[On playing Daisy Buchanan]: “I was rather prudish earlier in my career, and I had said…I will never take a bath on the screen, I will never take a drink on the screen, and I will never cut my hair. Well, I did all three for The Great Gatsby! I loved playing a bitch!”
Lois Wilson (June 28, 1894 – March 3, 1988) was an American actress best known for her work during the silent film era. She also directed two short films and was a scenario writer.
Born in Pittsburgh, Pennsylvania, Wilson’s family moved to Alabama when she was still very young. She earned a degree from Alabama Normal College (now the University of West Alabama), and became a school teacher. Wilson moved to California when she won a beauty contest put on by Universal Studios and the Birmingham News in 1915. This pageant was the predecessor to the Miss Alabama/Miss America pageant system, and Wilson is considered the first Miss Alabama. Upon arriving in Hollywood, she secured a small part in The Dumb Girl of Portici, which starred the ballerina Anna Pavlova.
After appearing in several films at various studios, Wilson settled in at Paramount Pictures in 1919, where she remained until 1927. She was a WAMPAS Baby Star of 1922, and all told, appeared in 150 movies. Her most recognized screen portrayals are Molly Wingate in The Covered Wagon (1923) and Daisy Buchanan in the silent film version of The Great Gatsby (1926). She acted opposite such leading male stars of her era as Rudolph Valentino and John Gilbert.
Wilson played both romantic leads and character parts. Despite making a successful transition to sound, Wilson was dissatisfied with the roles she received in the 1930s and she soon retired in 1941, making only three films after 1939. Lois ventured to Broadway and television following her final role in The Girl From Jones Beach (1949) with Ronald Reagan. Wilson played in the network soap operas The Guiding Light in (1952) and The Edge of Night. She portrayed featured character roles.
Wilson was also the model of the Philadelphia Sesquicentennial Celebration’s official poster, “America Welcomes the World” in 1926.
She was once described as having a screen image of “the soft, marrying kind of woman”; in real life, however, she never married. She was chosen by Paramount Pictures to represent the motion picture industry at the British Empire Exposition of 1924. She was described as “a typical example of the American girl in character, culture and beauty”.
Lois Wilson died of pneumonia at Riverside Hospital for Skilled Care in Reno, Nevada on March 3, 1988. She was 93 years old. She was buried at Forest Lawn Memorial Park in Glendale, California. Her funeral service was conducted at the Church of the Good Shepherd in Beverly Hills, California.—wikipedia
The still currently being used for Imamura’s A Man Vanishes is actually a still from Masumura’s Black Test Car. It appears not quite 15 minutes in—on the Region 1 Fantoma DVD it appears at exactly 00:14:49.
I come here humbly begging that you change the still for Indiana Jones and the Kingdom of the Crystal Skull to this, as it is much, much more expressive of the film:
And the other Indy films:
Raiders of the Lost Ark
Indiana Jones and The Temple of Doom
Indiana Jones and The Last Crusade
Soo-yong Kim’s profile picture
Born in 1929, KIM Soo-yong is a legendary senior figure in Korea’s film industry. He made his debut in 1958 with and directed more than 100 movies through 1999 with . He made many popular commercial films of the past decades, such as (1965) as well as some 50 literary movies based on popular Korean novels such as (1965) and < The Foggy Town>(1967). In his later years, Kim Soo-yong served as an administrator in various capacity. He was the first movie director to serve as the president of the prestigious [The National Academy of Arts]. As the chairman of Korea Media Rating Board from 1998 for six years, he helped relax the censorship criteria on movies. Thanks to this, movies with highly sexual contents such as by [JANG Sun-woo] and by [PARK Jin-pyo] could be released without much commotion. -koreanfilm.or.kr
To Jack Lehtonen – As much as I would like to see the thumbnail for “Crystal Skull” changed to that of Indy’s view of the mushroom cloud, I hear that the most popular of film entries are a little more difficult in having their stills changed. In addition, the stills you suggested seem to be squeezed from their original ratio to fit the 448×252 size for the screencaps.
Currently there are two different entries for Teruo Ishii’s film Blind Beast vs. Killer Dwarf:
And here: http://mubi.com/films/blind-beast-vs-dwarf
“Preobrajenska was my first and only permanent teacher. I think always of Madame Preobrajenska not only as my beloved, never-to-be-forgotten teacher, but my immortal friend.”
