him and him, same person. Please delete the second one.
Stills for Marry the Night
Take your pick! :)
This and this are duplicates
This is also a duplicate of this.
Meld ’em, baby.
still for Two Weeks With Love
still for Nancy Goes to Rio
New Still for Eternity and a Day
“I have always had a taste for things larger-than-life and I wanted to proclaim my faith in this world and my faith in man. And I wanted to do it through the words of Christ, for he remains the conscience of humanity.”
Robert Hossein (born as Hosseinhof December 30, 1927 in Paris) is a French film actor of Azeri Jew origin, director and writer. He directed the 1982 adaption of Les Misérables, and appeared in Vice and Virtue, Le Casse, Les Uns et les Autres and Venus Beauty Institute. His most recent roles include starring as Michèle Mercier’s husband in the Angélique series and as a Catholic priest who falls in love with Claude Jade and becomes a communist in Prêtres interdits (Forbidden Priests) in 1973.
Hossein started directing films in 1956 with Les salauds vont en enfer from a story by Frédéric Dard whose novels and plays went on to furnish Hossein with much of his later film material. Right from the start Hossein established his characteristic trademarks: using a seemingly straightforward suspense plot and subverting its conventions (sometimes to the extent of a complete disregard of the traditional demand for a final twist or revelation) in order to concentrate on ritualistic relationships. This is the director’s running preoccupation which is always stressed in his films by an extraordinary command of film space and often striking frame compositions where the geometry of human figures and set design is used to accentuate the psychological set-up of the scene. The mechanisms of guilt and the way it destroys relationships is another recurring theme, presumably influenced by Hossein’s lifelong interest in the works of Dostoyevski.
Although Hossein had some modest international successes with films like Toi, le venin and Le vampire de Dusseldorf, he was much singled out for scorching criticism by the critics and followers of the New Wave for the unashamedly melodramatic frameworks of his films. The fact that he was essentially an auteur director with a consistent set of themes and an extraordinary mastery of original and unusual approaches to staging his stories, was never appreciated. He was not averse to trying his hand at widely different genres and was never defeated, making the strikingly different spaghetti western Une corde, un Colt and the low-budgeted but daringly subversive period drama I Killed Rasputin. However, because of the lack of wider success and continuing adverse criticism, Hossein virtually ended his film directing career in 1970, having concentrated on theatre where his achievements were never questioned, and subsequently returning to film directing only twice. With two or three exceptions, his films remain commercially unavailable and very difficult to see.
He is the son of André Hossein a Zoroastrian French composer of Azerbaijani-Tajik descent, and a Jewish comedy actress from Kiev.1 He was married three times: first to Marina Vlady (he has two sons with her, Pierre and Igor), later to Caroline Eliacheff (with whom he has a son, Nicholas). He is currently married to actress Candice Patou, with whom he has one son, Julien.
According to an article written by Emannuel Peze, Hossein experienced a conversion to Catholicism in 1971 during a visit to the Marian apparition at San Damiano in Lombardo Italy.
Bio, Photo, and Quote for James Agee :
James Rufus Agee was born on November 17, 1909, in Knoxville, Tennessee, the first of two children. His father, Hugh James Agee, was from rugged farming stock in the mountainous backwoods of Tennessee while Laura Tyler, his mother, had a more educated and artistic background. Her mother, Agee’s grandmother, was among the first women to graduate from the University of Michigan. Throughout his life Agee was very aware of the contradictions of this twofold heritage. His mother was a devout Episcopalian and sheltered Agee whereas his father introduced adventure and pleasures such as going to the movies and taking his son to the pubs afterward. As a result, Agee was both timid and daring as a child. The death of Agee’s father in an automobile accident in May 1916 was a major turning point in his life.
