The Auteurs Film & Cast Member Database
Missing information for Bad Man’s River :
Original title : El hombre de Río Malo. Country : Spain, Italy and France. Format : Color. Language : Spanish.
Add : Irving Lerner in EXEC + Bernard Gordon in PROD + Eugenio Martín and Philip Yordan in SCR + Alejandro Ulloa in DP
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Daniel Martín, Lone Fleming, Sergio Fantoni, José Manuel Martín, Dan van Husen, Claudia Gravy, José Riesgo, Tito García, Barta Barri, Ricardo Palacios, Robert Lombard in CAST
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Antonio Ramírez de Loaysa in ED + José Luis Galicia in PROD DES + Waldo de los Ríos and Jade Warrior in MUSIC.
The current still for King of Texas is fairly boring. Here’s a better one:
A still for La règne du jour
Its English title should be The Times That Are.
Summary in English:
“From l’Île-aux-Coudres to La Rochelle via New York, Brittanyand Normandy, this second film of Pierre Perrault’s trilogy takes us first to Perche in France in the company of Alexis, Marie and Léopold Tremblay, the characters we met in Pour la suite du monde. In search of their roots they discover what connects them to and what separates them from their origins. The superb editing makes for one of the most profound and poetic film experiences.” – National Film Board
Quote:
Between pictures I go away. I think that is the best way to achieve happiness in Hollywood, the only way to keep one’s perspective. If you stay too close to the motion picture colony you lose your sense of values.
Bio:
Helen Twelvetrees (December 25, 1908 – February 13, 1958) was an American stage and screen performer, considered a top female star in the early days of sound films.
Born Helen Marie Jurgens in Brooklyn, New York, a graduate of the American Academy of Dramatic Arts, where she met her first husband, actor Clark Twelvetrees. With some stage experience, she went to Hollywood with a number of other actors to replace the silent stars that could not or would not make the transition to talkies. Her first job was with Fox Film Corporation and she appeared in The Ghost Talks (1929).
Her career was as turbulent as her personal life. After a mere three films with Fox, she was released from her contract. However, she was signed by Pathé shortly thereafter, and along with Constance Bennett and Ann Harding, Twelvetrees starred in several lachrymose dramas, not all of which were critically acclaimed. When Pathé was absorbed by RKO Radio Pictures, she found herself at various times miscast in mediocre films. With the arrival of Katharine Hepburn at RKO, Twelvetrees left the studio to freelance. (Harding and Bennett would also subsequently depart.)
The 1930 film Her Man set the course of her screen career, and she would forever be asked to play suffering women fighting for the wrong men. Later she played opposite Spencer Tracy in 1934’s Now I’ll Tell (also known as When New York Sleeps) from a novel by Mrs. Arnold Robinson; opposite Donald Cook in The Spanish Cape Mystery; and costarred in Paramount’s A Bedtime Story with Maurice Chevalier. She also starred in two Metro-Goldwyn-Mayer films, which induced a critic to note that she “had a gift for projecting emotional force with minimal visible effort.” However, some other critics (including one from The New York Times) felt that she tended to overact in a few of her other appearances.
By 1936 to 1937, she was publicly feuding with her second husband, ex-stunt man Frank Woody, and appearing in B-Westerns and crime thrillers. In 1936, she travelled to Australia to star in the Cinesound Studios production Thoroughbred about the rise of a Melbourne Cup winning racehorse. The filming was done at Cinesound Studios sound stages in Bondi Junction, Sydney.
Twelvetrees left films in favor of summer stock in 1939 and made her Broadway debut in Jacques Deval’s Boudoir in 1941. The play folded after only eleven performances and she semi-retired to Middletown, Pennsylvania, with her third husband, a military officer. She occasionally continued to act and successfully essayed the role of Blanche DuBois in A Streetcar Named Desire in summer stock in Sea Cliff, New York in August 1951. A cast member of that production recalled of Twelvetrees that “she had the saddest eyes I’d ever seen” and “it was also obvious that she had an extremely fragile psyche.”
