beautyandterrordance:

Things are a lot scarier in the dark.

“Things are a lot scarier in the dark!”

beautyandterrordance:

Things are a lot scarier in the dark.

“Things are a lot scarier in the dark!”

Tenten Rusya’da (Taken with instagram)

Tenten Rusya’da (Taken with instagram)

theniftyfifties:

Audrey Hepburn publicity still for ‘Sabrina’, 1954.

An Audrey Hepburnn still form ‘Sabrina.’

theniftyfifties:

Audrey Hepburn publicity still for ‘Sabrina’, 1954.

An Audrey Hepburnn still form ‘Sabrina.’

beautyandterrordance:

Christopher Lee and Barbara Shelley, in Dracula: Prince of Darkness.

Christopher Lee as Count Dracula

beautyandterrordance:

Christopher Lee and Barbara Shelley, in Dracula: Prince of Darkness.

Christopher Lee as Count Dracula

oldhollywood:

Audrey Hepburn near Wall Street during the filming of Sabrina (1954) Photographer: Dennis Stock (via)

Audrey Hepburn during the filming of Sabrina…

oldhollywood:

Audrey Hepburn near Wall Street during the filming of Sabrina (1954) Photographer: Dennis Stock (via)

Audrey Hepburn during the filming of Sabrina…

a view from Pandora bookshop

a view from Pandora bookshop

beautyandterrordance:

Another amazing set from Metropolis.

beautyandterrordance:

Another amazing set from Metropolis.

oldhollywood:

Pascal Lamorisse in The Red Balloon (1956, dir. Albert Lamorisse) (via)

oldhollywood:

Pascal Lamorisse in The Red Balloon (1956, dir. Albert Lamorisse) (via)

theniftyfifties:

Gregory Peck and Audrey Hepburn go for a ride in ‘Roman Holiday’, 1953. *gif*

theniftyfifties:

Gregory Peck and Audrey Hepburn go for a ride in ‘Roman Holiday’, 1953. *gif*

beautyandterrordance:

Right now: The Evil Dead, 1981

beautyandterrordance:

Right now: The Evil Dead, 1981

oldhollywood:

Production still from the remarkable 8-minute dream sequence in Dante’s Inferno (1935, dir. Harry Lachman) (via), in which a greedy & unscrupulous businessman (Spencer Tracy) is shown a vision of the hell that awaits him in the afterlife if he doesn’t change his ways.
The scene pictured above dramatizes Dante’s vision of the 7th circle of hell, in which the souls of suicides are entombed in trees & fed on by harpies.
The hell sequence can be seen online here.

Dante’s Inferno

oldhollywood:

Production still from the remarkable 8-minute dream sequence in Dante’s Inferno (1935, dir. Harry Lachman) (via), in which a greedy & unscrupulous businessman (Spencer Tracy) is shown a vision of the hell that awaits him in the afterlife if he doesn’t change his ways.

The scene pictured above dramatizes Dante’s vision of the 7th circle of hell, in which the souls of suicides are entombed in trees & fed on by harpies.

The hell sequence can be seen online here.

Dante’s Inferno

oldhollywood:

Production still from the remarkable 8-minute dream sequence in Dante’s Inferno (1935, dir. Harry Lachman) (via), in which a greedy & unscrupulous businessman (Spencer Tracy) is shown a vision of the hell that awaits him in the afterlife if he doesn’t change his ways.
The scene pictured above dramatizes Dante’s vision of the 7th circle of hell, in which the souls of suicides are entombed in trees & fed on by harpies.
The hell sequence can be seen online here.

Dante’s Inferno

oldhollywood:

Production still from the remarkable 8-minute dream sequence in Dante’s Inferno (1935, dir. Harry Lachman) (via), in which a greedy & unscrupulous businessman (Spencer Tracy) is shown a vision of the hell that awaits him in the afterlife if he doesn’t change his ways.

The scene pictured above dramatizes Dante’s vision of the 7th circle of hell, in which the souls of suicides are entombed in trees & fed on by harpies.

The hell sequence can be seen online here.

Dante’s Inferno

oldhollywood:

Anita Ekberg & Federico Fellini during rehearsals for Ekberg’s dip in the Trevi Fountain in La Dolce Vita (1960, dir. Federico Fellini) (via)

beautyandterrordance:

Right now: I Saw The Devil, 2010

beautyandterrordance:

Right now: I Saw The Devil, 2010

waldosia

dictionaryofobscuresorrows:

n. [Brit. wallesia] a condition characterized by scanning faces in a crowd looking for a specific person who would have no reason to be there, which is your brain’s way of checking to see whether they’re still in your life, subconsciously patting its emotional pockets before it leaves for the day.