Katharine in character. Focusing. A little bit looped but still waxing poetic about philosophy and politics.
re-blogged from theotherhayley:
Katharine Hepburn in WOMAN OF THE YEAR (1942)
Good morning! Here is a picture of Georgia O’Keefe’s pastel drawer by Annie Leibovitz via The Story with Dick Gordon:
After the loss of her partner, Susan Sontag, and a significant financial upheaval, Annie Leibovitz needed to get out of the studio. She wanted to shoot whatever she liked, whenever she liked. She tells Phoebe Judge about photographing Emily Dickinson’s house, Thoreau’s cabin, and Virginia Woolf’s writing room. Here’s her shot of Georgia O’Keeffe’s pastel drawer.
Here is the Fresh Air remembrance of Sontag from 2004.
Grand Central Terminal 1935-41. Image credit: New York Municipal Archives.
My summary of primarily New York City theatrical adventures for 2012. What a wild ride this year has been.
Kate is a playwright’s dream actress. She makes dialogue sound better than it is by a matchless beauty and clarity of diction, and by a fineness of intelligence and sensibility that illuminates every shade of meaning in every line she speaks. She invests every scene, each “bit”, with the intuition of an artist born into her art.
The Clock (1945) will be shown this evening on a big screen at the New York Historical Society, introduced by Adam Gopnik and Richard Brody. I have theatre plans (at a New York theatre above 34th Street — think good thoughts for the downtown theatres still closed due to the Hurricane Sandy aftermath, everyone) so will not be able to attend.
I do love this movie and to see it on the big screen and in the New York City in which it is set, is really a grand treat. Some musings after a big screen viewing during last year’s Summer of Garland screenings at the Walter Reade and the Paley Center.
Image here of course features Robert Walker and Judy Garland in a production still.