Never having watched a single minute of the old Baywatch TV program, I have been blissfully unaware of the existence of Brook Burns. My loss.

Yummy, if a tad skinny.
Never having watched a single minute of the old Baywatch TV program, I have been blissfully unaware of the existence of Brook Burns. My loss.

Yummy, if a tad skinny.
Born in London, but after a teenage stage career she moved to the U.S., where her Brit accent had no impact on her career because the movies were all silent. Then, when the talkies became all the thing, Lillian Bond‘s accent had, sadly, been submerged into Murkin.
None of that’s important, of course, because that’s not why we’re here. This is.








And for me, this (of course):

I think she was absolutely stunning.
Allow me to introduce (to most of my Murkin Readers anyway) Zara McDermott, a BritTV totty whose claim to fame is that dancing show and sundry other things which give her a chance to show off her assets etc.





And now you’ll know who she is when her name appears in
, as it did last week.
No study of 1960’s Pulchritude would be complete without Julie Christie:








Some other time, we’ll look at her in color.
Say hello to Lara Pulver:




Liked her in Spooks, also fine (and nude) in Sherlock.
Doomed by her contract to stand forever in the shadow of Ava Gardner and Lana Turner (the studio’s favorites at the time), Jane Greer was once called “the greatest actress never to win an Oscar”. And it’s quite true: as the femme fatale in so much of the 1940s-era noir genre, she showed a sinister stillness about her roles that set her apart from the overacting of most of her female peers. I think I only ever saw her in Out Of The Past, in which she was every bit the equal of the brooding, brilliant Robert Mitchum.
So let’s have a look, shall we?




And out of costume:



Of course, no look at a noir actress would be complete without a gun:

Deadly.