Leonardo DiCaprio and Bradley Cooper Go Shirtless While On a Vacation Together

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How's this for one helluva view?

Leonardo DiCaprio and Bradley Cooper were spotted hanging out in Miami on Sunday, where they readily turned up the heat as they took in the sights from a hotel balcony.

But it was the hunkalicious duo who turned out to be the main view that day, as they doffed their shirts while chilling out.

Breathe now, people. Breathe.

Bradley Cooper talks mental illness, visiting troops in Washington, D.C.

Both reportedly kept it loose and laid-back, as they looked through binoculars while enjoying the sizzling Miami vibe not to mention the, ahem, area's natural beauty: The bro-tastic (rme) buddies supposedly couldn't stop ogling and pointing.

The duo recently caught up with each other at Sean Penn's "Help Haiti Home" charity gala last month, where DiCaprio famously split a $400,000 winning bid for a day date with Bill Clinton.

Then again, the 38-year-old actor did vow to take a "long, long break" from movies following his recent workhorse shooting schedule. And if that means soaking up some sun with pals like Cooper, then consider us sold on that master plan.

E! 2

Leonardo Dicaprio quitting acting for a while.He needs a break.

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BERLIN: "Django Unchained" and "Titanic" star Leonardo DiCaprio said on Friday he was planning to take a significant break from filming and concentrate on his environmental campaigning.

In an interview with Germany's mass circulation daily Bild, the 38-year-old American actor said: "I am a bit drained. I'm now going to take a long, long break. I've done three films in two years and I'm just worn out."

 

"I would like to improve the world a bit. I will fly around the world doing good for the environment," added DiCaprio, in comments published in German.

 

DiCaprio is currently starring in Quentin Tarantino's blood-soaked spaghetti Western tribute "Django Unchained," which picked up two Golden Globes on Sunday.

 

He has also recently filmed "The Great Gatsby", directed by Baz Luhrmann and Martin Scorsese's "The Wolf of Wall Street."

 

He burnished his green credentials in the Bild interview, saying: "My roof is covered with solar panels. My car is electric. A normal person does not drive more than 50 kilometres (31 miles) a day. That can be done with a plug."

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Django Unchained New York City Screening with Stars Leonardo Dicaprio,Olivia Wide,Jamie Foxx and Much More

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Now, both the director and his star have "Motherf------" right in the middle of their names.

Tarantino and Foxx embraced in front of a packed house at the Ziegfeld theater, with an industry audience standing in applause even before their film began. The director introduced his entire cast, including co-stars Christoph Waltz and Leonardo DiCaprio, before the nearly three-hour film made its world debut in an event sponsored by THR and Samsung.

One of Tarantino's most jarring pictures, the stark depictions of slavery in the film -- a spaghetti western set two years before the Civil War -- and graphic violence drew gasps from the crowd, alternating rapid-fire with massive laughter at the director's fast-paced and idiosyncratic dialogue.

Following the screening -- and the subsequent standing ovation -- the event moved downtown, to the Biergarten at the Standard Hotel. A setting that recalled Tarantino's last film, Inglourious Basterds, the German-themed restaurant was packed elbow to elbow with stars, New York City power players and lucky onlookers.

Waltz, who plays a bounty hunter, hadn't seen the movie before the premiere, and was in a bit of state of shock as he spoke to people around his table in the VIP section.

"Now I'm numb," Waltz told THR at the afterparty. "I didn't think anything. I just watched it. Quentin's movies, anyway, you have to watch them several times, and the more often you see them, the better you like them."

To wit: he's seen Inglourious Basterds, for which he won a Best Supporting Actor Oscar, eight or nine times.

Waltz was joined by co-stars such as Foxx and Dennis Christopher, who rained praise on his director.

"He keeps it f------ joyous," he said of Tarantino. "Because you know why? He loves every second of what he’s doing. And there’s no getting away with that. And that’s the most fertile ground for creativity ever."