Tamara Toumanova (March 2, 1919 – May 29, 1996) was a prominent American ballerina and actress of Russian, Georgian and Armenian descent. She made her debut at the age of 10 at the children’s ballet of Paris Opera and was soon discovered by her fellow émigré, balletmaster George Balanchine, who made Tamara the star of his performances in the United States. While most of Toumanova’s career was dedicated to ballet, she appeared in several films as well.
Tamara Tumanova, born Tamara Vladimirovna Khassidovitch in Siberia, while her mother, Georgian Princess Eugenia Tumanishvili, was fleeing Georgia in search of her husband, Konstantin Zakharov, a doctor of the Caucasian Military District. She has been reported as being of partially Georgian, Armenian and Polish descent.
Toumanova’s parents had become separated during the Russian Revolution. Toumanova was 18 months old before her parents were reunited. The family escaped from Russia to Shanghai, China, where they lived for a year, then moved to Cairo. After spending time in refugee camps, the family settled in Paris, where there was a large Russian émigré community. Unable to travel to Georgia herself due to Soviet immigration policies, in 1989, Toumanova called relatives in Georgia and asked to arrange the burial of her mother in Tbilisi, where her brother Zakaria was already buried, but this proved impossible at the time.
After moving to Paris, Toumanova was given piano lessons and studied ballet with Olga Preobrajenska, who she described as her “first and only permanent teacher” and an “immortal friend”. She made her debut at the Paris Opera at the age of ten in the children’s ballet L’Éventail de Jeanne (for which ten French composers wrote the music). George Balanchine saw her in ballet class and engaged her for de Basil’s Ballet Russe de Monte Carlo as one of the three “baby ballerinas”. She came to be called “The Black Pearl of the Russian Ballet”, because, as A. V. Coton wrote, “she was the loveliest creature in the history of the ballet”, with black silky hair, deep brown eyes and pale almond skin. She was the most glamorous of de Basil’s “baby” ballerinas who took London by storm in the Thirties. Throughout her dynamic career her mother was devoted companion, nursemaid, dresser, agent and manager – she was always at the helm.
Balanchine created the role of the “Young Girl” for Toumanova in his ballet Cotillon and had her star in his Concurrence and Le Bourgeois Gentilhomme. Léonide Massine also worked closely with Toumanova in the creation of many of his ballets. She played the part of the Top in his Jeux d’Enfants. Balanchine created a role for her in his Le Palais de Cristal (since re-titled Symphony in C) in 1947 at the Paris Opera. In 1936, while Toumanova was performing ballet in Chicago, a 16 year old boy named Burr Tillstrom came to see her perform. Following the ballet, Burr came backstage and actually introduced himself to her. As they talked Toumanova and Tillstrom became friends. Some time later, Tillstrom showed her a favorite puppet he had made and she, surprised by his revelation, exclaimed, “Kukla”, and Burr Tillstrom went on to create a very early (1947) television show for children, titled, Kukla, Fran and Ollie.
In the United States, she appeared in such films as The Private Life of Sherlock Holmes, Tonight We Sing (playing Anna Pavlova), Deep in My Heart, Days of Glory, and Torn Curtain. In 1944, she married film producer and screen writer, Casey Robinson; the marriage produced no children and ended in divorce.
