The Invisible Man 1933 T-Shirt
Carl Laemmle presents H.G. Wells’ fantastic sensation – The Invisible Man Shirt! 👕✨ A must-have for fans of classic horror 🎬👻 and Universal Monsters 🕶️.
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We Want Beer 1933 Historical Vintage T-Shirt 100% Cotton
🍺 We Want Beer! Relive the spirit of the Prohibition Protest of 1931 with this historical T-shirt. Featuring a striking black & white photograph 🖤, this tee captures the passion and humor of an era where voices united for freedom and change.
🛒🧸🔥 Save 10% with code 👉 TUMLR10 🎉
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‘Gold Diggers of 1933’ – dancing through the Depression on Criterion Channel
Gold Diggers of 1933 (1933) opens on Ginger Rogers wearing an enormous silver dollar like a breastplate over her a skimpy costume and singing “We’re in the Money” (with one verse in Pig Latin, no less!). The set is lavish, the costumes sparkle like gold in the spotlights, and the vision of opulence is punctured when the sheriff department swarms and shuts down the show the day before it opens.…
'Gold Diggers of 1933’ – dancing through the Depression on Criterion Channel
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King Kong 1933 Review Finale
It’s Raining Kong! Hallelujah!
By the time Kong goes on Broadway the movie is just about over. And I finally learned how to spell Denham!
For $20 in 1933 money? You got the ticket to die at the theater showing off Kong. And first night the box office rakes in 10K on the box office. Nice. Anyway the Press has come to get the scoop on Kong. It’s where Denham pitches the whole Beauty and the Beast…
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King Kong 1933 Movie Review Part 4
The Things Nobody Talks About
So Jack pursues Kong through the Jungle. Oh. Guess what? The rich guy who started all this survived the chase. He goes back and rallies the remaining crew.
The natives? Fled back to their village… Strangely enough somebody has put the village chief and Shaman to death. Why? Because by nightfall they have switched sides… You’ll see. Anyway Kong tries to hide Fay in…
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King Kong 1933 Movie Review Part 3
Welcome… To Willis O’Brien Park!
So here we are. The Monsters you have been waiting for. But Kong is double special… But we will get there shortly. Anyway they drag this appearance out a bit.
But after the tribe do their celebration, open the gates, tie Fay Wray to the pillars, and close the gates behind them… Kong arrives. A mix of stop motion animation by Willis O’Brien, and practical effects…
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Passing Fancy (Yasujiro Ozu, 1933)
Den Ohinata and Takeshi Sakamoto in Passing Fancy
Cast: Takeshi Sakamoto, Nobuko Fushimi, Den Ohinata, Choko Iida, Tomio Aoki, Reiko Tani, Seiichi Kato. Screenplay: Tadao Ikeda, Yasujiro Ozu. Cinematography: Hideo Shigihara, Shojiro Sugimoto. Film editing: Kazuo Ishikawa.
In Passing Fancy we can see Yasujiro Ozu edging, however reluctantly, toward sound. For a silent movie it has an extraordinary number of intertitles, reflecting a stronger reliance on dialogue to carry the story and the relationships of the characters. Ozu even departs from convention on occasion to insert a title card before the character has spoken the line. The film also shows more of the development of Ozu’s personal style as a director than some of his silent films do: There’s a greater reliance on low-angle camerawork, his so-called “tatami shots,” and a more frequent use of shots of streets and buildings that don’t necessarily carry information about the plot and characters but serve as something like “chapter breaks” in the narrative. But film technique aside, Passing Fancy would be remembered as one of Ozu’s most charming early films. Takeshi Sakamoto plays Kihachi – a character name the actor would retain in other films by Ozu, including A Story of Floating Weeds (1934) and An Inn in Tokyo (1935). The several characters are discrete from one another, although the Kihachi in Passing Fancy bears some resemblance to the one in An Inn in Tokyo in that they are both single parents of a son played by the marvelous child actor Tomio Aoki. (If you’re not confused yet, let me also add that in Passing Fancy Aoki is billed as “Tokkan Kozo,” the title of a 1929 Ozu short film based on O. Henry’s “The Ransom of Red Chief” in which Aoki appeared. Oh, and that in Passing Fancy, the character is named Tomio.) Anyway, Kihachi and Tomio share rundown lodgings with Jiro (Den Ohinata), who works with Kihachi in a brewery. Tomio is a good student, and he’s a bit embarrassed by his illiterate and occasionally drunken father. One night, Kihachi and Jiro encounter a young woman, Harue (Nobuko Fushimi), who has just been fired from her job and is looking for a place to stay. Jiro is suspicious that Harue is “no better than she ought to be,” as the saying goes, but Kihachi is smitten with her and arranges for her to live with and work for Otome (Choko Iida), a woman who owns a neighborhood bar-restaurant. Kihachi begins to spruce himself up to woo Harue, but she’s more attracted to the younger and handsomer Jiro. Eventually, Otome persuades Kihachi that he’s too old for Harue and that he should try to get Jiro to return her affections. Then Tomio falls ill and Kihachi is pressed to find a way to pay the medical bills. Ozu’s generous humor and genuine affection for his characters suffuses the film, and the splendid rapport of Sakamoto and Aoki as actors provides a special insight into the often volatile father-son relationship. There’s a wonderful scene, for example, in which Kihachi slaps Tomio once too often and the boy turns around and begins to pummel his father, who submits, resulting in a deeper understanding between them.
