon, and presto: However silly Godzilla sounds when broken down into its component parts, it remains every bit as meaningful today as it did back in , less than a decade after the U.

And studios just hated the guy. He was beset with financial tribulations and pull-outs and bait and switches and catfights every time he got behind a camera. Many Shakespeare adaptations of this decade focused on extreme faithfulness to the original scripts—Welles cut Othello down to a zero-body-fat 92 minutes.

Welles himself is a wonderful Othello, and Suzanne Cloutier as Desdemona matches his energy beautifully, but the real star here is the directorial moxie and quick-wittedness and sheer tenacity of vision that got the thing onscreen.

Down and out filmmaker discovers sizzling talent in Madrid nightclub, reignites his own career and starts hers, things happen, and Vargas ends up married to a count. There is much bling and sparkle and glam and a very unhappy ending. Critical opinion on the film was rather cleft when it was released: Some admired its decadence while others considered it exemplary of everything wrong with Hollywood culture, crass and unsubtle. I see it as a great meditation on Show Biz cynicism.

What most folks agreed on was that Gardner was the hottest thing on celluloid. But whether the film makes you weep more or less is, perhaps, besides the point.

When we talk about the classics of cinema, we talk about influence, and one note worth making about influence is that it comes in all shapes and sizes: Some movies have impact on a micro scale, others on a macro scale. Nothing about Les Diaboliques dips into the scummy waters of cheap thrills: That the film ends with a warning to audiences to not give away the ending for others—perhaps Clouzot also helped invent the spoiler alert?

On the minus side, there are its thorny gender politics. The fact that Sean is an American—though of Irish origin, having been born in Innisfree, the village he returns to in the film—and Mary Kate a lifelong Irishwoman gives their dynamic a faint imperialist air as well. And yet, Ford, more often than not, disarms criticism by sheer virtue of his lyrical sensibility, reserves of deep feeling, and humane attention to character detail.

Here, in the looser-limbed and lighter-hearted The Quiet Man, Sean and the Irish locals eventually find common ground, albeit through a perversely extended brawl that plays as a purifying male-bonding session. Witness for the Prosecution A courtroom drama with noir leanings, based on a story by Agatha Christie and directed by the always-fascinating and sometimes really-damned-weird Billy Wilder?

Say it with me: Hijinks Ensue, Christie style. And if there was anyone who could match Christie for Twistedness factor, it was surely Billy Wilder. This is a master of suspense placed into the hands of a master or weirdness and subtlety and it is just plain riveting.

Vintage sex pictures from1950 s

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