The Auteurs Film & Cast Member Database
Still for Son of Flubber
I’d argue that for Baz Luhrmann’s Romeo + Juliet, the complete title (“WILLIAM SHAKESPEARE’S ROMEO + JULIET”) should be the subtitle on this site (i.e. swap the current title and subtitle).
Music by Peter Sandloff
ADD
The Return of Dr. Mabuse
The Invisible Dr. Mabuse
“I’m a lot more sartorial than thespian. They come to see me and go out humming the costumes.”
Independent, outspoken Constance Bennett, the first of the Bennett sisters to enter films, appeared in New York-produced silents before a chance meeting with Samuel Goldwyn led to her Hollywood debut in Cytherea (1924). She abandoned a burgeoning career in silents for marriage to Philip Plant in 1925; after they divorced, she achieved stardom in talkies from 1929. The hit Common Clay (1930) launched her in a series of loose lady and unwed mother roles, but she really excelled in such sophisticated comedies as The Affairs of Cellini (1934), Ladies in Love (1936), Topper (1937) and Merrily We Live (1938). Her classy blonde looks, husky voice and unerring fashion sense gave her a distinctive style. In the 1940s she made fewer films, working in radio and theatre; shrewd in business, she invested wisely and started businesses marketing women’s wear and cosmetics. Loving conflict, she feuded with the press and enjoyed lawsuits. Her last marriage, to a U.S. Air Force colonel, was happy and gave her a key role coordinating shows flown to Europe for occupying troops (1946-48) and the Berlin Airlift (1948-49), winning her military honors. Still young-looking, she died suddenly at age 60 shortly after completing the last of her 57 films. —IMDb
Handsome American leading man Guy Madison stumbled into a film career and became a television star and hero to the Baby Boom generation. As a young man he worked as a telephone lineman, but entered the Coast Guard at the beginning of the Second World War. While on liberty one weekend in Hollywood, he attended a Lux Radio Theatre broadcast and was spotted in the audience by an assistant to Henry Willson, an executive for David O. Selznick. Selznick wanted an unknown sailor to play a small but prominent part in Since You Went Away (1944), and promptly signed Robert Moseley to a contract. Selznick and Willson concocted the screen name Guy Madison (the “guy” girls would like to meet, and Madison from a passing Dolly Madison cake wagon). Madison filmed his one scene on a weekend pass and returned to duty. The film’s release brought thousands of fan letters for Madison’s lonely, strikingly handsome young sailor, and at war’s end he returned to find himself a star-in-the-making. Despite an initial amateurishness to his acting, Madison grew as a performer, studying and working in theatre. He played leads in a series of programmers before being cast as legendary lawman Wild Bill Hickok in the TV series “Adventures of Wild Bill Hickok” (1951). He played Hickok on TV and radio for much of the 1950s, and many of the TV episodes were strung together and released as feature films. Madison managed to squeeze in some more adult-oriented roles during his off-time from the series, but much of this work was also in westerns. After the Hickok series ended Madison found work scarce in the U.S. and traveled to Europe, where he became a popular star of Italian westerns and German adventure films. In the 1970s he returned to the U.S., but appeared mainly in cameo roles. Physical ailments limited his work in later years, and he died from emphysema in 1996. His first wife was actress Gail Russell. —IMDb
As a child, Williams acted in summer stock productions. After graduation from high school he joined the Air Force for a four-year stint. Then, returning to New York, he took acting classes with Lee Strasberg. A few minor Broadway roles followed as did parts on some live TV dramas. One of these parts caught the eye of a talent agent and Williams signed with Universal in 1956. Universal put him into several supporting roles — most notably as the gas-station stud in Written on the Wind (1956) — but the high point of his career came when he played the title role in The Incredible Shrinking Man (1957). Director Jack Arnold said that Williams gave an Oscar-worthy performance because, in many special-effects scenes, he could only imagine his surroundings and his fellow actors. In 1959, Williams moved over to Warner Brothers which cast him in the “Hawaiian Eye” (1959) TV series. After this, Williams’ career faded. His last appearance may have been on a “Family Feud” (1976) episode in 1983 which featured other “Hawaiian Eye” (1959) alumni. A lifelong bachelor, Williams died in 1985. —IMDb
“Some people making pictures in Hollywood are not outstanding for brains. How their minds work, I can’t understand.”
