Lana Turner in Marriage Is a Private Affair by Robert Z. Leonard (1944)

Elissa Landi was chosen for her role in The Sign of the Cross (1932) because Cecil B. DeMille said she “combines mysticism and sex with the pure and the wholesome; she has the depth of the ages in her eyes, today in her body and tomorrow in her spirit.”

Loretta Young and Joseph Cotton by Alex Kahle for The Farmer’s Daughter (1947).

Louise by George Hommel, 1927.

Norma Shear with a borzoi companion for Upstage (1926). Photo by Clarence Sinclair Bull and Norma’s interesting costume by André-ani for MGM. (Thread)

Bette Davis poses at her home for a photo by “Muki” Munkacsi, 1937. (Easter Rabbit Hole Thread Alert) #botd

Louise in a soft focus photo for a British cigarette card, 1928-29.

Bette Davis, 1931. #botd

Grace Bradley and Charles Farrell in Girl Without a Room (1933).

Dorothy McGuire by Ernest Bachrach, 1946.

Rosemary Lane by Ray Jones, 1940. #botd

Colleen Moore pioneers the sexy Easter Bunny look

Barbara Stanwyck by Ernest Bachrach, 1936.

Louise as imagined by contemporary French artist François Roca: “Le Journal d'une Fille Perdue” (Diary of a Lost Girl).

Marguerite Churchill for Girl Without a Room (1933). Photo by Eugene Robert Richee.

Jean Harlow by Ted Allan, 1936.

Ingrid Bergman and Lars Hanson in Walpurgis Night (1935) 🌙

Gene Tierney by Frank Powolny, 1940.

Doris Day by Bert Six, 1949. #botd

Sally Rand by Eugene Robert Richee for Bolero (1934). #botd

Ellen Drew, 1939.

Louise in costume for A Girl in Every Port (1928). Photo by Max Munn Autrey.

“A short bid for the new long shorts is deftly expressed in the novel black and white linen midriff play costume worn by Priscilla Lane. White yarn X's mark the spots of interest on the shorts and bolero-collared bodice.” Photo by Ray Jones, 1942. Louella Ballerino, designer.

Jane Greer by Ernest Bachrach, 1946.

Louise by Eugene Robert Richee. Paramount was experimenting with new hairstyles for her role as a Parisian escort in Evening Clothes (1927).

Katharine Hepburn by Ernest Bachrach, 1935.

Susanna Foster by Ray Jones for Universal, 1944. She had recently found a breakout role as Christine in The Phantom of the Opera (1943), the studio’s biggest hit of the year.

Hedy Lamarr as the exotic native woman “Tondelayo” in White Cargo (1942). Photo by Clarence Sinclair Bull for MGM. (Thread)

Louise in her uncredited screen debut for The Street of Forgotten Men (1925).

Susan Hayward, 1941.

Bette Davis by Elmer Fryer, 1934.

Bessie Love, 1917.

Louise in a still from Love ‘Em and Leave ‘Em (1926).

Ramsay Ames for Calling Dr. Death (1943). #botd

“Evelyn Brent wears a costume to harmonize with her modern living room. A gray and silver interior is accented with cerise and mauve and Miss Brent wears pajamas in chartreuse and gold brocade to advantage in such surroundings.” Photo by Otto Dyar, 1928:

Anna Q. Nilsson, 1927. #botd

Louise from It’s the Old Army Game (1926). A still that looks more like an illustration.

Fay Wray and Gary Cooper for The First Kiss (1928). Photo by George Hommel.

Vivien Leigh models a pale blue satin coat with gold trim and amethyst-studded sleeves. Photo by Robert Coburn, 1940.

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Dancer Anne Pennington by Edward Thayer Monroe for George White’s Scandals, NYC 1921.

Myrna Loy luxuriates with her impressive hookah in The Desert Song (1929). Photo by Elmer Fryer.

Louise by George Hommel, 1927.

Gail Patrick by Eugene Robert Richee, 1936.

Barbara Stanwyck from a still for A Message to García (1936).

Jeanette MacDonald by George Hurrell, 1933.

Sean Young for Blade Runner (1982).

Louise as Thymian awakens to find she’s been paid for her first night at the brothel. With Marfa Kassatskaya as the madam and “Speedy” Schlichter (R) in a still from Diary of a Lost Girl (1929).

Louise Brooks and Thomas Meighan in a publicity still for the lost silent gangster movie THE CITY GONE WILD (1927) The film was directed by James Cruze - BOTD in 1884