Vintage Movie Resources
The Private Life Of Paul Robeson (1937) 🇬🇧
Paul Robeson was not only the best-known African American actor of the early 20th century, he was also a bass baritone, concert artist, athlete, and activist; a truly remarkable personality who became famous both for his cultural accomplishments and for his political stances.
In the 1930's, African Americans were not widely featured in the mainstream press, and we believe that this piece from Picturegoer Magazine provides interesting insights.
Note: This text was published in 1937 and some readers might find some of the writing offensive.
Rosalind Russell — Rahs for Roz (1939) 🇺🇸
Ever since I left Rosalind Russell I have been poring over the fancy nourishes beneath the Declaration of Independence — through John Hancock, the Adams boys and Button Gwinnett.
So far I haven’t uncovered a Russell. Only a very unusual inspiration, I’m sure, could drive me to such extensive historical research and abstract speculation. But then Miss Rosalind Russell is indeed unusual. She is a Declaration of Independence walking.
Audrey Hepburn — Most Exciting Star of 1953 🇺🇸
When Hollywood got its first look at Audrey Hepburn on the screen, in Roman Holiday, the press was left without suitable adjectives. She is truly great, but the critics who saw the press preview agreed it was going to be difficult to convince the public that Miss Hepburn is that magnificent.
Preston Sturges — Geniuses Never Grow Up (1946) 🇺🇸
Louise Brooks — Gentlemen Prefer Blondes (1926) 🇺🇸
Sessue Hayakawa and Anna May Wong Return to the Screen (1931) 🇺🇸
Sessue Hayakawa and Anna May Wong have been away from American movies for several years — winning stage triumphs in New York and European capitals. They’ve now returned to Hollywood to win back screen honors.
Note: This text was published in 1931 and some readers might find some of the Asian stereotyping offensive.
“Better a Laundry and Sincerity,” says Anna May Wong (1928) 🇺🇸
Writer Rob Wagner visits Anna May Wong at her parent's home and they talk, among other things, about racism in Hollywood.
Note: This text was published in 1928 and some readers might find some of the Asian stereotyping offensive.
Louise Brooks — Manhattan Technique (1926) 🇺🇸
Exquisitely hard-boiled 19 years old Louise Brooks is interviewed by a awed journalist, and this is how the interview starts:
“I live only for my art,” Louise said. “I read nothing but instructive books.” She looked up from beneath her long lashes to see how it was going.
Don’t Marry a Marx Brother! (1935) 🇺🇸
Jean Harlow — Toiling Tilly (1935) 🇺🇸
Johnny Weissmuller — Tarzan Escapes (1935) 🇺🇸
Katharine Hepburn — Tops Again (1935) 🇺🇸
After Katharine Hepburn’s tender, sympathetic portrayal of poor silly, pathetic Alice Adams, she can snatch back that seat on the top of the Hollywood heap.
Dick Powell — Hollywood’s Most Elusive Bachelor (1935) 🇺🇸
Olivia de Havilland — Under Jolly Roger (1935) 🇺🇸
Gary Cooper — Strong and Silent (1935) 🇺🇸
The Story of Greta Garbo — Part III (1928) 🇺🇸
In the two previous installments (April 1928 | May 1928) of her fascinating story, Miss Garbo told of her lonely childhood in Sweden and of her first ambitions to become an actress. As a young girl she entered the Royal Dramatic School in Stockholm and while she was still a student, Mauritz Stiller discovered her screen possibilities. Her first European picture was a great success but, because of bad financial conditions in Europe, her career seemed at a standstill when Stiller met Louis B. Mayer in Berlin. Mayer signed a contract with both Stiller and Miss Garbo. At the end of the summer, Miss Garbo sailed for America. She was shy, strange and she knew no English. But she had high hopes and expected to find New York carpeted with flowers. Now read the final chapter of this engrossing life story.
The Story of Greta Garbo — Part II (1928) 🇺🇸
The Story of Greta Garbo — Part I (1928) 🇺🇸
Louise Brooks and Jobyna Ralston Fashion Show (1928)
“The World Of Susie Wong” in Development (1958) 🇺🇸
“The World Of Susie (sic!) Wong” — First a book, then a play, then a movie. On Broadway, William Shatner, of Star Trek fame, played the role that William Holden later took over in the movie. Would Captain Kirk have gone different if he had played Robert Lomax for a cinema audience as well?
