#jennifer o’neill

[dozydawn]

Napier, 1971.

Model: Jennifer O’Neill.

[theamandacollection67]

Vogue Pattern Book June/July 1969 w cover model Jennifer O’Neill

[love-pinups]

Jennifer O’Neill. Who didn’t want to be Hermie after watching The Summer of ‘42!

[texaschainsawmascara]

Megan Fox, ‘08

[gungieblog]

[haveyouseenthismovie-poll]

[bewareofitalics]

Hey, you know what I just realized? This is the longest Grease hasn’t been on Broadway since it first opened. The original production ran from 1972 to 1980, the first revival from 1994 to 1998, and the second revival from 2007 to 2009. Have we escaped?

[amberraymond]

Mrs. Brown’s boys having their Irish tour next year

[theanticool]

Flyweight is hot atm. Casey O’Neill has the opportunity to put her name in title contention with a win over a former title contender in Jennifer Maia.

[thecraggus]

The Exorcist: Believer (2024) Review

The Power Of Christ compels you to renounce The Exorcist: Believer. #Review

[ghostlyfanparadise]

[idlesuperstar]

Donald was the best partner in movies I ever had. We were brothers and we loved each other. We had such a deep, sublime chemistry. There was nothing intellectual about it, just this amazing natural harmony. I first met him in the commissary at 20th Century Fox when Robert Altman told us to have lunch together after I’d been cast in M*A*S*H. At first I thought: I don’t think this guy likes me. But it was just the opposite. The thing was: we were such opposites. I’m a Jew from Brooklyn and he was a Canadian from Nova Scotia. But it was perfection: never any conflict, just bread and butter – a relationship that felt like a miracle. Making M*A*S*H made us immediately close because while everyone else was working with Bob Altman, we worked for Bob Altman. He kept us a little segregated. We were both really unsure about the improvisation, the direction of the movie and Bob’s approach in general. Donald was hired well before me, but once I signed on we had the same deal: no less than second billing, and the same money. Later in production, Richard Zanuck, who was at that time running 20th Century Fox, said they wanted to give me first billing. I thought: “Oh that’s a nice honour. But Donald is my friend! I’m not going to be opportunistic – he was here first and should have first billing and I’ll stay in second place.” That’s what Donald meant to me. I never told him about that. A few years later, I turned down the screenplay for the movie that became S*P*Y*S, about two bumbling CIA agents. Then Donald called and said: “Would you do it with me?” And I said: “Oh that’s a different story. Of course!” On the first day of shooting in London, we drove to work together and he said: “What do you think of the script?” I rolled the window down, threw it out and said: “It’s a piece of junk. The only way this will work is if we swap parts.” But the producers could not digest that, so we just did the picture. Yet we did bring some of our own ideas to the table. There wasn’t an ending, for instance - so Donald and I agreed that we would just walk up the road with our backs to the camera and sing Side By Side. We worked together and we succeeded together, but we didn’t socialise very much – though having the opportunity to develop a relationship with some of his family was a total joy. Once, Donald was making a movie in the Bahamas and I came to visit because I had a week off from making The Long Goodbye and was interested in his leading lady, Jennifer O’Neill. Kiefer, his son, was five or six and Donald introduced us. Kiefer wanted me to stay, so when I said goodbye, I said: “Kiss me, Kiefer.” He had an ice cream cone in his hand and put it on my face – he kissed me with his cone. Donald was a true human being – and not all of us are. He could identify with any of us. His presence and his nature, his life and his mind are an asset for everyone. We all come and go physically, but as a being, he was really special and unique. I don’t put anything in the past. With me, it’s all in the present. My feeling is that for as long as I am living, Donald will be with me. I have no doubt about that, and I’m not being sentimental. I can see Donald now. I will see Donald for ever.

Elliot Gould - Donald Sutherland remembered by Keira Knightley, Elliott Gould, Ralph Fiennes and more in The Guardian

[ladamarossa]

Some of my favorite Giallo final girls (the ones that didn’t end up secretly being the killer or dying at the end of their film)

Deborah (Carroll Baker) - The Sweet Body of Deborah (1968)

Julie Wardh (Edwige Fenech) - The Strange Vice of Mrs. Wardh (1970)

Cleo DuPont (Anita Strindberg) - The Case of the Scorpion’s Tail (1971)

Julie/Mary Harrison (Carroll Baker) - The Devil with Seven Faces (1971)

Greta Franklin (Barbara Bouchet) - Amuck! (1971)

Giulia Torresi (Uschi Glas) - Seven Blood-Stained Orchids (1972)

Jane Harrison (Edwige Fenech) - All the Colors of the Dark (1972)

Eleanor Lorraine (Anne Heywood) - The Killer is on the Telephone (1972)

Valentina (Nieves Navarro) - Death Walks at Midnight (1972)

Kitty Wildenbrück (Barbara Bouchet) - The Red Queen Kills 7 Times (1972)

Jennifer Lansbury (Edwige Fenech) - The Case of the Bloody Iris (1972)

Jane (Suzy Kendall) - Torso (1973)

Sara Grimaldi (Senta Berger) - Puzzle (1974)

Simona Sanna (Mimsy Farmer) - Autopsy (1975)

Virginia Ducci (Jennifer O’Neill) - The Psychic (1977)

[texaschainsawmascara]

Megan Fox @ Juno premiere, 2007

[gungieblog]

[vital-deloin]

Summer of ’42 is a 1971 American coming-of-age comedy-drama film based on the memoirs of screenwriter Herman Raucher (b. 1928). It tells the story of how Raucher, in his early teens on his 1942 summer vacation on Nantucket Island (off the coast of Cape Cod), embarks on a one-sided romance with a young woman, Dorothy, whose husband has gone off to fight in World War II.

Directed by: Robert Mulligan. Starring: Jennifer O’Neill, Gary Grimes.