Jake Gyllenhaal and Michelle Monaghan live an untimely romance in "Source Code" (2011)
'The Bad Girl' - Audrey Totter
Robert Taylor and Audrey Totter in "The high wall" (1947)
One is certainly hard-pressed to think of another true "bad girl" representative so closely identifiable with film noir than hard-looking blonde actress Audrey Totter. While she remained a "B"-tier actress for most her career, she was a "A" quality actress and one of filmdom's most intriguing ladies. She always managed to set her self apart even in the most standard of programming. She played as the tired and vexed wife in "The Set-Up", the easy-pick up (The Postman Always Rings Twice) or the selfish gold-digging tramp (Tension and The Unsuspected), the "bad girl" in Main Street After Dark (1945) etc.
Ida Lupino, Jan Sterling, Cleo Moore, Audrey Totter in Women’s Prison (1955) directed by Lewis Seiler
"A list compiled by writers at Time magazine of the top ten movie villains EVER included Ann Savage in the film Detour. She was one of two females given that distinction. Her performance in the film is amazing because she is vicious, brutal, suicidal, and bullying, yet sexually fascinating in her trampiness and foxiness and also, at some level, she’s totally sympathetic.
Ann Savage, with careful coaching from director Ulmer, performed so convincingly and powerfully that she defined an archetype, the classic ambitious American female who dominates the male, pushing him relentlessly to strive for wealth. But that drive to achieve isn’t unique only to underdog females in a patriarchal society; one where they had to work through the male to achieve power and money. The near compulsion to make it is built into the American character". Source: pulpmetalmagazine.wordpress.com
Ann Savage (19 February 1921, Columbia, South Carolina - 25 December 2008, Hollywood, California)
Ann Savage was born Bernice Maxine Lyon in Columbia, South Carolina, on February 19, 1921. For a tough cookie who achieved cult stardom with her hard-bitten blonde looks and "Perfect Vixen" tag, Ann Savage in real life was a lovely, spirited, gentle-looking lady. She may have peaked only briefly in 40s Hollywood lowbudgets, but she made the most of it during that fairly short tenure. Out of the dozens of movies under her belt, one film noir part that came her way in 1945 shot her to femme fatale infamy and, to this day, remains her claim to fame. It took only four to six days to shoot, but Detour (1945) stands out as one of the best examples of surreal film noir and the unforgettable dialogue and riveting teaming of Ann and sulky co-star Tom Neal are the primary reasons for its enduring fame.
"Her pinup photos and fashion portraits were shot by the top photographers and are now collector's items. It is a tremendous irony that she is known today for her most deglamorized role, Vera. She played down her own fame, saying she "was never really a star". Ann was a laugher herself. She loved to watch comedies and westerns. 
She had a home full of movie and still cameras, and several generations of video. Her movie collection included 16mm, Super8mm, VHS, LaserDisc, and DVD formats. She repeatedly watched the films of Tati, Chaplin, Laurel and Hardy, the early funny ones of Woody Allen, Clint Eastwood, Martin Scorsese, and of course, Ulmer. She was mercurial and took personal exception to Alfred Hitchcock ("a bastard"), Orson Welles ("a blowhard") and Budd Boetticher ("a mean bastard"), and would not watch their work". -"Savage Detours The life and work of Ann Savage" (2010) by Lisa Morton and Kent Adamson 
Ann Savage as Vera and Tom Neal as Al Roberts in "Detour" (1945) directed by Edgar G. Ulmer
"Detour" justifiably receives such extensive treatment in Rhodes’ volume because it is a truly inexhaustible work of cinema. The film seems to take up a response to its own meagerness: to the complaint advanced by one critic upon the release of the film that all Detour shows us of Los Angeles is a parking lot, the film seemingly replies, “all we ever see of Los Angeles is a parking lot.” The film is what Jean-Paul Sartre’s Huis-clos (No Exit, 1944) wishes it could be. 
Several of the authors mention that it took Ulmer only four days to shoot Detour. You look up from the page after reading this simple statement. It is a humbling fact to anyone who has ever agonised over a sentence. If the claim seems implicitly to draw comparison with a biblical act of creation (which took three days longer), it is only because Detour so effectively creates a world, one just as rickety, violent, and damned as the one we inhabit". Source: www.sensesofcinema.com
Humphrey Bogart as Rick Blaine and Ingrid Bergman as Ilsa Lund in Casablanca (1942)
Even when Casablanca is the subject of discussion, Augé often leaves it in memory: “It’s because we need to believe in love, in heroism, and in self-denial that we instinctively adhere to the most romantic version of the story”, Augé reckons, “and, in the secrecy of our memory, give way to the intimate and personal montage of our film” (p. 30). Such an approach to criticism doesn’t demand endless reviewings of the work; more a return to the memory of the film, the reediting of the film in one’s mind.
Many a commentator has drawn the comparison between cinema and death, from Jean Cocteau to Bazin, while Bernardo Bertolucci, who worked with both Trintignant and Marlon Brando (whom Augé also mentions), believed that “when you show the face of an actor, the time can be ten seconds or three minutes – but time passes in his face. ‘Time is death at work.’ (2)
Even in the viewing experience, let alone the gap between Brando in A Streetcar Named Desire (Elia Kazan, 1951) and Apocalypse Now (Francis Ford Coppola, 1979), we know that death is working upon the actor on screen.
