About the same time that Brigette Fontaine started releasing records that combined the traditional French chanteuse style with more radical and progressive music forms, Catherine Ribeiro was traveling a similar route, although she remained even more obscure internationally than Fontaine. Whereas Fontaine’s voice is usually soft and sweet, Ribeiro can sometimes hit more harshly with lower tones, even sounding like Nico with far more emotion, over an experimental backing that can include folk-rock, progressive rock, improvisation, and more. Her unique voice certainly hints at her troubled upbringing. Born in 1941 in France to Portuguese immigrants, Ribeiro’s early childhood was quite traumatic. With the constant bombs going off during the war, her mother often locked her in the cellar in the dark. Ribeiro’s younger brother was six months old when he died suddenly, and when Ribeiro got older, she was often in and out of psychiatric wards. In her early twenties she became an actor, appearing in a 1962 spaghetti Western Buffalo Bill and the next year in French New Wave director Jean Luc Godard’s Les Carabiniers (aka The Mercenaries or the Soldiers). By the mid-‘60s, she began taking her singing more seriously, and in 1966, she cut two singles for Barclay Records, one of which was a version of Dylan’s “It’s All Over Now Baby Blue.”
In 1969, Ribeiro had a new band, 2Bis, led by Patrice Moullet, to back her on her first LP, simply titled Catherine Ribeiro + 2 Bis, released on the Festival label. On her second LP simply titled No. 2, and also on Festival in 1970, 2Bis had become Alpes, the band that would follow Ribeiro on her next several releases. Besides Moullet, who provided guitars, organ, electronics, and vocals, Alpes consisted only of Denis Cohen on percussion and organ, though a pair of Portuguese guitarists, Pires Moliceiro and Isaac Robles Monteiro, were guest musicians on one track on No. 2. On subsequent releases, which came out about one a year on the Philips label, Alpes would often change completely from album to album, with Moullet as the only constant factor. These albums, Ame Debout (“Upright Soul”), Paix (“Peace”), Le Rat Debile et l’Homme des Champs (“The Weak Rat and the Man of the Fields”), and Libertes? are some of Ribeiro’s most creative, with the music composed mostly by Moullet.
Even as Ribeiro continued to work with Alpes, she also started doing albums under her name alone where, instead of her own material, she paid tribute to older artists. The first of these was the 1977 release Le Blues de Piaf, where she covered songs done by Edith Piaf, followed by the 1978 LP Jacqueries, with works composed by Jacques Prévert and Sebastien Maroto. She also worked with other artists like Peter Gabriel on the 1992 record Soleil Dans l’Ombre (Sun in the Shade). By the early ‘80s, her output had slowed down a little. In 1999, she wrote a memoir of her early childhood, L’Enfance, published by L’Archipel, and she continues to occasionally tour live.—allmusic.com
Gina Joy Carano (born April 16, 1982) is an American actress, television personality, fitness model and mixed martial arts fighter. Carano appeared as Crush, a Gladiator on American Gladiators. She has been referred to as the “Face of Women’s MMA.”1 Carano was formerly the third best 145 lb (66 kg) female fighter in the world, according to the Unified Women’s MMA Rankings. —Wikipedia
Bruno VeSota (and please add him to Director and Writer for Dementia)
“Acting is a child’s game. I don’t mean it’s childish, I mean it’s a child’s game. We more or less perpetuate our youth through acting. We’re always acting, we’re playing parts; we don’t want to face the reality of being ourselves. We’re the happiest when we’re acting. I think any actor would say that.”
