“Vivien has a body of swansdown and The constitution of A GI on leave.” -Noël Coward

"As Cora, Lana was costumed throughout in a stark white wardrobe. Her hair was a snowy white as well, and against a deep suntan she acquired for the role, the effect was startling. At the time, Life predicted Lana's all-white wardrobe would 'become historic.' More recently, director Garnett recalled the incentive for this striking conversation piece: 'The white clothing was something that Carey (Wilson) and I thought of. At that time there was a great problem of getting a story with that much sex past the censors. We figured that dressing Lana in white somehow made everything she did seem less sensuous. It was also attractive as hell. And it somehow took a little of the stigma off everything that she did. They didn't have 'hot pants' then, but you couldn't tell it by looking at hers.' "The 'hot pants' referred to by Garnett was actually a two-piece playsuit designed by MGM's Irene and her associate, Marion Herwood Keyes. It was so effective at the time that it helped popularize the vogue for women's shorts. This is the outfit that Cora is wearing when she makes her first breahtaking entrance into the film. The scene begins as a lipstick rolls across the floor. Frank Chambers (Garfield) stoops to retrieve it and his eyes hit upon a figure in the doorway. At first glance, it appears to be an apparition. The camera slowly scans the figure from her white high heels, up her slim naked legs, to her white form-fitting shorts and well-filled blouse. Finally, it settles on her face and her lush, platinumed hair, so perfectly encased in a white turban." -Lou Valentino

LANA TURNER in THE POSTMAN ALWAYS RINGS TWICE — 1946

Problems only writers understand

Having very chaotic notes on your phone

Having secret files that you will NEVER let anyone ever see

WHAT THAT WORD THAT MEANS THAT THING????

Why cant I think of a name?

Writing 10k words in a day then never again

Charlie Chaplin this, Buster Keaton that, Harold Lloyd blah blah blah. They’re all amazing comedians who contributed a lot to motion pictures and it’s not a competition.

BUtterfield 8 (1960)

Girls sent home from McKinley High School for wearing slacks and blue jeans, Chicago, 1946.

Ramón Novarro in the 1920s.

out of all the casablancas in the world she had to walk into my casablanca

SAFETY LAST! (1923)

Dir. Fred C. Newmeyer and Sam Taylor

Garbo got a kick out of sporting turtlenecks at a time when only jockeys and prizefighters wore them, and she was the first film star, followed by Katharine Hepburn and Marlene Dietrich, to liberate women from skirts. Knowing observers slipped innuendo into their reports of Garbo and Dietrich’s preference for masculine styles. Vanity Fair pictured the Swede and the German, in 1932, under the headline “Both Members of the Same Club,” implying more than their mutual fondness for men’s suits and slouch hats.

Women who spurned skirts were not only violating taboos at the time, but breaking laws; in Paris in the twenties, a permis de travestissement was required of any female wearing a man’s suit. Mores were not much more relaxed on Hollywood Boulevard. “Garbo in Pants!” shouted a wire-photo caption.

“Innocent by standers gasped in amazement to see Mercedes de Acosta and Garbo in pants pretty much managed to go Where she pleased (and, perversely, she didn’t seem to mind the extra attention her fashion preferences brought her).

One night in 1928 Bill Frye slipped her into Chasen’s by rolling her trousers up beneath her overcoat, which she wore to the table. “We had already booked the reservation,” says Frye, “and when I saw what she was wearing I called the restaurant and told them I was bringing Miss Garbo to dinner and could she please come in slacks. They said no, she could not. I asked, ‘What if you put us to the right, just as we come in the door?’ They still said no, so we played our little trick.”

Greta Garbo striding swiftly along… dressed in men’s clothes.” A few days later, MGM sent out a story under Garbo’s name, in which she apologized for inflicting her “trousered attitude” on hostesses, escorts, and maitres d’.

Greta Garbo in The Single Standard (1929)