After vacationing near Sewanee, Tennessee, in the summer of 1918, Agee’s mother decided to relocate there and enrolled her son at Saint Andrew’s, an Episcopalian boarding school, which he attended from 1919-1924. Her reasoning was that it would allow him to be more in the company of men and would provide the religious training and education she felt was important. It had the effect, however, of causing Agee to feel not only cut off from the companionship of his father, but now from his mother as well. It was at Saint Andrew’s that Agee formed the close ties with Father James Herold Flye that were to last a lifetime. Agee attended Knoxville High School for the 1924-25 school year and after a trip to Europe with Father Flye in the summer of 1925, he enrolled at Phillips Exeter Academy in Exeter, New Hampshire, where his interest in writing first began. Among his writings for the Exeter Monthly were twelve short stories, nine poems, several articles and reviews, and four plays.
Agee attended Harvard from 1928 to 1932 where he became increasingly committed to a literary career. He began to write poems, short stories, and articles for the Harvard Lampoon, the Crimson, and the Harvard Advocate. He first joined the editorial board in 1919 as an associate editor of the Advocate, and by 1921, became editor-in-chief. His parody of Time in the March 1921 issue of the Advocate was highly acclaimed. In fact, it was this article on Time which attracted Henry Luce, and resulted in an offer to write for Fortune. He accepted, thinking his journalistic career would be brief, but it lasted for more than fifteen years. Agee was constantly in despair that he may have sacrificed his own creative efforts for the demands a journalistic style imposed. However, his book of poetry, Permit Me Voyage, was published in 1934 as part of the Yale Series of Younger Poets.
In 1936, on assignment for Fortune, Agee and photographer Walker Evans went to Alabama to do a story on tenant farmers. By the time the project was finished three years later Agee had enough material for a book, which was published in 1941 as Let Us Now Praise Famous Men. Considered a failure at that time, it is now generally considered an original masterpiece. While working on Famous Men, Agee began reviewing books for Time in 1938, which soon expanded to films, and in 1941 he began a weekly column on film for The Nation, both projects ending in 1948. His most well known piece of criticism was “Comedy’s Greatest Era,” published in 1949 in Life magazine, in which Agee extolled the era of silent movies. After 1948 Agee wrote principally film scripts and fiction. He wrote several screenplays and one full-length original script, Noa-Noa, based upon the journals of Paul Gauguin, which was never produced. Most well known is his work on The African Queen which he wrote in collaboration with John Huston. [ He also wrote the screenplay for The Night of the Hunter,(directed by Charles Laughton), as well as two unpublished adaptations of Steven Crane stories, The Bride Comes to Yellow Sky and The Blue Motel.
Agee’s autobiographical novel, The Morning Watch (1951), is a tale about a young boy’s experiences on a Good Friday morning while attending a boarding school, reminiscent of his own Good Friday activities. In A Death in the Family (1957), also autobiographical, Agee was finally able to write about the experience of a father’s death and the reactions of various family members. Agee suffered a series of heart attacks beginning in 1951 and did not complete the novel for publication before his death. He began work on the screenplay, A Tanglewood Story, in 1954 but was unable to finish it, and several other projects he had begun, before his death from a heart attack on May 16, 1955. He was posthumously awarded the Pulitzer Prize for fiction in 1957 for A Death in the Family.(Source)
The mere attempt to examine my own confusion would consume volumes.
There should be another bracket at the end of this sentence-and the first bracket should be closer to the H:
[ He also wrote the screenplay for The Night of the Hunter,(directed by Charles Laughton), as well as two unpublished adaptations of Steven Crane stories, The Bride Comes to Yellow Sky and The Blue Motel.
[He also wrote the screenplay for The Night of the Hunter,(directed by Charles Laughton), as well as two unpublished adaptations of Steven Crane stories, The Bride Comes to Yellow Sky and The Blue Motel.]
Still suggestion for Una Cita de Amor
Gilbert Sicote is actually Gilbert Sicotte.
Jean Giraud and Jean ‘Moebius’ Giraud, same person.
In The Tramplers it’s Joseph Cotten, not Cotton.
Kaylee Anne DeFer (September 23, 1986) is an American actress. DeFer is perhaps best known for her portrayal of Ivy Dickens on The CW Teen Drama television series Gossip Girl.
