Her breakthrough came at just sixteen, when she played Assol in Scarlet Sails (1961), a romantic fantasy that became an instant classic. The following year, she portrayed Gutiera in Amphibian Man (1962), another hugely popular film that turned her into a symbol of youthful idealism and ethereal beauty. Soon after, she moved into more complex roles, showing her range and maturity as an actress.

Vertinskaya’s collaborations with leading directors of the era—including her unforgettable Ophelia in Grigori Kozintsev’s Hamlet (1964)—cemented her reputation as one of the great talents of Soviet theater and film. Beyond cinema, she worked extensively on stage, bringing elegance and emotional intelligence to her performances.

More than just an actress, Vertinskaya became an icon of Soviet culture in the 1960s and ’70s, admired not only for her artistry but also for her poise and individuality. Her legacy endures as that of a performer who embodied grace, intelligence, and the timeless power of screen presence. Take a look at these vintage photos to see the beauty of a young Anastasiya Vertinskaya in the 1960s.

Her unique look, which was a significant departure from the curvy models of the 1950s, included a pixie haircut, a very thin frame, and large, dark-lined eyes with three pairs of false eyelashes. This “mod” aesthetic personified the youthful, rebellious, and free-spirited nature of the Swinging Sixties. Her influence extended beyond just modeling; she had a line of clothing called “Twiggy Dresses” and her name became a marketed brand, even inspiring a Twiggy Barbie doll.

Twiggy retired from modeling in 1970 to pursue an acting career, earning two Golden Globe awards for her first film role in The Boy Friend (1971).

Hermann Ahrens designed the flowing bodywork at Mercedes-Benz’s Sindelfingen facility, featuring sweeping fenders and prominent external exhaust pipes. The long-tail variant remains particularly sought after today. Priced at 28,000 Reichsmark (about $11,200 in 1935), the Special Roadster commanded a substantial premium over the standard 500K at 22,000 Reichsmark (about $8,800 in 1935).

Power came from a straight-eight 5,018cc engine with an innovative supercharging system derived from aircraft technology. The Roots-type blower engaged only at full throttle, delivering up to 160 horsepower and a distinctive howling sound. All-round independent suspension provided advanced handling capabilities for the period.

Mercedes built just 342 total 500K chassis between 1934 and 1936, making any surviving example exceptionally rare. These photos reveal not only the car’s flowing lines and exquisite craftsmanship, but also the spirit of speed, luxury, and timeless elegance that made the 500K Special Roadster a true legend of its era.

Roustabout (1964) was Elvis Presley’s 16th film and a popular one at the box office. The movie is notable for its cast of actresses, particularly the legendary Barbara Stanwyck.

The most significant relationship on set was between Elvis and Stanwyck. A screen legend with a career spanning decades, Stanwyck was Elvis’s most distinguished co-star to date. Elvis was reportedly in awe of Stanwyck and worked hard to meet her professional standards. She, in turn, was impressed with his punctuality, good manners, and ability to deliver his lines. Stanwyck herself was intrigued by the idea of working with Presley, as it would expose her to a younger audience.

Producer Hal B. Wallis, who had worked with both stars before, famously said, “You’ve got it all wrong. Elvis is acting in Miss Stanwyck’s picture.” This quote highlights the high regard in which Stanwyck was held, and the mutual respect between the two stars was a key element of the behind-the-scenes atmosphere.

When Hollywood correspondent Armand Archerd asked Barbara how she and Elvis got along on the set. Elvis showed the “utmost respect” for her, she responded. He insisted on calling her “Miss Stanwyck,” despite her kidding him about it. Summing it up, “I liked him,” she said. Later she told Hedda Hopper, “He’s a perfect gentleman. After working with some people here, I was pleasantly surprised.”

Roustabout was an early, uncredited film appearance for Raquel Welch, who was just starting her career. She was one of the college girls at the tea house. “Roustabout in 1964 was my very first film in Hollywood,” she said. “I was a bit player in the opening moments. Like many adolescents of the 1950s, I had been completely gaga over Elvis. I saw him live in San Diego in one of his early shows. It was my first rock ‘n’ roll music concert ever. That was the first time that I ever conjured up what a sexy guy could be.

“But when I saw him on the set of Roustabout, I was a little bit taken aback because something had changed about him. It seemed like he was more packaged. His clothes were not the same, his hair was obviously dyed now, and it was all sprayed into place. It was a little shocking to me because it was a whitewashed, cleaned-up Elvis. They took all the sex out of him!”