The British actor Michael Rennie worked as a car salesman and factory manager before he turned to acting. A meeting with a Gaumont-British casting director led to Rennie’s first acting job – that of stand-in for Robert Young in Secret Agent (1936) directed by Alfred Hitchcock. He put his film career on hold for a few years to get some acting experience on the stage, working in repertory in York and Windsor. Afterwards, he returned to films and achieved star status in I’ll Be Your Sweetheart (1945). In 1951, he was brought to Hollywood by Darryl F. Zanuck at 20th Century Fox, cast in arguably his most popular role as Klaatu in The Day the Earth Stood Still (1951), now considered a science fiction classic. After that he worked as a supporting actor for eight years until his return to England in 1959. At that time, he took the lead role of Harry Lime in the television series “The Third Man” (1959). Throughout his career, he made numerous guest appearances on television, particularly on American programs. —IMDb
“There is nothing an economist should fear so much as applause.”
Herbert Marshall had trained to become a certified accountant, but his interest turned to the stage. He lost a leg while serving in World War I, he was rehabilitated with a wooden leg. This did not stop him from making good his decision to make the stage as his vocation. He used a very deliberate square-shouldered and guided walk – largely unnoticeable – to cover up his disability. He spent 20 years in distinguished stage work in London before films. He almost made the transition from stage directly to sound movies except for one silent film, Mumsie (1927), produced in Great Britain. His wonderful mellow, baritone British accent rolled out with a minimum of mouth movement and a nonchalant ease that stood out as unique. His rather blasé demeanor could take on various nuances – without overt emotion – to fit any role he played, whether sophisticated comedy or drama – and the accent fit just as well. He filled the range from romantic lead, with several sympathetic strangers thrown in, to dignified military officer to doctor to various degrees of villainy – his unemotional delivery meshing with the cold, impassive criminal character.
He was almost 40 when he appeared in his first picture in Hollywood, The Letter (1929), a worthwhile comparison (but for the primitive sound recording) with the more famous second version (The Letter (1940)) with Bette Davis. Marshall is the murder victim in 1929 and the betrayed husband in 1940. He was heavily in demand in the 1930s, sometimes in five or six pictures a year. Perhaps his best suave comedic role was in Trouble in Paradise (1932), the first non-musical sound comedy by producer/director Ernst Lubitsch – to some, Lubitsch’s greatest film. That same year, Marshall did one of his most warmly human, romantic roles in the marvelously erotic Blonde Venus (1932), with the captivating Marlene Dietrich.
Through the 40s, his roles were of a more character variety but substantial. He was deviously subtle as the pre-World War II peace leader actually working against peace for a veiled foreign power (Germany) in Foreign Correspondent (1940). The film was one of Alfred Hitchcock ‘s earliest Hollywood films and, definitely, an under-rated adventure/thriller. Who could forget Marshall’s small but standout performance as “Scott Chavez”, who at the beginning of Duel in the Sun (1946) – with typical Marshall nonchalance – calmly shoots his cantina entertainer/Indian wife for her cheating ways? By the 50s, Marshall was doing fewer movies, but still a variety. His voice was perfect to lend credence to some early sci-fi classics like Riders to the Stars (1954) and Gog (1954) and the The Fly (1958). But he was also busy honing his considerable talent with various early-TV playhouse programs. He also fit comfortably into episodic TV including a rare five-episode run as a priest on “77 Sunset Strip” (1958). All told, Herbert Marshall graced nearly 100 movie and TV roles with an aplomb that remains a rich legacy. —IMDb
Coburn was born in Macon, Georgia, the son of Scots-Irish Americans Emma Louise Sprigman and Moses Douville Coburn. Growing up in Savannah, he started out doing odd jobs at the local Savannah Theater, handing out programs, ushering, or being the doorman. By age 17 or 18, he was the theater manager. He later became an actor, making his debut on Broadway in 1901. Coburn formed an acting company with actress Ivah Wills in 1905. They married in 1906. In addition to managing the company, the couple performed frequently on Broadway.
After his wife’s death in 1937, Coburn relocated to Los Angeles, California and began film work. He won an Academy Award for Best Supporting Actor for his role as a retired millionaire playing Cupid in The More the Merrier in 1943. He was also nominated for The Devil and Miss Jones in 1941 and The Green Years in 1946. Other notable film credits include Of Human Hearts (1938), The Lady Eve (1941), Kings Row (1942), The Constant Nymph (1943), Heaven Can Wait (1943), Wilson (1944), Impact (1949), The Paradine Case (1947), Everybody Does It (1950), Has Anybody Seen My Gal? (1952), Gentlemen Prefer Blondes (1953) and John Paul Jones (1959). He usually played comedic parts, but Kings Row and Wilson were dramatic parts, showing his versatility.
