Jean Arthur by Lusha Nelson

Here is Lusha Nelson’s portrait of Jean Arthur (1935), gelatin silver print. Check out Jean Arthur in the hilarious The Devil & Miss Jones (1941). A must-watch!
Check out Cybill Shepard by Helmut Newton right here

Michael Curtiz on set of Captain Blood

Michael Curtiz on set during ‘Captain Blood’ (1935).

Harry Lachman’s 1935 Dante’s Inferno!

“Dante’s Inferno” (1935, by Harry Lachman). In the 7th circle, Spencer Tracy is shown a vision of hell with souls of suicide victims turned into trees, devoured by harpies. 
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Check out Spencer Tracy & Katharine Hepburn on the cover of Movie Story Magazine right here 

Claire Trevor shot by Otto Dyar

Claire Trevor by Otto Dyar (1935 in“Dante’s Inferno”).
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Check out Lauren Bacall on set of The African Queen right here

Elsa Lanchester on set of “Bride of Frankenstein”

Elsa Lanchester on the set of ”Bride of Frankenstein” (1935, dir. James Whale). 
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Check out Elsa Martinelli at a race track in Rome right here

Ernst Lubitsch by Edward Steichen (1935)

Ernst Lubitsch by Edward Steichen (1935). 
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Check out Steichen’s portrait of Gloria Swanson HERE 

Opening night: “The Bride of Frankenstein”(1935)

Bride of Frankenstein (1935), directed by James Whale, starring Boris Karloff and Elsa Lanchester: Theater box office converted into the face of Frankenstein’s monster to publicize the opening of Bride of Frankenstein. Unknown photographer.
I am not the author of this image. Check out Boris Karloff at the hairdresser here and Mel Brooks’ Young Frankenstein photos here
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Portrait of Vivien Leigh by Norman Parkinson (1935)

Norman Parkinson (1913 – 1990) is a celebrated English portrait and fashion photographer. He revolutionized British Fashion photography thanks to his work for VOGUE. Among the big name he photographed is Vivien Leigh in 1935. 

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“Triumph of the Will” (1934)

© Leni Riefenstahl ‘s “Triumph of the Will” (1934), the infamous propaganda documentary representing Hitler’s rally in Nueremberg, Germany.
Racks were laid so that her cameramen could get traveling shots of the crowd. When rough cuts weren’t up to par, major party leaders and high-ranking public officials reenacted their speeches in a studio for her.Riefenstahl also used a film crew that was extravagant by the standards of the day. Her crew consisted of 172 people who also worked on aerial photography.