In 2004 DeFer made her acting debut on the Nickelodeon Sitcom Drake & Josh. DeFer has since made a number of guest appearances on television shows such as Ghost Whisperer, CSI: Miami, How I Met Your Mother and Quintuplets.
In October 2006 DeFer starred in her theatrical film debut Flicka alongside Grammy Award-Winner Rob McLaughlin. DeFer portrayed the role of the films antagonist Miranda Koop and went on to make $21 million in the US alone. In 2011 DeFer starred in the low-budget Western Drama film Mattie.
(2011): In My Pocket
(2011): Red State
— Sources Wikipedia http://en.wikipedia.org/wiki/Kaylee_DeFer and IMDB http://www.imdb.com/name/nm1560236/
Still suggestion for Hedwig and the Angry Inch
“I never realized how much there is to acting, and for the first time in my life I really want to make good at something to justify everyone’s faith in me.”
Nancy Guild (October 11, 1925 – August 16, 1999) was an American film actress of the 1940s and 1950s. The actress appeared in Somewhere in the Night (1946); The Brasher Doubloon (1947) and the comedy Abbott and Costello Meet the Invisible Man (1951). Though appearing in major films, Guild never achieved as much fame as 20th Century Fox, the studio that had signed her to a seven-year contract, had hoped for, and eventually gave up acting to marriage.
Guild was a University of Arizona freshman when a Life magazine photographer noticed her. After the picture was published in a spread on campus fashions, five Hollywood studios screen-tested her, and she was signed by Fox. The studio’s publicity writers declared “Guild rhymes with wild!” when hyping her first film, Joseph L. Mankiewicz’s Somewhere in the Night.
On the rebound from an engagement with producer Edward Lasker, Guild married fellow Fox contract player Charles Russell in 1947. The following year, they appeared together in the musical Give My Regards to Broadway (1948). They had a daughter, Elizabeth, in 1949.
She left Fox and appeared in movies as a freelance and at Universal Studios, where she appeared in an Abbott and Costello picture and the Francis the Talking mule movie Francis Covers the Big Town (1953), her last picture.
Having divorced Russell in 1950, Guild married the Broadway impresario Ernest H. Martin, the producer of Guys and Dolls and later The Sound of Music and A Funny Thing Happened on the Way to the Forum. She appeared occasionally on television and briefly returned to the movies in Otto Preminger’s Such Good Friends (1971).
In 1975, she divorced Martin in 1975 and married photojournalist John Bryson in 1978. Guild occasionally wrote for She divorced Bryson in 1995. She died in East Hampton, New York on August 16, 1999, at the age of 73.—Wikipedia
James M. Cain
“If your writing doesn`t keep you up at night, it won`t keep anyone else up either."
James Mallahan Cain (July 1, 1892 – October 27, 1977) was an American author and journalist. Although Cain himself vehemently opposed labeling, he is usually associated with the hardboiled school of American crime fiction and seen as one of the creators of the roman noir. Several of his crime novels inspired highly successful movies.
Cain was born into an Irish Catholic family in Annapolis, Maryland. The son of a prominent educator and an opera singer, he had inherited a love for music from his mother, but his high hopes of starting a career as a singer himself were thwarted when she told him that his voice was not good enough. The family moved to Chestertown, Maryland, in 1903. In 1910, Cain graduated from Washington College where his father, James W. Cain, served as president. By 1914 Cain had decided to become a writer. He began working as a journalist for the Baltimore American and then the Baltimore Sun.
Cain was drafted into the United States Army and spent the final year of World War I in France writing for an Army magazine.
Upon returning to the United States, he continued working as a journalist, writing editorials for the New York World and a play, a short story, and satirical pieces for American Mercury. He briefly served as the managing editor of The New Yorker, but later focused on screenplays and novels.
Cain’s first novel, The Postman Always Rings Twice, was published in 1934. Two years later the serialized Double Indemnity was published in Liberty magazine.
