30 Wonderful Publicity Photos of Elizabeth Montgomery as Samantha Stephens in “Bewitched”

Elizabeth Montgomery starred as Samantha Stephens, the charming, good-hearted witch at the center of the classic ABC sitcom Bewitched (1964–1972). She played the role across all 254 episodes, making her one of television's most iconic leading ladies of the era.

Montgomery portrayed Samantha as a powerful witch who marries a mortal advertising executive named Darrin Stephens (first played by Dick York, later by Dick Sargent). Samantha tries to live a normal suburban housewife life, often promising to give up magic at her husband’s request, but she frequently uses her powers (with a signature nose twitch) to fix problems caused by her eccentric witch family, meddling mother Endora (Agnes Moorehead), or everyday chaos.

Her performance stood out for its perfect blend of warmth and relatability. Montgomery made Samantha feel like a loving wife and mother who was down-to-earth despite her supernatural abilities. She brought charisma, physical comedy, and emotional depth, turning what could have been a gimmicky fantasy show into a heartfelt domestic comedy.

She also played Samantha’s flamboyant, mischievous cousin Serena (starting in season 2), often credited under the pseudonym “Pandora Spocks” to keep the dual role a fun secret for viewers. Many people didn’t realize it was the same actress due to the stark personality contrast.

One of the show’s most memorable elements was Samantha’s way of casting spells: a quick twitch of her nose (accompanied by a sparkling sound effect and visual effects). Montgomery actually came up with this herself, her husband and the show’s producer/director, William Asher, noticed her natural habit of twitching her upper lip when impatient and suggested incorporating it. In reality, it was often a subtle upper-lip movement combined with clever editing, camera tricks, and sound cues to create the illusion of the nose moving independently. She reportedly grew tired of repeating it over the years, but it became one of TV’s most enduring visual gags.

The role earned Montgomery five Primetime Emmy nominations for Outstanding Lead Actress in a Comedy Series (1966–1970) and multiple Golden Globe nominations. Bewitched was a massive hit, topping ratings for several seasons and remaining a beloved classic for its mix of fantasy, humor, and family dynamics.

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Stunning Portraits of Claudia Cardinale in a Floral Dress Taken by Graziano Arici in 1958

Claude Joséphine Rose “Claudia” Cardinale (April 15, 1938 – September 23, 2025) was an Italian Tunisian actress. Regarded as one of the leading figures of Italian cinema, alongside Sophia Loren and Gina Lollobrigida, she achieved international recognition during a career spanning more than six decades.

Cardinale, photographed by Graziano Arici in 1958, captures the youthful elegance and emerging stardom of one of Italian cinema’s most iconic actresses. At just 19 years old, she was transitioning from her early success in beauty pageants, including the 1957 “Miss Sicily” title and her participation in the 1958 Miss Italy contest, into a promising acting career. Around this time, she appeared in early film roles such as Goha (1958) and Big Deal on Madonna Street (1958), which showcased her natural beauty, expressive presence, and magnetic screen charisma.

Arici’s portraits highlight her refined sophistication and timeless allure, reflecting the post-war glamour of 1950s Italian cinema while establishing her as a muse for photographers and filmmakers alike. These images represent a key moment in Cardinale’s rise, documenting the formation of her signature elegance and the early development of a cinematic legend whose influence would extend across Europe and the international film industry for decades.

By the early 1960s, Claudia Cardinale had become a global cinematic icon, starring in landmark films such as Luchino Visconti’s Rocco and His Brothers (1960) and The Leopard (1963), as well as Federico Fellini’s 8½ (1963).

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Luciana Paluzzi: The Fiery Villainess of Thunderball

Luciana Paluzzi is a celebrated Italian actress best known for her unforgettable role as Fiona Volpe in the 1965 James Bond film, Thunderball. Originally auditioning for the lead role of Domino, she instead cast a lasting shadow as the fierce, red-haired SPECTRE assassin who famously resisted 007’s charms.

