#RetroCinema

[stillsinfilms]

Another Man's Poison (1951) dir. Irving Rapper

[scifimovieguide]

The Man in Half Moon Street

A suave, ageless scientist tries to extend his already suspiciously long life using questionable experiments and a steady supply of fresh glands. But when love gets involved, eternal youth starts to look overrated — and suspiciously gooey.

Get the lowdown at ScifiMovieGuide.com

[basementofthebizarre]

Atomic Thrills & Silver Screen Chills: A Fresh Look at 1950s Sci-Fi and Horror

With so many movie guides available today, choosing the right one can be a challenge. Their quality varies widely. Some are excellent works, like Bill Warren’s Keep Watching the Skies. Others are disappointing efforts, like Rob Craig’s It Came From 1957. One thing is certain, though—1950s films are getting more coverage than ever. For me, the best era for movies is the 1950s. This was a time when…

[worldviralnewstopic]

Jungle BLOCKBUSTER Hollywood Action Movies 2025 | New Action Movie full movie link

[visionproductions2008]

Late-night vibes in the video store 📼✨. Our favorite film nerd and goth girl lost in a sea of cult classics and hidden gems. It's more than just picking a movie; it's about the stories we share and the worlds we escape to.

[conanijdfhdfwqjhdwfq]

Grease – You're The One That I Want | Sandy's Big Transformation (Part 2...

[esonetwork]

 What plan will you follow now | Earth Station Boo

New Post has been published on https://esonetwork.com/what-plan-will-you-follow-now-earth-station-boo/

 What plan will you follow now | Earth Station Boo

Considered one of cinema’s most infamous treasures, the Haunted Hosts delve into this cult classic: Plan 9 from Outer Space!From alien invaders and resurrected ghouls to its ill fitted reputation as “the worst movie ever made,” we’re joined by guest Bill Mulligan, to discuss this beloved sci-fi horror masterpiece.

Subscribe now to Earth Station Boo where we talk all things horror. Let’s Get Spooky!

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#EarthStationBoo #ESONetwork #ESO #LetsGetSpooky

#HorrorPodcast #HorrorFans #SpookyVibes #HauntedHosts #FemalePodcast #HorrorNerds #SpookySeason #MovieReview #Plan9FromOuterSpace #EdWood #CultClassicMovies #BMovieHorror #WorstMovieEverMade #SciFiHorror #RetroHorror #ClassicHorrorMovies #SciFiCinema #AlienHorror #GhoulHorror #CultHorror #BillMulligan #FilmDiscussion #CultCinema #SoBadItsGood #MonsterMovies #GeekCulture #RetroCinema

[polishwomenartists-sztukakobiet]

Jadwiga Smosarska (23 September 1898 – 1 November 1971) was a Polish film actress. She appeared in more than 25 films between 1919 and 1937, as well as various stage productions.

@art.by.women_women.in.arts @abwwia

Smosarska was known for playing characters representative of Polish clichés that reflected the suffering of the country's citizens. Patriotic, romantic and in good social standing, her characters often struggled with malaise and a tragic love life. In the 1920s she rose to fame in Poland as one of Sfinks Film Studio's leading stars after Pola Negri left the country for Germany.

Smosarska fled Warsaw in 1939, seeking refuge in Lithuania before securing passage by boat to the United States through Scandinavia. Though she attempted to establish a career in Hollywood, her accent proved too much of a challenge for American film makers. In 1954 Smosarska toured parts of Canada to help raise money for welfare projects aimed at assisting Polish immigrants. Sponsored by Toronto's Advance Film Service, the trip began at Eaton Auditorium on 6 March, before stops in London, Hamilton, Ottawa, Montreal, Oshawa, Wellington and Brantford. She remained in the United States until 1970, before returning to live the final year of her life in Poland. Via Wikipedia

Czytamy : Jadwiga Smosarska – królowa przedwojennego ekranu| napisała Agata Łysakowska-Trzoss (2019)

Jadwiga Smosarska była jedną z najjaśniejszych gwiazd filmowych dwudziestolecia międzywojennego. Publiczność kochała oglądać ją zarówno we łzawych melodramatach, jak i w radosnych komediach. Wciąż wspominamy ją jako prawdziwą królową przedwojennego ekranu.

