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Sarah Dumont is an American actress and model, best known for playing the lead female role in the film Scouts Guide to the Zombie Apocalypse photographed by Manfred Baumann from 500px ift.tt/2rKj2w4

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on the set of 'Into The Blue 2'

 

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'Nashville' actress Hayden Panettiere in a sexy purple bikini during easter...Pictured: Hayden Panettiere.Ref: SPL518882 310313 .Picture by: Pichichi / Splash News..Splash News and Pictures.Los Angeles:310-821-2666.New York:212-619-2666.London:870-934-2666.photodesk@splashnews.com.

Actress Julia Kelly and I went to Malibu to do a beautiful shoot.

 

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Sarah Dumont is an American actress and model, best known for playing the lead female role in the film Scouts Guide to the Zombie Apocalypse photographed by Manfred Baumann from 500px ift.tt/2rFCOOf

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Mircea Monroe fashion portrait for Thrifty Hunter Magazine

PHOTOGRAPHER: Frederic Charpentier

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MAKE-UP: Allison Mcgillicuddy

HAIR STYLIST: Tiana Whitfield

WARDROBE STYLIST: Ali Levine

TALENT: Mircea Monroe

 

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British postcard. Photo: First National Films.

 

American actress Joan Blondell (1906–1979) performed in more than 100 movies and on television for five decades, often as the wisecracking blonde..

 

After winning a beauty pageant, Joan Blondell embarked upon a film career. Establishing herself as a sexy wisecracking blonde, she was a pre-Code staple of Warner Brothers and appeared in more than 100 movies and television productions. She was most active in films during the 1930s, and during this time she co-starred with Glenda Farrell in nine films, in which the duo portrayed gold-diggers. Blondell continued acting for the rest of her life, often in small character roles or supporting television roles. She was nominated for an Academy Award for Best Supporting Actress for her work in The Blue Veil (1951). Blondell was seen in featured roles in two films released shortly before her death from leukemia, Grease (1978) and the remake of The Champ (1979).

 

Source: Wikipedia.

 

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Actress: Johanna Watts

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Sexy Indian Bollywood actress Priyanka Chopra.

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British postcard in The People series by Show Parade Picture Service, London, no. P. 1033. Photo: Universal-International.

 

American film actress Barbara Payton (1927-1967) was a blue-eyed, peroxide blonde sexpot, less known for her films than for her stormy social life and eventual battles with alcohol and drug addiction. Her tale is one of the saddest ever to come out of Hollywood.

 

Barbara Payton was born Barbara Lee Redfield in Cloquet, Minnesota, in 1927. She was the daughter of Norwegian immigrants Erwin Lee Redfield and Mabel Irene Todahl. A son, Frank Leslie III was born in 1931. In 1938, the family moved to Odessa, Texas, where Payton’s father started a motel court. Both of Payton's parents had long-standing problems with alcohol. As Payton was growing into maturity her good looks were also blossoming which garnered her attention. She was known as a lively girl, willing to please and she learned early in life that she had a potent effect on the opposite sex. In November 1943, the then sixteen-year-old eloped with her high school boyfriend William Hodge. The marriage seemingly amounted to nothing more than an act of impulsive, teen-age rebellion, and Payton did not fight her parent's insistence that the marriage be annulled. A few months later, she quit high school. In 1944, she met her second husband, a decorated combat pilot named John Payton, who at the time was stationed at Midland Air Base. The handsome couple were married in 1945 and moved to Los Angeles where John enrolled at USC under the G.I. Bill. It was still early in their marriage that Barbara, restless and feeling confined by her life as a housewife, expressed a desire to pursue a modelling or acting career. Payton officially launched her modelling path by hiring the services of a local photographer who shot photos of her sporting fashionable outfits. This portfolio attracted the favourable attention of a clothing designer, Saba of California, who signed her to a contract modelling a line of junior fashion. Her career progressed and in September 1947, the Rita La Roy Agency in Hollywood took her on as a client and brought her more work as a model in print advertising; notably in catalogues for Studebaker cars. She also appeared in clothing ads for such magazines as Charm and Junior Bazaar. During this period in her life, the couple welcomed their son, John Lee, who was born in February 1947. Payton managed to combine the responsibilities of wife, new mother and professional model, yet the strains on the Payton marriage finally reached the breaking point and Barbara and her husband separated in 1948. She takes an apartment in Hollywood with her infant son, with whom she is very close. Payton's drive, fuelled by her high-energy personality, had become focused on promoting her career and showcasing her beauty around the town’s hot spots. She is labelled the 'Queen of the Night Clubs' by columnist Harrison Carroll. Her notoriety as a luminous, fun loving party girl in the Hollywood club scene ignited the attention of William Goetz, an executive of Universal Studios. In January 1949, he signed her, age twenty-one, to a contract with a starting salary of $100 per week. Payton first gained notice as a drop-dead gorgeous young woman in the film noir Trapped (Richard Fleischer, 1949), co-starring Lloyd Bridges. In 1950, she was given the opportunity to make a screen test for John Huston's production of the forthcoming MGM crime drama The Asphalt Jungle. She was not chosen and the part of the sultry mistress of a mob connected lawyer went to Marilyn Monroe. After being screen-tested by James Cagney and his producer brother William, Payton starred with Cagney in the violent noir thriller Kiss Tomorrow Goodbye (Gordon Douglas, 1950). William Cagney was so smitten with Payton's sensual appeal and beauty that her contract was drawn as a joint agreement between William Cagney Productions and Warner Bros. who together saw fit to bestow on Payton a salary of $5,000 a week; a large sum for an actress yet to demonstrate star power at the box-office. For a relative newcomer, in Kiss Tomorrow Goodbye, Payton more than managed to hold her own among a cast of Hollywood veterans and alongside a super-star like Cagney himself. Her portrayal of the hardened, seductive girlfriend, whom Cagney’s character ultimately double-crosses, was critically praised in newspaper reviews of the film. Her acting skills were recognized and her significant screen charisma widely acknowledged. Kiss Tomorrow Goodbye was the highpoint in Payton’s career, the moment in time she was christened as a player with bonafide star power.