Tubby 5’ 10 1/2" character actor Bruno VeSota had a remarkably long, varied and impressive career acting and directing in the mediums of stage, radio, movies and television. He was born Bruno William VeSota on March 25th, 1922 in Chicago, Illinois. He was the second of three sons born to Lithuanian immigrants Kasmir and Eleanora VeSota. Bruno first began acting in the 7th grade while attending the Catholic parochial school St. George’s. He made his stage debut as the villain in the children’s play “Christopher’s Orphans.” At age 19 VeSota went to the Hobart Theatre in Chicago where he learned the basics on acting, make-up and direction. He made his stage directorial debut with a production of “Richard III” and went on to direct everything from the classics to light comedies. After briefly working in Lithuanian radio in the 40s Vesota did a longer stint on English-language radio. He even provided the voice of Winston Churchill for a radio production. Moreover, Bruno joined the Actors Company of Chicago and continued to perform on stage. VeSota then worked in live television in Chicago in 1945. He directed over 2,000 live TV programs and acted in some 200 more. VeSota moved to Hollywood, California in 1952. Bruno began acting in films in 1953. He achieved his greatest cult feature popularity with his frequent and delightful appearances in a bunch of hugely enjoyable low-budget Roger Corman exploitation pictures. Bruno was especially excellent as Yvette Vickers’ angry cuckolded husband in the Grade B monster classic “Attack of the Giant Leeches.” Other notable movie roles include a disgusting slob junkyard owner who sells stolen automobile parts on the side in “The Choppers,” a bartender in “The Haunted Palace,” a hapless night watchman who becomes a victim of “The Wasp Woman,” a snobby coffeehouse regular in the hilarious black comedy gem “A Bucket of Blood,” a perverse oddball named Mr. Donald Duck from Duluth in “Single Room Unfurnished,” a nervous innkeeper in “The Undead,” a Russian spy in “War of the Satellites,” a minister in “Hell’s Angels on Wheels,” a cultured gangster in “Daddy-O,” and a brutish loan enforcer in “Carnival Rock.” Bruno narrated the atrocious cheapie clunker “Curse of the Stoned Hand” for notorious schlockmeister Jerry Warren. He also worked on the make-up and has a bit part in Curtis Harrington’s nicely spooky “Night Tide.” VeSota does a cameo in Steven Spielberg’s made-for-TV fright feature “Something Evil.” Bruno directed three movies: the entertainingly lurid crime potboiler “The Female Jungle,” the fun alien invasion entry “The Brain Eaters,” and the silly spoof “Invasion of the Star Creatures.” VeSota had a recurring role as a bartender in a handful of episodes of the hit Western TV show “Bonanza.” Among the TV shows VeSota had guest spots on are “Kojak,” “McMillan and Wife,” “Hogan’s Heroes,” “Mission: Impossible,” “It Takes A Thief,” “Hondo,” “Branded,” “My Mother the Car,” “The Wild, Wild West,” “The Untouchables,” and “Leave It to Beaver.” VeSota had six children with his wife Genevieve. Bruno VeSota died of a heart attack at age 54 on September 24th, 1976.—IMDb
A better still for http://mubi.com/films/untold-scandal
This is not Phillipe de Broca http://mubi.com/cast_members/18222
here a good picture
Madagascar 3 is 85 minutes not 93.
Exact same problem for Women in the Fifth
The Dictator has a running time of 83 minutes.
All according to imdb
Also if you still somehow have it, please change the image of Muriel’s Wedding back to the previous one; this one is terrible.
A picture for this lovely actress http://mubi.com/cast_members/56278
stills for Creative Nonfiction
“The ending of a Hollywood picture is always pre-arranged. The bad must die or be punished and the good must triumph. There can be no suspense or no surprise about what is going to happen. But life is not like that. The bad very often are not punished, and the good can suffer. Why can’t we make movies that are true to life?”
A portly, somewhat grubby and bohemian-looking character star, Hugo Haas was one of the most celebrated Czech actors back in the 30s, a comic star who only grew in stature as he delved creatively into writing, directing and producing. The Nazi invasion forced him to leave his beloved country and come to the United States. Like a fish out of water, he had to start small. Beginning as an announcer on US broadcasts to the Eastern Europe underground, he also offered his talents as a narrator of propaganda films.
After the war, Haas revitalized his acting career with flashy, thick-accented support roles, often as a slick, seedy villain in lavish costumers. He enjoyed a certain amount of popularity and with the money he made, he began financing his own independent films in the 50s, taking total creative control with almost a Svengali-like obsession.