Beyond the Bond franchise, Paluzzi enjoyed a prolific international career throughout the 1960s and ’70s, starring in diverse genres ranging from Hollywood westerns like Chuka to cult sci-fi classics like The Green Slime. Born in Rome, her sophisticated beauty and talent made her a staple of European and American cinema until her retirement in the late 1970s.

Take a look at these vintage photos to rediscover the captivating charm and fierce elegance of Luciana Paluzzi during the golden age of international cinema.

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In 1949, the O’Hare Family From Liverpool Had 15 of Their 16 Children Between the Ages of 0 and 17

The O’Hare family of Liverpool gained national attention in 1949–1950 as one of Britain’s largest families in the immediate postwar years. Henry O’Hare (born 1911) and his wife Marjorie (née Clare, born around 1910) lived in a large four-storey house on Radnor Place, off West Derby Road, in the Anfield area. Henry worked as an upholsterer (including on car interiors and even early televisions), while Marjorie managed the household.

They married in 1932 after meeting on a double date. Over the next two decades, they had 17 children in total, though one (Maureen, twin to Frank) died in infancy, leaving 16 surviving children at the time of their fame. The family included five sets of twins, a remarkable occurrence with no noted history of multiples in either parent’s background. In June 1949, 15 of the 16 children ranged in age from newborn/infant to about 17, creating an extraordinarily tight age span (roughly one birth every 13 months on average). This made headlines and earned them descriptions like “superfamily” in contemporary media.

Life in the O’Hare household was a masterclass in organization amid Britain’s postwar austerity. Rationing was still in effect, yet the family managed impressive consumption: weekly, they went through 9 pounds of sugar, 6 pounds of butter, 10 pints of milk, eight 2lb loaves of bread (often described as “eight loaves a day”), and 15 pounds of potatoes. Henry earned £7 10s a week, supplemented by 5s family allowance per child—reportedly the largest such allowance in Britain at the time.

Meals were communal events around a large table Henry built himself. Breakfast featured a big pot of tea and stacks of toast; dinner was ladled out by Henry, with children expected to stay seated until everyone finished. Chores were shared: older girls washed up, children made beds, and everyone pitched in. Henry was handy, he cut the boys’ hair, made clothes and shoes (especially for bank holidays), and handled practical tasks around the house. Bedrooms were shared (sometimes 3–4 per bed in the early years), and nappies even doubled as towels due to shortages.

Despite the challenges of food rationing, housing in a recovering city, and tight finances, the family emphasized that they “never went hungry.” Nina (fifth eldest, about 10 during the filming) later recalled warm memories like new wellies and socks provided during snowy weather, large Sunday roasts that could feed 30 when extended family visited, and the constant smell of food cooking. There were hardships too—one wartime Christmas in Loughborough involved eating pet rabbits (unbeknownst to the children at first), leading to tears.

In early 1950, British Pathé filmed a short newsreel titled Big Family at their Anfield home. The 90-second black and white clip (issued February 6, 1950) showed everyday scenes. The plummy narrator highlighted the scale: 16 children “complete with four sets of twins” (noting the fifth set had lost one). The family attended a screening at the Carlton cinema in Tuebrook as honored guests.

The O’Hares symbolized resilience and vitality in a Britain still rebuilding after WWII—food shortages, bombed-out neighborhoods, and economic strain contrasted with their bustling, life-filled home. Later family members (like Nina, interviewed in 2014) spoke emotionally about the footage, noting it wasn’t always easy but fostered strong bonds, resourcefulness, and a sense of abundance through love and routine. Henry died in 1971 and Marjorie in 1978; both are buried in Anfield Cemetery.

Today, the story lives on through the digitized Pathé film, old photos from June 1949 showing the large group, and local Liverpool recollections. It offers a vivid snapshot of working-class family life in 1940s–1950s Britain: crowded but close-knit, rationed but resourceful, and full of everyday heroism.

