In the 1950s, Hollywood was filled with suave and stylish stars like Cary Grant and William Holden, and the brooding method actors like Marlon Brando and James Dean.
And then there was Rod Taylor, who was in a class all his own.
Hollywood’s top director, Alfred Hitchcock, cast him in “The Birds” (1963), Walt Disney wanted him to voice a Dalmatian, and even Albert “Cubby” Broccoli approached Rod Taylor about playing James Bond. (He refused because he thought that sort of story was best for television—it would never work in films—later saying this was the stupidest remark he ever made).
A 2016 documentary, “Rod Taylor: Pulling No Punches” highlights this standout actor’s life and work. Rod Taylor himself helps tell his story through an interview that was filmed in 2012.
At 14, loving both classic films and fashion, I always kept my eyes peeled for the film’s costume designer. With 293 credits to his name from 1932 to 1963, Orry-Kelly was a name I often spotted.
Dark Victory (1939), Now Voyager (1940), Casablanca (1940), American in Paris (1951), Auntie Mame (1958), Some Like it Hot (1959), and Gypsy (1963) are just a few films that he added to his resume.
While many today will name Edith Head when put on the spot to name a costume designer, she wasn’t the only one in Hollywood. Head’s costumes were lovely and she deserves all her accolades, but many costume designers seem to be cast in a shadow as dark as her round black glasses.
“Women He’s Undressed” (2015), a new documentary directed by Gillian Armstrong, gives audiences the opportunity to learn more about the prolific costume designer, Orry-Kelly.