This time around, however, there was little of the adulation he had reaped so easily back in his homeland. With such lurid titles as Pickup (1951), Thy Neighbor’s Wife (1953), and Bait (1954), these vehicles smacked hard of sensationalism and he and his films were generally dismissed. Many were badly acted and obviously cheap and cheesy in production values. A recurring “Blue Angel”-styled theme appeared in many of Hugo’s starring vehicle whereas an older respectable man was seduced and ruined by the charms of a much younger hussy (blonde, busty bombshells such as Cleo Moore, Beverly Michaels, and (former “Miss Universe”) Carol Morris.
Haas’ reputation was so tainted by these so-called vanity projects that he was quickly dubbed the “foreign Ed Wood”, which was unfair given his earlier reputation. Haas was planning to return to his native land in 1968 when the Russians seized control. Profoundly disheartened and depressed by the current state of affairs in his country, the homesick actor, who also suffered from an asthmatic condition, died shortly after of heart failure. He should be better remembered today than he is. He is solid proof that Hollywood has a way of sometimes robbing a person of his artistic creativity or integrity.—IMDb
“The real excitement comes from doing new things – and I always try to do that. The essence of what an artist should always be is discovering something – I try to keep with that. It shouldn’t be rehearsed and planned and without emotion.”
Although actor/pop singer Sylvie Vartan is Bulgarian, she would eventually receive recognition from the French, usually singing entirely in the language of her adopted homeland. Born August 15, 1944, in Iskretz, Bulgaria, Vartan showed great talent for both acting and singing at an early age, resulting in an appearance in the Bulgarian film Under the Yoke in 1950. Two years later (while only ten years old), Vartan and her family relocated to France. 1961 would prove to be an important year for Vartan’s career, as she entered a recording studio for the first time, picked up some TV work, and appeared at the famed Olympia Theater. The early ‘60s saw the release of a steady stream of singles, EPs, and albums (such as 1962’s Sylvie), in addition to further appearances in European movies — including A Moonlight in Maubeuge and Just for Fun.
Other impressive accomplishments for Vartan in the early ‘60s included recording a pair of songs (“If I Sing” and “Most Beautiful to Go to Dance”) with famed country artists Chet Atkins and Ray Stevens, and playing on the same bill as the Beatles at the Olympia in January of 1964. During the mid-’60s, Vartan concentrated on making inroads to the American music market, as she appeared on such TV shows as The Ed Sullivan Show, Hullaballooh, and Shindig, while one of her best singles, “2’35 de Bonheur,” hit the charts in early 1967. Subsequently, Vartan kept on issuing albums and touring at a steady rate right up to the 21st century, as 2001 saw the release of the 14-track career overview L’Essential.—allmusic.com
A new profile picture suggestion for Margaret Sullavan . I think we can do better.
Quote for Mamoru Hosoda
[on the making of Summer Wars] “I didn’t just want there to be a bad guy who was outside the family. Some family members cause enough trouble on their own. I wasn’t being political, just contrasting domestic and global issues, and the convergence of problems within the family. I mean, if our ‘family’ can’t deal with the problems it already has, how can it deal with the problems of the world around it?"
“Those old movies on TV of me years ago? They’re a bit of a rude shock. They seem to be of another person entirely, but actually don’t bother me too awfully.”
Synonymous with chic, the ever-fashionable Faye Emerson certainly qualified as one of the “first ladies” of TV glamor. Bedecked in sweeping, rather low-cut gowns and expensive, dangling jewelry, she was a highly poised and stylish presence on the small screen during its exciting “Golden Age”. An enduring presence throughout the 1950s, she could have lasted much longer in her field of work had she so desired.
Born in 1917 in Elizabeth, Louisiana, her father was both a rancher and court stenographer. The family subsequently lived in Texas and Illinois before settling in California. Her parents divorced after she entered her teens and she went to live with her mother (and new husband) in San Diego where she was subsequently placed in a convent boarding school. Following graduation from high school, she attended San Diego State College and grew interested in acting, performing in several Community Players productions. She made her stage debut with “Russet Mantle” in 1935.
