Janet Leigh Fakes

Janet Leigh Fakes
Let’s Talk About Janet Leigh’s Pointy Boobs
Arnie on April 26, 2020 at 4:18 pm
John w on November 30, 2020 at 2:20 am
Stephen b cook on February 2, 2022 at 9:36 pm
Dixie Laite on February 3, 2022 at 7:42 am
Stephen b cook on May 11, 2022 at 10:55 pm
Dixie Laite on May 11, 2022 at 11:38 pm
When I was ten-years-old boobs weren’t yet a thing, but they were still a thing. No one talked about them, but everyone talked about them. Or rather, talked around them. When I eavesdropped on grown-ups, I heard snickers about them. They were an unspoken but important thing. I could tell, because on TV and naughty drinking glasses, in movies and remarks that came with a wink about Playboy bunnies and stewardesses and secretaries and girls and women…I could tell they were a thing.
I didn’t have any yet, but I knew I needed them. When I was 10 I thought girls could grow up to be nurses, movie stars, teachers*, wives, or run an underground railroad. (The Civil War was over, and I cringe at the sight of blood, so my options were limited.) But it was clear to me, crystal clear, that any future needed boobs. Like anyone, I wanted to be loved; I wanted to matter . It was clear that if I were going to be a librarian no one felt sorry for, hirable as a stewardess or secretary, marriable as a wife, not invisible as an adult, I needed boobs. To matter, I would need to have boobs.
But not just any ole boobs. Big ones, the kind they smirked about on Laugh-In , the stuff of double entendres on Johnny Carson. But I could see big boobs weren’t enough. You had to have lots of flesh on the chest, but be skinny everywhere else. Not at all easy to find in nature, but possible. Take Janet Leigh.
The real-life woman that came closest to my Barbie’s improbable shape was the star of Holiday Affair . Ms. Leigh had that startlingly beautiful face – big eyes, slim nose, perfect mouth. But what made my Christmas List were those magic boobs. Entering rooms several seconds before the rest of her slim body were those outsized pointy boobs. Hell, you could put someone’s eyes out with those double lattes. Her character in Holiday Affair may have had stick up her butt, but it was the way her supporting characters stick out that likely made Robert Mitchum overlook how priggish she was. (Isn’t it amazing how men will overlook how stuffy you are if you’re Oreos are double-stuffed?)
I was mesmerized by Janet’s Comet and Cupid in that holiday classic, and I couldn’t wait to be old enough to get my own bullet bra. I was too young to really understand the role secondary sexual characteristics play in attraction, and too naïve to understand how arbitrary and culturally determined these beauty metrics can be. Sure, now I know how these standards are overly constructed (not to mention the bras). But as a young girl, torpedo boobage just seemed like a powerful accessory, as covetable to me as a pellet gun would have been to my brothers. (And, I hoped, as lethal.) While not as literally puncturing as a vampire slayer’s stake, my Mr. Bigs would stick in the mind. In a world where the second sex had little power, I figured a girl must rely on cleavage’s clout. While my intellect and value might be undervalued, a projectile chest would be hard to ignore. Memorable mammaries might give me a protective potency that could intimidate as well as attract.
The original meaning of glamour was magical, enchanting, a spell. And that’s how I viewed grown-up glamour – the means by which a woman might have some agency in a world not built for her. King Arthur had his sword, Robin Hood had his bow, Batman had a Batmobile, Janet had her bra. Johnny got his gun, Janet got her Maidenform. When Erin Brokovich’s boss can’t understand her effectiveness, she condescends with the explanation, “They’re called boobs, Ed.”
I’m grown-up now, and my frontal lobes have often proved to be more wounds than wounders. Still, my bras are as close to armaments as I’ve ever come, and my cleavage has been enchanting on more than one occasion. And I still can’t help but recognize that Marion Crane was unarmed without her bra in that infamous shower. A psychopathic killer is daunting, but to my mind, Janet Leigh’s bra was pretty damn formidable.
*I grew up to be a National Merit Scholar, and graduated Cum Laude from an Ivy League university. After I graduated I become a second-grade teacher. Had someone wanted to marry me, I would have become a wife instead.
What a wonderful, Witty, Loving,cool, neat read.
About the ‘Author’, I noticed you speak off whom you live with. Birds, dogs etc…. I see you left out the husband.?? Bust column. Is he still around?