On the afternoon of February 13, 1958, Twelvetrees was found unresponsive on the floor of her living room in a modest bungalow located at 315 Oak Hill Drive in what was pronounced a suicide by coroners in Harrisburg, Pennsylvania. Her official cause of death was listed as an overdose of prescription medication given to her for a chronic kidney ailment. She was 49 years old and survived by her son, Jack Woody, Jr. (b. 26 October 1932) and husband Conrad Payne, who was stationed at a nearby military base. Her cremated remains were interred several months after her death in Middletown Cemetery in a funeral attended only by her husband and close friend Mrs. Ray D. Uglow. Her burial plot was left unmarked and considered lost until 2009.—Wikipedia
Image submission for The Possession of David O’ Reilly (2010)
Quote:
“My life with Howard Hughes was and shall remain a matter on which I will have no comment.”
Bio:
Green-eyed beauty Jean Elizabeth Peters flashed across the screen as a bright star during her relatively brief tenure in Hollywood. After just seven years under contract to 20th Century Fox (1947 to 1954), she joined in the reclusive lifestyle of her eccentric billionaire husband, Howard Hughes, and all but vanished from public view. Jean was born in Canton, Ohio, in October 1926. Her father died when she was ten years old. Her mother owned a tourist camp on the outskirts of town and there was enough money around to send Jean to college. She received the latter part of her tertiary education at Ohio State University and graduated with a diploma qualifying her as an English teacher. A campus popularity contest put paid to those plans, since it came gift-wrapped with a trip to Hollywood and a screen test. In short order, “Miss Ohio State University” was offered a bona fide 7-year contract at 20th Century Fox with a starting salary of $150 a week.
After being picked by Darryl F. Zanuck to co-star opposite Tyrone Power in the expensively produced swashbuckler Captain from Castile (1947), Jean came to the attention of Howard Hughes. She discreetly dated Hughes for the remainder of the decade and continued to live an unpretentious lifestyle, rarely seen in public and eschewing the Hollywood nightlife and parties. A self-confessed tomboy, Jean rarely wore make-up in private and preferred to dress in jeans rather than glamorous gowns. She and her mother lived in a smallish bungalow in Bel-Air, paid for by Hughes. After relative success in her second feature, Deep Waters (1948), Jean became increasingly dissatisfied with the prissy roles she was assigned in her subsequent efforts. No shrinking Violet was Jean when it came to defending her interests: she refused outright to appear in the pictures Yellow Sky (1948) (a part she thought as ‘too sexy’) and Sand (1949), and was consequently dropped from the payroll. Jean returned to farm life in Ohio, but was back in New York in 1951 to be screen-tested by Elia Kazan for the epic western Viva Zapata! (1952), shot on location in Mexico with Marlon Brando in the lead.
Fox wisely used Jean during the next few years for similarly unglamorous outdoor roles, notably as the titular heroine of Anne of the Indies (1951), a tempestuous girl living in the Georgia swamps in Lure of the Wilderness (1952) and as Burt Lancaster’s Indian squaw in the hard-hitting western Apache (1954). She gained good notices in all of these films and was now recognised as a major star. As a result, Jean was cast in the prestigious film noir Niagara (1953), opposite Joseph Cotten and Marilyn Monroe (both of whom she befriended); and the Spencer Tracy western Broken Lance (1954). Under a new contract with Fox, Jean was now no longer in a position to refuse an assignment, and, though basically unhappy with her part, Three Coins in the Fountain (1954), proved to be one of her most popular pictures to date. Her next film, A Man Called Peter (1955) was to be her swan song. Following a 33-day marriage to a Texan oil man which ended in a whirlwind divorce, Jean finally married Howard Hughes in a secret ceremony and left public life for the next thirteen years. She never gave interviews and retreated to an isolated hilltop mansion above the Santa Monica Mountains. In 1969, she resurfaced, studying for a degree in sociology at UCLA under an assumed name.
When Jean’s marriage to Hughes ended in June 1971, the actress settled for the relatively modest sum of $70,000 a year and happily waived any further claims on the estate. That same year, she got married for the third time, to 20th Century Fox vice-president Stanley Hough. Her screen career was briefly resuscitated when she was cast in the miniseries “Arthur Hailey’s the Moneychangers” (1976) and she was last seen in an episode of “Murder, She Wrote” (1984). She devoted her final years to charitable causes and never spoke in public about her years with Howard Hughes.—IMDb
Quote:
“Herbert Brenon asked me a few questions, Is that your hair? Out of the blue, he said, I would like to make a test. Even to this day, I will never know why I was that lucky. They had made tests of every ingénue in the business for Wendy [a role in “Peter Pan”]. I got the part. They put me under contract."Bio:
Dubbed ‘the Sweetest Girl in Pictures’, Mary Brian started life as Louise Byrdie Datzler. She was born in Corsicana, Texas, and went to high school in Dallas. Her widowed mother had big plans for young Louise and took her to California in 1923, with the intention of getting her into the film business. After several unsuccessful attempts, a bathing beauty competition in Long Beach resulted in a second-prize letter of introduction to Herbert Brenon at Paramount and she wound up being screen tested for the role of Wendy for the upcoming silent version of Peter Pan (1924), co-starring Betty Bronson and Esther Ralston (with whom she would form lifelong friendships). She not only got the part, but a five-year contract with Paramount (1925-1930) and a new name.