Her first marriage to a San Diego car dealer, William Crawford, was short-lived, but produced one child before it ended in 1942. Both Paramount and Warner Bros. talent scouts spotted her in a 1941 San Diego production of “Here Today” and were impressed, offering her contracts. She decided on Warner Bros. and began uncredited in such films as Manpower (1941) and Blues in the Night (1941). During her five-year tenure at Warners she progressed to a variety of swanky secondary and co-star roles in such “B” war-era movies as Murder in the Big House (1942) starring Van Johnson, Air Force (1943) with Gig Young, The Desert Song (1943) starring Dennis Morgan, The Mask of Dimitrios (1944) with Peter Lorre, Between Two Worlds (1944) with John Garfield, The Very Thought of You (1945) (again) with Dennis Morgan, Hotel Berlin (1945) starring Helmut Dantine, Danger Signal (1945) with Zachary Scott, and Nobody Lives Forever (1946) (again) starring John Garfield. A large portion of the roles she received were interesting at best. For the most part, however, Faye was caught in glittery roles that were submerged in “men’s pictures”.
At this juncture, Faye was probably better known as Mrs. Elliott Roosevelt, the fourth child of Franklin and Eleanor Roosevelt, whom she married in 1944. Her husband was a war hero and author and the couple lived in the White House for a spell (FDR died in 1945). Faye abruptly abandoned the Hollywood scene after her marriage and the couple instead became major figures in the New York social scene. Sometime after the war Elliott and Faye entered the Soviet Union as journalists where they interviewed Joseph Stalin for a national publication.
With her movie career on the outs, the recently-transplanted New Yorker made her Broadway debut in “The Play’s the Thing” (1948), then entered the world of television where she truly found her niche. Managing to combine both beauty and brains, Faye was a sparkling actress of both drama and comedy and a stylish, Emmy-nominated personality who became an emcee on “Paris Cavalcade of Fashions” (1948); a hostess of her own show “The Faye Emerson Show” (1950); a moderator of “Author Meets the Critics” (1947); and a regular panelist on the game shows “Masquerade Party” (1952) and “I’ve Got a Secret” (1952). In addition she enjoyed time as a TV columnist, appeared on such covers as Look magazine, and was performed as guest host for other permanent TV headliners such as Garry Moore, Dave Garroway and even Edward R. Murrow on his “Person to Person” vehicle. All the while Faye continued to return sporadically to the stage and added to her array of Broadway credits such shows as “Parisenne” (1950), "Heavenly Twins (1955), “Protective Custody” (1956) and “Back to Methuselah” (1958), the last mentioned pairing her with Tyrone Power. Regional credits included “Goodbye, My Fancy”, “State of the Union”, “The Pleasure of His Company”, “Mary Stuart”, “Elizabeth the Queen” and “The Vinegar Tree”. One highlight was gracing the stage alongside such illustrious stage stars as Eva Le Gallienne, Viveca Lindfors and Basil Rathbone in the 1953 production of “An Evening with Will Shakespeare”.
Divorced from Roosevelt in 1950, her third (and final) marriage also would figure prominently in the public eye. She wed popular TV band leader Skitch Henderson shortly after her second divorce was final. The couple went on to co-host a 15-minute music show “Faye and Skitch” (1953) together. This union would last seven years.
Faye was a welcomed as a guest panelist on other game fun too such as “To Tell the Truth” and “What’s My Line?”. The actress, once dubbed the “Best-Dressed Woman on TV,” focused on traveling in the early part of the 1960s and never returned actively to Hollywood. For nearly two decades she lived completely out of the limelight in and around Europe, including Switzerland and Spain, returning to America very infrequently and only for business purposes. She died of stomach cancer in 1983 in Majorca, Spain.—IMDb
“I have money and children. Isn’t that what people get married for? Why should I marry again?”
Eleanor Boardman (August 19, 1898 – December 12, 1991) was an American film actress, popular during the era of silent movies.