As stars such as Cameron Diaz, Liv Tyler, Diddy (whose clothing line, Sean John, Foxx said he wore on set, to remind him of the success of black entrepreneurs a century after slavery ended) and Oscar Isaac mingled, enjoying burgers and tall beers, the room buzzed about the film's Oscar potential. But Tarantino and his cast seemed content just to enjoy the evening, which was made clear with Foxx took hold of the microphone at the DJ booth.

Employing his other great talent, Foxx crooned and rapped while praising his cast mates, and wouldn't let Tarantino -- or, as he called him, Quentin Motherf------ Tarantino -- off the hook until he came up and joined him for a quick few words. As everyone in the room knew, Tarantino had more than a few of those to spare.

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Leonardo Dicaprio,Jamie Foxx and Kerry Washington cover VIBE MAGAZINE-Full Interview

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VIBE: Before Django was even completed, the screenplay and the trailer received criticism from black people who objected to the treatment of slavery, suggesting it is not serious. It is a spaghetti western not a heavy drama like, say, Roots or The Color Purple. Were you prepared for this type of scrutiny?

LEONARDO DICAPRIO: We knew there was going to be controversy. The question is: What is not a realistic depiction? I would argue that it is. It is Quentin's re-creation; this character doesn't exist. There's nobody that is documented to do what Jamie's character has done at the time. But the documentaries I saw went even further.

   

JAMIE FOXX: Put it this way: I completely understand what you're saying. 'Cause as black folks we're always sensitive. As a black person it's always racial. I come into this place to do a photo shoot and they got Ritz crackers and cheese. I'll be like, ain't this a bitch. Y'all didn't know black people was coming. What's with all this white shit? By the same token, if there is fried chicken and watermelon I'll say ain't this a bitch? So, no matter what we do as black people it's always gonna be that. Every single thing in my life is built around race. I don't necessarily speak it because you can't. But the minute I leave my house, I gotta put my other jacket on and say, ‘‘Hey, Thomas, Julian and Greg.” And I gotta be a certain person.

DICAPRIO: Thomas, Julian and Greg?

VIBE: Those are white people.

FOXX: No some of those people are black. But when I get home my other homies are like how was your day? Well, I only had to be white for at least eight hours today, [or] I only had to be white for four hours. Everything we do is that. When you're talking about the script, of course it's going to be controversy. I remember talking to Tyler Perry about it. [In Perry's very serious voice] ‘‘Ah man, the script, man. Have you read it?” When I finally read it, I called Tyler and we had a conversation. I said, ‘‘I got a different take on it than you did.” And we shared. And I called Tyler while we were shooting it. I said, ‘‘Do you know that Quentin Tarantino knows all of your shit on TV. I don't even watch all of your shit.” He said, ‘‘Really?” The difference is the Quentin Tarantino Effect. I ran into Spike Lee at the BET Awards. You know Spike, he'll let you have it whether it's good, bad or ugly. And he said, ‘‘I'm not going to say anything bad about this film. It looks like y'all are getting it

KERRY WASHINGTON: This is not a doc. This is a Quentin Tarantino film. But I remember there was this one moment in the script where Jamie's character was put in an awful crazy medieval metal mask. I said, ‘‘That's some sick thing Quentin thought up.” And when I went to the production office to meet about my wardrobe, I saw into the research office. Twenty photos of real masks like that. It made me sad. I realized as much as my degrees and everything I've read on slave narratives [should have informed me], I didn't even know that they wore masks like that, that people did that to us. It took a Tarantino movie for me to know that that's not some crazy thing out of his imagination. That's how it went down.

VIBE: Leonardo, you’re playing the bad guy, finally. Now doesn’t that feel good?

DICAPRIO: Of course, playing a bad guy opens you up to not having as many rules or restraints. I think actors have gravitated to that because it frees you up in a way. It takes you to the darkest place of where you are as a person and lets you indulge in that and give in to that and be as horrible as you possibly can without the conflicting side of what's good and what's right. This is the first legit bad guy I've ever had to play, and it is a fucking horrible [character]; the worst display of humanity I've ever read in my entire life. Not even just because of who he was and the racism, but because he is just the most self-indulgent bastard I've ever read.