For his contributions to motion pictures, Coburn has a star on the Hollywood Walk of Fame at 6240 Hollywood Boulevard. —Wikipedia
“I’m not very well-bred and I’m not much of a lady.”
Arguably best remembered for her role as Miss Ellie, the Ewing family matriarch on the long-running TV series “Dallas” (1978), Barbara Bel Geddes had earlier scored success on stage and screen long before gaining more lasting fame on television. Born in New York City on Halloween Day 1922, the daughter of noted theatrical and industrial designer Norman Bel Geddes, who staged more than 200 plays. After growing up amidst the theatre, Bel Geddes began acting on stage at age 18 and soon moved on to Broadway. The silver screen also beckoned, making her film debut in The Long Night (1947). She was quickly labeled a star, gracing the cover of Life magazine on April 12, 1948. Her third motion picture, I Remember Mama (1948), garnered Bel Geddes an Academy Award nomination for best supporting actress. Other notable films include Panic in the Streets (1950) directed by Elia Kazan; Alfred Hitchcock’s classic mystery-thriller Vertigo (1958) with James Stewart and Kim Novak; and The Five Pennies (1959) opposite Danny Kaye. Though she achieved immediate success in films, Bel Geddes also continued to tread the boards on Broadway, since theatre was her first love. In 1952, she received the prestigious Woman of the Year Award by Hasty Pudding Theatricals USA, America’s oldest theater company. She was nominated for Tony Awards as best dramatic actress for Cat on a Hot Tin Roof in 1956 and for the lead in Mary, Mary in 1961. Bel Geddes made several TV appearances on “Alfred Hitchcock Presents” (1955) and other programs in the mid-50s, but her greatest television role came as Miss Ellie Ewing Farlow on “Dallas” (1978), which enjoyed a run of 13 years (1978-1991). She won the Emmy Award for best actress in 1980 and was nominated in the same category in 1979 and 1981. Bel Geddes left the show for health reasons during the 1984-85 season, with Donna Reed taking over the role of Miss Ellie. Bel Geddes returned for the 1985-86 season and continued on “Dallas” (1978) until 1990, when she effectively retired from acting. She did not appear in either of the two Dallas TV reunion movies. On August 8, 2005, she died following a long illness. —IMDb
“What distinguishes the real actor from the pseudo is the passionate desire to know what is going on in the hearts and minds of people.”
Character actress Beulah Bondi was a favorite of directors and audiences and is one of the reasons so many films from the 1930s and 1940s remain so enjoyable, as she was an integral part of many of the ensemble casts (a hallmark of the studio system) of major and/or great films, including The Trail of the Lonesome Pine (1936), Mr. Smith Goes to Washington (1939), Our Town (1940) and Penny Serenade (1941). Highly respected as a first-tier character actress, Bondi won two Best Supporting Actress Oscar nominations, for The Gorgeous Hussy (1936) and Of Human Hearts (1938), and an Emmy Award in 1976 for her turn in the television program “The Waltons” (1971).
She was born Beulah Bondy on May 3, 1888, in Chicago, and established herself as a stage actress in the first phase of her career. She made her Broadway debut in Kenneth S. Webb’s “One of the Family” at the 49th Street Theatre on December 21, 1925. The show was a modest hit, racking up 238 performances. She next appeared in another hit, Maxwell Anderson’s “Saturday’s Children,” which ran for 326 performances, before appearing in her first flop, Clemence Dane’s “Mariners” in 1927. Philip Barry’s and Elmer Rice’s “Cock Robin” was an extremely modest hit in 1928, reaching the century mark (100 performances), but it was Bondi’s performance in Rice’s “Street Scene,” which opened at the Playhouse Theatre on Jamuary 10, 1929, that made her career. This famous play won Rice the 1929 Pulitzer Prize for Drama and was a big hit, playing for 601 performances. Most importantly, though, it brought Bondi to the movies at the advanced age of 43. She made her motion picture debut in 1931 in the movie adaptation (Street Scene (1931)), recreating the role she had originated on the Broadway stage. The talkies were still new, and she had the talent and the voice to thrive in Hollywood.
Bondi appeared in four more Broadway plays from 1931 to 1934, only one of which, “The Late Christopher Bean”, a comedy by Sidney Howard, was a hit. Her last appearance on Broadway for a generation was in a flop staged by Melvyn Douglas, “Mother Lode” (she made two more appearances on the Great White Way, in “Hilda Crane” (1950) and “On Borrowed Time” in 1953; neither was a success). For the rest of her professional life, her career lay primarily in film and television.