 

Caught up in the glitz and glamour, Barbara Payton's career had started taking second place to a reckless life full of capricious romances involving a number of top stars and producers, many of them married. In 1949, she had a six month affair with Bob Hope in which he paid for her to live in a luxurious apartment. The affair ended when she began making demands for more money. Her screen appearances opposite Gary Cooper in Dallas (Stuart Heisler, 1950), and Gregory Peck in Only the Valiant (Gordon Douglas, 1951), both Westerns, were lacklustre productions where her roles were no more than window dressing for the hero and did little to highlight her skills as an actress. Payton's career decline began with the horror film Bride of the Gorilla (Curt Siodmak, 1951), co-starring Raymond Burr. However, her slightly lurid appeal still seemed to be enough to carry her through Tinseltown. According to rumours, she had affairs with producer Howard Hughes, Woody Strode, George Raft, Dallas co-stars Gary Cooper and Steve Cochran, John Ireland, and Texas oilman Bob Neal. In addition to her first two marriages Payton was married two more times. In 1950, she had met classy 'A' actor Franchot Tone and the two were later engaged. She was the subject of a spread in Confidential Magazine when Tone allegedly caught her in bed with Guy Madison. In 1951, while engaged to Tone, Payton began also having an affair with muscular B-movie actor Tom Neal, and she also proposed marriage to him. She allowed him to move into her apartment, which Tone was paying the rent for. She kicked him out when Tone returned from out of town. She went back and forth publicly between Neal and Tone. On 14 September 1951, Neal, a former college boxer, physically attacked Tone at Payton's apartment leaving him in an 18-hour coma with a smashed cheekbone, broken nose and concussion. Barbara ended up with both a black eye and a tarnished reputation. Payton and Tone, who was still recovering from his injuries, were married in 1951 in Payton's hometown of Cloquet, Minnesota. However, after being married, Tone discovered that she had continued her relations with the violence-prone Neal and Tone was subsequently granted a divorce in 1952. When Franchot Tone decided to divorce her, he had a private detective take pictures of her having sex with other men. He then sent the photos to all the major Hollywood studios, hoping they would ruin her career. They did. Payton and Neal capitalized on the notorious press coverage by touring in plays such as The Postman Always Rings Twice, based on the popular 1946 film of the same name. They would also star together in The Great Jesse James Raid (Reginald Le Borg, 1953), a B-Western that received a limited released to theatres. In May 1953, Payton announced that she and Neal were to be married that summer in Paris. The couple broke up the following year.

 

Barbara Payton's hard drinking and hard living ultimately destroyed her both physically and emotionally. Gary Brumburgh at IMDb: " She went to England to try to rejuvenate her career, but no dice; it was over and her life was skidding out of control. Her once beautiful face now blotchy and her once spectacular figure now bloated, Barbara sank deeper into the bottle. " In England, she starred for the Hammer studio in the Science Fiction film Four Sided Triangle/The Monster and the Woman (Terence Fisher, 1953). And although Leonard Maltin in his Movie Guide called it a 'bomb', among Hammer fans at IMDb the film and Payton's acting are highly regarded. Reportedly, she was also good in her last leading role in the Film Noir Murder Is My Beat (Edgar G. Ullmer, 1955). Linda Rasmussen at AllMovie: "Director Edgar G. Ulmer uses flashbacks and elliptical editing to good effect, but the film lacks any strong visual or narrative center. Barbara Peyton delivers a great performance as the ambiguous, mysterious femme-fatale. While still of some interest, Murder is My Beat lacks the power and grim vision of Ulmer's bleak gem, Detour." In 1955, Payton married George A. 'Tony' Provas, a furniture store executive in Nogales, Arizona. They divorced in August 1958. In March 1956 she lost custody of her son John Lee Jr. after her ex-husband charged that she exposed their son to "profane language, immoral conduct, notoriety, unwholesome activities" and failed to provide the boy with a "moral education". From then on, her growing alcoholism and drug abuse led to multiple skirmishes with the law, including an arrest for the passing of bad checks. In 1962, Payton was arrested for prostitution when she propositioned an undercover cop in a Sunset Boulevard bar. Later that year, she was stabbed by a drunk and received 38 stitches to heal the wound. In 1963, she published her autobiography, I Am Not Ashamed, which was ghost written by Leo Guild. She didn't want to be paid in cash or check, but asked for payment in red wine because there were claims on her cash. The book included unflattering photographs of Payton and admissions that she had been forced to sleep on bus benches and suffered regular beatings as a prostitute. In 1965, she was arrested and charged with possession of heroin and a hypodermic syringe. In 1967, ill and after failed efforts to curb her drinking, Barbara Payton moved back to San Diego, California, to live with her parents. Several weeks later, the 39-year-old former starlet was found there on the bathroom floor - dead of heart and liver failure. Her son, John Lee Payton Jr., was serving in Vietnam when she died. Her life has been the subject of several books including Kiss Tomorrow Goodbye: The Barbara Payton Story (2007), by John O'Dowd, L.A. Despair: A Landscape of Crimes and Bad Times (2005), by John Gilmore, and B Movie. a Play in Two Acts (2014), by Michael B. Druxman.

 

Sources: Gary Brumburgh (IMDb), Linda Rasmussen (AllMovie), Wikipedia and IMDb.

Latvian postcard by JDA, Riga, no. 2503. Photo: Tobis. Collection: Didier Hanson.

 

Sexy German dancer and film actress La Jana (1905 - 1940) was the most popular show girl of Berlin in the 1930’s. She appeared in 25 European films, often dancing in exotic costumes. In 1940, she suddenly died of pneumonia and pleurisy.

 

For more postcards, a bio and clips check out our blog European Film Star Postcards.

French postcard by E.D.U.G., no. 51.