In 1926, Mary Brian became one of the WAMPAS Baby Stars which further enhanced her popularity. During the next few years, she played ornamental leads and second leads as adolescent heroines, co-eds and ingénues. Many of those early silent features no longer exist today (Paris at Midnight (1926), among others), though surviving reels of some, like The Air Mail (1925) can still be accessed at the Library of Congress. Mary effortlessly made the transition from silents to talkies, co-starring with Gary Cooper as a feisty schoolmarm on the frontier in The Virginian (1929). One of her biggest hits was as Gwen Cavendish in the urbane comedy The Royal Family of Broadway (1930), with Ina Claire and Fredric March. A thinly disguised caricature of the private lives of the Barrymore dynasty, it hit the mark to the extent that Ethel Barrymore even threatened to sue Paramount. Mary acted three times opposite W.C. Fields, first, as his daughter, in Running Wild (1927/I), later reprising her role for The Man on the Flying Trapeze (1934) (the third was Two Flaming Youths (1927), another lost film). Signing up for another four-year contract, Mary was one of the all-star cast in the musical Paramount on Parade (1930) and then was given another good part in the first talkie version of The Front Page (1931). However, she was dropped from her contract (alongside her more illustrious colleagues Fay Wray and Jean Arthur) when Paramount began to forsake innocence and charm in favour of glamour and sophistication.
From 1932, Mary free-lanced and also acted occasionally in vaudeville at the Palace Theater. Arguably her last good picture was the romantic comedy Hard to Handle (1933), with James Cagney as a grifter (hilariously promoting grapefruit diets, spoofing his infamous scene with Mae Clarke in The Public Enemy (1931). In 1936, Mary went to England, where she co-starred opposite Cary Grant in The Amazing Adventure (1936). She then made several pictures for Poverty Row companies, such as Majestic and Monogram, including such low-budget potboilers as I Escaped from the Gestapo (1943). Mary’s motion picture career faded after 1937 and she turned towards the stage. In 1940, she went on tour with “Three after Three” , alongside Simone Simon and Mitzi Green and later entertained American troops in the South Pacific as part of the USO. In the 1950’s, she enjoyed a brief resurgence on television as the mother of a ‘Gidget’-type teen in the live CBS sitcom “Meet Corliss Archer” (1954). After the death of her husband, the film editor George Tomasini, Mary spent her retirement revisiting a lifelong passion for portrait painting.—IMDb
bio for mickey rooney
Mickey Rooney (born Joseph Yule Jr.; September 23, 1920) is an American film actor and entertainer whose film, television, and stage appearances span nearly his entire lifetime. He has received multiple awards, including a Juvenile Academy Award, an Honorary Academy Award, two Golden Globes and an Emmy Award. Working as a performer since he was a child, he was a superstar as a teenager for the films in which he played Andy Hardy, and he has had one of the longest careers of any actor, to date spanning 90 years actively making films in ten decades, from 1920s to 2010s. He is the last surviving male star from 1930s Hollywood. For a younger generation of fans, he gained international fame for his leading role as Henry Dailey in The Family Channel’s The Adventures of the Black Stallion, as well as the film itself.
Rooney was born Joseph Yule Jr. in Brooklyn, New York. His father, Joseph Yule, was from Scotland, and his mother, Nellie W. (née Carter), was from Kansas City, Missouri. Both of his parents were in vaudeville, appearing in a Brooklyn production of A Gaiety Girl when Joseph, Jr. was born. He began performing at the age of 17 months as part of his parents’ routine, wearing a specially tailored tuxedo.