WASHINGTON: Everybody went to a place they've never been before. Samuel Jackson went into the trailer and came out every day looking like an entirely different human being.
DICAPRIO: When Sam showed up all the volumes were like, ‘‘Oh shit; I gotta say this louder.” He left a charge in our ass.

VIBE: Kerry, you played opposite Jamie in Ray as his wife. This time, you go back in time to play his wife again. How did your previous work together figure in here?

WASHINGTON: I couldn't have done this movie without Jamie. The trust factor. I think there is something beautiful about the fact that the film is about a husband and wife being reunited after being separated. And the audiences also get to see us being reunited. I think there is poetry in that. But the places we had to go emotionally I would not be able to go with an actor that I didn't respect, admire, trust and love. Even days when we weren't working it was good to know you had that person in your corner.

VIBE: What does that mean on set, for someone to be in your corner as an actor? How does that look in action?

FOXX: I got my foot on Samuel Jackson, and he said, ‘‘Now kick me. I'm gonna roll off this motherfucker.” I said, ‘‘What?” It's Samuel Jackson. Anybody else I would have gone in. He said, ‘‘Nah, nah, motherfucker bring that shit.”

DICAPRIO: Quentin Tarantino is a great filmmaker. But what he does better than everyone is he brings people together. He is a man that is very specific about his vision. There are certain things you just can't fuck with. There are certain things in telling his story he knows exactly what he wants. You have to create a situation in which you feel free to speak your mind or change things up. I am at my best–I think actors are at their best, when they are involved and feel the ownership of that character. He's that unique combination of knowing the path or journey he wants to go on, but is able to go off and improvise.

WASHINGTON: He's also not afraid to hire people who are really good at what they do. If you look at this cast, it takes a life of its own. I remember we did this one scene at this dining room table and we thought it was going to go one way and Sam and Leonardo took it to this other level. We were like, ‘‘Okay, we need to rethink the next 30 pages of the script. This is a different movie now.”

FOXX: They changed the trajectory. He got a standing ovation after one of his speeches. I'm sitting there watching it going like, ‘‘This changes the movie.”

WASHINGTON: I suddenly find myself about to cry in a moment that was not supposed to be a moment at all.

VIBE: Looks like the screenplay for Django Unchained is on the path to an Oscar nomination. All of you obviously loved it, but was there anything in the screenplay that made you think twice?

DICAPRIO: For me, the initial thing obviously was playing someone so disreputable and horrible whose ideas I obviously couldn't connect with on any level. I remember our first read through, and some of my questions were about the amount of violence, the amount of racism, the explicit use of certain language. It was hard for me to wrap my head around it. My initial response was, ‘‘Do we need to go this far?” Quentin pushes the envelope, you know, much like Inglourious Basterds was about World War II, a heightened reality. His depiction or retelling of that time. This is his retelling of this era. But my immediate question was, ‘‘Are we going too far?”

VIBE: How did you overcome that?

DICAPRIO: Samuel Jackson was like, ‘‘You can't pull any punches, none of this can be sugar coated.” He felt that a lot of this stuff had not been portrayed accurately. Even though this is a very isolated story about one man who defies the odds as a slave, however realistic that would have been at that time period, to him it was about really showing for the first time the horrific atrocities that haven't really been shown in this manner before. He told me, ‘‘If you're going to do this, you have to go all the way.” The further you go, the more people are going to embrace it for being accurate, certainly about what was going on.

VIBE: Is there anything in your life that can prepare you for playing a wicked slave master?