 

American actress Angie Dickinson (1931) has appeared in more than 50 films and starred on television as Sergeant Leann 'Pepper' Anderson in the successful 1970s crime series Police Woman. Her trade marks are her honey blonde hair (on the postcard she still has her original brunette hair colour), her large brown eyes, a voluptuous figure and her deep sultry voice.

 

Angie Dickinson was born Angeline Brown (called Angie) in Kulm, North Dakota, in 1931. She was the daughter of Fredericka (Hehr) and Leo Henry Brown, a newspaper editor and publisher of The Kulm Messenger. The family left North Dakota in 1942, when Angie was 11 years old, moving to Burbank, California. She became Angie Dickinson in 1952, when she married football player Gene Dickinson. In 1953, she entered the local Miss America contest one day before the deadline and took second place. In August of the same year, she was one of five winners in a beauty contest sponsored by NBC and appeared in several television variety shows, including The Colgate Comedy Hour. She soon met Frank Sinatra, who became a lifelong friend. Dickinson got her first bit part in the Doris Day comedy Lucky Me (Jack Donohue, 1954) and gained fame in the television series The Millionaire (1955). She got her first good film role opposite John Wayne and Dean Martin in Rio Bravo (Howard Hawks, 1959). Her success then spiralled until she became one of the nation's top film stars.

 

Angie Dickinson became one of Hollywood's more prominent leading ladies of the 1960s. She appeared in the heist film Ocean's 11 ( Lewis Milestone, 1960) with friends Frank Sinatra and Dean Martin. She played the title role in Jean Negulesco's Jessica (1962) with Maurice Chevalier, in which she played a young midwife resented by the married women of the town. In The Killers (Don Siegel, 1964), a film originally intended to be the very first made-for-television movie but released to theatres due to its violent content, Dickinson played a femme fatale opposite future U.S. President Ronald Reagan in his last film role. It was a remake of the 1946 version based on a story by Ernest Hemingway. She appeared in a star-studded The Chase (Arthur Penn, 1966), along with Marlon Brando, Jane Fonda, Robert Redford, and Robert Duvall. Dickinson's best film of this era was arguably the cult classic Point Blank (John Boorman's 1967), a lurid crime drama with Lee Marvin as a criminal betrayed by his wife and best friend and out for revenge. The film epitomized the stark urban mood of the period, and its reputation has grown through the years. In 1971, she played a lascivious substitute high school teacher in the dark comedy Pretty Maids All in a Row (Roger Vadim, 1971), in which her character seduces a sexually inexperienced student against the backdrop of a series of murders of female students at the same high school. It was a box-office failure. The following year, she played opposite Jean-Louis Trintignant in the French thriller Un homme est mort/The Outside Man (Jacques Deray, 1972), which was shot in LA. One of Dickinson's best known and most sexually provocative roles was the tawdry widow Wilma McClatchie from the Great Depression romp Big Bad Mama (Steve Carver, 1974) with William Shatner and Tom Skerritt. Although well into her forties at the time, she appeared nude in several scenes, which created interest in the film and a new generation of male fans for Dickinson.

 

In 1974, Angie Dickinson returned to TV to play in an episode in the hit anthology series Police Story. That one guest appearance proved to be so popular that NBC offered Dickinson her own television show which became a ground-breaking weekly police series called Police Woman, the first successful dramatic television series to feature a woman in the title role. She played Sgt. Suzanne 'Pepper' Anderson, an officer of the Los Angeles Police Department's Criminal Conspiracy Unit. The show became a hit, reaching number one in many countries, and ran from 1974 to 1978. Dickinson won a Golden Globe award, and received Emmy nominations for three consecutive years. Dickinson returned to the cinema in the erotic thriller Dressed to Kill (Brian De Palma, 1980). The role of Kate Miller, a sexually frustrated New York housewife, earned her a 1981 Saturn Award for Best Actress. She then starred in several TV movies, and had a pivotal role in the mini-series Hollywood Wives (Robert Day, 1985), based on a novel by Jackie Collins. Dickinson reprised her role as Wilma McClatchie for Big Bad Mama II (Jim Wynorski, 1987). In the TV miniseries Wild Palms (1993), produced by Oliver Stone, she was the sadistic, militant sister of Senator Tony Kruetzer (Robert Loggia). That same year, she starred as a ruthless Montana spa owner in Even Cowgirls Get the Blues (Gus Van Sant, 1993) with Uma Thurman. Sydney Pollack cast her as the prospective mother-in-law of Greg Kinnear in the romantic comedy Sabrina (1995) starring Harrison Ford, a remake of the Billy Wilder classic. During the first decade of the Third Millennium, Dickinson acted out the alcoholic, homeless mother of Helen Hunt's character in Pay It Forward (Mimi Leder, 2000); the grandmother of Gwyneth Paltrow's character in the road trip film Duets (Bruce Paltrow, 2000), and made a brief cameo in the remake Ocean's 11 (Steven Soderbergh, 2001) with George Clooney and Brad Pitt. After her divorce from Gene Dickinson in 1960, she married Burt Bacharach in 1965. They remained a married couple for 15 years. Their daughter, Lea Nikki, known as Nikki, arrived a year after they were married. Born three months prematurely, Nikki suffered from chronic health problems, including visual impairment; she was later diagnosed with Asperger syndrome. Burt composed the music of the song Nikki for their fragile young daughter, and Angie rejected many roles to focus on caring for their daughter. In 2007, the 40-years-old Nikki killed herself by suffocation in her apartment in the Ventura County suburb of Thousand Oaks.

 

Sources: Wikipedia and IMDb.

Russian girl Gia Skova conquers Hollywood. The rising model and actress

Thin waist of actress Gia Skova

 

French postcard by Stuffed Monkey / Universal / Polydor. Photo: Dominique Issermann. Design: Henry Neu.

 

Canadian-born French pop superstar Mylène Farmer (1961) is a singer, songwriter, writer, entrepreneur and an occasional film actress. She holds the record for the most number one hits in the French charts and has sold more than 30 million records.