She was typecast as mothers and, later, grandmothers, and played James Stewart’s mother four times, most famously as “Ma Bailey” in It’s a Wonderful Life (1946). Her greatest role is considered her turn in Leo McCarey’s Depression-era melodrama Make Way for Tomorrow (1937), in which she played a mother abandoned by her children.
Beulah Bondi died on January 1, 1981, from complications from an accident, when she broke her ribs after falling over her cat. She was 92 years old. —IMDb
Ann Sothern, born Harriet Lake on January 22,1909 in Valley City, North Dakota, and her film career started as an extra-bit part in the film Broadway Nights (1927) in 1927. She would work as an extra for the next six years. It barely paid the bills. Finally, Ann got her break with Columbia Pictures when they signed her to a contract in 1934. Her first role for Columbia was in the film The Party’s Over (1934). The work was getting better and a bit more lucrative as she would be in 11 movies in 1934 and 1935. It wasn’t riches but it was better than being just an extra. The films weren’t much to write home about either. Ann was dropped by Columbia in 1936 and she signed with RKO Pictures. With RKO, she played in a number of forgettable productions such as Dangerous Number (1937) and She’s Got Everything (1937). Ann left RKO two years later and played Jean Livingstone in Trade Winds (1938) which landed her a contract with MGM. In 1939, Ann starred in Maisie (1939) which would turn into a series of ten films with the last being Undercover Maisie (1947) in 1947. In between, she starred in such movies as Dulcy (1940), Thousands Cheer (1943) and Three Hearts for Julia (1943). During the 1950’s, she played in only four films. By this time, however, Ann had turned to the relatively new medium—television, where she would attract legions of new fans. In 1953, Ann played the role of Susie in “Private Secretary” (1953), which ran until 1957. The quality and comedy was quite good, but, unfortunately, it doesn’t run anywhere in syndicated re-runs. In 1958, she starred in “The Ann Sothern Show” (1958), as Katy O’Connor, which ran until 1961. In 1965, she would be the voice in “My Mother the Car” (1965). This was a story about a man (Jerry Van Dyke) who bought a 1928 Porter and, lo and behold, it was “Mom”. The 1970’s and 1980’s were drought ridden for Ann, but she was nominated for an Academy Award for her role as Tisha Doughty in 1987’s The Whales of August (1987). For Ann, it was a wonderful way to leave show business. Ann lived in quiet retirement in Ketcham, Idaho near her daughter, Tisha Sterling and granddaughter, until her death at the ripe old age of 92. —IMDb
Still for Me Doing Stand-Up
Farrell came to Hollywood towards the end of the silent era. Farrell began her career with a theatrical company at the age of 7. She played the role of Little Eva in Uncle Tom’s Cabin. She paused at times to continue her education but appeared with a number of theatrical companies and in several Broadway productions.
She was in the cast of Cobra and The Best People with actress Charlotte Treadway, at the Morosco Theater in Los Angeles, California, in 1925.
Farrell was first signed to a long-term contract by First National Pictures in July 1930. She was given the female lead in Little Caesar directed by Mervyn Leroy.
Warner Brothers signed her to re-create on film the role she played in Life Begins on Broadway. Farrell worked on parts in twenty movies in her first year with the studio. She came to personify the wise-cracking, hard-boiled, and somewhat dizzy blonde of the early talkies, along with fellow Warner Brothers brassy blonde, Joan Blondell, with whom she would be frequently paired.
in Mary Stevens, M.D. (1933)
Her brassy persona was used to great effect in Little Caesar (1931) opposite Edward G. Robinson, I Am a Fugitive from a Chain Gang (1932) opposite Paul Muni, Havana Widows (1933) with Blondell, Gambling Ship (1933) opposite Cary Grant, Bureau of Missing Persons (1933) opposite Pat O’Brien, Mystery of the Wax Museum (1933) opposite Lionel Atwill and Fay Wray, and The Big Shakedown (1934) with Charles Farrell and Bette Davis.
She became one of Warner Brothers’ most prolific actresses of the 1930s, solidifying her success with her own film film series, as Torchy Blane, “Girl Reporter”. In this role Farrell was promoted as being able to speak 400 words in 40 seconds. Farrell would portray the character Torchy Blane in seven films, from 1937 to 1939 when the role was taken over by Jane Wyman.
in the first of the Torchy Blane series, Smart Blonde (1937)
In 1937 she starred opposite Dick Powell and Joan Blondell in the Academy Award nominated Lloyd Bacon and Busby Berkeley directed musical comedy Gold Diggers of 1937.