DICAPRIO: The thing that made him click for me was some of the conversations I had with Quentin during the writing process about things like Phrenology. Because I wanted him to be able to have a sort of scientific approach to how he operated. And Phrenology at the time was a bogus study of the skull and human emotions and feelings, where they came from. A lot of the plantation owners and scientists used that at the time to promote the idea of slavery staying as it was. And it was a completely made-up, bullshit science. But that sort of thing elevated the character. He bought into his own bullshit. He was so encompassed in this world that he actually had a scientific plausible explanation for doing what he did. The sequences we did, especially near the end, were horrific. So you had to cut your emotions off to do your job as an actor.

FOXX: What was great is it turned into this family where everybody has each other's back or you would fall apart. There were certain points where my man [Leonardo] would be like, ‘‘Buddy, how could this happen?”

WASHINGTON: We've had weeks when we weren't sleeping. Texting each other at three in the morning, like, ‘‘Yo, what are we going to do?” We would have scenes where we would be in it-in it-in it–Cut! You okay, you okay? Then you turn around and go right back in it.

VIBE: What would you text each other at three in the morning? 

WASHINGTON: I can't sleep. Me neither. Laughs.

FOXX: What we were doing was an acrobatic routine with the highest degree of difficulty. You land perfectly, it's all 10s. You don't land it, you don't get into it, you never know what the judge will give you. Every slither of this film, we thought about it. And what was great about Quentin Tarantino is he welcomed our thoughts. And like most directors this is his baby. We had to make sure we were respectful, but we also had to make sure he could trust us. For example, there was a rape scene. Obviously that's a dynamic moment. Like, I told him, black people watch a movie different that white folks. When you watch Inglourious Basterds, Jewish people have a more quiet response. [Whispers] ‘‘I can't believe they did that.” When black people don't like something it's like: [louder] ‘‘Ay dawg, why Olivia Pope went down like that. That shit is fucked up.” What I wanted to say and what we all knew was art is one thing and art is an acquired taste.

WASHINGTON: We didn't want this story to get lost in the art.

FOXX: The way [Django] protected her, I get it. The way Quentin shot the scene still gives you the dynamic of what happened without the graphicness of us, me–Jamie Foxx, Eric Bishop–seeing Kerry Washington. Because there are certain things that we watch as black people that if we don't agree with it, we not only turn off the movie but we turn off that person. When we feel like the character was compromised by the white establishment.

VIBE: Kerry, you had to go from playing a slave, a piece of property, to a political power player (Olivia Pope) in Scandal. How do you give both of these black female characters their due?

WASHINGTON: It was really weird. We all had to shift to our next characters much more quickly than we thought we would because this movie was a never-ending process. I felt like when I went back to play Olivia Pope, I didn't know how to walk in heels any more because I've been running barefoot in the woods for six months. I didn't know how to stand like her. I didn't know what it was like to wear pants anymore. It was really interesting. It was like having to go two centuries in two days and what those two centuries meant as a black woman. To be from somebody who wasn't even considered a human being in our constitution to arguably one of the most powerful women in the country because she put the president where he is. It fucked with my head a little bit.

DICAPRIO: This is the first time I did three movies back to back like this. I came from doing The Great Gatsby, which is also an American story about money and what that does to the human psychology. That it is the root of evil and what lengths people will go. And I'm doing another movie about money as well. And the effects of money on who Gatsby was, in prohibition he was a guy who got involved with gangsters to become a part of the white aristocracy of the East. And then going to the South, predating that to play somebody who wanted to own his plantation by any means necessary. There's a relationship to all of them that I didn't even realize as I was doing them, but it is a theme subconsciously I was attracted to because it was so prevalent everywhere in this country. That's what this election [was] about at the end of the day. That's what it all boiled down to. I love your view on that and that's wonderful, but how is the fucking economy?

VIBE: Speaking of the election, what is it about Hollywood that makes it a liberals-only club?

FOXX: It's the one-percenters who are actually liberal. We're artists. I'm just here to make jokes and sing and have a good time and make people feel good. When I walk down the street, I don't see anything; I just see folks. I always look at it like this. It's weird to me that we can be in a war and be fighting someone right now with guns and bullets in 2012. It doesn't make sense. That's why I am politically where I am. It doesn't come down to economy.My worry is what is happening to another human.