 

Mylène Farmer was born Mylène Jeanne Gautier in Pierrefonds (Wikipedia) or Montréal (IMDb), Quebec in 1961. Her parents moved from France to Canada in the late 1950s as Farmer's father, Max, pursued an engineering contract on a dam. Her family moved back to France when she was eight, settling in the Parisian suburb of Ville-d'Avray. At the age of 17, Farmer discovered acting and she took a three-year course at the Cours Florent, a drama school in Paris. Changing her name to Mylène Farmer as a tribute to her idol, 1930s Hollywood actress Frances Farmer, she began to earn a living as a model acting in several TV ads. In 1984, Farmer met Laurent Boutonnat, a young film student, after answering a newspaper ad looking for an actress for a small film he was working on. Farmer and Boutonnat became friends and forged a creative partnership, writing and producing the music. He wrote her first song, Maman a tort, about a young girl's love for her female nurse. It became a mild success in March 1984. Boutonnat, whose ambition was to become a film director, would be the force behind Mylène’s videos and he wrote the music of her songs. Farmer would write the lyrics. .In the following years, Farmer gained fame with songs featuring controversial yet poetic lyrics and explicit music videos: Libertine, the lead single of her first album, was released in March 1986 and set the tone for Farmer's musical style. The sensual, romantic lyrics were inspired by 19th century literature. As for the video, which has a running time of over 10 minutes, Boutonnat was inspired by the film Barry Lyndon (Stanley Kubrick, 1975) and the novels by Marquis de Sade, thus giving the video a cinematic style. Farmer, lit by candlelights, is shrouded in mystery and sexual ambiguity. The video contained the first full frontal nudity appearance by a singer on a major music video. In 1988, Boutonnat and Farmer started to work on her follow-up album, Ainsi soit je.... This darker and more sexually ambigious album, features songs inspired by Charles Baudelaire and Edgar Allan Poe. The album sold 1.8 million copies and the song Pourvu qu'elles soient douces, containing hints of sodomy; became Farmer’s first #1 hit.

 

Her third album, L'Autre... (1991), and the single Désenchantée made Mylène Farmer a superstar in France. The lyrics approached a larger scope of subjects than before such as religion (Agnus Dei), politics (Désenchantée) and press criticism (Je t'aime mélancolie). Désenchantée spent 9 weeks atop of the French chart and became one of the best selling French singles of all time. It was also a hit in Belgium, Canada, Austria and the Netherlands. It was accompanied by a video in which Mylène plays a rebelling prisoner in a concentration camp-like facility. Another successful song of the album, Beyond My Control had a blood-and-sex-charged video that was banned from airplay. The success of the singles helped their parent album sell close to 2 million copies in France alone. In 1991 a disturbed man who had been stalking Farmer entered the Polydor Records headquarters in Paris, held employees at gunpoint demanding to talk to Farmer, and killed the receptionist. Following this occurrence, Farmer shunned media attention and left France to live in Los Angeles for a few weeks. In late 1992, she released the remix album Dance Remixes, including the single Que mon cœur lâche, dealing with AIDS and sexual relations. The song was accompanied by a video directed by Luc Besson (the first time that a Fatmer video wasn't directed by Boutonnat. In the video Farmer plays an angel sent down to earth by God, to save mankind from itself. God refuses to send Jesus again: "last time it was a disaster”. In the meantime Farmer starred in Giorgino (1994), the feature debut of Laurent Boutonnat. The 3-hour-plus film, shot in English, was a huge critical and commercial flop. Budgeted at 80 million Francs, it was seen by only 60 000 people and recovered only 1% of its budget. The bad reception was particularly hard on Boutonnat, who would not direct again for 13 years. Farmer decided to leave France to take a long break in the USA.

 

During her time in California, Mylène Farmer started to write her fourth studio album, Anamorphosée. The album was launched by the rock song XXL, and a video directed by Marcus Nispel featuring Mylène strapped to the front of a moving train. The single became her first to debut at #1. Anamorphosée debuted at #2 in the album charts and sold half a million copies in 3 months. Another single, the jazzy pop ballad California featured a highly acclaimed video directed by Abel Ferrara. Her 5th studio album Innamoramento went straight to #2 on the charts. The video for the second single, Je te rends ton amour sparked controversy because of its religious imagery. It was condemned by the Catholic Church and banned by many networks. Later released as a video single, it became the biggest selling video single in France. In late 1999, Farmer embarked on her third concert tour, the Mylenium Tour, which set the record of the highest grossing tour by a non-English speaking artist. In 2000, Farmer and Boutonnat had assembled songs and video ideas they felt appropriate for a younger, new star, Alizée. They wrote and produced Alizée's albums Gourmandises and Mes courants électriques. Alizée's biggest hit, Moi... Lolita reached the top of the charts and she became the most successful French singer that year. In December 2004, Farmer presented the album, Avant que l'ombre... which spent several weeks at #1, selling nearly a million copies. Moby invited her to record a duet with him, a French version of Slipping Away - her 4th #1 single in France. In 2007, Laurent Boutonnat, directed his second feature film, Jacquou le Croquant (2007), featuring Gaspard Ulliel. Farmer recorded the theme song of the film, Devant soi, for the end credits. During that period, she also worked on the French version of Luc Besson's animated feature Arthur et les Minimoys/Arthur and the Minimoys (2006), lending her voice to Selenia, the character voiced by Madonna in the international version. She later returned to dub the sequels, Arthur et la vengeance de Maltazard/Arthur 2 – the Revenge of Maltazard (Luc Besson, 2009) and Arthur 3: la guerre des deux mondes/ Arthur 3: The War of the Two Worlds (Luc Besson, 2010). Farmer’s seventh studio album, Point de Suture (2008) contained five #1 singles. Farmer then had a record of nine #1 hits in France, more than any other artist in French music history. In the latter half of 2010, Mylène Farmer hired RedOne, known for his work with Lady Gaga to produce and write the music for the single Oui mais... non It hit #1 on the French download chart. Considering the decline in music sales, it's her most successful single since 2002. This also makes her the only French singer to have number-one hits in four consecutive decades. The following singles, "Bleu Noir" and "Lonely Lisa", hit the top of the charts too, expanding her record with twelve #1 singles. The album Bleu Noir (2010) was produced by Farmer, RedOne, Moby and Archive. It entered the French album chart at #1 and remained at the top for three consecutive weeks. It was followed by tanother successful album, Monkey Me (2012) .