His father was a womanizer and heavy drinker, leaving the family when Joe Jr. was only three. While Joe Sr. was traveling, Joe Jr. and his mother moved from Brooklyn, New York to Kansas City, Missouri to live with his aunt. While his mother was reading the entertainment newspaper, Nellie was interested in getting Hal Roach to approach the young star to participate in the Our Gang series in Hollywood. Roach offered $5 a day to Joe Jr. while the other young stars were paid five times more.
As he was getting bit parts in films, he was working with other established film stars such as Joel McCrea, Douglas Fairbanks, Jr. and Jean Harlow. While selling newspapers around the corner, he also entered into Hollywood Professional School, where he went to school with dozens of unfamiliar students such as: Nanette Fabray, Judy Garland, Lana Turner, among many others, and later Hollywood High School, where he graduated in 1938.
The Yules separated in 1924 during a slump in vaudeville, and in 1925, Nell Yule moved with her son to Hollywood, California, where she managed a tourist home. Fontaine Fox had placed a newspaper ad for a dark-haired child to play the role of “Mickey McGuire” in a series of short films. Lacking the money to have her son’s hair dyed, Mrs. Yule took her son to the audition after applying burnt cork to his scalp. Joe got the role and became “Mickey” for 78 of the comedies, running from 1927 to 1936, starting with Mickey’s Circus, released September 4, 1927. These had been adapted from the Toonerville Trolley comic strip, which contained a character named Mickey McGuire. Joe Yule briefly became Mickey McGuire legally in order to trump an attempted copyright lawsuit (if it was his legal name, the film producer Larry Darmour did not owe the comic strip writers royalties). His mother also changed her surname to McGuire in an attempt to bolster the argument, but the film producers lost. The litigation settlement awarded damages to the owners of the cartoon character, as well as compelled the twelve-year-old actor to refrain from calling himself by the name Mickey McGuire on and off screen.
Rooney later claimed that, during his Mickey McGuire days, he met cartoonist Walt Disney at the Warner Brothers studio, and that Disney was inspired to name Mickey Mouse after him, although Disney always said that he had changed the name from “Mortimer Mouse” to “Mickey Mouse” on the suggestion of his wife.
During an interruption in the series in 1932, Mrs. Yule made plans to take her son on a ten-week vaudeville tour as McGuire, and Fox sued successfully to stop him from using the name. Mrs. Yule suggested the stage name of Mickey Looney for her comedian son, which he altered slightly to Rooney, a less frivolous version. Rooney did other films in his adolescence, including several more of the McGuire films, and signed with MGM in 1934. MGM cast Rooney as the teenage son of a judge in 1937’s A Family Affair, setting Rooney on the way to another successful film series.
In 1937, Rooney was selected to portray Andy Hardy in A Family Affair (1937), which MGM had planned as a B-movie. Rooney provided comic relief as the son of Judge James K. Hardy, portrayed by Lionel Barrymore (although Lewis Stone would play the role of Judge Hardy in later films). The film was an unexpected success, and led to 13 more Andy Hardy films between 1937 and 1946, and a final film in 1958. Rooney also received top billing as “Shockey Carter” in Hoosier Schoolboy (1937).
Also in 1937, Mickey made his first film alongside Judy Garland with Thoroughbreds Don’t Cry. Garland and Rooney became close friends and a successful song and dance team. Besides three of the Andy Hardy films, where she portrayed Betsy Booth, a younger girl with a crush on Andy, they appeared together in a string of successful musicals, including the Oscar-nominated Babes in Arms (1939).
Rooney’s breakthrough role as a dramatic actor came in 1938’s Boys Town opposite Spencer Tracy as Whitey Marsh, which opened shortly before his 18th birthday. Rooney was awarded a special Juvenile Academy Award in 1939 and was named the biggest box-office draw in 1939, 1940 and 1941. Unquestionably a well-known entertainer by the early 1940s, Rooney, with Garland, was one of many celebrities caricatured in Tex Avery’s 1941 Warner Bros. cartoon Hollywood Steps Out. As of 2012, Rooney is the only surviving entertainer depicted in the cartoon. In 1991, Rooney was honored by the Young Artist Foundation with its Former Child Star “Lifetime Achievement” Award recognizing his achievements within the film industry as a child actor. After presenting the award to Rooney, the foundation subsequently renamed the accolade “The Mickey Rooney Award” in his honor. — wikipedia
quote: “The audience and I are friends. They allowed me to grow up with them. I’ve let them down several times. They’ve let me down several times. But we’re all family.”
still for Prisoner of the Mountains
Nello Pazzafini (15 May 1933 – 27 November 1997) was an Italian actor who appeared in a very large number of gladiator movies and Spaghetti Westerns. He was an ex-bodyguard and often played a “tough guy” character.