Toumanova died in Santa Monica, California, on May 29, 1996, aged 77, from undisclosed causes. Before her death, she gave her Preobrajenska costumes to the Vaganova Choreographic Museum in St Petersburg. She was buried next to her mother Eugenia in Hollywood. British choreographer John Gregory, in his October 31, 1996 obituary for Toumanova described her as a “remarkable artist – a great personality who never stopped acting. It is impossible to think of Russian ballet without her.”—wikipedia
Correct still and synopsis for A Nation Is Awaking / Bir Millet Uyanıyor;
“A Nation Is Awaking” (Turkish: Bir Millet Uyanıyor) is a 1932 black-and-white Turkish historical drama film, co-written and directed by Muhsin Ertuğrul with journalist Nizamettin Nazif Tepedelenlioğlu, featuring Ercüment Behzat Lav as a heroic weapons smuggler operating between Istanbul and Anatolia during the Turkish War of Independence. The film,, which went on release across Turkey on December 7, 1932, was, according to Rekin Teksoy, the director’s first important feature, thanks to its seamless narrative. -Turkish Cinema (Türk Sineması) on Facebook
Correct spelling, still and synopsis for The Last Birds / Son Kuşlar;
“The Last Birds” (Turkish: Son Kuşlar) is a 1965 black-and-white Turkish romantic drama film, directed by Erdoğan Tokatlı, featuring Ediz Hun and Selma Guneri. The film won Selma Guneri the Golden Orange for Best Actress at the 3rd Anatalya Film Festival and was, according to Rekin Teksoy, a successful debut for the director. -Turkish Cinema (Türk Sineması) on Facebook
Dir: Erdoğan Tokatlı
“Wildly funny, desperately sad, brutal and kind, furious and patient, there was no other like Nathanael West.” [Dorothy Parker]
NATHANAEL WEST—novelist, screenwriter, playwright—was one of the most gifted and original writers of his generation, a comic artist whose insight into the brutalities of modern life would prove prophetic. He is famous for two masterpieces, Miss Lonelyhearts (1933) and The Day of the Locust (1939).
Nowadays, The Day of the Locust is admired as the most relevant novel ever written about Hollywood. Plus, the story takes a savage look at America during the Great Depression, revealing a diseased country being stained by corruption, hypocrisy, greed, and rage.
A new book about Nathanael West, Lonelyhearts: The Screwball World of Nathanael West and Eileen McKenney, was released by Houghton Mifflin Harcourt in 2010.
Use with extreme caution the out-of-date WIKIPEDIA article on Nathanael West. Among the numerous errors is incorrect information about his birth name and the circumstances of his death.—nathanaelwest.com
Missing info for The Hero of Nine Mountains / Dokuz Dağın Efesi
SYNOPSIS “The Hero of Nine Mountains” (AKA: The Lord of Nine Mountains; Turkish: Dokuz Dağın Efesi; AKA: Çakıcı Geliyor) is a 1958 black-and-white Turkish drama film, written and directed by Metin Erksan, featuring Fikret Hakan. -Turkish Cinema (Türk Sineması) on Facebook
DIR Metin Erksan
PROD Özdemir Birsel
SCR Metin Erksan
DP Şevket Kıymaz
CAST Fikret Hakan, Serpil Gül, Kadir Savun, Hayri Esen, Erol Taş, Hayati Hamzaoğlu, Sadettin Erbil, Yılmaz Gruda, Osman Türkoğlu, Ali Seyhan
MUSIC Nedim Otyam
Valentin Vaala (born Valentin Ivanoff) (October 13, 1909 in Saint Petersburg – November 21, 1976 in Helsinki) was a Russian-born Finnish film director, screenwriter and edited. His career spanned several decades, from 1929 to 1973, and has been called one of the most significant, in both quality and popularity, in the history of Finnish cinema.
As a teenager, Vaala befriended Theodor Tugai – who later became known as a film director and actor under the name Teuvo Tulio – and the pair recognized their common interest in films. They decided to start making films together, but their first feature-length attempt, Mustat silmät in 1929, never received wide distribution. Vaala himself was reportedly so disappointed with the resulting film that he dumped the original camera negatives into the sea. However, later in the same year, Vaala and Tulio partially remade the film as Mustalaishurmaaja for the Fennica-Filmi company. This film became a hit and earned the starring Tulio the nickname “Finland’s Valentino”. The pair went on to make two other films, Laveaa tietä (1931) and Sininen varjo (1933) with Vaala directing and Tulio starring.
While Tulio moved on with his own acting and directing career, Vaala went on to direct his last film for Fennica-Filmi, Helsingin kuuluisin liikemies, in 1934. After the demise of Fennica, Vaala directed one film for Bio-Kuva, Kun isä tahtoo…, also in 1934. The next year Vaala was hired as the second director of the film production company, Suomi-Filmi, following Risto Orko. Vaala remained contracted to the company for the rest of his career.