 

Sources: Jason Birchmeier (All Music Guide), Wikipedia and IMDb.

Wholesome but sexy, forthright and vulnerable, honest and energetic, Ginger Rogers was one of Hollywood's biggest stars of the Thirties and Forties. Not a great actress, as she was always the first to admit, she could handle both comedy and drama capably as well as sing and dance, and if her range was not as great as some of her contemporaries, her appeal and glamour were more down-to-earth than other screen heroines and thus easier to identify with. She would be remembered with affection now even if she had never danced with Fred Astaire. It is because she did, though, that she will have a special place in film history, a place that elevates her above many other actresses of the period just as popular and possibly more talented. Astaire and Rogers were, and are, quite simply the most famous dance team of all time.

Ginger was born Virginia Katherine McMath on 16 July 1911 in Independence, Missouri, but she quickly became known as "Ginger" when one of her young cousins had difficulty pronouncing her first name. Rogers was the surname of her mother's second husband. Ginger's mother Lela had always been attracted to show business, and when Ginger was five she was left with her grandparents in Kansas City while Lela went to Hollywood to pursue a writing career providing scripts (as Lela Leibrand) for silent stars such as Theda Bara.

Ginger had already appeared in some advertising films, and when Lela returned to Kansas as reporter and theatre critic for the Kansas City Post, she made sure her offspring met performers who were appearing in the city. Lela has often been described as the archetypal show-business mother, and Ginger herself always credited her with a major share of responsibility for her later success. Friends of theirs in Texas, however, have always claimed that Lela did not seriously push Ginger until the girl herself became irreparably stage-struck. This happened when Ginger, having studied dance since childhood, entered a local Charleston contest and won, going on to become champion Charleston dancer of Texas.

The prize included a vaudeville tour and Lela, taking over management of Ginger, hired the two runners-up to support her in a group called "Ginger and Her Redheads", with Lela supplying costumes and linking material. Later Ginger toured as a single, incorporating her speciality of monologues in baby-talk, then suddenly married another dancer, Jack Culpepper (against her mother's wishes), and they formed an act called "Ginger and Pepper". They separated after only a few months, and Ginger took her single act to New York, where she was spotted by the owner of the Mocambo night club, who recommended the newcomer to composers Kalmar and Ruby for their Broadway show Top Speed. As second female lead, Ginger stole a lot of the notices with her peppy rendition of "Hot and Bothered".

She had already been making one- and two-reelers at the Astoria studios in New York, and now she was offered a Paramount contract and made her feature debut in Young Man of Manhattan, starring Claudette Colbert. As an easy-going flapper, she uttered a line, "Cigarette me, big boy!", which became a popular catchphrase of the day and helped establish her name. Her first major break came with her casting as the lead in the Gershwin musical Girl Crazy on Broadway (1930), in which she introduced "Embraceable You" and "But not for Me". Her singing voice, never strong, came in for some criticism and the show was stolen by another newcomer, Ethel Merman, whose voice was anything but small.

Lela and Ginger decided that Hollywood was the place to pursue her future, and accepted a contract from Pathe. None of her early roles was memorable, however, until Warners cast her in 42nd Street. Besides being a landmark musical, it gave Ginger, as Anytime Annie ("The only time she said no, she didn't hear the question"), a chance to display her comic skills. She was now close friends with one of the studio's top film-makers, Mervyn LeRoy (it was strongly believed they would marry), and he cast her in an even stronger role in Gold Diggers of 1933, in which Ginger represented one of the cinematic icons of the Depression era when she opened the film clothed in gold coins singing "We're in the Money".

She was on the way to being typecast as a wise-cracking chorine in the Glenda Farrell-Joan Blondell mould when Dorothy Jordan, scheduled to play a featured role in RKO's Flying Down to Rio, married the studio boss Merian C. Cooper instead. Ginger was now under contract to RKO, so she was rushed into the film three days into shooting and found herself playing opposite Fred Astaire.

Rogers had met Astaire earlier when he had been brought in by Girl Crazy's producers to help out with the choreography and they had even dated a few times. Neither of them expected great things from the film they were about to make but as Astaire told her, "It'll be fun." Dolores del Rio and Gene Raymond were the film's romantic leads, but audience response to Fred and Ginger and their dancing of "The Carioca" was immediate.

While Ginger went on to other pot-boilers, and Fred to England to do The Gay Divorce on the West End stage, RKO started to plan more films for the team. The Gay Divorcee (title changed to placate Hollywood's production code) confirmed the team's magical chemistry and included the first of their classic romantic duets, "Night and Day". In a deserted ballroom, as Ginger crosses Fred's path to leave, he blocks her. Tentatively resisting, she bends her body with his and they start to glide across the floor. The harmony and sensual tension of this sequence is due in no small part to Ginger and demonstrates why she was the greatest of all Astaire's partners. Not only do they dance as one ("She could follow Fred as if one brain was thinking" said Ben Lyon), but Ginger acts the dance perfectly, never appearing to be revelling in the display of technique or conscious of anything other than the emotions of attraction and seduction implicit in the choreography. Katharine Hepburn's famed remark "She gave him sex, he gave her class" is true, but conveys only part of their magical chemistry.

The team's next, Roberta, had them again billed below the romantic leads (Irene Dune and Randolph Scott) but they had no trouble stealing the film. Because dialogue in their earlier films had been drowned out by cinema audiences applauding their numbers, RKO were careful in Roberta to follow all their dances with applause or laughter so that there was time for audience response.