Teri Garr was another future star who had an early, uncredited role. She appeared as a college girl and was a backup dancer in several musical numbers.

On set, Elvis seems to have had cordial, friendly relationships with many of the supporting actresses and extras. For example, extras or bit players (like Diane Libby, Suzanne Covington) recalled that Elvis would talk to people, sign autographs, etc.

After the First World War, motorcycles became increasingly accessible, serving both as affordable transportation and as thrilling vehicles for sport. Young men, and occasionally women, embraced them as a way to break free from traditional norms, speeding along country roads or gathering at racetracks. Riders often wore leather jackets, goggles, and helmets, creating an image of toughness and daring that would influence motorcycle culture for decades to come.

In cities, motorcycles were practical tools—used by police, couriers, and workers who needed to move quickly through growing urban landscapes. In the countryside, they became associated with leisure rides, road trips, and a sense of romance tied to open roads and untamed landscapes. Clubs and informal groups began to form, giving rise to early motorcycle communities and competitions that celebrated both skill and camaraderie.

These vintage photos from Vintage Cars & People capture not only the riders and their motorcycles, but also the spirit of freedom, style, and adventure that defined a generation on the move.

Mr. and Mrs. Keller were natives of Switzerland, the former being born in Zurich. They came to the US about five years ago. Keller secured employment as gardener in Philadelphia. He afterwards went to Washington, D.C. then to Auburn, New York two years back.

Mary Keller, 29 years old, shot and killed her husband, Emil, 30 years old, and shot their 9 months old babe, Anna, Thursday night January 25, 1894 about 8:30 at their residence, No. 10 Burt avenue.

The baby was the second victim of the insane woman’s pistol. The little one’s crib was within easy reach of the bed. It is thought that Mrs. Keller raised herself to a sitting posture and aimed the pistol at the little one’s heart. If she did it was the only one of the three shots in which her aim was not unerring. Then she turned the pistol against her own head and made the wound as described, which resulted in her death.

Shortly after 6 o’clock Friday night death came to the relief of little Anna Keller at the City hospital. It was found that the bullet from the mother’s revolver had penetrated the infant’s right lung and come out on the left side.

Father, mother and daughter were buried in the same casket, which was a special order, about 4 inches deeper and 9 inches wider than the ordinary, and covered with gray embossed plush. The head of Mrs. Keller rested on the left shoulder of her husband, thus hiding from view the wound in her temple and partly covering a discoloration of the right eye. There were traces of suffering in the woman’s face but her husband looks as if he were in slumber. His left arm encircled the body of his wife while his right rested on his hip. Between the mother and father was the infant, a handsome, plump child. Its right hand was clasped by the left of its mother while its left rested on the mother’s left arm. The mother and the infant were laid out in plain white shrouds while the husband and father had a coat and vest of plain black and trousers of a dark pattern.

With Godard, Karina appeared in a string of films that would define an era: A Woman Is a Woman (1961), Vivre sa vie (1962), Band of Outsiders (1964), Pierrot le Fou (1965), and Alphaville (1965). In these works she embodied a new kind of heroine—playful yet melancholic, intelligent yet vulnerable, radiant yet mysterious. Her large, expressive eyes and her understated elegance made her unforgettable, while her performances gave depth and complexity to roles that might otherwise have seemed ephemeral.

But Anna Karina was far more than Godard’s muse. She pursued her own artistic path, directing films such as Vivre ensemble (1973), writing novels, and recording music that revealed her distinctive voice and sensibility. Throughout her career she remained a symbol of freedom, independence, and creative exploration.

Even decades after the height of her fame, Karina’s presence continues to inspire filmmakers, actors, and audiences around the world. She was not simply a star of her time but a timeless figure whose artistry and individuality embody the very essence of cinematic modernity. Take a look at these fabulous portraits to see the beauty of a young Anna Karina from the 1960s.

Lace fingerless gauntlets, often referred to as “mitts,” were a popular and significant accessory in the 19th century, particularly during the Victorian era. More than just a simple piece of clothing, they were a powerful symbol of social status, modesty, and etiquette.

They could be found at automobile shows, technology fairs, and even local exhibitions, posing with cars, appliances, or gadgets while engaging visitors with charm and professionalism. The booth model of the 1950s was as much a symbol of the era’s fascination with progress and modern living as the products they showcased.

Take a look at these glamorous Kodachrome slides capturing booth models from the mid-1950s in all their vivid color and timeless charm.