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The Post an Interesting Pic thread

Richard Kimble

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This is the false-front building prop that Harold Lloyd climbed in FEET FIRST. He was never more than a few feet above a pile of soft cotton mattresses.


This false front was constructed on the roof of a tall building, to give the illusion of great height:






Lloyd is delivered to the building inside a large mail sack, starting at about 1:21 into this film. The statement in this film that no trick photography was used is NOT true.


Note that they mix some wide shots of the real building with the close ups of the prop building.


This film should have won an Academy Award for Special Effects and Editing.


Watch for the striped awning scenes. Then look at my still photo and see the remains of the striped awnings down at the bottom of the prop building.


Note carefully in the close ups that the prop building is on the WRONG side of the street, because cars are going behind it, instead of in front of it.

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Photoplay, July 1923:



Thanks Richard!


I tried to find some good stuff about Safety Last, but I couldn't find what you found. Thanks for posting it. :)


Here is a link to a PDF file that has a lot of photos about both films, along with a lot of research about the buildings and streets in the films. The PDF pages can be enlarged.



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While the studio photographer may be trying for a glamor boy effect in this mid-sixties publicity shot of an unknown NY stage actor (and former CW Post basketball star -- but that's another story), the subject seems intent on establishing his bona fides as a glaring heavy.






Ed Lauter never became a star, but after his death last year he was universally remembered by friends as one of the nicest guys in the business.





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  • 2 weeks later...

Photo from a cocktail party thrown by George Plimpton, for a Life magazine article on the independent film production scene, December 1963:





Clockwise among the group inside the sofa area in the foreground, from left: George Plimpton himself, of course, with glass in hand; then Maggie Abbott; Anna Lou Humes (wife of Harold L. “Doc” Humes Jr.); Bill Styron (in profile talking to Truman Capote on the left end of the sofa); then Doc Humes (smoking his signature Meerschaum pipe and leaning over to talk to Truman); Truman himself and his bulldog, Charlie, whom you can just make out on the floor; Tom Gallagher (“The Gathering Darkness”) in the middle on the sofa; and right on the sofa Alex Austin (“The Blue Guitar”).


Standing at the end of the sofa with one arm akimbo is Mario Puzo (“The Dark Arena”); the man with the big grin standing in the foreground is Jack Richardson (“The Prodigal”); I can’t identify the man he partly obscures, but behind him is Bruce Jay Friedman, in glasses (“Stern,” “A Mother’s Kisses”). Sitting around the table are Eleanor and Frank Perry (writer and director of the film “David and Lisa”), and in the foreground Arthur Kopit (“Oh Dad, Poor Dad. …”).


Standing in the middle distance, from the left, are Jonathan Miller (“Beyond the Fringe”); he is looking at Bill Wilson, an organizer of our group and a TV producer and aide to the Kennedy campaign who was involved with his successful debate with Nixon. (We can see only the back of Bill Wilson’s head, which in turn obscures the face of the producer Bill Becker, so that we see only his blond hair. The next unobscured face belongs to Terry Southern (“Doctor Strangelove,” as screenwriter); then Richard Leacock (the documentary filmmaker); Bob Lasky (our group attorney); and Paul Heller (producer of “David and Lisa”). In the far background, on the right in glasses, is Peter Matthiessen (“Raditzer,” “The Cloud Forest”), talking with Ralph Ellison.


Finally, sitting against the back of the sofa, turned away from the camera, is Elmer Bernstein (the film composer), and partly obscured, in glasses, is Sidney Lumet (“The Pawnbroker,” “Fail-Safe,” “Long Day’s Journey Into Night,” “The Fugitive Kind”). — Maggie Abbott


I remember that most wives and girlfriends were not included in the photo shoot. [If you look closely at the great mirror on the right-hand side of the photograph, a group of three women, who could be described as somewhat disgruntled-looking, can be seen looking onto the scene from what appears to be the doorway of another room. — S.C.]



Backstory on the party here:


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From John Ford: The Man and His Films by Tag Gallagher:


"This production still is probably all that remains of a controversial lynch-mob sequence removed from Judge Priest before release. Paul McAllister, Will Rogers, Charley Grapewin, Hy Meyer, Tom Brown."



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  • 2 weeks later...

In 1973 Terrence Malick arranged for Caril Fugate, the real-life model for Sissy Spacek's character in Badlands, to attend a screening of the film, at a motel near the prison where Fugate was serving time for her role in the Starkweather murders.






Details on the Malick-Fugate meeting:



For collectors of the macabre only -- an audio interview with Charles Starkweather on the night before his execution:

Quite the James Dean fan



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Clara Bow NOT being a Nazi...the swastika was originally a sort of good luck symbol. Threw me for a minute though, until I realized this pic was taken in the 20's, before the Nazis really gained prominance.


Swastikas has different meanings throughout time and the world.


Jackie Kennedy



Does anyone find it absolutely hilarious that  the Jews have their own. (bottom right)



A hockey team around 1916


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Swastikas were originally a sun wheel or something along those lines (I think) and meant for luck or good fortune. I have no idea if that's what Hitler was going for.  (And yes, it is kind of funny (or ironice maybe?) that there's a Jewish form of it.)

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January 18, 1937
Photo of Grace Bradt and Eddie Albert in an early NBC television program The Honeymooners-Grace and Eddie Show. The program ran on radio from 1933 to 1936. Movable iconoscope cameras are being used to transmit the program, along with overhead ceiling lighting. The boom mike makes an appearance here-it was not frequently needed in radio, but became a staple of television audio.
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