Born in Rome to a family of Ferrara origins migrated to the capital. From a young age plays a large number of activities including football, has also supported a trial in Bologna in the early ‘50s, and bodyguard.
Pazzafini strike with numerous appearances in Mythological films before, Western and Polizziotteschi as the first stunt, then as a character and became an icon thanks to its characteristic features bronze and hard face and “bad”. The part that has reached the general public is universally Fantozzi with Paolo Villaggio, in which he plays the leader of that massacre forced the accountant and his Bianchina.
He died in Rome’s Ostia in 1996. On that occasion, Steve Della Casa devotes an entire episode of transmission Radiotre Rai “Hollywood Party” and an amusing article published in the magazine "Nocturno"__ wikipedia
Please gather the three pages with his name
Marco Giallini (Rome, April 4, 1963) is an Italian actor of theater, cinema and tv.
After attending art school in Rome, and after years of experience in the theater with directors such as Arnoldo Foa, Ennio Coltorti and Angelo Orlando, debuted in film in 1995 with a small role in feature L’anno prossimo vado a letto alle dieci, directed by Angelo Orlando. His best performances on the big screen can be appreciated in films like L’odore della notte, by Claudio Caligari, Almost Blue, by Alex Infascelli, L’ultimo capodanno, by Marco Risi, Tre punto sei, by Nicola Rondolino, Barbara, by Angelo Orlando, e Non ti muovere, by Sergio Castellitto. Married with Loredana, which had two sons in 1998 and 2005. He was widowed in July 2011 after his wife was suffering from a brain hemorrhage__wikipedia
Quote:
“…in such a heart as Scott’s it was human endeavor that mattered, not mere ambition to achieve.”
Bio:
Herbert George Ponting, FRGS (21 Mar 1870–1935) was a professional photographer. He is best known as the expedition photographer and cinematographer for Robert Falcon Scott’s Terra Nova Expedition to the Ross Sea and South Pole (1910–1913). In this role, he captured some of the most enduring images of the Heroic Age of Antarctic Exploration.
Ponting was born in Salisbury, Wiltshire in the south of England, on 21 March 1870. His father was a successful banker, Francis Ponting, and his mother was Mary Sydenham. From the age of eighteeen Herbert was employed at a local bank branch in Liverpool, where he stayed for four years. That time was long enough to convince him that he did not wish to follow in the profession of his father, and attracted to stories of the American West, he moved to California where he worked in mining and then bought a fruit ranch in the 1890s. In 1895 he married a California woman, Mary Biddle Elliott; their daughter Mildred, was born in Auburn, California in January 1897.
After the ranch failed in 1900, Ponting took up free-lance photography seriously. Following a chance meeting with a professional photographer in California, to whom he had given advice about the locality and showed his own photos, he entered his pictures in competitions and won awards. He took successful stereoscopic photographs. In 1904 he was living in Sausalito, north of San Francisco. He reported on the Russo-Japanese war of 1904–05, and afterwards continued to travel around Asia, working in Burma, Korea, Java, China and India as a freelance photographer for English-speaking periodicals. Improvements in the printing press had made it possible, for the first time, for mass-market magazines to print and publish photographic illustrations. Ponting sold his work to four of London’s foremost magazines, the Graphic, the Illustrated London News, Pearson’s, and the Strand Magazine. In the Strand, Ponting’s work appeared side by side with the Sherlock Holmes stories of Arthur Conan Doyle, one of Ponting’s contemporaries.
Ponting expanded his photographs of Japan into a 1910 book, In Lotus-land Japan. He was elected a Fellow of the Royal Geographical Society (FRGS). His flair for journalism and ability to shape his photographic illustrations into a narrative led to his being signed as expedition photographer aboard the Terra Nova, the first time a professional photographer was included on an Antarctic expedition.
As a member of the shore party in early 1911, Ponting helped set up the Terra Nova Expedition’s Antarctic winter camp at Cape Evans, Ross Island. The camp included a tiny photographic darkroom. Although the expedition came more than 20 years after the invention of photographic film, Ponting preferred high-quality images taken on glass plates.
Ponting was one of the first men to use a portable movie camera in Antarctica. The primitive device, called a cinematograph, could take short video sequences. Ponting also brought some autochrome plates to Antarctica and took some of the first known color still photographs there.