During his career, Vaala directed 44 feature-length theatrical films, the second most among Finnish directors, behind only Toivo Särkkä. 38 of those films were made while he was employed by Suomi-Filmi. His first film with the company was the romantic comedy Kaikki rakastavat (1935). It was also the first film that Ansa Ikonen and Tauno Palo starred in together. The film was followed by an urban comedy, Vaimoke in 1936, which starred the same leading pair, and ended up being a popular success and served as the breakthrough film for all involved. The film was an adaptation from a work by Hella Wuolijoki, as was the sequel, Mieheke, which Vaala directed in the same year.
Many of Vaala’s films were adaptations of popular classics of Finnish literature, by authors such as Mika Waltari, Aleksis Kivi and Maiju Lassila. Vaala also directed several adaptations on works by Frans Eemil Sillanpää, one of which, Ihmiset Suviyössä (1948), has been called his best film, and is reported to have been one of the director’s personal favorites. Another personal favorite of his, and also a popular success, was Loviisa, Niskavuoren nuori emäntä (1946), an adaptation from a Wuolijoki play.
During Vaala’s career, his most popular films reached huge audiences in relation to the size of his home country. One of his most popular films, Juurakon Hulda (1937), was seen in cinemas by approximately a million viewers out of a population of 3,5 million. It was also remade in Hollywood as The Farmer’s Daughter. Vaala’s other popular films included Niskavuoren naiset in 1938 and his adaptations from Mika Waltari’s books Gabriel, tule takaisin (1951) and Omena putoaa… (1952). Nummisuutarit in 1957 and Nuori Mylläri in 1958 were also among the most watched films in Finland during their release years.
Vaala’s final feature film was Totuus on armoton in 1963, but his career still continued as a director of short films. His last credited work was a short documentary film about the Finlandia Hall, created at the request of the city of Helsinki.
Vaala won three Jussi Awards for directing and one for screenwriting. One of the directing awards was given jointly for Dynamiittityttö and Linnaisten vihreä kamari in 1945, the others were for Loviisa, Niskavuoren nuori emäntä (1946) and Omena Putoaa (1952). He earned the lone screenwriting award with Ihmiset suviyössä (1946).—wikipedia
Suggested still for “DUAS ARANHAS” (2009) – much better in my opinion:
Whoever is adding films to this director’s filmography has no common sense whatsoever! He passed away in 1966. All 4 color films after that date featured on his profile are NOT made by him. There are many other Shimizus in Japan! PLEASE REMOVE IMMEDIATELY. Thanks!
Correct still and better synopsis for My Aunt / Teyzem;
“My Aunt” (Turkish: Teyzem) is a 1986 Turkish psychological-drama film, directed by Halit Refiğ and written by Ümit Ünal inspired by an award-winning story from the prestigious Cumhuriyet newspaper, featuring Müjde Ar as a lonely woman who succumbs to depression and schizophrenia after returning to her family home in a conservative neighbourhood after an unsuccessful marriage. The film, which went on nationwide general release across Turkey on October 1, 1986, won Ümit Ünal the Milliyet Best Screenplay Award.
Please correct the info and stills for the Japanese and American versions of Gamera:
Gammera the Invincible
USA / Japan
Black and White
DIR Sandy Howard, Noriaki Yuasa
EXEC Ken Barnett
PROD Yonejiro Saito, Hidemasa Nagata
SCR Richard Kraft, Nisan Takahashi
DP Julian C. Townsend, Nobuo Munekawa
CAST Albert Dekker, Brian Donlevy, Diane Findlay, John Baragrey, Dick O’Neill
MUSIC Artie Butler
Gamera: The Giant Monster / Daikaijû Gamera
Black and White
DIR Noriaki Yuasa
EXEC Masaichi Nagata
PROD Yonejiro Saito, Hidemasa Nagata, Sandy Frank
SCR Nisan Takahashi
DP Nobuo Munekawa
CAST Eiji Funakoshi, Harumi Kiritachi, Junichirô Yamashiko, Yoshiro Uchida, Michiko Sugata, Yoshiro Kitahara, Jun Hamamura, Kenji Oyama, Munehiko Takada, Yoshio Yoshida, Jun Osanai
ED Tatsuji Nakashizu
MUSIC Tadashi Yamauchi
Missing synopsis and correct title spelling for Despite Everything / Herşeye Rağmen
“Despite Everything” (Turkish: Herşeye Rağmen) is a 1988 Turkish drama film, directed by Orhan Oğuz, featuring Talat Bulut as an ex-con who becomes a hearse driver following his release. The film won awards at the Ankara International Film Festival, Mannheim-Heidelberg International Filmfestival and Cannes Film Festival. -Turkish Cinema (Türk Sineması) on Facebook
Glass Candy is an American indie electronic band from Portland, Oregon that formed in 1996. The band consists of vocalist Ida No and guitarist/synthesist/general producer Johnny Jewel. While the band’s early work blends elements of no wave and glam rock, their later work incorporates Italo disco. The band is known for evolving through the years since their original collaboration, and experimenting with various musical genres. They have released a number of albums since the early 2000s, their most recent being 2008’s Deep Gems. —Wikipedia
I’m now convinced that I’m a doctor. I mean, if someone says they have a pain, I’m like, ‘Well, that’s your spleen.’.