Jadwiga Smosarska urodziła się 23 września 1898 roku w Warszawie. Pochodziła z – jak sama zwykła mówić – „zamożnej rodziny inteligenckiej”. Jej ojciec był chemikiem, matka zaś trudniła się opieką nad dziećmi, ale często występowała też podczas koncertów dobroczynnych.

#JadwigaSmosarska #aktorka #herstoria #przedwojennekino #retrokino #herstory #retrocinema #Polishactress #gwiazdakina #palianshow #PolishArtist

[onthelinefilms]

This evening, I joined some friends in seeing my favorite movie at the Alamo @drafthouse; True Romance. It’s the 25th Anniversary of the film’s release, and was part of the #AlamoDrafthouse #RetroCinema #Classics Series. Written by #QuentinTarantino, Directed by #TonyScott, Starring #ChristianSlater, #PatriciaArquette, #GaryOldman, #SamuelLJackson, #ValKilmer, #DennisHopper, #ChristopherWalken, #JamesGandolfini, #MichaelRapaport, #BradPitt, and so so many more.... an Incredible Cast!!! I love watching this movie, and enjoy every time I get to see it on the Big Screen!! #TrueRomance #FavoriteMovie #Cinephile #MovieFan #25thAnniversary #GoodTimes (at Alamo Drafthouse Dallas / Fort Worth) https://www.instagram.com/p/BnkzZnbhwqB/?utm_source=ig_tumblr_share&igshid=1i7ekj1go15ic

[richieibarra]

Uh oh we're in trouble...🎶 #PowerRangersTheMovie #MightyMorphin #PowerRangers #MovieNight #IvanOoze #RitaRepulsa #LordZedd #OST #Trouble #Shampoo #90s #RetroCinema #Retro #Happiness #Blessed #Grateful #Movie #SuperSentai #PowerRangersFan #Ranger https://www.instagram.com/p/CR-sakdskrd/?utm_medium=tumblr

[stillsinfilms]

Another Man's Poison (1951) dir. Irving Rapper

[dreamsofthescreen]

Stanley Donen’s Marvel At Love - Two For The Road Review & Analysis

Albert Finney & Audrey Hepburn in ‘Two For The Road’

As far as romance goes, in the era of classics, we are given a idealised and soft edged view on a what love is or could be. Stanley Donen’s ‘Two For The Road’ appeals in it’s quirky and realistically sharp depiction of a marriage, as the beloved Audrey Hepburn and renowned film star Albert Finney ‘make something wonderful out of being alive’, as the trailer depicts. Driving cross country through France, we follow the unravelling of a decade long relationship, having us along for the ride & analysing the highs and lows of love. The simplicity of a love story with no certain grandeur is the greatest excitement, as room for interest is in the writing and expression of the story itself. A catalogue of successful retro arthouse, colour-blocked aesthetic films, Donen’s 1967 love story combined with Frederic Raphael’s blunt writing style delivers a versatile and greatly entertaining tale of love lost and found.

Joanna (Audrey Hepburn) and Mark (Albert Finney) have been married for a decade, and are now establishing their rocky connections. Travelling from London to the South Of France on a work trip related to Mark’s architectural career, they unpack the highs and lows of their relationship, reestablishing where they’re at now, and ultimately going back to how much they do need each other. Finney and Hepburn hitchhike, drive and fly around France, as we follow the couple in all their quirks, romantic moments and complications. The entire film is like a diary of their relationship, based on their travels in France throughout the years. Frederic Raphael’s award winning writing captures the moments that come with being in love, like striking grief and pure elation, set on the backdrop of the stunning French countryside. Their adventures have them repeatedly joking about Mark’s tendency to misplace his passport, finding themselves abandoned in the rain & having to sleep in a concrete cylinder on a moving truck, as well as Mark falling clumsily into a pool when trying to chase after Joanna.

Flashing back between Joanna and Mark’s early days of marriage, to their downfall that had them engaging in extramarital affairs, the grandeur and pathos of love that is portrayed was not usual for films at this time. Made in 1967, honest emotion like this was only starting to break out in cinema, as the Production Code (dictated what could be shown or said in film), was changing. For audiences, we are given insight into the pure joy and heartache in a couple that, despite their changing dynamics and hostility to one another, do still truly belong to each other. By combining a comedy with romance, drama and even some philosophical commentary, some may argue that this, along with the constant jump-cuts, is too much at once for a film. Yet I believe that it creates powerful interest, taking audiences on a journey that is tastefully stylish and does not overwhelm us too much.