Beautiful Photos of the 1938 Peugeot 402 Darl’mat Special Coupe

The Peugeot 402 Darl’mat Special Coupe stands as one of the most exquisite examples of pre-war French automotive art, a breathtaking fusion of aerodynamic engineering and Art Deco elegance.

Born from a collaboration between visionary dealer Émile Darl’mat, gifted designer Georges Paulin, and master coachbuilder Marcel Pourtout, this vehicle was a true “teardrop” masterpiece. Its signature sweeping curves, punctuated by rows of circular louvers and an elongated, flowing rear, were not merely for show, they were designed to cheat the wind, making it a formidable competitor on both the boulevards of Paris and the grueling track at Le Mans.

Underneath its stunning “Paulin-designed” silhouette lay the robust chassis of the Peugeot 402, but the Darl’mat was significantly lighter and lower, providing a spirited performance that matched its fast-paced looks. With its distinctive grille and integrated headlights, the Special Coupe embodied the spirit of French “Grand Sport” luxury, offering a level of bespoke craftsmanship that remains highly coveted by collectors today.

Only six coupes were constructed on the 1938 402-series platform, representing a tiny fraction of the 105 total Darl’mat Specials produced across all body styles. This rarity places it among the most exclusive French automobiles of the interwar period, combining innovative aerodynamic design with proven racing engineering. Below is a beautiful photo collection of the 1938 Peugeot 402 Darl’mat Special Coupe.

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When Roman Sandals Were in Style in the Late 1960s and Early 1970s

Roman sandals (also known as gladiator sandals) were a popular fashion trend in the late 1960s and early 1970s. These strappy, laced-up sandals, often with multiple thin leather straps wrapping around the foot, ankle, and sometimes extending up the calf, drew inspiration from ancient Roman (and Greek) footwear. They paired especially well with the era's rising hemlines, such as miniskirts, and the free-spirited bohemian/hippie aesthetic.

The style gained traction with the mod and Space Age looks, popularized by designers like Paco Rabanne. Vogue featured them in 1968 spreads, including “Ganymede—the Greek-boy look” with minidresses. They accentuated long, exposed legs and had a classical yet edgy vibe that appealed to both high fashion and counterculture. The sandals fit perfectly into the hippie movement’s love for natural, earthy, and unconventional styles. Celebrities like Pattie Boyd helped make them street-style staples.

They remained common through the early 1970s, often in natural leather or neutral tones, before platforms and other chunkier styles took over more prominently later in the decade. Many people recall them as everyday wear during school years in that period.

The trend faded somewhat by the mid-to-late 1970s and into the 1980s, though it has seen revivals since (including in the 2000s and beyond).

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A Soldier Sharing a Banana With a Goat During the Battle of Saipan, ca. 1944

Photograph of Maine First Sergeant Neil I. Shober of Fort Wayne, Indiana, sharing his bananas with a native goat, one of the few survivors of the terrific naval and air bombardment in support of the Marines hitting the beach on the Japanese-mandated island of Saipan, in July 1944.

The photo captures one of those quietly human moments that war photographers often sought out amid the chaos, a battle-hardened Marine, sitting in his foxhole with his rifle beside him and the scarred, bombed-out landscape behind him, offering a banana to a stray white goat that had somehow survived the same bombardment he had. The island’s palm trees, reduced to bare stumps in the background, speak to the ferocity of the pre-invasion shelling.

The photograph is part of the collection donated by combat photographer Norm Hatch, who joined the Marine Corps in 1939 and served in battles across the Pacific, including Guadalcanal, Tarawa, and Iwo Jima. He is particularly well known for shooting the Academy Award-winning documentary With the Marines at Tarawa (1944). The collection is now held by the National Museum of the Pacific War.

The Battle of Saipan was one of the most pivotal engagements of the Pacific War, with the island declared secure on July 9, 1944, after brutal fighting involving the 2nd Marine Division, the 4th Marine Division, and the U.S. Army’s 27th Infantry Division. The National WWII Museum Against that backdrop, this small, gentle image of a Marine sharing fruit with a goat became an enduring symbol of humanity found in the middle of war.