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Every-Night Dreams (Mikio Naruse, 1933)
Tatsuo Saito and Sumiko Kurishima in Every-Night Dreams
Cast: Sumiko Kurishima, Teruko Kojima, Jun Arai, Tatsuo Saito, Mitsuko Yoshikawa, Reiko Tani, Einosuke Naka, Choko Iida, Tsuruko Kumoi, Teruko Wakamizu. Screenplay: Tadao Ikeda, Mikio Naruse. Cinematography: Suketaro Inokai. Production design: Tatsuo Hamada. Music: Masao Koga.
Yasujiro Ozu’s That Night’s Wife (1930), Tokyo Chorus (1931), and An Inn in Tokyo (1935) all have plots that center on the illness of a child, as does Mikio Naruse’s Every-Night Dreams. In two of the Ozu films, a man commits robbery to get money to pay the child’s hospital bills and is sent to jail. The man in Naruse’s film also commits a robbery but, wounded and desperate, he commits suicide – an instance of how much darker in tone Every-Night Dreams is from the Ozu films. It’s also different in that the central figure is a woman, rather than the men who seize the focus in the Ozu films. The dominant figure in Every-Night Dreams is Omitsu, played beautifully by Sumiko Kurishima, whom we meet as a single parent, working as a bar hostess to support her small son, Fumio (Teruko Kojima). Soon, however, the boy’s father, Mizuhara (Tatsuo Saito), shows up, down and out. She’s reluctant to take him back after his earlier abandonment of them, but he’s so needy and the boy is so glad to see his father that she gives in. Mizuhara is a weakling in both body and character, however. He searches for work that will allow Omitsu to give up her rather disreputable job – there’s a scene early in the film in which she gets reproachful glares from the passengers on a streetcar – but he is turned down for factory work because the employer thinks he’s not strong enough for it. And then Fumio is struck by an automobile: He survives, but the doctor says he will need extensive therapy to regain the use of a shattered arm. So Mizuhara pulls off a robbery to get the funds, but is wounded by the police in his escape. He brings the money to Omitsu, but she is appalled by what he has done and urges him to turn himself in to the police. He leaves, and the next morning Omitsu learns that he has drowned himself. In a touching final scene, she urges Fumio to grow up strong. Though Naruse is credited in IMDb with 92 titles as director, from short films in 1930 to his last feature in 1967, his reputation in the West has been overshadowed by that of his contemporaries Ozu, Kenji Mizoguchi, and Akira Kurosawa. But Every-Night Dreams displays a fiercely original talent, with a distinct bias toward portraying strong women like Omitsu. In contrast to Ozu, who preferred to work with carefully framed scenes with little camera movement, Naruse favors an active camera – zooms, pans, dolly shots – and fast-paced editing: The scene in which Fumio’s accident is announced is a series of quick cuts from a toy car rolling off the edge of a table through shots of the boy’s playmates running in with the news. He likes narrative foreshadowing: In one scene, a despondent Mizuhara looks out over the harbor as the camera pans from boats and buildings down to the water itself, while in another, Mizuhara urgently signals to Fumio to stay on the other side of a road until a car speeds past and the boy can cross safely. Yet he also allows his actors room to develop their characters: Kurishima builds up our sense of Omitsu’s inner strength through her expressions and gestures.
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Buongiorno venerdì 27 febbraio 2026: accadde oggi, 4 citazioni con contesto, ricetta per tre persone con vino e tre scelte per stare meglio.
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054 Chevrolet CA Master Eagle 2 door Sedan (1933) 267 YUX by Robert Knight
Via Flickr:
Chevrolet Eagle Master (1933) Engine 206 cu in (3374cc S6 Production 450435 (Eagle + Master + 38845 Mercury and Standard))
Registration Number 267 YUX (Shropshire)
CHEVROLET SET
www.flickr.com/photos/45676495@N05/sets/72157623638181561…
The Chevrolet Eagle (Series CA) was introduced in 1933, replacing the Series BA Confederate. The Eagle was produced early in the 1933 model year, later joined by the cheaper Mercury, later in 1933 the Eagle name was changed to Master to provide Chevrolet with a two-car range, and the first time in ten years they manufactured two models on different wheelbases. The Mercury was also known as the Standard series. The Eagle saw the end of two-seater cars from Chevrolet, and the new Town Sedan included an integral trunk.
The Eagle and Master’s wheelbase increased an inch to 110 in (2,794.0 mm) compared to the Series BA, and was three inches longer than the new Mercury.
It was powered by a larger version of the “Stovebolt Six”, 206 cu in (3,380 cc) six-cylinder engine, producing 65 hp (48 kW).
Diolch am 97,175,850 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 97,175,850 amazing views, every one is greatly appreciated.
Shot 21.08.2022, at Lupin Farm, Kings Bromley, Staffordshire REF 163-054
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Evening dress designed by Busvine, found on the V&A Museum
Description from site:
“This dress is sleeveless, with the neckline cut across the front in a diagonal, covering one shoulder only. The other shoulder has a narrow strap of leopard skin-printed crepe. The shape is figure-hugging–typical of the 1930s–and flares out at the hem, ending in a triangular shaped train at the back. It also has a triangular-shaped mantle made of leopard skin-printed chiffon.
This evening dress is an example of the 1930s vogue for fashion inspired by Africa and animal motifs, displayed firstly in the colonialist exhibitions, then popularised by Hollywood, through the Tarzan movies.”
Date: 1933–1934