Cain made use of his love of music and of the opera in particular in at least three of his novels: Serenade (about an American opera singer who loses his voice and who, after spending part of his life south of the border, re-enters the States illegally with a Mexican prostitute in tow); Mildred Pierce (in which, as part of the subplot, the only daughter of a successful businesswoman trains as an opera singer); and Career in C Major (a short semi-comic novel about the unhappy husband of an aspiring opera singer who unexpectedly discovers that he has a better voice than she does). In the novel the Moth, the music is also very present for the main character. Cain’s fourth wife, Florence Macbeth, was a retired opera singer.
Although Cain spent many years in Hollywood working on screenplays, his name only appears on the credits of three films: Algiers, Stand Up and Fight, and Gypsy Wildcat.
In 1946, Cain wrote four articles for Screen Writer magazine in which he proposed the creation of an American Authors’ Authority to hold writers’ copyrights and represent the writers in contract negotiations and court disputes. This idea was dubbed the “Cain plan” in the media. The plan was denounced as Communist by some writers who formed the American Writers Association to oppose it. James T. Farrell was foremost of these writers and the Saturday Review carried a debate between Cain and Farrell in November 1946. Farrell argued that the commercial Hollywood writers would control the market and keep out independents. "This idea is stamped in the crude conceptions of the artist which Mr. Cain holds, the notion that the artist is a kind of idiot who thinks that he is a God, but who has only the defects and none of the virtues of a God.” In his reply, Cain argued that his opponents understood the issue incorrectly as freedom versus control. It is fear of reprisals from publishers, Cain said, that is the real cause of opposition from well-to-do writers.
Although Cain worked vigorously to promote the Authority, it did not gain widespread support and the idea died.
Cain was married to Mary Clough in 1919. The marriage ended in divorce and he promptly married Elina Sjösted Tyszecka. Although Cain never had any children of his own, he was close to Elina’s two children from a prior marriage. In 1944 Cain married film actress Aileen Pringle, but the marriage was a tempestuous union and dissolved in a bitter divorce two years later. Cain married for the fourth time to Florence Macbeth. Their marriage lasted until her death in 1966.
Cain continued writing up to his death at the age of 85. However, the many novels he published from the late 1940s onward never rivaled his earlier financial and popular successes.—Wikipedia
Still for The Shonen Merikensack
Masculine Feminine should have its English title of “Masculin Féminin” at the top of the page, with the current, original French title becoming the subtitle.
Alexandra Maria Lara is missing an acting credit for Miracle at St. Anna.
Still for Zatoichi Meets the One-Armed Swordsman (http://mubi.com/films/zatoichi-meets-the-one-armed-swordsman)
Slave Widow (http://mubi.com/films/slave-widow)
Still suggestion for Somewhere
New stills for Bhavni Bhavai:
“The President [Roosevelt] loved movies. After his affliction (polio) limited his mobility, he looked at newsreels to keep himself informed of what was going on in the world. He had a profound interest in cameras of all kinds.”
Pare Lorentz (December 11, 1905 – March 4, 1992) was an American filmmaker known for his movies about the New Deal. Born Leonard MacTaggart Lorentz in Clarksburg, West Virginia, he was educated at Wesleyan College and West Virginia University. As a young film critic in New York and Hollywood, Lorentz spoke out against censorship in the film industry. As the most influential documentary filmmaker of the Great Depression, Lorentz was the leading US advocate for government-sponsored documentary films. His service as a filmmaker for US Army Air Corps in WWII was formidable, including technical films, documentation of bombing raids, and synthesizing raw footage of Nazi atrocities for an educational film on the Nuremberg Trials. Nonetheless, Lorentz will always be known best as “FDR’s filmmaker.”
Lorentz left West Virginia after college in 1925, to begin a career as a writer and film critic in New York in 1925. He contributed articles to leading magazines such as Scribner’s, Vanity Fair, McCall’s, and Town and Country. and co-authored a 1929 book, Censored: the private life of the movie.