Both Astaire and Rogers had raised objections to carrying on their partnership - Fred had long been paired with his sister Adele on the stage and now wanted to consolidate a reputation as a solo star; Ginger, though grateful for the good the films were doing for her career, wanted to be accepted as a straight actress. Her talents as a comic were already being appreciated - in Roberta she adopted a hilarious Polish-Hungarian accent to mimic Lyda Roberti, who had played the same role in the stage production, while "I'll Be Hard to Handle" in the same film was the first of the team's playful "challenge" dances, in which Ginger displayed her mischievously impish sense of humour - combined with the effortless technique that was in fact the result of weeks of work, the result was perfection.

Their next film was the first to be written directly for them (by Dwight Taylor) with new songs by Irving Berlin. Top Hat was the greatest film of their partnership, an enchanting combination of witty script, superb production values, hand-picked supporting cast and wonderful songs and dances. Their great romantic duet, "Cheek to Cheek", caused the one major rift between the two stars when Ginger insisted on wearing an ostrich-feather gown which "moulted" all over the set, besides creating some problems of manoeuvrability for Fred. Ginger had to enlist her mother, along with RKO's top brass, to persuade Fred to accept this, but when he was how well the number had photographed, he conceded its effect and thereafter would often refer to Ginger as "Feathers". Despite rumours to the contrary, both Ginger and Fred always insisted that their relationship was generally one of respect and friendship, though they were never close. "We had our differences," said Ginger later, "what good artistic marriage doesn't? - but they were unimportant."

Follow the Fleet (music also by Berlin) included Ginger's only solo tap routine in the series and she acquitted herself well. Swing Time (music by Jerome Kern), Shall We Dance? (Gershwin) and Carefree (Berlin) followed, though in between Ginger was making her mark in straight roles, notably as the caustic rival to Katharine Hepburn in Stage Door. In this witty and touching story of stage-struck hopefuls, Ginger was Hepburn's room- mate and whose brittle exterior conceals the fear of rejection, and she won particular praise for a deftly handled drunk scene. She also sparkled in Vivacious Lady as a cabaret singer who marries a professor and disrupts academia.

The films with Astaire had been full of treasurable musical sequences, such as Follow the Fleet's dramatic finale when the team enacted a shipboard romance between two suicidal strangers who meet and fell in love to the strains of "Let's Face the Music and Dance", ending with one of the most daring moments in screen choreography as the pair go into what many believe to be their finest and certainly their most emotionally powerful duet on an enormous art-deco set. Carefree's climactic number had Ginger literally under a hypnotic spell as she succumbed to Astaire's charms for "Change Partners".

Their scripts, though, had been getting weaker, and audiences were falling off, so The Story of Vernon and Irene Castle (1939) was planned as the last Astaire-Rogers movie. A departure for the team in that it was both a period story and a true one (about the couple who pioneered ballroom dancing in America) with a tragic ending, it disappointed some at the time with its in-built restriction on the scope for the team's routines, but it is one of their finest all-round films and their dancing, though limited for the most part to displays of the Waltz, Tango, Mexixe, etc, is as exquisite as ever, their "Robert E. Lee" routine one of their most exhilarating. For Ginger, the final scene, in which while waiting for Vernon to join her in celebration she learns of his death, then reminisces about their years together as the orchestra reminds her of key melodies in their lives, was proof if needed that she could handle such tricky dramatic material without descending to bathos or banality.

One of Ginger's most fondly remembered comedies followed, Garson Kanin's Bachelor Mother, which included a brief "Charleston" but otherwise concentrated on Ginger's comic skills. The following year she made the film which firmly established her as a leading Hollywood actress and won her an Oscar, Kitty Foyle. Audiences had always found that they could identify with Ginger more easily than with many other actresses, and as the office girl who falls for a socialite but finally settles for an idealistic doctor from the same social background as herself, she induced so much empathy that stenographers all over America bought replicas of the white collar Ginger wore as Kitty.

Sent by her studio to meet stenographer fans in New York she arrived at Grand Central station wearing the simple white-collar outfit from the film, but by then every inch a star she was also wearing a diamond brooch, gold earrings and a mink coat. An enormous hit at the time, neither the film (directed by Sam Wood) nor Ginger's performance seem as impressive today, particularly considering that her rival nominees included Bette Davis and Katharine Hepburn.

For Garson Kanin, Ginger did another good comedy, Tom, Dick or Harry, which Dilys Powell called "pure enchantment", adding that "one day we will be remembering Ginger as we now remember Mary Pickford and the Gish sisters." In Roxie Hart she had a bubble-cut and chewed gum in an amusing satire on justice in which, as a murder suspect, she had the jailers dancing the "Black Bottom" with her. Her best comedy of all is The Major and the Minor, Billy Wilder's first film as a director and pure joy as Ginger masquerades as a 12-year-old to travel half-fare, then has to sustain the impersonation at a military academy. Lela, still very prominent in Ginger's life and career, played her mother in this.

Ginger was now at the peak of her career but from the mid-Forties both her material and performances became inconsistent. Lady in the Dark (1944), adapted from the Broadway musical satirising the then fashionable craze for psychoanalysis, was Ginger's first film in colour and a huge success, not least for the publicity surrounding a stunning gown of mink and jewels in which the star performed "The Saga of Jenny", but most of the Kurt Weill- Ira Gerswhin score was cut from the film and Ginger, possibly trying to duplicate Gertrude Lawrence's stage portrayal of the confused heroine, seemed too confused for comfort. Ginger was also alienating a lot of Hollywood with her demands - she closed down the production of Lady in the Dark for three weeks in order to get married.