WASHINGTON: I think our job is to step into somebody else's shoes as actors. So I think we are open to other people's journeys. Because our jobs is to be empathetic. To say, ‘‘How does this person see the world, how does this person think about things?” Our job is to think about the other person. I think that has a lot to do with it.

VIBE: What effect did working on an actual plantation have on you? Especially with the actors in slave costumes and horse and buggies, the genuine look of a slave plantation?

FOXX: For me, it was different. I'm from the South. It's a tough script to read. When you're from California or New York, it's like reading something out of science fiction. How are these people like that.

When President Obama became president in 2008, a blemish on my hometown was the fact that it wasn't on the front page of the newspaper. When they went down to talk to them, they went [country accent] ‘‘Hey listen, we run a newspaper, not a scrap book.” I'm paraphrasing. So I had both of my daughters come down to the plantation, and I walked them through and I said, “This is where your people come from. This is your background.” And I said, “this is more than just a movie for your father.”” My little daughter, I took her into the shack, and I said, ‘‘these are where the slaves stayed.” Every two, three years there is a movie about the holocaust because they want you to remember and they want you to be reminded of what it was. When was the last time you seen a movie about slavery?

WASHINGTON: When is the last time you saw a movie about slavery where a black man frees himself?

FOXX: We read back in the day about Nat Turner and other guys who were not taking it. That's why, when I read the script and we went back to the plantation, there were certain things inside me bubbling up. It was different for a black person who is there. We would play music in between. I don't think Leo was there when we were on shack row.

WASHINGTON: He was in the big house.

[Laughter]

FOXX: They were shooting my side of when he's about to get lashes. Everybody there was just waiting for that moment, all the women on the set were like, ‘‘Wow this is going to be one of the hurdles in the script.” Now what was interesting was Quentin played music in between, which I thought was really cool. A lot of times he played music that kept things light. But that day, I found a piece of music from Fred Hammond, because I wanted that song to play.

VIBE: So this was your soundtrack for that day of shooting?

FOXX: Yeah. I picked Fred Hammond. What happened was Quentin was getting ready to shoot. Kerry's character wants to take the lashes. But the song was, [singing] ‘‘No weapon formed against me shall prosperº” And when that happened, I saw a lady who had never been on a movie set before, and she was there with her kid. And her hand went up, and then I watched Quentin as he was shooting. And his eyepiece filled up with water, and he was like, ‘‘I had no idea.” I said, ‘‘Yeah, man, I know it sounds corny, but those are the ancestors saying you guys are on the right track.”

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2 Magazine covers featuring hollywood stars Leonardo Dicaprio and Jamie Foxx

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GLOOCE RATES THESE TWO COVERS  9 out of 10

Django Unchained movie poster featuring Jamie Foxx,Leonardo Dicaprio and Christoph Waltz

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The 50 Greatest Male Sex Symbols in Film History

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Last week, we ranked the 50 greatest female sex symbols of film. This week, we're tackling the men, before they tackle us. Remember, there's an important distinction here. These aren't just sexy men; they're men who had a seismic impact on male sexuality. To be safe, it's probably best to avoid eye contact.

50. John Travolta

In his younger days, Travolta had a distinctly masculine grace and sensitivity that recalled the young Marlon Brando. Neither actor aged especially well, but we'll always have Grease.

49. James Franco

Go ahead and laugh at his pretensions and his ubiquity, but James Franco perfectly captured a particular brand of irresistible teen bad boy in Freaks and Geeks, and his good looks and undeniable talent keep him among the ranks of contemporary sex symbols despite his best attempts to silly-art-project his fame away.



48. Viggo Mortensen

There's a reason the Lord of the Rings movies sold millions of tickets to people who didn't really care about hobbits.



