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Andy Samberg with Out Of The Blue in “Cuckoo”

“On a microscopic piece of sand that floats through space is a fragment of a man’s life. Left to rust is the place he lived in and the machines he used. Without use, they will disintegrate from the wind and the sand and the years that act upon them. All of Mr. Corry’s machines - including the one made in his image, kept alive by love, but now obsolete in the Twilight Zone.”

-Rod Serling, “The Lonely”, The Twilight Zone (1959)

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The most amazing cover of Lady Gaga’s Poker Face you will ever see and hear! Performed by Out Of The Blue!

Katharine Hepburn, looking quite pleased with her pantsuit, at the Hotel Australia, Sydney (1955, via)

From Hepburn’s 1981 interview with Barbara Walters:

Hepburn: “I have not lived as a woman. I have lived as a man…I’ve just done what I damn well wanted to and I made enough money to support myself. And I ain’t afraid of being alone.”

Walters: “Is that why also you wear pants?”

Hepburn: “No, I just wore pants because they’re comfortable.”

Walters: “Do you ever wear a skirt, by the way?”

Hepburn: “I have one.”

Walters: “You have one.”

Hepburn: “I’ll wear it to your funeral.”

(Excerpt quoted above can be seen on youtube here)

Stills from Vertigo’s (1958, dir. Alfred Hitchcock) title credits, designed by Saul Bass. Full sequence can be seen here.

“My initial thoughts about what a title can do was to set mood and the prime underlying core of the film’s story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.”

-Saul Bass

“Down this hall is a very strange individual locked in a room. He’s known by various names and by various forms. Our story is called The Howling Man by Mr. Charles Beaumont. It’s designed for the young in heart, but the strong of nerve.

Mr. David Ellington, scholar, seeker of truth and, regrettably, finder of truth. A man who will shortly arise from his exhaustion to confront a problem that has tormented mankind since the beginning of time. A man who knocked on a door seeking sanctuary and found instead the outer edges of the Twilight Zone.”

-Rod Serling, “The Howling Man”, The Twilight Zone (1960)

Barbara Stanwyck & her favorite self-help manual in Babyface (1933, dir. Alfred E. Green)

“For decades, Baby Face – the 1933 film starring Barbara Stanwyck – has been pre-Code 101. If you want to turn someone onto pre-censorship movies at their most fun, sleazy and outrageous, just take them to Baby Face, and from there they’ll be inspired to explore the whole era.

If you’ve never seen Stanwyck in a pre-Code film, you’ve never really seen Stanwyck. Never in her later career, including Double Indemnity, was she ever as hard-boiled as she was in the early 1930s. She had a wonderful quality of being both incredibly cool and yet blazingly passionate. Her cynicism was profound, and then, without warning, she would explode into shrieking, sobbing, saliva-spraying hurt and rage. What an indelible, one-of-a-kind talent.”

-excerpted from Mick LaSalle’s review of the restored version of Babyface, which features additional scenes that were cut to get it past the censor boards

Alfred Hitchcock Television Theme
  • Alfred Hitchcock Television Theme
  • Jeff Alexander Orchestra
  • Alfred Hitchcock's Music To Be Murdered By (Imperial, LP-9052, 1958)
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Alfred Hitchcock & the Jeff Alexander Orchestra - Alfred Hitchcock Theme (via Alfred Hitchcock Presents: Music to be Murdered By)

Another track off of Hitchcock’s 1958 album, Music to be Murdered By, which we previously posted about here. Fans of Hitchcock’s television series, Alfred Hitchcock Presents should recognize this piece, which served as the theme music for the show & was based upon Charles Gounod’s Funeral March of a Marionette.

(If you’re looking for additional ways to be unproductive, you can watch episodes from select seasons of Alfred Hitchcock Presents on Hulu here)

Watch on oldhollywood.tumblr.com

Fabulous Final Scenes: Marlene Dietrich in Dishonored (1931, dir. Josef von Sternberg) The gorgeous music that plays over the final shot is Ivanovici’s “Donauwellen” (Waves of the Danube).

As the lady spy confronting the firing squad in Dishonored (after having spent her last night on Earth playing a piano in her cell), she waits patiently while a young soldier in a burst of heroism shouts, “No more butchery!” Marlene, as sure that there will be more butchery as she is that her own death will follow, merely applies fresh lipstick. This is the ultimate vision of beauty as courage and the ultimate victory of style (Dietrich’s & Sternberg’s) over content; style has become content. For what man will not feel his claims to courage dwarfed by such a gesture of acceptance, and what director will not feel the pretentions of his socially conscious film reduced by such a shrug!

-Molly Haskell (1973)