1950's Sweater Girls in Hollywood - Hot Pics

'Sweater girls' was a term coined in the late 1940's and 1950's to describe movie star sex symbols like Marilyn Monroe, Lana Turner and Jayne Mansfield who introduced the popular fashion for wearing tight sweaters and blouses with cone shaped bras called 'bullet bras' which had pointed tips, and which showed off their breasts to great effect.

The bullet bra was also known as a torpedo or cone bra, and it created a silhouette that was a definitive part of 40s and 50s culture.

Here is a selection of hot pics of beautiful stars and starlets of the 1950's, some famous, some completely unknown. All are beautiful, all are tasteful, and all are truly memorable.

Anita Ekberg, Big, Blonde and Beautiful

Anita Ekberg was Sweden's answer to Marilyn Monroe and Jayne Mansfield combined. For a while during the 1950's she was one of the most famous film stars in the world and certainly one of the sexiest. She loved to show off her curvy, voluptuous body with enormous breasts. They got plenty of exposure.

In 1952, Anita was a cover girl for Look magazine and by January 1956, she was on the cover of Life. It helped that she was happy to take part in publicity stunts, as when her dress burst open in the foyer of the Berkeley Hotel in London, and there just happened to be a press photographer on hand to capture the event.

There's no doubting Anita's main assets. Take a look at these photos and you'll see what we mean. But apart from her uniquely large bust and beautiful hour glass body Anita had a truly beautiful face, which was loved by the camera. She was just stunning. In addition she had something else going for her, something that her competition didn''t have - I'm talking about talent, raw acting talent.

Anita Ekberg was born Kerstin Anita Marianne Ekberg on September 29, 1931 the eldest girl of eight children. She grew up to be a beautiful young girl and became a fashion model. She won the Miss Sweden beauty title in 1950, aged 19 which led to a trip to America and a movie contract and she became one of the most popular pin up glamor models of the 1950's. She seemed naever to be out of the public eye and she made the most of her fame with a succession of celebrity lovers including Tyrone Power, Errol Flynn, Yul Brynner, Frank Sinatra and Gary Cooper. Not a bad list!

After two films with Dean Martin and Jerry Lewis, then at their peak of fame, Anita found movie superstardom first in King Vidor's 'War and Peace' in 1956 and then Federico Fellini's 'La Dolce Vita' in 1960, in which with Marcello Mastroianni she took part in a scene romping in the Trevi fountain, which has gone down in movie legend. She had a couple of small roles in Fellini movies thereafter but, as her weight increased, so her desirability did the opposite.

Anita married twice, each time to actors. The first, from 1956 to 1959 was to Anthony Steel the British actor, and then from 1963 to 1975, she was married to the actor with the wonderful name of Rik Van Nutter. She is still alive today and living happily in Italy.

Yankee Doodle Dandy - A Cagney Masterclass

For anyone who wonders why James Cagney stands in the very top echelon of Hollywood movie stars, take a look at 'Yankee Doodle Dandy', made in 1942.

It would be terribly easy from a postmodern, politically correct, and sophisticatead perspective to regard the movie as jingoistic wartime propaganda. Indeed, this flag-waving musical extravaganza biopic, detailing the life of patriotic |Irish American song-and-dance man George M. Cohan (the first performer to be awarded the Congressional Medal of Honor), gushes with sentimental, simplistic musical numbers invariably characterized by Cohan's trademark stiff-kneed, effervescent, brash dancing style and championing through their lyrics the most stolid American institutions: "Grand Old Flag,", "Give My Regards to Broadway", "Over There," and the title song, to name a few. The film is a flashback - told by a modest Cohan to FDR - that ends with a self-conscious advertisement for intervention - "I wouldn't worry about this country if I were you. We've got this thing licked. Where else in the world could a plain guy like me come in and talk things over with the head man?"

But such a cynical reading would fail grossly to miss something surprising and touching and grand that runs through 'Yankee Doodle Dandy' like a clear river, and that is James Cagney's magnificent sincerity in the title role. This is evident in his way of embarrassedly smiling to punctuate his thoughts, in his soft and civilised speaking voice, in the astonishing virtuosity of his dancing which is persuasive and original in style, unrelentingly athletic while also being childish, playful, and beautifully meaningless: and in something we rarely see onscreen anymore since alienated distance has overtaken Hollywood performance, and that is Cagney's complete and loving belief in everything he does. Michael Curtiz's direction never overplays him, James Wong Howe's lush black-and-white cinematography never fails to show every nuance of his posture and expression in articulate light. And when his hoofer father (Walter Huston) is falling away into death, with Georgie at his bedside, Cagney gives in to a rush of honest feeling that carries him into tears. So mucn, in fact, do we care for this man we forget we are watching a performance. Cagney has become Cohan. Even more, he has become the optimistic spirit of the screen. A beautiful masterpiece of James Cagney's acting brilliance.