Born in Philadelphia, Pennsylvania, Boardman was originally on stage but, after temporarily losing her voice, in 1922, she entered silent films. There followed months of fruitless effort until one day Rupert Hughes saw her riding a horse and gave her a part in a film and she quickly began to attract audiences. She was chosen by Goldwyn Pictures as their “New Face of 1922,” through which she signed a contract with the company. After several successful supporting roles, she played the lead in 1923’s Souls for Sale.
Her growing popularity was reflected by inclusion on the list of WAMPAS Baby Stars in 1923. She appeared in fewer than forty films during her career, achieving her greatest success in Vidor’s The Crowd in 1928. Her performance in that film is widely recognized as one of the outstanding performances in American silent films.
Unable to make the transition from silent to talking pictures, Boardman retired in 1935, and retreated from Hollywood. Her only subsequent appearance was in an interview filmed for the Kevin Brownlow and David Gill documentary series Hollywood in 1980.
Boardman was married to the film director King Vidor, with whom she had two daughters, Antonia (born 1927) and Belinda (born 1930). Their marriage lasted from 1926 until 1931. Fellow actors John Gilbert and Greta Garbo had planned a double wedding with them, but Garbo broke off the plans at the last minute.
Boardman’s second husband was Harry d’Abbadie d’Arrast to whom she was married from 1940 until his death in 1968.
Boardman died in Santa Barbara, California at the age of 93. For her contribution to the motion picture industry, Eleanor Boardman has a star on the Hollywood Walk of Fame at 6922 Hollywood Boulevard.—Wikiepdia
new image for Vanishing Point
and add John Amos, Gilda Texter to the cast
Still for Peluca
still for Raden ajeng Kartini
Culture Club are a British pop band who were part of the 1980s New Romantic movement. The original band comprised Boy George (lead vocals), Mikey Craig (bass guitar), Roy Hay (guitar and keyboards) and Jon Moss (drums and percussion).Their second album, Colour by Numbers, has sold more than 10 million copies worldwide, and they had several international hits with songs such as “Church of the Poison Mind”, “Karma Chameleon” and “Do You Really Want to Hurt Me”. Boy George’s androgynous style of dressing caught the attention of the public and the media.
Culture Club’s music combines British New Wave and American soul with Jamaican reggae and also other styles such as calypso, salsa or country.34 From the time of the band’s first album release in 1981 to its dissolution in 1986, Culture Club had amassed hits in several countries around the world, including ten Top 40 hits in the US, most of which went Top 10. They went on to have subsequent hits in the UK during a reunion period of 1998–2002, where they scored a No. 4 single and a No. 25 single. In America they are associated with the Second British Invasion of British New Wave groups that became popular in the United States due to the cable music channel MTV.—Wikiepdia
Bananarama are an English female pop duo who have had success on the pop and dance charts since 1982. Rather than relying on a two part harmony, the duo generally sings in unison, as do their background vocalists.1 Although there have been line-up changes, the group enjoyed most success as a trio made up of lifelong friends Siobhan Fahey, Keren Woodward and Sara Dallin. In 1988, Bananarama was listed in the Guinness World Records as the all-lady group with the most chart entries in the world, a record which it still holds.—Wikipedia
Deborah Ann “Debbie” Gibson (born August 31, 1970) is an American singer-songwriter, record producer, and actress. In 1988 she was pronounced the youngest artist to write, produce, and perform a #1 single on the Billboard Hot 100, with her song “Foolish Beat” and she remains the youngest female to write, record, and perform a #1 single. She has gone on to starring roles on Broadway and touring musicals, as well as independent film and television work. She continues to record, and reached the Billboard Adult Contemporary chart as high as #24 during 2006 in a duet with Jordan Knight titled “Say Goodbye”. In 2010, the album Ms. Vocalist, from Sony Japan was Top 10 on the Japanese Billboard chart and the first single from the album, “I Love You”, hit #1.—Wikipedia
Selena Quintanilla-Pérez (April 16, 1971 – March 31, 1995), known simply as Selena, was an American singer-songwriter. She was named the “top Latin artist of the ’90s” and “Best selling Latin artist of the decade” by Billboard for her fourteen top-ten singles in the Top Latin Songs chart, including seven number-one hits. The singer had the most successful singles of 1994 and 1995, “Amor Prohibido” and “No Me Queda Más”. She was called “The Queen of Tejano music” and the Mexican equivalent of Madonna. Selena released her first album, Selena y Los Dinos, at the age of twelve. She won Female Vocalist of the Year at the 1987 Tejano Music Awards and landed a recording contract with EMI a few years later. Her fame grew throughout the early 1990s, especially in Spanish-speaking countries.