His work as a film critic led him to Hollywood, where he wrote several articles on censorship and a pictorial review of the first year of Franklin D. Roosevelt’s presidency, The Roosevelt Year: 1933. Roosevelt was impressed with the articles and the book, and in 1936, as President of the United States, invited Lorentz to make a government-sponsored film about the Oklahoma Dust Bowl. Despite not having any film credits, Lorentz was appointed to the Resettlement Administration as a film consultant. He was given US$6,000 to make a film, which became The Plow That Broke the Plains, a film that showed the natural and man-made devastation caused by the Dust Bowl. Though the tight budget and his inexperience occasionally showed through in the film, Lorentz’s script, combined with Thomas Chalmers’s narration and Virgil Thomson’s score, made the 30-minute movie powerful and moving. The film, which had its first public showing on May 10, 1936 at Washington’s Mayflower Hotel, had a preview screening in March at the White House. Roosevelt was impressed and, after his re-election in 1936, gave Lorentz the opportunity to make a film about one of the President’s favorite subjects—conservation. Lorentz made The River, a film celebrating the exploits of the Tennessee Valley Authority. The TVA mitigated flooding but, more importantly to Lorentz and to Roosevelt, it put a stop to the prodigious pillaging of the forests by providing cheap, readily-available hydro-electric power to a wide area. This film won the “best documentary” category at the Venice International Film Festival. The text of River appeared in book form, and was nominated for the Pulitzer Prize in poetry the same year. It is generally considered his most masterful work.
When Republicans gained seats in Congress in 1938, and the Congressional balance of power shifted in a more conservative direction, the pipeline of Federal commissions for projects like Lorentz’s was abruptly halted. He made one more movie before the US involvement in World War II, The Fight for Life (1940), a semi-documentary on the struggle to provide adequate natal care at the Chicago Maternity Center, based on a book by Paul de Kruif. John Steinbeck worked on the project with Lorentz.
Lorentz went on to serve in the US Army Air Corps during World War II. He was promoted to the rank of colonel. While serving, he made 275 navigational films and minor documentaries for the Office of War Information and the US Information Agency, and filmed over 2,500 hours of bombing raids. In 1946, Lorentz made a federally-funded movie about the Nuremberg trials which was intended to help educate the German people as to what had happened during the war. In the process of compiling material, Lorentz reviewed over a million hours of footage about the Nazis and their atrocities. The film that resulted, Nuremberg, played to “capacity audiences” in Germany for two years. However, it was not released in the United States until 1979.
In the prosperity of the post-War period, there was no revival of partnerships with the Federal government. He had ambitious plans to make documentaries about the New Deal and the United Nations, but funding was not available from government or private sources. His final film was Rural Co-op, which he wrote and directed in 1947.
Lorentz seems to have lived a quiet life after this period, working as a film consultant and living 37 miles north of New York City in the quiet town of Armonk until his death in 1992.
The International Documentary Association named its Pare Lorentz Film Festival and its grand prize in honor of Lorentz, granted to individuals whose work best represents the “democratic sensibility, activist spirit and lyrical vision” of Lorentz."—Wikipedia
“You could find all-night jam sessions every night of the week. They were really important because we had personal contact with one another, and exchanged musical and philosophical ideas. During that period, we realized that we were a brotherhood; we were all after the same thing. We were drawn to the inspirational aspect of the music. It was a wonderful time.”
Freddie Redd (born May 29, 1928, New York City) is an American hard bop pianist and composer.
After a period in the Army (1946-9) he worked with drummer Johnny Mills, and then in New York played with Tiny Grimes, Cootie Williams, Oscar Pettiford and the Jive Bombers. He toured Sweden in 1956 with Ernestine Anderson and Rolf Ericson. His greatest success came in the late 1950s in the play and movie The Connection, in which he both played and acted in New York City, London, and Paris. He also played on the soundtrack album. His success in the play did not help his career in the United States, however, and shortly after he moved to Europe. He returned to the United States in 1974. Although he has never been able to establish himself in the first rank of jazz figures, he has worked extensively with highly regarded musicians and recorded several albums as leader.—Wikipedia
Still suggestions for:
and King Lear (1971):
Also, that last film should have the United Kingdom alongside Denmark as a country of production.