When her Warner Brothers contact expired in 1939 she opted to focus on her stage career once again. She said that working in plays gave her more of a sense of individuality whereas in films you get frustrated because you feel you have no power over what you’re doing.
Farrell went out of vogue in the 1940s but made a comeback later in life, appearing in Secret of the Incas (1954), the Charlton Heston adventure epic upon which Raiders of the Lost Ark was based a quarter century later, and winning an Emmy Award in 1963, for her work in the television series Ben Casey. She was appearing on Broadway in Forty Carats in 1969 when she was diagnosed with lung cancer. She remained with the show until ill health forced her departure in November 1970.
Glenda Farrell has a star on the Hollywood Walk of Fame for her contribution to Motion Pictures, at 6524 Hollywood Boulevard. —Wikipedia
Salvatore Baccaro (Roccamandolfi, May 6, 1944 – Novara, March 13, 1984) was an Italian actor
While working as a florist near the plants at Cinecitta in Rome, is noted for its ugly appearance, almost animal, characterized by prognathism face, flat nose, big hands from the fingers, to the point of extending to him the title of "world’s ugliest man ".
His appearance combined with an undeniable charm and jovial character that made him a very popular character actor from the film for Italian comic or grotesque roles: in fact participated in over 60 films in the late sixties – including Fellini Satyricon – and the first the eighties.
The actor adopted the pseudonym Boris Lugosi – a tribute to Bela Lugosi, the first performer of the vampire Dracula – Terror in the horror! The women cursed castle (1973) Tony Randall and Sal Boris in “Nazi porn” The Beast in Heat (1977) by Lougi Batzella.
His brother, Armando, in an interview with the television program Stracult, has revealed its deforming disease, acromegaly, and his death, unknown to the news__wikipedia
He has a main role in “SS Hell Camp” (La Bestia in Calore by Batzella) and little roles in:
Dagobert (Dino Risi)
La moglie più bella (Damiano Damiani)
Le cinque giornate (Dario Argento)
Salon Kitty (Tinto Brass)
SS Girls – Casa privata per le SS (Bruno Mattei)
….
Roberto Herlitzka (Turin, October 2, 1937) is an Italian cinema actor one of the most important Italian theatre actors.
Originally czech, was a pupil of Orazio Costa Academy of Dramatic Art Silvio d’Amico.
In 2003 and in 2004 won the Ubu Prize for Best Italian actor. In 2004 he also won a Silver Ribbon for Best Actor and a David di Donatello for Best Actor for his portrayal of Aldo Moro in director Marco Bellocchio’s Good Morning, Night (for which he received the Premio Horcynus Orca four years later), and received the Gassman Award for Best Actor for plays Lasciami andare madre e Lighea__wikipedia
Renato Carpentieri
Barbara De Rossi
Teresa Saponangelo
Marco Messeri
Marcello Mazzarella
Gigi Proietti
Xavier Beauvois’ The Young Lieutenant is missing its English title; its French title should appear as the subtitle on its page.
New stills for The Night the Prowler ( http://mubi.com/films/the-night-the-prowler ). They’re not great quality, but the current still isn’t even in the film.
Rome, Open City is missing the comma from its title.
Yi yi is also missing its subtitle A One and a Two.
And better quality stills for Russian Ark:
Quote:
Tell me I’m beautiful, it’s nothing. Tell me I’m intellectual – I know it. Tell me I’m funny and it’s the greatest compliment in the world anyone could give me.
Bio:
Julia Chalene Newmeyer (Chalane was her mother’s maiden name) was born on August 16, 1933 in Los Angeles, California. Her father was a one-time professional football player (LA Buccaneers, 1926), her mother was a star of the Follies of 1920. From an early age, Julie studied piano, dance and classical ballet. She graduated from high school at the age of 15, and spent a year touring Europe with her mother and brother. Julie became prima ballerina for the Los Angeles Opera. She attended UCLA studying classical piano, philosophy and French. Julie went to New York and tried out for Broadway musicals; in 1955, Julie made her Broadway debut as the ballerina in “Silk Stockings”. Julie won acclaim for her role as Stupefyin’ Jones in “Li’l Abner”. Though audiences and critics alike where stupefied by her good looks, that is not the compliment Julie wanted.