Selena was murdered at the age of 23 by Yolanda Saldívar, the president of her fan club. On April 12, 1995, two weeks after her death, George W. Bush, governor of Texas at the time, declared her birthday “Selena Day” in Texas. Warner Bros. produced Selena, a film based on her life starring Jennifer Lopez, in 1997. Selena’s life was also the basis of the musical Selena Forever starring Veronica Vazquez as Selena. In June 2006 Selena was commemorated with a life-sized bronze statue (Mirador de la Flor in Corpus Christi, Texas) and a Selena museum opened there. She has sold over 60 million albums worldwide.
“I was very young, 17 or 18, and I fell in love with a 60-year-old millionaire. Of course, in those days dating wasn’t hopping into bed like it is now. In those days you were courted and made love only if you were married.”
Ivy Nicholson was born Irene Nicholson in Queens, New York to working class Irish Catholic parents. She started modeling at the age of 16, and became very successful, gracing the covers of Vogue and Elle. In those days there was not much in the way of work for older models, so when she turned 30, Ivy sought out acting roles, eventually landing in Andy Warhol’s Factory. There she appeared in minor roles in a handful of Warhol films, and met and married Ciao Manhattan (1972) director John Palmer, who was working as a camera man at the Factory. In 1970, Ivy moved to Paris, where she painted and guided her children’s careers. Ivy has four children. Her oldest son, Darius DePoleon, is a viscount, and is a musician in Paris. He is in a band called “Eurotrash” with other European royals. Her second son, Sean Bolger, is a fashion photographer in Los Angeles. Her daughter with John Palmer, Penelope Palmer, was a child actress and starred in Le Femme Enfant alongside Klaus Kinski. Penelope’s twin brother, Gunther Palmer, was a child model in Paris and is a drummer and vocalist in the band Stagefright.—IMDb
Summary for Stelvio Massi’s Emergency Squad
Tomas Milian stars as embittered Interpol agent Ravelli, haunted by the slaying of his wife and relentlessly stalking the gang of bank robbers responsible. When shell casings from a daring daylight heist match slugs taken from the scene of his wife’s murder, Ravelli identifies the shooter as a French thug known as “Marseilles” (Gastone Moschin) and throws away his badge to exact his revenge. —NoShame Films
Vishal Bhardwaj has two pages in need of merging: http://mubi.com/cast_members/64696 AND http://mubi.com/cast_members/317752
Neetu Singh (http://mubi.com/cast_members/44502) needs to be credited as a cast member of Parvarish (http://mubi.com/films/parvarish).
Sai Paranjape (http://mubi.com/cast_members/183685) has a duplicate page here: http://mubi.com/cast_members/44753
Sai Paranjape (http://mubi.com/cast_members/183685) also needs to be credited as the director of Chashme Buddoor (http://mubi.com/films/chashme-buddoor).
Still for Aisha (http://mubi.com/films/aisha)
Still for Chashme Buddoor (http://mubi.com/films/chashme-buddoor)
Still for Jallian Wala Bagh (http://mubi.com/films/jallian-wala-bagh)
Still for Kashmir Ki Kali (http://mubi.com/films/kashmir-ki-kali)
Still for Katha (http://mubi.com/films/katha)
Still for Manoos (http://mubi.com/films/manoos)
Still for Parvarish (http://mubi.com/films/parvarish)
The Mubi page on Pyotr Lutsik’s film The Outskirts has the wrong year. The correct date of release is 1998 , not 2004.
Also, here is a picture
This movie hasn’t been “ready for public comsumption” for almost a year, I think. Could you please get the page ready?
Still for Valdez is Coming: