Movie veteran Debbie Reynolds' final memorabilia auction netted the actress and collector over $2 million (£1.25 million). The Singin' in the Rain star teamed up with bosses at Hollywood auction house Profiles in History to sell off the bulk of her memorabilia treasure trove in 2010 and the third and final sale took place earlier this month (17-18May14).
In total, the auction of iconic props, costumes and cameras raked in $2.38 million (£1.5 million).
Highlights included Elvis Presley's grand piano from his Holmby Hills, California estate, a Rat Pack tuxedo ensemble, Vivien Leigh's Scarlett O'Hara pale peach bonnet from Gone With the Wind and Orson Welles' signature mink coat from Citizen Kane.
However, the biggest seller was a Vistavision Motion Picture Camera, which was used in Alfred Hitchcock's To Catch A Thief, Disney's Mary Poppins and George Lucas' Star Wars, which went under the hammer for $159,900 (£100,000).
As if there was any doubt, it looks like Blue Ivy Carter is growing up to be just as fierce as her mama. Beyoncé posted some adorable photos of her 18-month-old daughter to her Tumblr on Thursday.
If you’ve seen Beyoncé's Tumblr, you know that she — or her team, because let's face it, Queen Bey doesn't have time to update her own Tumblr — only posts the most flawless photos to make sure everyone knows how fabulous her life is. But the pictures of her daughter are particularly precious, especially one of little Blue Ivy reaching out to touch her mom's nose (above).
We also got a look at the toddler's wardrobe, which includes a peach tulle dress and tiny pink Tom Ford heels.
Not even two years old and already wearing heels? Bey must be teaching her to strut early. Another pic has Blue Ivy rocking a purple bejeweled crown, probably because she's the offspring of music royalty.
I think we can all agree: Blue Ivy has it good.
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Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
Sangster began his career as a clapper boy at the age of 16, before moving up to roles as an assistant director and screenwriter. But it was his stint as a writer at Britain's Hammer Horror studios which made his name, going on to tackle some of their most famous films, including The Mummy and Dracula, starring Sir Christopher Lee.
He later remarked, "All of a sudden I'm a cult figure. But it's all due to about five movies: a couple of Frankensteins, a couple of Draculas and a Mummy."
Sangster's other notable screen credits include Betty Davis' The Nanny and Paranoiac, which starred Oliver Reed.
He is survived by his second wife, actress Mary Peach, and his son. No cause of death had been made public as WENN went to press.