Stanley Donen is not shy of success, having directed ‘Singin In The Rain’, ‘Charade’ and ‘Funny Face’, making ‘Two For The Road’ a rather less heard of film of his. His films were technicolored with soul and charm, almost seeming to follow a New Wave style. Once films started using colour, especially in the 1960s, it became one of the main assets, bringing great life and joy to a movie, Two For The Road doing just this. Though an American director, his works are never seeped in Hollywood-fakery or predictable cliche’s, as they seem to follow a more natural style, this honesty being so important to the depiction of a marriage like Joanna & Mark’s. The Los Angeles Times wrote on his directing style, stating that he ‘brought wit, style, heartache and joy to the movies’ and too asked, ‘What does pure joy look like on screen? Stanley Donen gave us no shortage of possible answers’. With the beautifully sweeping and romantic soundtrack by Henry Mancini and Donen utilising jump cuts between different time periods, ‘Two For The Road’ really does follow the art-nouveau, French New Wave style of cinema. This has Donen stray away from the typical process of an American director, ultimately saving the film from becoming a corny, glamourised love story. The pain, happiness and change is what makes this story so widely romantic, as it follows something so uniquely realistic. 

This, along with Frederic Raphael’s lyrically raw and amusing writing creates an honest interpretation of a relationship that we can either relate to or know about, given the tenderness and change of a love barely standing. But Donen and Raphael don’t just have audiences follow Mark and Joanna. We are given an analytical look at their time together, delving into how they fall in love, what changes after getting married and having a child, time changing their dynamic. We see how a marriage turns sour, it’s charm wearing away as Finney and Hepburn are left with a child, and a love gone cold. The opening scene has Hepburn and Finney stylishly pulling up in their car, passing a wedding, Hepburn stating “They don’t look very happy”, to which Finney replies, “Why should they? They just got married”.

Of all of Audrey Hepburn’s doe-eyed, elegance-seeped roles that she is so well known and loved for, Stanley Donen shows her in a beautiful new light, her performance soaring. It can be argued that ‘Two For The Road’ is one of her strongest roles. As an avid Hepburn fan myself, it is the freedom that she is given within the character that adds edge and interest, as opposed to the doll-faced, girly performances of hers that are beautiful, but can be shallow. This was a real change for her, as she drops the classic black Givenchy dress for a colourful, more casual wardrobe. This only made me fall in love with her more, as she is involved in a comedic and rich performance, creating such layers to her, as well as really exuding her acting talents as she steps out of her comfort zone. This is also a more realistic Hepburn, as the role is even closer to herself as a person, as during filming she was going through the beginning of a divorce. You’d hope that this is what Donen had been meaning to succeed, by showing such a beloved icon in one of his films. Albert Finney was a match made in heaven for Hepburn in this film, as their chemistry is electric, making something so basic seem so wonderful or painful. As the trailer itself states, we watch ‘Audrey Hepburn and Albert Finney make something wonderful out of being alive’.

The way of taking what can be seen as a basic story and turning it into something so spectacularly beautiful and interesting is one of the most powerful aspects of film. This is what Two For The Road so greatly achieves, as from afar, Joanna and Mark’s relationship is seemingly regular, with no great glory or achievement involved. Yet it is the way in which the story of this marriage is executed that gives it all the glory. All shot on location, the trip we take with the couple may seem like a simple journey, yet the storytelling and execution of emotion through the writing and stylistic choices is something so outstanding. This road-trip certainly can be seen as a symbol of Mark and Joanna, the cars they drive being symbols of the adventure that is marriage. All features of the film are utilised to create a powerful story, the differing environments being a significant aspect, as they tie into the theme of change. The costuming too plays an important part in the emotive experience of audiences, as Joanna and Mark’s wardrobe moves from colourfully casual and free to professional and tight-fitting, representing how they’ve settled, after having married and had children. 

