by CU Newswire | Aug 19, 2026 | Yesteryear
These stunning portraits capture Catherine Deneuve at the height of her elegance during the filming of the 1975 romantic comedy
Le Sauvage. Shot on set and in promotional sessions, the photographs showcase her cool beauty, refined features, and effortless sophistication that defined her screen presence throughout the 1970s.
Whether posing in stylish period costumes or captured in candid moments between takes, Deneuve radiates the timeless allure that made her one of the most iconic actresses of French cinema. These images offer a captivating glimpse into her work and style during one of the most memorable periods of her career.
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by CU Newswire | Aug 19, 2026 | Yesteryear
Ron Greene first met Robert Redford in 1959 when Redford was a student at the American Academy of Dramatic Arts in New York and Greene was working as a photographer. Redford contacted Greene for head shots, and they had several photo sessions. Greene described Redford as a “natural before the camera” who required very little direction. Greene also mentioned visiting Redford and his wife, Lola, and believed a friendship had developed between them.
However, after a family tragedy where Redford and his wife’s infant son died, the contact between them was lost. Years later, when Greene saw Redford on a film set, he attempted to reconnect, but Redford did not remember him. Greene then recalled that Redford had not paid for a photograph he had ordered and was glad he had brought a copy with him, which Redford immediately recognized and paid the seven dollars he owed.
“Robert Redford was my friend. Or maybe he wasn’t. Time has a way of shifting the narrative.” Here’s the story as
told by Greene:
“I met Redford in 1959 when he was a student at the American Academy of Dramatic Arts. I had come to New York earlier in the year hoping to become a fashion photographer. That ambition faded quickly when I realized I was more interested in the models than the clothes. Not quite ready to give up photography, I drifted into theater work.
“I was living in my second floor photo studio in Hell’s Kitchen, just scraping by, when Redford phoned about head shots. I had never heard of him, few people had. He came by a few days later and we started what would be the first of several photo sessions.
“I noticed immediately that he stood out from the other acting students who passed through my studio. He seemed more intense, more intelligent, and more introspective than most. I liked him immediately, I think because he was totally devoted to his career but not in the least pretentious. There wasn’t anything “theatrical” in his manner.
“But what a natural before the camera! Over the years people have asked how I got Redford to pose as he did. The answer is that I did very little directing; I just pointed the camera and he did the rest. People have also asked about the cigarettes. He didn’t inhale.
“Redford returned to the studio two or three of times over the next few weeks and I visited him and his wife Lola once or twice in their Upper East Side apartment. A friendship developed (at least in my mind), but was interrupted by a terrible family crisis. Lola and Robert’s month’s-old child, Scott, died of sudden infant death syndrome.
“I wanted to call to see how they were doing, but felt awkward and just couldn’t get myself to pick up the phone. It seems dumb now, but that’s the way it was.”
Greene’s story is a personal reflection on the nature of their relationship, questioning whether their connection was a true friendship or merely a professional one that he had exaggerated in his own mind.
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by CU Newswire | Aug 19, 2026 | Yesteryear
Shelley Winters (born Shirley Schrift; August 18, 1920 – January 14, 2006) was an American actress, whose film career spanned seven decades. In the 1950s, Winters underwent a massive career transformation, evolving from a Hollywood “blonde bombshell” into a highly respected, Academy Award-winning dramatic character actress.
At the start of the decade, Winters was under contract with Universal-International Pictures, where she was pushed into highly sexualized, “bombshell” roles. She frequently played femme fatales, barflies, and Western heroines in films like Winchester ’73 (1950) and Frenchie (1950). During this time, she was celebrated as a symbol of mid-century glamour and style.
Disenchanted with being typecast, Winters actively fought for serious roles. Her definitive turning point came in 1951. In George Stevens’ A Place in the Sun (1951), she deliberately shed her glam image to play Alice Tripp, a desperate, plain factory worker. The performance earned her an Academy Award nomination for Best Actress and redefined her trajectory. She delivered iconic performances in Charles Laughton’s cult noir thriller The Night of the Hunter (1955) as Willa Harper and in Robert Aldrich’s The Big Knife (1955).
Frustrated by Hollywood’s continued reliance on shallow roles, Winters temporarily left Los Angeles for New York City in the mid-1950s. She joined the prestigious Actors Studio to study method acting and reestablished her critical reputation on Broadway, starring in the acclaimed, drug-themed play A Hatful of Rain (1955).
Winters capped off the decade with the ultimate validation of her artistic shift. She won her first Academy Award for Best Supporting Actress for her raw portrayal of Mrs. Van Daan in The Diary of Anne Frank (1959).
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by CU Newswire | Aug 19, 2026 | Culture Pop!
by CU Newswire | Aug 19, 2026 | Culture Pop!
