Vintage Movie Resources
Betty Lawford — Used to Footlights (1932) 🇺🇸
Betty Lawford reveals why so many Hollywood girls — even Garbo Garbo — wear a lock of hair over one eye.
Joan Blondell — “I Won’t Say Yes — And I Won’t Say No” (1932) 🇺🇸
“I won’t say yes — and I won’t say no.”
Thelma Todd — She’d Rather Have Fun Than Fame (1932) 🇺🇸
When a girl has a Cupid’s-bow mouth, and eyes to go with it, she usually takes her beauty seriously. But not Thelma!
Rochelle Hudson — Getting Ahead Fast in Hollywood (1932) 🇺🇸
Rochelle is giving you one of those looks straight from the shoulder — the kind they give strangers in Oklahoma.
Cecil Beaton — Taking Beauty For a Ride (1931) 🇺🇸
Cecil Beaton, English photographer, doesn’t mind telling what our sirens lack.
Myrna Loy — Beautiful and Sinister (1932) 🇺🇸
Hollywood has coined a new word — “Loytering.” It means “looking beautiful and sinister at the same time.”
Anna Sten — Learning English (1932) 🇺🇸
Anna gave up her career as Soviet Russia’s most famous screen actress to start her screen life anew.
Sylvia Sidney — Busy Denying Rumors (1932) 🇺🇸
Sylvia can’t understand how people misunderstand her so — or how they have the heart to keep her so busy denying rumors.
Constance Bennett — Always Knitting (1932) 🇺🇸
Connie, the tease, is all but asking, “What do you THINK I’m going to do next?”
Genevieve Tobin — Vamping Maurice (1932) 🇺🇸
It’s funny how Genevieve Tobin fooled Hollywood. The folks always thought she was just a bit cool — and then she vamped Maurice Chevalier in One Hour with You.
Joan Marsh — Temporarily Idle (1932) 🇺🇸
Maybe to give the good old executives a scare, Joan is announcing that she’s on the fence between marriage and career.
Madge Evans — (Not) Dangerous, Sombre and Sirenish (1932) 🇺🇸
If she really did have the love-life that the gossip writers claim she does, says Madge, she would look like this — dangerous and sombre and sirenish.
Karen Morley — Aloof and Dreamy-Eyed (1932) 🇺🇸
Karen Morley’s poise isn’t a pose; she has always had it.
Cecelia Parker — The New Serial Queen (1932) 🇺🇸
Cecelia Parker took the hurdles for stardom so neatly in “The Jungle Mystery,” that the next serial on her active program, was just as easy as eating a piece of apple pie
Tala Birell — Hollywood’s Latest Viennese Sensation (1932) 🇺🇸
Tala Birell has poise and bearing and an exotic appeal — qualities which have placed her right in the front-line trenches of stardom.
Claudette Colbert — The Phantom President's Opposite (1932) 🇺🇸
Claudette isn’t a bit downcast by the fact that she was the girl chosen to play opposite the one and only Mr. Cohan in “The Phantom President.”
Ann Dvorak — Three (Films) on a Match (1932) 🇺🇸
Pert? And then some! Ann’s the kind of girl who can not only keep her chin up, but can tilt it at an angle.
Men Behind the Stars — Mervyn LeRoy (1937) 🇺🇸
The variety of past contributions to the screen marks him with unequalled versatility of genius. He has coupled such hard-hitting drama as “Little Caesar” with the frivolities of a “Gold Diggers” extravaganza.
Men Behind the Stars — Tay Garnett (1937) 🇺🇸
Before Tay Garnett found film fame, Garnett was an actor, an artist, an author and an aviator. Not to mention his stint as a thorough-going newspaperman and a sailor of the bounding main.
Men Behind the Stars — Clarence Brown (1936) 🇺🇸
Clarence Brown’s career is unique. Educated at the University of Tennessee, from which he was graduated with degrees as an electrical and a mechanical engineer, he did not immediately interest himself in motion pictures.
Men Behind the Stars — John M. Stahl (1937) 🇺🇸
By the time John M. Stahl had reached his sixteenth birthday, he was sure that he did not want to follow in the footsteps of his father.
Men Behind the Stars — William Dieterle (1937) 🇺🇸
When three pictures are listed in the select circle of the ten best box-office pictures of last year — and these are directed by one man, it is an achievement seldom, if ever, recorded in motion picture history.
Men Behind the Stars — Roy Del Ruth (1938) 🇺🇸
Despite the fact that he is only 42 years old, Del Ruth has been identified with the picture business for more than two decades, having made his start as a scenarist for Mack Sennett in 1915, graduating to directorship three years later.