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1959 Coca-Cola
Source: taotothetruth.blogspot.com
Published at: https://digitalpostermuseum.com/soft-drinks/coca-cola-ad-and-poster-collection/
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October 1959 Playboy playmate Elaine Reynolds😍. Another woman (as I mentioned with Dolores Wells) with a body like a bus-Reynolds had a staggering 39E breasts (so big she became the first Playmate to have her boobs reduced🙁), and came from New Jersey (as with Marilyn Lange and Janet Lupo). And yes, Reynolds is wearing pointy-toe, high heel pumps (with black soles instead of tan)👠in the last photo😛.
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Some Like It Hot (1959)
Directed by Billy Wilder
In Prohibition-era Chicago, musicians Joe and Jerry witness a mob hit, and flee the state in an all-female band disguised as Josephine and Daphne, but further complications set in.
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212 MG MGA 1600 Roadster Mark 1 (1959) 853 UYN by Robert Knight
Via Flickr:
MG A 1600 Mk.1 (1959-61) Engine 1588cc S4 OHV Production 31,601
Registration Number 853 UYN (London)
MG SET
www.flickr.com/photos/45676495@N05/sets/72157623797586658...
The MGA is a sports car that was produced by MG from 1955 until 1962, introduced as a replacement for the MG TF 1500 Midget, with more modern streamlined styling. It was a body-on-frame design, and suspension was independent with coil springs and wishbones at the front and a rigid axle with semi-elliptic springs at the rear. Steering was by rack and pinion. The car was available with either wire-spoked or steel-disc road wheels.
The 1489 cc engine fitted with twin H4 type SU Carburettors produced 68 hp at first but soon uprated to 72bhp. Lockheed hydraulic drum brakes were used on all wheels. A coupé version was also produced,
A high-performance Twin-Cam model was added for 1958. It used a high-compression DOHC aluminium cylinder head version of the B-Series engine producing 108 hp and had Dunlop disc brakes on all four wheels along with Dunlop peg drive knock-off steel wheels similar to wheels used on racing Jaguars. These wheels and chassis upgrades were used on a small number of the DeLuxe models built after the Twin Cam had ceased production. The only other distinguishing feature was a Twin Cam script logo near the vent aside the bonnet. The temperamental engine was notorious for warranty problems during the course of production, and sales dropped quickly. The Twin Cam was dropped in 1960 after only 2,111 had been produced.
In May 1959 the standard cars also received an updated engine, now at 1588 cc producing 79.5 bhp these cars had disc braking on the front wheels but remained with drums on the rear. Externally the car is very similar to the 1500 with differences including: amber or white (depending on market) front turn indicators shared with white parking lamps, separate stop/tail and turn lamps in the rear, and 1600 badging on the boot and the cowl. A number of 1600 Deluxe models were produced with leftover special wheels and four-wheel disc brakes of the departed Twin-Cam, or using complete modified Twin-cam chassis left redundant by the discontinuance of that model
Diolch am 97,437,293 o olygiadau gwych, mae pob un ohonynt yn cael eu gwerthfawrogi'n fawr.
Thanks for 97,437,293 amazing views, every one is greatly appreciated.
Shot 21.08.2022, at Lupin Farm, Kings Bromley, Staffordshire REF 163-212
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Ларец шкатулка лаковая шкатулочка миниатюра живопись Федоскино Гендезская крепость Рогатов В.П К
5 000 ₽
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1959 DeSoto Fireflite Convertible
Issued by Western Models Collector’s Edition (WMCE) It is 1:43 scale and crafted in white metal.
A Limited Edition, # 05 of 10.
The model is in Bimini Coral & Pearl White.
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North by Northwest (Alfred Hitchcock, 1959)
Cary Grant in North by Northwest
Cast: Cary Grant, Eva Marie Saint, James Mason, Jessie Royce Landis, Leo G. Carroll, Josephine Hutchinson, Martin Landau, Philip Ober. Screenplay: Ernest Lehman. Cinematography: Robert Burks. Production design: Robert F. Boyle. Film editing: George Tomasini. Music: Bernard Herrmann.
There’s a famous gaffe in North by Northwest, in the scene in which Eve Kendall (Eva Marie Saint) shoots Roger Thornhill (Cary Grant). Before she fires the gun, you see a young extra in the background stop his ears against the noise, even though it’s supposed to surprise and panic the crowd. It’s so obvious a mistake that you wonder how the editor, George Tomasini (who was nominated for an Oscar for the film), could have missed it. The usual explanation is that he couldn’t find a way to cut it out, or didn’t have footage to replace it. And after all, in the days before home video, would the audience in the theater notice? Even if they did, they would have no easy way to confirm that they had actually seen it. But I have a different suspicion: I think that they showed the goof to Alfred Hitchcock, and that he laughed and left it in. For above all else, North by Northwest is a spoof, a good-natured Hitchcockian jest about a genre that he had virtually invented in 1935 with The 39 Steps: the wrong man chase thriller, in which the good guy finds himself on the run, pursued by both the bad guys and other good guys. The ear-plugging kid fits in with the film’s general insouciance about plausibility. A couple who climb down the face of Mount Rushmore, she in heels (and later in stocking feet) and he in street shoes? A lavish modern house with a private air strip that seems to be on top of the mountain, only a few hundred yards from the monument? A good-looking man who seems to go unnoticed by the crowds in New York and Chicago and on the train in between, even though his face is on the front page of every newspaper? A beautiful blond woman who shows up just at the right moment to take him in and not only hide him on the train but also make love to him? Only a director with Hitchcock’s skill and aplomb could take on such a tall tale and make it work, keeping you thoroughly entertained in the process. Of course, he had one of the greatest leading men of all time to work with and a leading lady with enough skill to evoke his favorite, Grace Kelly, without embarrassing herself. He had Bernard Herrmann’s wonderful score, alternately pulse-pounding and romantic, and Robert Burks’s cinematography. He had James Mason, Martin Landau, and Jessie Royce Landis as support. I would call it my favorite Hitchcock film, but only when I’ve just seen it, and my ranking will probably change the next time I see Notorious (1946) or Rear Window (1954) again.
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Ukigusa (Floating Weeds) (1959)
A theatre troupe leader returns to a town he once lived in and tries to reconnect with his son from long ago, but his mistress becomes suspicious.
Most striking is the colour palette which accentuates the human forms and contrasts with the plain rooms, suggesting that the portrayal of human life is also a staged performance like the theatre in the narrative. This reflects the fact that the relationships some of the characters have are fictions and the drama will come from when they are revealed.
By showing naturalistic human life, it naturally leaves a few scenes in which the action is slow, leaving long pauses and slowing the pace to a drag. Much of the dialogue is also rather trivial and uninspired, only seeming to pick up when characters are arguing or philosophising, though even the latter is generic.
The exploration of the human condition had some engaging points and it was interesting to see the cynicism in the older characters be disproved by the next generation. Although women aren’t portrayed very positively in the first half, this largely shifts when the barber’s daughter is honest and stands up for herself.
It’s not a surprise that the theatrical performance in the story was a flop since it was rather abstract and unnatural without being enertaining which makes it odd that the audience had to see a basic plot device at all. It was difficult to have any sympathy for the main character by the end after he hit women so many times.
2/10 -It’s not THE worst, that’s something else. But…-