The expedition’s scientists studied the behavior of large Antarctic animals, especially killer whales, seals, and penguins. Ponting tried to get as close as possible to these animals, both on the Terra Nova in the sea ice and later on Ross Island, and narrowly escaped death on one occasion in early 1911 when a pod of eight killer whales almost knocked him and his camera off of an ice floe into McMurdo Sound.
During the 1911 winter, Ponting took many flash photographs of Scott and the other members of the expedition in their Cape Evans hut. With the start of the 1911–12 sledging season, Ponting’s field work began to come to an end. As a middle-aged man, he was not expected to help pull supplies southward over the Ross Ice Shelf for the push to the South Pole. Ponting photographed other members of the shore party setting off for what was expected to be a successful trek. After 14 months at Cape Evans, Ponting, along with eight other men, boarded the Terra Nova in February 1912 to return to civilization, arrange his inventory of more than 1,700 photographic plates, and shape a narrative of the expedition. Ponting’s illustrated narrative would be waiting for Captain Scott to use for lectures and fundraising in 1913.
The catastrophic end of “Scott’s Last Expedition” also affected Ponting’s later life and career. When the Terra Nova had sailed south in 1910, it had left massive debts behind. It was expected that Scott would return from the South Pole as a celebrity and that he could use moving images from his expedition in a one-man show. Ponting’s cinematograph sequences, pieced out with magic lantern slides, were to have been a key element in the expedition’s financial payback.
However, when the bodies of Scott and his companions were discovered in their tent on the Ross Ice Shelf in November 1912, their diaries and journals were also found. These records described the explorers’ final days while suffering from exposure and malnutrition, and their desperate effort to get to a depot of food and fuel that could have saved them. Scott knew he was doomed, and used his final hours to write pleas to his countrymen to look after the welfare of the expedition’s widows and survivors.
The eloquent appeals, upon publication in the British press, wrung massive donations from the public. The gifts repaid the entire cost of the expedition, provided large annuities (carefully doled out by expedition status and rank) for the widows and survivors, and left a substantial surplus for eventual use as the startup endowment of the Scott Polar Research Institute (SPRI), an affiliate of Cambridge University.
Under these conditions, Ponting’s Antarctic work had become redundant. Soon afterwards, World War I began.
With the conclusion of the war, Ponting’s archive drew a nibble of interest. He published The Great White South, the photographic narrative of the expedition, in 1921 which was a popular success, and produced two films based upon his surviving cinematograph sequences, The Great White Silence (1924 – silent) and Ninety Degrees South (1933 – sound). He also lectured extensively on the Antarctic. These works brought him little personal recompense, however, and his other photographic work did not go well. Ponting died in London in 1935.
The Scott Polar Research Institute purchased the Ponting Collection in 2004 for £533,000. In 2009, SPRI and publisher Salto Ulbeek platinum-printed and published a selection of the Collection. The Great White Silence was restored by the British Film Institute and re-released in 2011.
In addition, one of Ponting’s photographic darkrooms was reconstructed in the collections of the Ferrymead Heritage Park in Christchurch, New Zealand.—Wikipedia
English title: The River Schooners
And a summary:
Through their anecdotes and their actions, the artisans of l’Île-aux-Coudres tell us about the science of wooden boats at a time when iron ships are invading the St. Lawrence river. After a disastrous boating session, the filmmaker questions the economic and political future of an entire culture. This last film of Perrault’s trilogy witnesses the end of the era of wooden schooners and of the men who knew how to build and pilot them. – National Film Board
Still for Corpus Callosum
An alternate English title that’s used here by the NFB and is an accurate translation of the French one: The Beautiful Delight
And a somewhat better picture:
Tatyana Doronina
actress
biography
Tatiana (Tatyana) Vasilyevna Doronina (Russian: Татьяна Васильевна Доронина; born 12 September 1933) is a popular Soviet/Russian actress who has performed in movies and the theater. She is generally regarded as one of the most talented actresses of her generation and was named a People’s Artist of the USSR in 1981.
Born in Leningrad, little Tanya frequented performances at the Bolshoi Drama Theater and Pushkin Theater. After graduating the famous MKhAT theatre school in Moscow, she returned to Leningrad and joined the Bolshoi Drama Theatre directed by Georgy Tovstonogov.
