25 Fascinating Photos of Donna Reed in the 1950s

Donna Reed (born Donna Belle Mullenger; January 27, 1921 – January 14, 1986) was an American actress. Her career spanned more than 40 years and included appearances in over 40 films. In the 1950s, her career was defined by a dramatic shift from film to television, peaking with both an Academy Award and the creation of her own iconic sitcom.

Though often remembered for her wholesome “girl next door” image, Reed spent the early 1950s pushing against that typecasting. In 1953, she delivered a career-defining performance as Alma “Lorene” Burke, a hardheaded yet vulnerable prostitute in the World War II drama From Here to Eternity. Her performance earned her the 1953 Academy Award for Best Supporting Actress, proving her range beyond the “sweet” roles of the 1940s.

Throughout the decade, she appeared in numerous films across various genres, including: Saturday’s Hero (1951), The Caddy (1953) with Dean Martin and Jerry Lewis, The Last Time I Saw Paris (1954), The Far Horizons (1955), where she played Sacagawea, and The Benny Goodman Story (1956).

In 1958, Reed shifted her focus to television with the premiere of The Donna Reed Show on ABC. While modern audiences sometimes view her character, Donna Stone, as the quintessential “traditional” 1950s housewife, the show was actually quite progressive for its time.

It was the first family sitcom to place the mother as the protagonist and center of the narrative, rather than just a supporting figure to the father. Reed was one of the first women to both star in and produce her own television series, giving her significant creative control. Her character was portrayed as an active community member with a sharp sense of humor and a strong sense of equality in her marriage, a departure from the more subservient TV mothers of that era.

Reed embodied the sophisticated elegance of the late 1950s. Her image on the show – spotless living rooms, pearls, and perfectly coiffed hair – became a cultural shorthand for middle-class stability. However, her real-life role as a “working mother of four” and a savvy business owner provided a stark contrast to the effortless domesticity seen on screen.

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Princess Diana Surrounded by Ballerinas at the English National Ballet’s Production of “Swan Lake” in June 1997

Princess Diana’s appearance at the English National Ballet’s production of Swan Lake on June 3, 1997, is widely remembered as one of her most iconic and glamorous “final” public engagements. As a devoted patron of the English National Ballet, she attended the gala performance at the Royal Albert Hall, just two months before her passing in August of that year.

This appearance captured the “independent Diana” of 1997—radiant, confident, and stepping away from the more conservative royal protocols of previous years. The performance itself was a groundbreaking “in-the-round” production of Swan Lake choreographed by Derek Deane, which utilized a massive stage and over 60 swans to fill the arena of the Royal Albert Hall.

Former Artistic Director, Derek Deane, remembered: “Princess Diana was a great friend to English National Ballet. As well as her love for dance she cared so much about the dancers and the life of the Company. She was a great support for me personally during the years that she was with us. Her visits were a joy and her devotion and the time that she gave were wonderful. I will never forget the radiant look on her face whilst she watched that first night of Swan Lake at the Royal Albert Hall in 1997, lost in adoration. 'The most beautiful thing I’ve ever seen', she said to me. I miss her even now.”

The Severed and Preserved Head of Peter Kürten, Germany’s Notorious “Vampire of Düsseldorf”

The severed and preserved head of Peter Kürten, Germany’s notorious “Vampire of Düsseldorf,” remains one of the most unsettling curiosities in the Ripley’s Believe It or Not! collection. Executed by guillotine in 1931 for a series of brutal murders and sexual assaults, Kürten’s crimes shocked Europe and established him as one of history’s most depraved serial killers. His morbid moniker came from his claim that he drank the blood of some of his victims, a detail that further solidified his place in the annals of infamy.

Peter Kürten was born in 1883 in Cologne into grinding poverty. His father was an alcoholic, brutal, and openly violent; beatings were routine, and sexual abuse occurred within the household. Kürten later claimed his earliest memories of pleasure were tied to blood and pain—watching animals be slaughtered or seeing injuries inflicted. By his early teens, he was already committing arson, theft, and assault, drifting in and out of reformatories and prisons. This pattern would define his early adulthood: short stretches of freedom punctuated by incarceration. Each release, however, seemed only to refine his brutality.

In 1929, Düsseldorf was gripped by panic. Attacks began to surface – women and children found stabbed, bludgeoned, or strangled. Some victims survived and spoke of a quiet, polite man who suddenly turned vicious. Others did not survive at all.

Kürten often drank his victims’ blood, sometimes returning to the crime scenes to relive the experience. Newspapers seized on the most sensational detail, and the nickname “Vampire of Düsseldorf” spread rapidly. The city’s police were overwhelmed; false confessions poured in, vigilante fear spread, and nightlife all but collapsed.