Solitude, Augé believes, is part of cinema, whether or not it is exacerbated by the feeling that there is no one around any more to share one’s love of Humphrey Bogart or Ingrid Bergman: “Cinema is an art of solitude, not because some of its major works have as their principal character a solitary individual, but because all its technical resources concur in ‘figuring solitude.’”(p. 46).
One of the ways in which film figures solitude is cinematic identification, and here Augé differentiates between identification in film and in the novel: In the movies the image precedes the stage of identification. And it is the image of a real body; it has none of the blur of a mental image that, however insistent or charged it may be, has gone through the double filter of writing and reading. (p. 47)
Casablanca: Movies and Memory, by Marc Augé, translated and with an Afterword by Tom Conley, The University of Minnesota Press, Minneapolis, MN, 2009. Source: www.sensesofcinema.com
"It has been 10 long years, but, finally, John Carpenter is back. The director of such classics as Halloween, Escape From New York, The Thing, Big Trouble in Little China, and They Live, has returned with a brand new horror project entitled The Ward, his first film since John Carpenter's Ghosts of Mars in 2001.
Amber Heard posing for InStyle US June 2011: The Sexy Dozen
The Ward centers on a troubled young woman named Kristen (Amber Heard), who is placed in a mental institution after a traumatic event which she has no recollection of. Shortly after meeting the other four young women of The Ward (Danielle Panabaker, Lyndsy Fonseca, Mamie Gummer, Laura-Leigh) and Dr. Stringer (Jared Harris), certain things don't add up, and Kristen realizes she is not safe in The Ward.
Kristen (Amber Heard), a beautiful but troubled young woman, finds herself bruised, cut, drugged, and held against her will in a remote ward of a psychiatric hospital. She is completely disoriented, with no idea why she was brought to this place and no memory of her life before being admitted. All she knows is that she isn't safe.
Amber Heard attending "Dior Celebrates The Launch Of DIOR VIII" Hosted By Charlize Theron
Amber Heard attending the Veuve Clicquot Polo Classic
"That’s because in the past year, this Louisville, Ky. native, has quickly rocketed from under-the-radar indie actress to movie industry It Girl.
First she earned an Academy Award nomination for her turn as a steely teen in “Winter’s Bone”. Then she took on the role of young shape-shifter Mystique (non-mutant name: Raven Darkholme) in “X-Men: First Class,”her first attempt at blockbuster fare, which arrives in theaters Friday. And now Lawrence is playing her buzziest role to date: the teen warrior Katniss Everdeen in the adaptation of the popular post-apocalyptic young-adult book series “The Hunger Games” which is currently shooting in Wilmington, N.C.
“The Hunger Games” fan fervor has made her the subject of intense Internet chatter and also recently landed her on the cover of Entertainment Weekly. So how is Lawrence handling all of the sudden attention?
-Did you feel like “X-Men” had gotten you into the physical shape you needed to be in for “The Hunger Games” or did you have to go through a different regimen?
Lawrence: I had to go through a different regimen. For “X-Men” I was lifting a lot of weights. I actually lost a lot of mass when I quit “X-Men” because I was working out so much and very muscular and strong. With “Hunger Games,” I need to be smaller and thinner. I do need to be as strong, but my character’s younger. Strong arms are something that comes with age, so that had to be taken down a little bit". Source: www.washingtonpost.com
Jennifer Lawrence’s is no run-of-the-mill Hollywood ingénue. Part Renee Zellweger, part Jodie Foster, part Tina Fey, there’s something special about her. Pretty as a picture, Jennifer Lawrence struck poses in mix ‘n’ match floral prints and in flowing nude Rochas gown for Marie Claire UK magazine, July 2011 issue.
Julianne Moore as Sarah Palin in "Game Change" (TV 2011)
Julianne Moore with floral motifs (customes design by Talbots S/S 2011)
Leighton Meester presents Lovestruck Fragrance Launch at Harrods on 9th June 2011
Floral Dress Up Styling Jelena loves flowers and enjoys dressing herself in clothes with floral motifs. She has a lovely garden with a variety of flowers in bloom and has invited her friends over to see them. Since she will be taking them around her garden, Jelena needs her dress to match her passion for flowers. Dress her in clothes with the best floral motifs along with a fitting makeover.
"Presently, Bear is gearing up for more “Man vs. Wild” on Discovery, and he confirmed that one of the upcoming episodes would feature a fellow in-shape star – Jake Gyllenhaal.
“He trains hard as well, you know. He’s meant to be the fittest man in Hollywood so I was a little bit nervous taking him on a ‘Man vs. Wild,’ but he was incredible,” Bear said of the episode, which is currently being kept under wraps. While the reality star wasn’t able to reveal where he went with Jake – rumors on the web suggest it was to Iceland – he did admit it was a tough adventure.
Jake Gyllenhaal visiting Iceland on 9th April, 2011 (c) visir.is, vf.is, suchabeautifulwaste & 66° North 
Jesse Eisenberg in "30 Minutes or Less" (2011)
Mélanie Laurent as Soshanna in "Inglorious Basterds" (2009)
While Gyllenhaal has been known to seek out these kind of action-y roles, and Laurent is so new in her career no choice could be seen as unexpected, Eisenberg seems to be really stretching here". Source: www.cinemablend.com