After moving to Moscow Doronina worked at the Mayakovsky Theater and then at MKhAT. Her major roles were Arkadina in The Sea-Gull by Chekhov, Dulcinea del Toboso in a play by Alexander Volodin, Queen Elizabeth of England and Mary Stuart in Vivat Regina.
“All the films she starred in, though regrettably few, are now considered classics. Most directors believed she was too theatrical for the movies and refused to take her on. Georgy Natanson reversed that unfair judgment by giving her the lead parts in The Elder Sister and Once More about Love. Both had a tremendous success making Doronina a huge film star. Young girls imitated her hair-do and her manner of speaking. People queued up for hours to get tickets for Once More about Love in which she played a flight attendant, the role that earned her the best Soviet actress title in 1968. Doronina’s profoundly romantic heroines could sacrifice everything for love. She rendered the love theme the way no actress did. In almost every of her films she would sing a song, which in her presentation turned into a small drama. In Three Poplars on Plyuschikha she plays a plain country woman who, although married, has never experienced love and puts the anguish tormenting her heart into a song called Tenderness” says Russian Cultural Navigator.
At present Doronina is artistic director of the Gorky MKhAT, a job she accepted when MKhAT split into two independent troupes.
One of her husbands was a popular Russian writer and historian Edvard Radzinsky.
Still for “Nessun messaggio in segreteria” [Sorry, You Can’t Get Through!]
Stills for
Happy Family (by Salvatores)
Maradona – La mano de Dios [Maradona – The hand of God]
Riprendimi [Good morning heartache]
The people time forgot
La rivincita di natale [Christmas Rematch]
Cafè express (by Nanni Loy)
more informations (for Cafè express)
Cast: Vittorio Caprioli, Gigi Reder, Marisa Laurito, Maurizio Micheli, Leo Gullotta, Marzio Honorato, Lina Sastri, Nino Terzo, Franca Scagnetti, Tano Cimarosa, Antonio Allocca
Screenplay: Nanni Loy, Nino Manfredi, Elvio Porta
Music: Giovanna Marini
Cinematography: Claudio Cirillo
Editing: Franco Fraticelli
New still suggestion for Kikujiro
Marco Leonardi. (Ultimo minuto) and Marco Leonardo are the same person of Marco Leonardi
Ciccio Ingrassia (5 October 1922 – 28 April 2003) was an Italian comedian.
He was born in Palermo, Sicily and began his career in the 1950s, although his career only really took off in the 1960s. He starred in many comedies, mainly as a duo with comedian Franco Franchi. During the 1980s he also did television work.
On the 1966 film Due Marines e un Generale he worked with Buster Keaton__wikipedia
Franco Franchi (born Francesco Benenato , 18 September 1928 – 9 December 1992) was an Italian comedian.
He was born in Palermo, Sicily and began his career in the 1950s, although his career only really took off in the 1960s. He starred in many comedies, mainly as a duo with Ciccio Ingrassia but also in more dramatic material such as Comencini’s ’Adventures of Pinocchio (1972), in which they paired memorably as the Fox and the Cat.
On film Due Marines e un Generale (1966) he works with Buster Keaton.__wikipedia
Regina Orioli
Lorenza Indovina
Bio:
Pierre Chenal (December 5, 1904 – December 23, 1990) was a French director and screenwriter who flourished in the 1930s, and was best known for film noir thrillers such as the 1937 film L’Alibi, where he worked with Erich von Stroheim and Louis Jouvet. In 1939 he made Le Dernier Tournant, the first of many film treatments of James M. Cain’s celebrated novel, The Postman Always Rings Twice.
Chenel was Jewish and was forced to flee occupied France for South America in 1942. He made a number of films while living in Argentina and more in France after the war; but his post-war work never achieved the success and popularity of his pre-war efforts.—Wikipedia
The protagonist of Maradona – La mano de dios is Marco Leonardi and NOT Marco Leonardo
Silvio Orlando (born 30 June 1957) is an Italian actor.
Orlando was born in Naples. He worked with numerous Italian directors such as Nanni Moretti, Daniele Luchetti, Carlo Mazzacurati, Gabriele Salvatores and others. He also took part to several TV series.
Orlando in 1988 directed two theatre works written by Peppino De Filippo: Don Rafelo ‘o trumbone and Cupido scherza e spazza. In 2008 he was protagonist of Roberto Paci Dalò’s play L’assedio delle ceneri.__wikipedia
Valerio Mastandrea (born February 14, 1972) is an Italian film actor. Mastandrea was born at Garbatella, Rome, Italy. He is a former philosophy student turned actor.