47. Leonardo DiCaprio

Had he stuck with his floppy hairstyle from Titanic, we might remember Leonardo DiCaprio as we do Leif Garrett. Luckily, he put his good looks to better use, establishing himself as a globe-trotting, supermodel-nailing sex symbol for grown-ups.



46. Tom Cruise

We know it's tough at the moment, but try to remember why Tom Cruise got famous in Risky Business, Top Gun, et al. The fact that he alienated Katie Holmes doesn't negate that when she was in high school, she and every other teen girl in Christendom wanted a piece of him.



45. Bruce Willis

Women want him, men want to be him, etc. Bruce Willis has swagger.



44. Gregory Peck

Contemporary audiences mostly remember Gregory Peck for his genteel nobility as the ultimate Southern gentleman in To Kill a Mockingbird. But he'd already established his sex appeal in a series of Westerns that used his angular jaw to the fullest. In that light, the hot-dad quality of his Mockingbird performance seems inevitable.



43. Javier Bardem

Javier Bardem's face looks like it was chiseled from a red sequoia by a Cubist, mescaline-amped sculptor, and it's disturbingly sexy. That's probably how he managed to secure People's Sexiest Man Alive award while sporting the doofiest haircut in the annals of film villainy.



42. Richard Roundtree

Emerging from the beige eroticism of the '70s, Richard Roundtree was a black-as-hell sexual pioneer, instantly iconic as a sex machine to all the chicks.



41. Alain Delon

Just being French generally makes you sexier than most people, but Alain Delon's sly and seductive performance in Purple Noon, as the sexually ambivalent Tom Ripley, propelled him into a new realm of lust.


40. Robert Wagner

Cf. Warren Beatty, the best way to become a sex symbol is often to sleep with other sex symbols. Take it from Robert Wagner, who slept with Joan Collins, Joan Crawford, Natalie Wood, Anita Ekberg, Barbara Stanwyck, and Elizabeth Taylor.



39. Keanu Reeves

When you don't trouble yourself with his didn't-know-he-was-being-filmed approach to acting, you will remember that Keanu Reeves was the wet dream of the '90s, in Speed, The Matrix, and My Own Private Idaho. Even today, we might not rewatch his movies, but we'd probably fuck him.



38. Gael García Bernal

Gael García Bernal and his unspeakably pretty face could have suffocated quietly in telenovelas. Instead, he earned international recognition with edgy performances in sexually charged dramas like Y Tu Mama Tambien. We're very grateful.



37. Burt Lancaster

One flash of that iconic smile in From Here To Eternity, and a few thrusts amid a surge of waves on a Hawaiian beach, and we have the blue-eyed Burt Lancaster, forever emblazoned in sex-symbol history.



36. Ryan Gosling

Thoughtful, intense, and unabashedly feminist, Ryan Gosling is a sex symbol for our time. Just ask every single woman in your Facebook feed.



35. Ramón Novarro

Lauded as the new Rudolph Valentino, Mexican actor Ramón Novarro subverted the trope of the distant, unattainable masculine love interest with his flashy romanticism in films like Scaramouche and Ben-Hur. He remains a comely vanguard for early gay (and straight) actors.



34. Patrick Swayze

When Patrick Swayze gyrated against a lithe virgin in Dirty Dancing, the world panted. When Patrick Swayze came up behind Demi Moore working a potter's wheel in Ghost, our seats got wet. He illuminated the '80s with his brusque charm, and remains lodged in our memories somewhere between crushable campiness and genuine lust.



33. Tom Selleck

Though Burt Reynolds paved the way for the hairy man, Tom Selleck earned his own witty niche in the mustachioed market.



32. Melvin Van Peebles

Standing at the helm of his own acclaimed film about a revolutionary hustler, Sweet Sweetback's Baadasssss Song, Melvin Van Peebles created blaxploitation and returned black men's sexuality to a cinema that had emasculated them for decades.