How funny…i was just watching Janet in My Sister Eileen and her pointed titties drove me to the internet to see if i could get a peek @ some more of her breasts in profile and i came across this . Well done I say..I like the cut of your jib.
Being a male from around the same time frame you described I to had the same desire as you , but from a different perspective. I also knew I wanted boobs ,but they needed to be on somebody else. I just wanted engage with them on occaision (often). Like you I loved the Torpedo Tits look…sure wish it would come back in vogue.
Thank you so much, Stephen! Please let me know what dames I should profile next!
Took me a few months to wander back here( ,but who wouldnt with all the Hot Dames from the past) and found your reply by chance.
Since you asked..I must admit to having had a pretty big crush on Heddy Lamar . What a name ..right ? It just rolls off the tounge and is drenched in exotic allure.
I discoverd her by chance one nite 40 years ago when I got home after working 2nd shift and saw her in an old B&W from the 30’s. “Hot Cargo” . Even though it was 1 am, and I knew she was long gone. I had to exclaim “where you been all my life gorgeous.?” A profile on her would be nice if you get around to it.
And while I have your attention , and since this all began with a convo about breasts, I have to make mention that back in the day…the 30’s thru the 40’s and early 50’s there was a dearth of bososmy women in the movie industry , damn few I might ad . No shortge now-a-days ,both real and fake, but the female figure is definitely evolving . I have heard it is related to hormones in milk…but what do I know . Love the site , love the articles but then again I have alwasy been drawn to quirky “entertainment” that is off the beaten path so this meeting was inevitable .
I also have a parrot,under duress I might add…24 yrs ..I am either a saint or a moron. I might be walking the line .
Good luck in your endevours . Stay kinky…it suits you.
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Janet Leigh Reflects On That Famous ‘Psycho’ Shower Scene In a Recovered Interview

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When I sat down with actress Janet Leigh back in 1984 to talk about Psycho , her autobiography, There Really Was a Hollywood , was just being published. She was feeling a bit overwhelmed by publicity responsibilities for that (which this interview was a part of) and a variety of other things. “I’m going a little crazy trying to juggle feeling well, and all of….this,” said Janet, who was 57 at the time of our conversation. “There’s just too much to do. When I got old….” Older , I offered as an alternative. “ Older ,” she smiled, “I thought life was going to be sitting on a chaise lounge, popping bonbons, and it just doesn’t work that way. Everyone says, ‘You know, as you get older, things get easier. You don’t do as much.’ For some reason, I’m doing more than I ever did.”
Including, at the time, reuniting with Dick Van Dyke , Bobby Rydell and Ann-Margret to perform a few numbers from their classic 1963 film musical Bye Bye Birdie at the American Cinema Awards Foundation. Rehearsal, she said, was getting to her, but she felt it was an important thing to do. “I love the project,” Janet enthused. “It’s for the business. You do so many things for every other thing in the world except your own business sometimes. It’s important to me, because this business has been great to me and I love it.”
That’s something that needs to be noted about Janet: it was obvious that she truly loved what she did and was appreciative of all of it, including the unexpected shadow of Alfred Hitchcock’s Psycho , which never went away despite the fact the film was 24 years prior to this conversation.
“If an actor can be remembered for one role, then they’re very fortunate,” she stated.
Born Jeanette Helen Morrison on July 6, 1927, in Merced, California, she secured an MGM contract when she was 18, making her debut in 1947’s The Romance of Rosy Ridge . Other films included Angels in the Outfield (1951), Scaramouche (1952), Safari (1956), Touch of Evil (1958), The Manchurian Candidate (1962), Harper (1977) and Boardwalk (1979). In between it all, she made a wide variety of television guest appearances. In her private life, she was married to actor Tony Curtis from 1951 to 1962, which was the third out of four marriages, and together they had daughters Kelly Lee Curtis and Jamie Lee Curtis. It was in 1984 she launched her writing career starting with There Really Was a Hollywood , then writing the non-fiction book Psycho: Behind the Scenes of the Classic Thriller (1995), and the novels House of Destiny (1996) and The Dream Factory (2002). But between it all, there was Psycho .