He won the David di Donatello for Best Actor for his role in The First Beautiful Thing in 2010__wikipedia
William Basinski (born 1958) is a United States avant-garde composer of ambient music via tape music and process music. Basinski is also a clarinetist, saxophonist, sound artist, and video artist. He is best known for his four-volume album The Disintegration Loops (2002–2003), constructed from rapidly decaying twenty-year-old tapes of his earlier music.
William Basinski was born in 1958 in Houston, Texas. A classically trained clarinetist, he studied jazz saxophone and composition at North Texas State University in the late 1970s. In 1978, inspired by minimalists such as Steve Reich and Brian Eno, he began developing his own vocabulary using tape loops and old reel-to-reel tape decks. He developed his meditative, melancholy style experimenting with short looped melodies played against themselves creating feedback loops.
His first release was Shortwave Music. Although created in 1983, it was first released on vinyl in a small edition in 1998 by Carsten Nicolai’s Raster-Noton label. This was followed by Watermusic, self-released in 2000 on Basinski’s 2062 Records. Another 2-disc work was Variations: A Movement in Chrome Primitive, 1980: it was finally released in 2004 by David Tibet on the Durtro/Die Stadt label. At the time this work was created, Basinski was experimenting with compositions for piano and tape loops.
Throughout the 1980s, Basinski created a vast archive of experimental works using tape loop and delay systems, found sounds, and shortwave radio static. He was a member of many bands including Gretchen Langheld Ensemble and House Afire. In 1989, he opened his own performance space, “Arcadia”. In the 1990s, he performed and produced records and intimate underground shows there for various NYC artists including Antony, Diamanda Galás, Rasputina, The Murmurs, and his own ad-hoc experimental electronic/improvisation band, Life on Mars. In 2000, he made a film titled Fountain with artists James Elaine and Roger Justice.
In August and September 2001, he set to work on what would become his most recognizable piece, the four-volume album The Disintegration Loops. The recordings were based on old tape loops which had degraded in quality. While attempting to salvage the recordings in a digital format, the tapes slowly crumbled and left a timestamp history of their demise__wikipedia
Chiara Caselli is an Italian actress, photographer and director born in Bologna, Italy, in 1967. She has been in love with theater ever since she was a child, and in 1985 she made her stage debut with the theater company of Teatro Stabile di Bolzano.
Six years later Chiara Caselli appeared on the film Il segreto, which was directed by famous director Francesco Maselli. Because of her outstanding performance in the film, Chiara Caselli was awarded the Saint Vincent Silver Award in 1990. This role was followed by Liliana Cavani’s Dove siete? Io sono qui in 1992, which earned her another two awards, the Nastro d’argento and the Grolla d’oro.
Her stunning looks and prolific acting was immediately noticed by French director, Gerard Corbiau, thus she was cast in his movie The Year of the Devil, which was shot in the Alps in 1991. Soon after, Chiara Caselli made her way to Hollywood by taking a part in Gus Van Sant’s My Own Private Idaho starring River Phoenix.
In 1993 Chiara Caselli starred in the movie Costa-gavras (Small Apocalypse) as well as in Fiorile directed by Vittorio and Paolo Taviani. In 1995 director Michelangelo Antonioni cast her as one of the heroines for his film Beyond the Clouds.
Chiara Caselli was given the lead role in the movie Sleepless, in which she starred with her husband Stefano Dionisi. She has already worked with him for three other movies, Il Segreto, Sabato Italiano, and Il prezzo. Sleepless was directed by renowned director Dario Argento.
In 2002 Chiara Caselli once again made her way back to Hollywood when she took on a supporting role in the movie Ripley’s Game, a sequel to Patricia Highsmith’s psychological thriller The Talented Mr. Ripley, which continued the life of the creative, self-obsessed con artist, Tom Ripley. The film, which was shot in Italy, starred John Malkovich and was directed by Anthony Minghella. Chiara Caselli worked again with John Malkovich in Beyond the Clouds.
Monsieur Zom
I can be stupid sometimes. I recently posted a pictures for Barbara Ulrich, but forgot I had a better one that doesn’t come from a film (which in my opinion should last resort).
Would be great if Barbara Ulrich profile pictures could be replaced by this one :
Thanks.