31. Wesley Snipes

He probably seems like less of a sex symbol now that he's in prison for tax evasion. But once, the chiseled Wesley Snipes projected the sex appeal of a man who could rip your dress off with one throw of a glaive. Just ask Jada Pinkett Smith, Halle Berry, and Jennifer Lopez.



30. Antonio Banderas

Antonio Banderas is actually a pretty good actor (see him in an Almodovar movie), but it almost didn't matter in the mid-'90s, when he capably filled the "big-eyed Latin lover" niche. The camp appeal of stuff like the sex scene from Desperado should not be underestimated.



29. Michael Fassbender

If you're wondering if you can be called a sex symbol, ask yourself if George Clooney has complimented your enormous penis on national television.



28. Rock Hudson

Rock Hudson was an aircraft mechanic for the Navy and truck driver before gaining recognition as an actor, and he brought a working-class, salt-of-the-earth masculinity to films like Giant. His breezy chemistry with Doris Day in their string of romantic comedies established him as a charming, urbane prototype for generations of male stars.



27. Sidney Poitier

In 1963, Sidney Poitier became the first African-American to win the Academy Award for Best Lead Actor. But his suave, sophisticated style carried more lasting resonance than any award.



26. Matthew McConaughey

McConaughey is one of the few men on this list who's publicly stated that he feels comfortable being called a sex symbol. But part of this Southern boy's charm is his exhibitionistic self-regard.



25. Warren Beatty

Warren Beatty was a good-looking guy, but that alone isn't enough to make you a sex symbol. What is enough to make you a sex symbol is sleeping with an alleged 12,000 partners. Of his promiscuity, Beatty has modestly remarked, "It was what it was."



24. Steve McQueen

You aren't given the nickname "King of Cool" by just being averagely sexy. With a background in drag racing, Steve McQueen greatly advanced the devil-may-care sexy-man archetype.



23. Michael Caine

Because he's sustained a prolific career well into his seventies, Michael Caine's name may suggest "dignified elder statesman" more than "ascot-bedecked lust object." But watch Alfie and you'll see why he got famous in the first place.



22. Tony Curtis

With his dark curls and dark eyes, Tony Curtis radiated an intensity that allowed him to stand next to Marilyn Monroe in pumps and rouge in Some Like It Hot and still be widely regarded as a sex symbol. His bisexuality (see Spartacus for an on-screen example) only adds to the sense you get that this real-life satyr would sleep with anyone.



21. Errol Flynn

If you inspire an enduring locker-room boast ("in like Flynn"), it is safe to say that you have earned your spot as a sexual icon.



20. Bruce Lee

With one flying high-kick in Fist of Fury, Bruce Lee shattered a sign reading "No Dogs and Chinese Allowed." With the whole of his career, he shattered the similar restrictions about Asian-Americans in Hollywood, allowing actors who'd once been relegated playing waiters and servants to take roles with agency, sex appeal, and killer abs.



19. Ewan McGregor

Though Ewan McGregor's square jaw, bright blue eyes, and lovely speaking voice are indisputably appealing, we're most attached to his penis, which he shows off at any opportunity (see Trainspotting, The Pillow Book, Velvet Goldmine, Nightwatch, or Young Adam). More than his handsome face, it's that fearlessness that makes him a sex symbol for our time.



18. Rudolph Valentino

Rudolph Valentino was known as "The Latin Lover" despite being French-Italian. Part of that was just the total racial cluelessness of his times, but his fans may have been responding to the ambiguous exoticism of his sexuality, which tempered the usual action-hero machismo with a mysterious femininity.



17. Clint Eastwood

Before Clint Eastwood was exclusively speaking to empty chairs, his taciturn brand of masculinity was speaking directly to our downstairs parts. His work with Sergio Leone introduced us to a rough manhood that was terrifyingly sexy.



16. Marcello Mastroianni

Marcello Mastroianni's flawless features and brooding, European inscrutibility made him the international sexual ideal of the 1960s.