Julie wanted to be known for her comedy, as she told the New York Times: “Tell me I’m funny, and it’s the greatest compliment in the world.” She had beauty, brains and a fantastic sense of humor. Promoting her various Broadway and off-Broadway show appearances, Julie often posed as a pin-up girl. Making the transition to television, Julie appeared in Rod Serling’s science fiction series “Twilight Zone” (1959), playing Miss Devlin (devil). As physical perfection, Julie was perfect to play Rhoda the Robot in “My Living Doll” (1964), the sitcom had an enthusiastic cult following. In 1966, urged on by her friends, she would try out for and be cast as Catwoman (a character she had never heard of) in the wildly popular television series “Batman” (1966) Due to a movie commitment, Julie was unavailable to play Catwoman in the third season (her part was taken by Eartha Kitt).
Julie was very busy in the 1960s and 1970s, making guest appearances in many television series and several television movies. Because of her love of the stage and live performances, Julie toured the country in stage productions of “Damn Yankees” and “Dames at Sea” and others. Becoming an entrepreneur, in 1977, Julie turned up in People Magazine wearing her new invention “Nudemar” pantyhose (due to an elastic back seam it provided fanny support). In the 1980s, Julie appeared in nine films while she was busy raising her son and working in the real estate business. Julie went back to UCLA to take a few real estate courses. In 1991, Julie toured in a stage production of “The Women”. Still very active, and very beautiful, Julie appeared at fan conventions occasionally. -IMDb
Bio:
Richard Allen “Dick” York (September 4, 1928 – February 20, 1992) was an American actor. He is best remembered for his role as the first Darrin Stephens on the ABC television fantasy sitcom Bewitched. His best known motion picture role was as teacher Bertram Cates in the 1960 film Inherit The Wind.
Born Richard Allen York in Fort Wayne, Indiana, York grew up in Chicago, where a Catholic nun first recognized his vocal promise. He began his career at age 15 as the star of the CBS radio program That Brewster Boy. He also appeared in hundreds of other radio shows and instructional films before heading to New York City, where he acted on Broadway in Tea and Sympathy and Bus Stop. He performed with stars including Paul Muni and Joanne Woodward in live television broadcasts and with Janet Leigh, Jack Lemmon, and Glenn Ford in movies, including My Sister Eileen, and Cowboy.
It was while filming the 1959 movie They Came to Cordura with Gary Cooper and Rita Hayworth that York would receive a permanently disabling back injury. In York’s own words: “Gary Cooper and I were propelling a handcar carrying several ‘wounded’ men down [the] railroad track. I was on the bottom stroke of this sort of teeter-totter mechanism that made the handcar run. I was just lifting the handle up as the director yelled ‘cut!’ and one of the ‘wounded’ cast members reached up and grabbed the handle. I was suddenly, jarringly, lifting his entire weight off the flatbed—one hundred and eighty pounds or so. The muscles along the right side of my back tore. They just snapped and let loose. And that was the start of it all: the pain, the painkillers, the addiction, the lost career.”
In 1960 he played the role of Bertram Cates (modelled on John Thomas Scopes, of “Monkey Trial” fame) in the film version of Inherit the Wind.
York went on to star with Gene Kelly as Tom Colwell in the ABC television comedy/drama Going My Way, and to appear in dozens of episodes of now-classic TV shows, including Justice, Alfred Hitchcock Presents, Wagon Train, and CBS’s The Twilight Zone and Route 66. -Wikipedia
The still for “Nella città l’inferno” is wrong.It’s taken by the theatre piece with the same name.
This is the best I found:
Let’s try again. Here’s a better quality version of the current still for Russian Ark:
Hollis Frampton’s Nostalgia should actually be titled as (nostalgia).
And here are some better quality stills to choose from:
Still suggestion for Rosana / La Red
Picture for Columba Domínguez
Also a biography from Wikipedia
Born in Guaymas, Sonora, México, Columba was discovered in Mexico City by the great Mexican director Emilio Fernández. She achieved international recognition with the film Pueblerina (1949), directed by Fernández. She was married with Fernández from 1949 to 1986, until his death. They had a daughter named Jacaranda. She also worked with Luis Buñuel in El Río y La Muerte (1955) and with Toshirô Mifune in Ánimas Trujano (The Important Man) in 1962. After years of retirement, she returned to the film sets with Paloma, a short film directed by Roberto Fiesco in 2008 .
Telmo
A better still for Sunrise: A Song of Two Humans