Considering the film’s standing it seems strange to say this, but beware spoilers! Janet plays Marion Crane who, to be together with her lover, Sam Loomis (John Gavin), steals $40,000 cash from her real estate employer (going against the basic morality that is a major part of her life). Driving off to meet Sam, bad weather forces her to pull into the Bates Motel. There she encounters manager Norman Bates (Anthony Perkins) — who she overhears having a vicious verbal battle with his mother in the house up the hill from the motel — and something in their conversation causes her to see the error in her ways. Determined to set things right, she says goodnight, with the intention of taking a shower, getting some sleep and driving back home. Sadly, she never gets past the first stage as a seemingly elderly woman hacks her to death with a kitchen knife while she’s showering, creating one of film’s most iconic moments and offering up a murder scene that was unlike anything that had been presented up until that time. From there, the film takes a left turn as it becomes about the investigation into Marion’s disappearance and the truth about Norman Bates and his “Mother”.
Despite the fact that Marion disappears about 20 minutes into the film, it was the shock of her death, according to Janet, that has resonated with viewers for all these years. “Here’s a woman who had come to terms with what she had done,” she detailed. “What I thought about was the inevitability of comeuppance. She was a victim of the time, the situation, her passion and, yet, her morality. It was really a very unconventional role, if you think about it. She was taking the shower and it was like a cleansing. She was going to go back and face the music. And to have that kind of ending was so against what the audience wanted or expected.
“People have asked me why Hitchcock never used me again, and we talked about it, because he used Grace Kelly and Tippi Hedren multiple times,” Janet continued. “But there was such a definitive impression about Marion that he said, ‘The whole picture of Psycho , everyone kept thinking Marion was going to come back. They could not believe that she was gone.’ They kept thinking, ‘Well, it was a mistake, and she’s really going to come back, and she isn’t really gone.’ Because it had just not been done before. He said, ‘The idea of using you again is just wrong.’ I’ve done pictures before where I expired, but that was a whole different thing.”
The actress herself was not shocked at the turn of events for the character, having been sent the Robert Bloch novel the film was based on, with Hitchcock explaining that Marion would be a little different in the script. “Then, I read the script. If you think about it, and I don’t mean this egotistically in terms of Janet Leigh, I’m talking about the character of Marion Crane, she’s all you think about in the picture. The first third — maybe not even a full third — her story was almost in pantomime, because she had very little relationship with anyone else, except the establishing one with John Gavin. And then the one with Perkins, but then it was over. The rest of the picture was devoted to what happened to Marion. All you talked about or thought about the whole picture was Marion, because everyone kept thinking they were going to see her again. How could anyone argue with that kind of a part?”
Janet was, she offers, pleased to find that legendary “Master of Suspense” as Alfred Hitchcock was called, certainly lived up to his reputation during filming.
“We shot that picture so easily, so quickly, because of Mr. Hitchcock’s preparation,” she said. “The planning, the concept, the details — everything was done before. It was never a haphazard, ‘Well, let’s see what we do now.’ He gave me great respect, but it had to be within the framework of his concept, his camera. He already knew how the camera could make it exciting, how the camera could make it work. So as an actress, you do what you have to do and bring to Marion all the things you want to bring to her. That’s why I put in the vulnerability, the passion or whatever, because I had my thoughts and he said, ‘Fine, great. Just don’t go beyond what I want.’ If I didn’t have a motivation to make a move when his camera had to move, I had to create or invent my own motivation. That, to me, is a compliment as an actress.”
All of which is wonderful to hear, but you cannot talk to Janet Leigh about Psycho and not address the shower in the room, and the rumors that have surrounded it for decades. For instance, it was supposedly shot with a nude body double.
“At the time,” Janet detailed, “there was still the ‘Hays Code,’ which was a censorship program. It was not possible to really show what you’ve got. The fact that I was in the opening scene in a half-slip and half-bra almost caused them to go crazy. So when the shower scene was done, I wore moleskin over my vital parts. And as much as you think you saw something, you never saw anything , because you could not show it back then. It was literally against the law. Now, I’ll tell you when they did use a nude model: when Norman goes into the bathroom at the end of all this and drags the body out wrapped in the shower curtain. That’s the only time I knew of a nude model. But, again, with me you don’t see anything. A bellybutton, and, because the cutting was so fast and accompanied by that music, you’re, like, ‘By God, I saw her nude.'”
There is also a shot — that seems to go on forever — where the camera is locked on Marion’s dead eye, and Janet somehow never blinks. Not once. Some have suggested that this was a still photo that had sprinkles of water applied to it.
“That is not true,” she says. “About three weeks before we shot it, Mr. Hitchcock and I went off to the optometrists
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