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Douglas Fairbanks - The First Swashbuckler

Douglas Fairbanks was the laughing daredevil of the silent screen in swashbuckling roles in adventure movies such as 'The Thief of Bagdad', 'Robin Hood', and 'The Mark of Zorro'. He invented the slyly self-parodic action hero, setting the tone for a line of successors from Errol Flynn to Bruce Willis.

Fairbanks was born Douglas Elton Thomas Ullman in Denver, Colorado on May 23, 1883. He moved to New York in the early 1900s intent on pursuing an acting career and he made his Broadway debut in 1902.

Initially a comedian, he played the drug-crazed detective Coke Ennyday in 'The Mystery of the Leaping Fish' in 1916. Fairbank's athleticism - he loved doing his own stunts - trademark moustache, and cheerful air suited him to swashbuckling, with serious swordplay leavened by graceful slapstick.'The Mark of Zorro' in 1920, in which he is both macho outlaw and comedy fop, was the first of the increasingly elaborate star vehicles, such as 'The Three Musketeers' in 1921, that he wrote and produced annually for a decade.

In the talkies, Fairbanks's star shone less brightly after teaming with his second wife, Mary Pickford, for a creaky 'The Taming of the Shrew' in 1929, but his farewell role was wryly dignified as a middle-aged great lover in 'The Private of Don Juan' in 1934.

Fairbanks's legacy is not just confined to the screen. Ever financially savvy, he started his own production company, the Douglas Fairbanks Film Corporation, in 1917, which helped propel him to become one of Hollywood's top earners. Such independence proved to be a thorn in the side of the studios, who attempted to monopolize film distribution. Undeterred, his business acumen led him to found the United Artists studio in 1919 together with Charles Chaplin, D. W. Griffith, and Mary Pickford. They created their own disttributorships, took artistic control over their output, and reaped a greater share of the profits. Fairbanks was also one of the founders of the Academy of Motion Picture Arts and Sciences, and co-hosted (with director William C. de Mille) the first Academy Awards ceremony in 1929.
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The Man From Laramie

'The Man from Laramie' was the last of a run of outstanding Westerns made by Anthony Mann, shortly to graduate to bigger (perhaps less interesting) projects like 'El Cid' in 1961, and James Stewart, whose angst-driven cowboys of the 1950's run parallel with his self-doubting Hitchcock heroes. The plot hook is almost noirish, prefiguring 1971's 'Get Carter', as Will Lockhart (Stewart) investigates his brother's death and gets embroiled in the Lear-like family struggle of a blind cattle baron (Donald Crisp) whose beloved son (Alex Nicol) is a sadistic weakling. Audiences in 1955 were shocked by the scene in which Nicol has his minions hold down Stewart and repays him for a wound by shooting the hero's hand at point-blank range.

Trail-boss Vic Hansbro (Arthur Kennedy) is - as in Mann's earlier Western 'Bend of the River' in 1952 - the hero's near-equal in manliness, but turns out to be his demonic counterpart, driven by resentment of the family whose ranch he runs but will never inherit to a dirty deal involving selling guns to renegade Apaches. 'The Man from Laramie' is a taut, tragic tale with a memorable hit theme song ("The West will never see a man with so many notches on his gun") and Mann's trademarked sense of the way desperate and obsessed men relate to each other and the dangerous landscape that emphasizes their extreme psychological states.

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Gregory Peck

Gregory Peck entered movies in brooding, handsome, troubled roles, and emerged as one of Hollywood's most treasured movie stars, representing decency, conviction, intelligence and moral fortitude. He wowed audiences with his strong physique and suave good looks, and, with four Oscar nominations and one Oscar win, the critical establishment did not fail to acknowledge his talents as an actor.

He made his big screen debut in 1944, as a resistance fighter in 'Days of Glory', and then won his first Academy Award nomination for his second film role in the same year, as a priest in 'The Keys of the Kingdom'. Peck went on to star, mostly as the good guy hero, in more than 60 movies. After worthy performances in 'Cape Fear' in 1962, 'spellbound' in 1945, 'Roman Holiday' in 1953, and 'Moby Dick' in 1956, he stoically faced the end of the world in 'On the Beach' in 1959, and won the war in 'The Guns of Navarone' in 1961.