Kürten’s undoing came not through forensic brilliance, but through human connection. He confided his crimes to his wife, Auguste Kürten, claiming he wanted to be caught. Horrified, she contacted the police. Once arrested, Kürten confessed with disturbing calm. He described his murders in clinical detail, explaining that bloodlust gave him sexual gratification. Psychiatrists examined him extensively; while clearly sadistic and deeply disturbed, he was deemed legally sane, fully aware of his actions.

Mugshots of Kürten, taken after his May 1930 arrest.

Mugshots of Peter Kürten taken in 1931.

Full length police portrait of German serial killer Peter Kürten, 1931.

Full length police portrait of German serial killer Peter Kürten with hat, 1931.

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Nacho López’s Iconic 1953 Photographs of Maty Huitrón Walking the Streets of Mexico

Nacho López, Mexican photographer, decided to do a social-cultural experiment and asked actress Maty Huitrón to go to the market while he went back to get more roll, then he hide and took photos while he followed her, capturing the reactions of the men in January of 1953 and titled: “When a beautiful woman walks by Madero Street”.

Nacho López always sought to portray ordinary people and everyday situations in Mexico City, which was in the process of becoming a major metropolis. On more than one occasion, the actress has recounted that creating this series of images was a unique experience, as the photographer managed to capture her without asking her to undress or attempting to create a hypersexualized or ultra-feminine image.

Lunar New Year in New York City: A Glimpse of the Early 1960s

In the early 1960s, Chinese New Year in Manhattan’s Chinatown was a vibrant explosion of culture and community, standing in stark contrast to the gray, towering skyscrapers of the surrounding city. During this era, Chinatown was a smaller, more tight-knit neighborhood, and the Lunar New Year was the most anticipated event of the year, drawing both residents and curious onlookers to its narrow, winding streets.

The atmosphere was electric. The air was thick with the scent of incense from local temples and the smoky aroma of thousands of firecrackers, which were still legal and used abundantly to ward off evil spirits. Mott and Canal Streets were decorated with bright red lanterns and golden banners, symbolizing luck and prosperity for the coming year.

The highlight of the celebration was the traditional Lion Dance. Performers in elaborate, colorful costumes maneuvered through the crowds to the rhythmic beat of heavy drums and clashing cymbals. Merchants would hang heads of lettuce and “red envelopes” (hongbao) high above their shop doors, challenging the lions to reach them in exchange for a blessing of good fortune.

It was a time when the old traditions of the East were preserved with fierce pride in the heart of the New West. Found by Guy Clinch, these vintage photographs offer a rare glimpse into the Lunar New Year celebrations on the streets of New York City, dated February 5, 1962.

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42 Amazing Black and White Behind the Scenes Photos Taken by Richard Beymer During the Filming of “Twin Peaks” (1992)

Richard Beymer, who played Benjamin Horne in Twin Peaks: Fire Walk with Me, took a remarkable series of black and white, behind the scenes photographs during the filming of the original series’ final episode in 1991. With David Lynch’s permission, Beymer used his own Olympus camera to document the final days on set after the in-house photographer had left due to the show’s cancellation.

The resulting candid images, often in the iconic Black Lodge set, are highly regarded by fans for their intimate and eerie quality. They offer a unique look at the cast and crew, including shots of Killer Bob (Frank Silva), David Lynch, and other major characters, often out of character or during a break from filming.

Twin Peaks: Fire Walk with Me has been positively re-evaluated in the 21st century, and is now widely regarded as one of Lynch’s major works. Lynch and Frost eventually received funding to produce a third season of the TV series in 2017, which revisited several plot threads from the film. In 2019, the British Film Institute ranked Fire Walk with Me the fourth-best film of the 1990s.

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Backstage Photos of Eddie Van Halen at the Metro Center in March 1986

Van Halen performed at the Metro Center in Rockford, Illinois, on March 16, 1986. This event was notable as it took place shortly before the official start of their legendary 5150 Tour, which officially kicked off in Shreveport, Louisiana, on March 27, 1986.

The concert featured the debut era of “Van Hagar,” with Sammy Hagar having recently replaced David Lee Roth as the lead vocalist. While the tour’s official opening night is often cited as March 27, the Rockford show (along with a performance in Rosemont, Illinois, on March 15) served as critical early performances or “warm-ups” for the new lineup.

Renowned rock photographer Paul Natkin captured several iconic images of Eddie Van Halen both onstage and backstage during this specific date at the Metro Center. The show occurred just eight days before the release of the 5150 album on March 24, 1986.

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