I'll Be Seeing You, a superior wartime weepie, and Weekend at the Waldorf, a glossy remake of Grand Hotel with Ginger in a more humorous reworking of the Garbo role, were big successes, but films such as Heartbeat, Magnificent Doll and It Had to be You had virtually ended her film career - when she was asked to partner Astaire once more. Judy Garland had withdrawn from The Barkleys of Broadway and Ginger happily stepped in to enact a story (a dance team breaks up when the female partner wants to be a dramatic actress) which bore a mild resemblance to hers and Fred's. In the rehearsal tap routine "Bouncin' the Blues" Ginger demonstrated that she could still keep up with the master even if some of the old spontaneity was missing. Their romantic duet to "They Can't Take That Away From Me", first sung by Fred in Shall We Dance?, recaptured the old magic as they swept languorously into and out of each other's arms. Ginger worked hard to make sure the public weren't disappointed in this reunion - she always believed in giving 100 per cent, and had tremendous energy.

"I detest idling," she once said, and both Astaire and Hermes Pan, dance director of the Astaire-Rogers films, attested to her professionalism and dedication.

Ginger Rogers's political views perhaps earned her more adverse criticism than any other aspect of her life. Like her mother, firmly right-wing, she campaigned for Richard Nixon when he ran for Governor of California in 1962, and during the McCarthy hearings Lela testified that Ginger had loathed making the 1944 film Tender Comrade about four war wives who set up house together, alleging that Ginger had insisted that the line "Share and share alike, that's democracy" be given to another actress. The director Joseph Losey, himself blacklisted, declared "Ginger Rogers was one of the worst, red-baiting, terrifying reactionaries in Hollywood," while her supporters argued that she merely followed her mother's lead and, according to one RKO employee, "I doubt that she could have told you the difference between the Republican and Democratic parties."

 

The Independent 26 April 1995

 

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Voluptuous, red-haired American actress Jill St. John (1940) played countless bikini sexpot roles in Hollywood films of the 1960s. She was at her best as the tantalizing Bond girl Tiffany Case in Diamonds Are Forever (1971).

 

Jill St. John was born Jill Arlyn Oppenheim in Los Angeles, in 1940. She was the daughter of Betty Lou Oppenheim née Goldberg and Edward Oppenheim, a prosperous restaurant owner. Jill was on stage and radio from age six, prodded by a typical stage mother. She was a member of the Children's Ballet Company with Natalie Wood and Stefanie Powers. She made her TV debut as Missie Cratchett in the first full-length TV film, The Christmas Carol (Arthur Pierson, 1949) starring Vincent Price. Her mother changed Jill's name from Oppenheim to to the more Hollywood-sounding St. John when Jill was 11 and five years later, she gave her daughter a turned-up nose job so she would photograph better. Jill began blossoming and attracting attention in her late teens. In 1957, she signed with Universal Pictures at age 16 and made her film debut in the romantic comedy Summer Love (Charles F. Haas, 1958) starring then-hot John Saxon. Moving ahead, she filled the bill as an exuberant, slightly dingy teen and as well as shapely love interest in such innocuous but fun films as The Remarkable Mr. Pennypacker (Henry Levin, 1959) starring Cliffton Webb, and Holiday for Lovers (Henry Levin, 1959), Who's Been Sleeping in My Bed? (Daniel Mann, 1963) with Dean Martin, Who's Minding the Store? (Frank Tashlin, 1963) starring Jerry Lewis, and Honeymoon Hotel (Henry Levin, 1964). A part of Frank Sinatra's 'in' crowd, she co-starred with him in both the comedy Come Blow Your Horn (Bud Yorkin, 1963) and the detective film Tony Rome (Gordon Douglas, 1967). By the late 1960s she had matured into a classy, ravishing redhead equipped with a knockout figure and sly, suggestive one-liners that had her male co-stars (and audiences) panting for more. Gary Brumburgh at IMDb: "An incredible piece of 1960s eye candy, Jill St. John absolutely smoldered on the big screen, a trendy, cosmopolitan presence in lightweight comedy, spirited adventure and spy intrigue who appeared alongside some of Hollywood's most handsome male specimens. Although she was seldom called upon to do much more than frolic in the sun and/or playfully taunt and tempt her leading man as needed, this tangerine-topped stunner managed to do her job very, very well. (...) Whether the extremely photogenic Jill had talent (and she did!) or not never seemed to be a fundamental issue with casting agents." She co-starred with Bob Hope in the dismal Eight on the Lam (George Marshall, 1967), but the connection allowed her to be included in a number of the comedian's NBC specials over the years. She skillfully traded sexy quips with Anthony Franciosa in Fame Is the Name of the Game (Stuart Rosenberg, 1966), the engaging TV pilot to the hit series The Name of the Game (1968). St. John scored a major coup as Bond girl Tiffany Case in Diamonds Are Forever (Guy Hamilton, 1971) opposite Sean Connery. First she had been offered the role of Plenty O'Toole, but after the directors saw her, she got the bigger role as Tiffany Case. Diamonds Are Forever was a commercial success.

 

On camera, Jill St. John's glossy, jet-setting femme fatales had a delightful tongue-in-cheek quality to them. Off-camera, she lived the life of a jet-setter too and was known for her various romantic excursions with such eligibles as Frank Sinatra and even Henry Kissinger. Of her four marriages (she never had children), which included millionaire Neil Dublin, the late sports car racer Lance Reventlow, son of Woolworth heiress Barbara Hutton, and singer Jack Jones, she found her soul mate in her fourth husband, actor Robert Wagner, whom she married in 1990 following an eight-year courtship. Jill worked with Wagner decades before in the soapy drama Banning (Ron Winston, 1967) as well as the TV movie How I Spent My Summer Vacation (William Hale, 1967). Abandoning acting out of boredom, she has returned only on rare occasions. She played against type as a crazed warden in the women in prison drama The Concrete Jungle (Tom DeSimone, 1982) and has had some fun cameos alongside Wagner both on film in The Player (Robert Altman, 1992) and on TV in Seinfeld (1989). In the late 1990s they started touring together in A.R. Gurney's popular two-person stage reading of Love Letters. Jill's lifelong passion for cooking (her parents were restaurateurs) has turned profitable over the years. She has written several cookbooks and actually appeared as a TV chef on Good Morning America (1975). She also served as a food columnist for the USA Weeken" newspaper. St. John was glimpsed more recently in the films The Calling (Damian Chapa, 2002) and The Trip (Miles Swain, 2002) and she and Wagner had small roles as Santa and Mrs. Claus in the TV movie Northpole (Douglas Barr, 2014). She and husband Robert Wagner have homes in Aspen and L.A.'s Pacific Palisades.

