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smellofwater · 11 months

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Freaky Dancing in Kirkburn

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#Church #East Yorkshire #Font #Kirkburn #Nikolaus Pevsner #Norman #Rita Wood #Romanesque #Tatton Sykes

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rosepompadour · 4 months

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NATALIE WOOD in WEST SIDE STORY (1961) I never like anybody disparaging anything Natalie did because | think she’s so wonderful in the role and the fact that it ended up not being her [singing] voice, to me made absolutely no difference. - GEORGE CHAKIRIS

#so i guess this is a bone of contention between george and rita hmm [sips tea]#rita is a queen but the fact that she shows ZERO grace towards natalie and her role in the film's legacy is so tacky and rude #i truly think she is convinced she carried that film by herself and that just drives me crackers because it's such a beautiful ensemble #and honestly if you think natalie wasn't good enough as maria go watch her final scene #then go watch rachel zegler in the same scene #there is truly nothing i can say that will speak more eloquently than that #natalie wood #west side story #filmedit #*

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bonithica · 2 months

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guys where’s that post about the songs the beatles accidentally wrote about lesbians. it was a list with reasons and it had like, norwegian wood, she’s leaving home, lovely rita, ticket to ride, and more

i need it

#the beatles #john lennon #paul mccartney #lennon mccartney #songs they wrote about lesbians #norwegian wood #ticket to ride #she’s leaving home #lovely rita #beatles songs

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perciver4ever · 7 months

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Ok so hear me out on some rare pairs:

Fred x Cedric

George x Lee

Percy x Oliver

Minerva McGonagall x Poppy Pomfrey

Sirius x Remus

Bellatrix x Rita Skeeter

Pansy x Hermione

Blaise x Ron

Cho x Fleur

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velvet4510 · 2 months

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twolips-indifferentred · 3 months

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Vintage sunglasses ft. Audrey Hepburn, Ava Gardner, Bette Davis, Elizabeth Taylor, Grace Kelly, Jane Greer, Jane Russell, Joan Crawford, Marilyn Monroe, Mary Astor, Natalie Wood, Rita Hayworth, and Vivian Leigh.

#audrey hepburn #ava gardner #bette davis #elizabeth taylor #grace kelly #jane greer #jane russell #joan crawford #marilyn monroe #mary astor #natalie wood #rita hayworth #vivian leigh

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anton-wyzek · 11 months

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Old Hollywood in orange

Ann Miller in Easter Parade (1948)

Deborah Kerr in An Affair To Remember (1957)

Natalie Wood in Gypsy (1962)

Mitzi Gaynor in For Love Or Money (1963)

Marilyn Monroe in Gentlemen Prefer Blondes (1953)

Rita Hayworth in Pal Joey (1957)

#old hollywood #ann miller #deborah kerr #natalie wood #mitzi gaynor #marilyn monroe #rita hayworth

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meganechan05 · 10 months

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Contemplating if i should take Rita to Disney with me on Wednesday...

I think they'll like Disney. Unless they have a stroke from cuteness overload...

#now i wanna see photos of Rita at Tokyo Disney...#imagine their reaction to Pooh and the 100 Acre Woods gang 🥺🥺#or Stitch!#Oh my god Rita and Stitch will have me on the floor crying #rita kanisuka #rita kaniska #nendoroid doll #custom nendoroid

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sloshed-cinema · 2 months

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West Side Story (1961)

So much emotion can be found in a whistle. After the overture, the film adaptation of Bernstein’s masterpiece is established in helicopter shots and whistles sending out taunts. New York, turf to be claimed. Initially, the intonations are haunting but melodic, centering around that central interval which defines the musical, the tritone. This diabolus in musica can be “the most beautiful sound I ever heard” if referring to María, or it can signal gang-land antagonism. But it can also be downright intimidation, the Sharks and Jets finding ways to whistle like cads pursuing someone down the street to chase unwanted rivals off their turf. This interlinking of the identities of the story and its music is key to the power of this film. The creatives behind its source captured lightning in a bottle. Leonard Bernstein finds brilliance in charting the length and breadth of American musical sensibilities as he creates a conflicted identity for this New York in extremis. A Sondheim early in his career begins to show his lyrical wit while also demonstrating a proclivity for meditating on a key term which becomes pivotal later: ‘tonight’ is initially innocuous, but that seed germinates in the powerful Quintet, wherein a single night can represent an endpoint (the rumble) or infinite possibilities (Tony and María). There are certainly problems here, even beyond the widespread brownface casting. The updated lyrics to “America” are still troubling, even if this represents an effort on some level to present the frustrating plight of emigration in search of a better life. But in a way Bernstein’s score offers a dark rebuttal: Anita’s attempted rape is accompanied by strains of that same song, the jaunty hemiola not so catchy when a woman is being assaulted by a gang. Perhaps the country she has so much hope for is more of a racist shithole than she’d led herself to believe. This same journey from consonance to dissonance defines the score. Tony makes beauty out of a traditionally abhorrent interval with his adulation of María, implying that this gang conflict is arbitrary and false. But it’s a cry into the void. When Tony and María first reunite and serenade each other with “Tonight,” their final farewells are accompanied by an upward-reaching gesture in strings and woodwinds. It’s hopeful and yet incomplete. After Tony dies and María is left with hate in her heart for the first time, Bernstein builds an exquisite, towering cathedral of dissonance, pinched brass and surly lower strings closing in on the suddenly ashamed gang members. The film closes with that same hopeful gesture. But it’s been filled in at last, with a dark, dissonant pedal tone. The music, this love, is left unresolved.

THE RULES

PICK ONE

Select either TONY or MARÍA and sip whenever someone says their name.

SIP

A tritone occurs in the melody of a song (think "María")

Solidarity against the cops.

Snapping happens in a scene.

A 'Vote for Al Wood' poster appears onscreen.

BIG DRINK

Whip pan.

Amazing stage punch!

Saxophone appears in a song.