Although born in New York, Wilde was raised in Washington D.C. and went to school there, as well as in Massachusetts, where she graduated in 2002. Her father, Andrew Cockburn, is Irish, giving her dual US and Irish nationality and facilitating her brief study at the Gaiety School of Acting in Dublin, Ireland.
After appearing in the short-lived US TV show, “Skin” (2003), she made her Hollywood debut in The Girl Next Door (2004) and then came to public notice in “The O.C.” (2003), but it was as “Dr. ‘Thirteen’ Hadley” in “House M.D.” (2004) that she achieved international stardom. —IMDb
[Thomas Bangalter] We come from a generation that wanted to make electronic music accepted, at a time [when] it was not. The place of electronic music, culturally and socially, is today completely different— it is now everywhere, and it has been totally accepted. Consequently, there is now a younger generation that is more focused on making great electronic music, good parties, and having fun, where there is not any more so much need for cultural and ideological statements in electronic music itself. We’re genuinely happy if some musicians of this younger generation are influenced by our music, as we were ourselves influenced 10 years ago by older musicians.
Daft Punk are an electronic music duo consisting of French musicians Guy-Manuel de Homem-Christo (born February 8, 1974) and Thomas Bangalter (born January 3, 1975). Daft Punk reached significant popularity in the late 1990s house movement in France and met with continued success in the years following, combining elements of house with synthpop. The duo is also credited with producing songs that are considered essential in the French house scene. They were managed from 1996 to 2008 by Pedro Winter (Busy P), the head of Ed Banger Records. Early in the group’s career, the band members were strongly influenced by groups such as The Beach Boys and The Rolling Stones. Bangalter and de Homem-Christo were originally in a band called Darlin’, which disbanded after a short period of time, leaving the two to experiment musically on their own.
The duo became Daft Punk, and released their critically acclaimed debut album Homework in 1997. The 2001 release Discovery was even more successful, driven by the club singles “One More Time”, “Digital Love” and “Harder, Better, Faster, Stronger”. In March 2005, the duo released the album Human After All to mixed reviews. However, the singles “Robot Rock” and “Technologic” achieved success in the United Kingdom. Daft Punk toured throughout 2006 and 2007 and released the live album Alive 2007, which won a Grammy award for Best Electronic/Dance Album. The duo composed the score of the film Tron: Legacy and in 2010 released the soundtrack album of the film. Daft Punk are noted for their elaborate live shows, in which visual elements and effects are incorporated with the music. The group is also known for its emphasis on visual and story components associated with their musical productions, as well as for wearing ornate robot costumes in public and while performing. —Wikipedia
correct one director Yun Hyeon-mok into Yoo Hyun Mok
still suggestion for The Flower of My Secret
Do the film stills actually get replaced by the ones posted here? Doesn’t look like it…
Anyway here are some still suggestions:
Dream of a Rarebit Fiend
The Great White Silence
still suggestion for : Sweet Movie
The Cameraman’s Revenge
He Who Gets Slapped
Indiana Jones and the Kingdom of the Crystal Skull
Boarding Gate is mistakenly listed as a 2005 film; it first premiered at Cannes in 2007 (which is listed on the page correctly, funnily enough).
Orson Welles’ Othello is missing two Cannes Film Festival references; the first one in 1952 when it premiered and (jointly) won the Palme d’Or (née Grand Prix du Festival International du Film); and the second in 1992 when it screened out of competition after being restored.
Still suggestion for Too Big to Fail (ORIGINAL SIZE here).