 

Sources: Gary Brumburgh (IMDb), Glamour Girls of the Silver Screen, Wikipedia and IMDb.

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British postcard in the Greetings Series. Photo: J. Arthur Rank Organisation.

 

Between 1943 and 1980, sexy French actress Jacqueline Pierreux (1923-2005) graced dozens of European films with her presence. She is the mother of Jean-Pierre Léaud.

 

Source: Wikipedia (Dutch).

Vintage postcard. Photo: Paramount.

 

Milly Vitale (1933-2006) was an Italian actress, who appeared in numerous post-war Italian films. She also appeared in a few Hollywood films but never achieved star status like her contemporaries Sophia Loren and Gina Lollobrigida.

 

Camilla ‘Milly’ Vitale was born in 1933 in Rome, Italy. She was the daughter of conductor Riccardo Vitale, the director of the Rome opera house, and white-Russian choreographer Natasha Shidlowski. At the age of 15, Milly made her film debut in the Dostoyevsky adaptation I fratelli Karamazoff/The Brothers Karamazoff (Giacomo Gentilomo, 1947), starring Fosco Giachetti. She played her first leading role in the historical melodrama La sepolta viva/Buried Alive (Guido Brignone, 1949) as an innocent girl thrown into a dungeon. She had her breakthrough in the political drama Anni Dificile/The Difficult Years (Luigi Zampa, 1950). Hal Erickson at AllMovie: “The Difficult Years is another uncompromising neorealist exercise by Italian filmmaker Luigi Zampa. The title refers to the years that Italy spent under the thumb of fascism. It is Zampa's thesis that the majority of Italian citizens preferred to ignore Mussolini's trampling of human rights and his ever-increasing megalomania, so long as they were left in peace.”Another interesting film is the realistic mafia drama Gli inesorabili/The Fighting Men (Camillo Mastrocinque, Roberto Savarese, 1950), starring Rossano Brazzi. Other films in which she appeared were the war-drama Il Caimano del Piave (Giorgio Bianchi, 1951) with Gino Cervi, the romance-drama Il Tenente Giorgio (Raffaello Matarazzo, 1952) starring Massimo Girotti, and the Swashbuckler A fil di spade/At Sword's Edge (Carlo Ludovico Bragaglia, 1952). She appeared in a few Hollywood movies like The Juggler (Edward Dmytryk, 1953), a drama about a survivor of the Holocaust, played by Kirk Douglas. In her most notable American role, she co-starred with Bob Hope in The Seven Little Foys (Melville Shavelson, 1956). However she never achieved star status like her contemporaries Sophia Loren and Gina Lollobrigida, and returned to Europe. In England, she made The Flesh Is Weak (Don Chaffey, 1957) and the war film Battle of the V-1 (Vernon Sewell, 1958), starring Michael Rennie. In Italy, she appeared in the Italian-American coproduction War and Peace (King Vidor, 1957) and the historical film Annibale/Hannibal (Edgar G. Ulmer, 1959) based on the life of Hannibal (Victor Mature).

 

In 1960, Milly Vitale married the American Vincent Hillyer. The marriage produced two sons, Edoardo (1961) and Vincent Jr. (1964). Hillyer’s wife by a previous marriage had been a princess of the Iranian Pahlevi dynasty. Hillyer had converted to Islam, and, as an honorary Iranian citizen, had close ties with the government in Teheran. In May 1961, Hillyer and Vitale sued the Pan American Petroleum Corporation of Tulsa, Oklahoma, to the tune of $30 million for allegedly reneging on an agreement to pay them an annuity of $25,000 and a 2 1/2 % share in net profits in exchange for Hillyer interceding with the Iranian government on an oil exploration contract. The couple divorced in 1966. Vitale returned to the screen in the Italian thriller Gangsters '70/ Days of Fire (Mino Guerrini, 1968) starring Joseph Cotten. She played small parts in the comedies Il medico della mutual/The Family Doctor (Luigi Zampa, 1968) featuring Alberto Sordi, and Contestazione generale (Luigi Zampa, 1970) starring Vittorio Gassman. Vitale retired from acting in the 1970s, after a career of more than 47 films. Her final film role was as the Queen of France in the Swashbuckler La grande avventura di Scaramouche (Piero Pierotti, 1972). The film was originally completed in 1970 but not released until 1972 - after the death of director Piero Pierotti. Milly Vitale died in 2006 in Rome.

 

Sources: Hal Erickson (AllMovie), Glamour Girls of the Silver Screen, Wikipedia, and IMDb.

Actress Gene Tierney in sexy gown as she sits on set of her new movie Shanghai Gesture in which she plays a good girl gone bad under influence of gambling & liquor. (Photo by Peter Stackpole//Time Life Pictures/Getty Images)

Sarah Dumont is an American actress and model, best known for playing the lead female role in the film Scouts Guide to the Zombie Apocalypse photographed by Manfred Baumann from 500px ift.tt/2rFK50F

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Yugoslavian postcard by Studio Sombor. Photo: Sam Lévin.

 

Belgian actress Dominique Wilms (1932) was the glamorous and sexy femme fatale of many French action films of the 1950s and 1960s, often opposite Eddie Constantine. Manyof these ‘Euro Noirs’ are B-films with a strong cult and trash factor.

 

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(September 17, 1931 – June 6, 2005) was an American actress associated with the Method acting school, where she had studied under Lee Strasberg.

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