But it was his role as the small-town defense lawyer Atticus Finch in 'To Kill a Mockingbird' in 1962 that finally won him an Oscar for Best Actor.

Peck remained a star into old age, and also stuck around to do the cameos in remakes of his earlier vehicles 'Cape Fear' and 'Moby Dick' in the 1990's. He always chose his roles with great care. Also noted for being civic-minded, for his Roman Catholic faith, and for his liberal politics, he served as president of the Academy Awards body, and was active in the Motion Picture and Television Relief Fund, American Cancer Society, National Endowment for the Arts, and other causes. He won many awards, including the Academy's Jean Hersholt Humanitarian Award in 1967, and a Lifetime Achievement Award from the American film Institute in 1989, and the Presidential Medal of Freedom for his humanitarian work.

Jayne Mansfield - Cartoon Pneumatic Blonde

Jayne Mansfield was a pneumatic Blonde bombshell whose few substantial film roles tended to use her as a living cartoon. Below Marilyn Monroe and Kim Novak but above Sheree North and Mamie van Doren in the 1950's pinup pecking order, Mansfield was a limited but likable screen performer, lucky enough to feature in one bona fide movie classic, Frank Tashlin's rock'n'roll-packed exercise in visual va-va-voom, 'The Girl Can't Help it' in 1956. Here, she sends up her own celebrity as a gangster's girl promoted as a singing star by press agent Tom Ewell. She wobbles down the street to Little Richard's title song, driving men into Tex Avery Wolf-like frenzies of lust with her mere preence, and gamely poses for a series of juvenile
sight gags (holding a pair of milk bottles to her breasts) that exploit her image as an American sex fantasy.

Mansfield's first film roles were as dumb blonde underworld hangers-on or murder victims ('Illegal' in 1955) but she was relaunched as a comedy star after her Broadway success in 'Will Success Spoil Rock Hunter?' which Tashlin filmed in 1957.
Wondeful as Mansfield was in Tashlin's duo, there wasn't much more she could actually do in Hollywood movies. Soon after being uncomfortably pursued by Cary Grant in the archly titled 'Kiss Them for Me' in 1957, she left for Europe, appearing as a striptease queen in'Too Hot to Handle' in 1960, before making 'It Happened in Athens' in 1961 and 'Heimweh nach St. Pauli'
the following year (Homesick for St Pauli).

Back home, she appeared discreetly nude in 'Promises! Promises!' in 1963 and was one of the "Technical Advisors" in 'A Guide for the Married Man' in 1967. Mansfield played a prostitute in the tawdry drama 'Single Room Furnished' in 1968, which wasn't completed until after her tragic death in a car crash.

Cesar Romero, Latino Superstar

Born of Cuban parents in New York City, Cesar Romero started out as a ballroom dancer before he appeared in the 1927 production of 'Lady Do' on Broadway. His screen debut was in 'The Shadow Laughs' in 1933, and he played various Latin hoods and gigolos in movies such as 'The Thin Man' in 1934 and 'Hold 'Em Yale' the following year. After playing sidekick in 'Return of the Cisco Kid' in 1939, ;he took over the lead role of the Mexican cowboy hero in a series beginning with 'The Cisco Kid and the Lady' in 1939 and was a suavely sinister magician in 'Charlie Chan at Treasure Island' in the same year.

In the 1940's he was more often found in Twentieth Century Fox A-features, polished up as a Latin lover, occasional dancer, and all-round charmer in films such as 'Dance Hall' in 1941 and 'Week-End in Havana', in the same year.

Romero performed well in a rare heavyweight role as the Spanish explorer Hernan Cortes in the Tyrone Power vehicle 'Captain from Castile' in 1947, but slipped back to supporting actor in the comedy 'Julia Misbehaves' in 1948, although he put in good work. In 1953 he starred in the 39-part espionage TV series 'Passport to Danger'. Aa regular TV guest star, he appeared in series such as '77 Sunset Strip' in 1963. But his late career signature role was as The Joker in the TV series 'Batman' from 1966-1968. He refused to shave off his beloved trademark moustache for the part and instead had makeup slathered on top of it. He reprised the cackling clown prince of crime in the 1966 novie, and then turned up as a white-haired buffoon villain in Disney comedies such as 'The Computer Wore Tennis Shoes' in 1969, and as Jane Wyman's mature swain on the TV soap opera 'Falcon Crest' between 1981 and 1990.

Despite his screen image as the Latin Romeo, Cesar Romero never married, and was homosexual. He died in 1994.