Henry Mancini’s score is something that is so tear-jerking, moving audiences through the motions. Gleefully slow moving strings accompany the scene where Joanna professes her love for Mark early on, ditching her ride and humorously imitating a traffic signal, surprising Mark. He questions, “what happened to your slick friend in the Alfa Romeo?”, to which Joanna responds, “I told him I was in love with you, so he put me down”. These exuberantly happy moments are paramount in the story, as the simplicity and beauty of travel, food, romance and new meetings create interest. You can really say that not much happens throughout, but it is the collective moments that make it all the while. Moments like Hepburn’s bright red top on the background of a French food market on the day she met Mark and getting to know him, as they too discuss their values, ideas and past. Travel is such a wonderful pastime, bringing heart, experience and memories of a lifetime, as well as closeness and complications. This makes their journey such an interesting and beautiful facet, as it is a remarkable setting for stress and joy throughout. Moments like this they share, in an amusing scene where they drive in ‘the old MG’. Joanna wears a bright pink ensemble and announces her pregnancy, as her and Mark toast with a cup of coffee in the car, just before it sets fire & they spontaneously find a hotel to stay in after being isolated from their accident.

The contrast between the beginning of and later on in Mark & Joanna’s relationship is a clear indicator of their fading infatuation, though love is still there. Though always in France, always travelling together in a car, and staying in the same hotels over their decade spanning relationship, audiences can clearly see the difference in their attitude towards each other. Where there was enthusiastic adoration in their first stay at the luxurious hotel in France, years down the line, Mark draws up architectural plans, as Joanna utters ‘aren’t you coming to bed at all?’. What was once a fun-loving beach holiday, where Mark fought with and then proposed to Joanna, is now a dismal seaside lounge chair for them to sit in, as they vacation there years later, with almost nothing to say to one another. The bitterness that marriage can bring is noted very well in the monologues that Mark and Joanna deliver to each other. With Mark asking about their relationship, stating “is it worth it?”, Joanna responding with, “Yes it is worth it sometimes, only not now”, this being a strong summary of a long-lasting marriage. As arguments test their devotion to one another, the ending scene shows Joanna and Mark driving home from a party, discussing their place in their marriage. As Mark taunts Joanna with questions about what she might be doing having not been with him, he goes onto ask “What can’t I accept?”, to which Joanna replies, “That we’re a fixture, that we’re married. You go on about my leaving you, when I’m always still there. You sure you don’t want me to leave you?” Mark replies with, “Positive.”

Ranked at no. 57 on the American Film Institute’s 100 Years…100 Passions list, Donen’s ‘Two For The Road’ can be seen as one of the greatest and certainly strongest love stories in cinema that there is. A romantic marvel it is, due to all it’s ever-changing realism and depiction of what could be true love. Strangely very modern for it’s time and still very contemporary today, Donen’s work so artistically mixes comedy with romance and drama. Expertly executing these genres all at once, a message is sent to audiences on the beauty of love, even amongst all it’s painful change. 

Stars Out Of Five: 4.5/5

visit at: dreamsofthescreen.com

[joshyconker909]

I’ve always admired this movie 🎥 it’s good I’m going to read the #Novel as well #aClockworkOrange #ClassicCinema #RetroCinema #ThoughtProvoking #the70s (at San Bernardino, California) https://www.instagram.com/p/B_CePdzlVKr/?igshid=7bxiuagkg62x

[rob-lix-me]

- 𝘔𝘰𝘷𝘪𝘦𝘴 ...... - actress: @principessa_ninie - - #movies #goingtothemovies #hollywoodwaves #retrochic #retrocinema #retrodesign #oldtheather #flirtaciouslooks #sportygirl #sportymodel #casualstyle #casuallooks #joggerstyle #winningsmile #naturalbeauty #naturalgirl #talentedmodel #posingqueen #modelwithtalent #portraitphotography #grindlook - - #rob_lix #rob_lix_vids (hier: Movies) https://www.instagram.com/p/B6DkzylFQv8/?igshid=1hjp6dbr8l554

[trentain3t-blog]

A Mandorian fighter with Yoda the child getting to know one another! Check our our #retrocinema collection on trentain.com 👑 #starwars #yoda #thechild #themandalorian #mandalorian #thisistheway #ivespoken #printedtees #cotton #fashion #freeshipping #usa #france #paris (at Starwars) https://www.instagram.com/p/B5SvfbIKjFk/?igshid=1glvb87h8escl

[kurteckardt]

Cameo Theatre, Belgrave #35mm #film #pentax #k1000 #analogue #photography #belgrave #retrocinema #artdeco #melbourne #roadtrip