15. Johnny Depp

Though everyone agrees that he's been laying on the pancake makeup a little thick this decade, Johnny Depp can't make us forget the soulful persona he built up in the '90s. He's probably responsible for more unnamed adolescent stirrings than any other actor in history.



14. Kirk Douglas

A gift from the Golden Age, Kirk Douglas made himself a sex symbol with a series of virile, often bare-chested performances; no woman of 1960 could resist his sexual ferocity in Spartacus.



13. Cary Grant

Cast beside iconic female leads like Sophia Loren, Grace Kelly, and Audrey Hepburn, Cary Grant persuaded us that his suave, devilishly good-looks were not to be outshone. His very name still connotes suave handsomeness.



12. Harrison Ford

Even as he has turned into a cranky old guy with an earring before our eyes, Harrison Ford remains, somewhere, the irresistible rake we remember. His performances are actually generally quite chaste — probably as a result of his getting famous in the adolescent fantasies of George Lucas and Steven Spielberg — which makes it all the more impressive that he's an international sex symbol. He's just that fine.



11. Sean Connery

The domineering brow and the panty-dropping lilt of his Scottish accent were enough to make Sir Sean Connery an indelible sex symbol. Then, put that combo in a tux with a handgun and a rotating band of arm-candy.


10. Robert Redford

Robert Redford's sandy-haired, blue-eyed hunk persona has transcended the decades. That he leveraged his sex-symbol status on behalf of environmentalism and political advocacy only made it more lasting.



9. Gary Cooper

With relationships with sex symbols Clara Bow and Lupe Vélez, and starring roles in over one hundred films, Gary Cooper fastened himself as more than just a winsome face. When you've been immortalized in two separate songs ("Puttin' On The Ritz" and "Mr. Sandman") for being one stylish, sexy sonofabitch, you know you've made it as a sex symbol.



8. Clark Gable

There was something quintessentially dashing and commanding about Gable's Rhett Butler in Gone with the Wind, with his thick brow, debonair charms, and knowing glances. As Joan Crawford said, "He was a king wherever he went. He walked like one, he behaved like one, and he was the most masculine man that I have ever met in my life."



7. Burt Reynolds

If there's one hirsute body that could make the term "mustache ride" appealing, it belongs to Burt Reynolds. The Smokey and the Bandit star's animalistic appeal translated off-screen, as he shuffled through starlets like Tammy Wynette, Sally Field, and Dinah Shore. The vision of Burt Reynolds, in the buff, lounging on a bearskin rug, inspires something downright primitive in all of us.



6. Denzel Washington

Denzel Washington's sexiness is by turns domineering, genuinely charming, and grave. By toggling back and forth between those three erotic settings, he's managed to muscle his way not just to three Oscars, but into our hearts and loins.



5. Brad Pitt

Brad Pitt proves that a man can be as captivatingly beautiful as a woman, but still rawly masculine enough to make men think he could beat the hell out of them. His universally recognized gorgeousness transcends character, costume, hair length, and beard style.



4. George Clooney

George Clooney represents every American male's fantasy of aging — he's gotten sexier over time. The silver streaks in his hair and crinkles in his eyes have only enhanced his sandpaper-voiced appeal. By avoiding middle-aged paunch, and perpetually flashing that mile-wide grin, Clooney's managed to make an eternal bachelor look like a catch.



3. Marlon Brando

Just watch A Streetcar Named Desire, okay?



2. James Dean

If Paul Newman is the quintessential sexy man, then James Dean is the quintessential sexy boy. No one will ever pull it off the tragic-rebel thing as well as he did, but it's an ideal worth aspiring to: forever encircled by a puff of smoke and pulling away to angst-ridden pastures on a Triumph.



1. Paul Newman

Whether it was the brooding masculinity of Cat On a Hot Tin Roof or the unyielding self-assurance in Cool Hand Luke, Newman's sexiness varied, but never wavered. Ice-blue eyes, chiseled torso, winking good humor, confidence that radiated outward for miles, and a universally acknowledged decency; the man had it all.

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