valentina, twenty, classic film, attractive dead people,
foreign cinema, black&white pictures, i like the old,
i like the new, and i love amna more than you. i lead
a jessica chastain appreciation life. my rachel weisz. +. formerly emmanuelleriva
She was the most beautiful, glorious creature then. Film posters cried, “There was never a woman like Gilda” — and they were right. There has never been anyone in the history of movies that had such a magical presence on film. She was delightful and sexy, and she moved with such grace and glamour. We had worked together when we were both coming up in the business, and then she had zoomed to the top.
I can remember when we were at Camp Pendleton [the Marine Corps base near San Diego], and every young Marine there had her picture pinned up in every locker and on every wall. I would see her in those very sexy pinup poses in slinky lingerie and think how different her image seemed from the very shy brunette I knew when we were making The Lady in Question.
Censorship was still in force in Hollywood in the early 1950s, and violence was monitored just as sternly as sexuality. The Big Heat’s script contained a number of unusually violent and code-challenging scenes, including the opening suicide, brutal murders, and a sadistic disfigurement or two. There was a lot of concern over how much of this would have to be cut or toned down, but Fritz Lang was adamant that the scenes of violence and cruelty stay as written — they were his favorite parts of the script. He would find a way, he said, to shoot it all but in a style that would get everything past the censors.