Suzanne Clément (http://mubi.com/cast_members/21787)
Michel La Veaux (http://mubi.com/cast_members/98743)
GILBERT SICOTTE (http://mubi.com/cast_members/48135)
SARA MISHARA (http://mubi.com/cast_members/63498)
EMMANUEL BILODEAU (http://mubi.com/cast_members/94929)
CATHERINE DE LÉAN (http://mubi.com/cast_members/154491)
SETH MACFARLANE (http://mubi.com/cast_members/54220)
EVAN GOLDBERG (http://mubi.com/cast_members/39484)
BERNADETTE PAYEUR (http://mubi.com/cast_members/63497)
BENOÎT PILON (http://mubi.com/cast_members/98742)
RICARDO TROGI (http://mubi.com/cast_members/135086)
STÉPHANE LAFLEUR (http://mubi.com/cast_members/110155)
ISABELLE BLAIS (http://mubi.com/cast_members/37073)
LUC PICARD (http://mubi.com/cast_members/30223)
FRANÇOIS PAPINEAU (http://mubi.com/cast_members/67496)
AARON SORKIN (http://mubi.com/cast_members/16882)
MICHELINE LANCTÔT (http://mubi.com/cast_members/62443)
ÈVE DURANCEAU (http://mubi.com/cast_members/120597)
Please add Nena Thurman to the cast of Julian Po
[On her husband, influential and prolific American Buddhist Robert Thurman] “He was a monk, and monks take 252 vows. And a lot of those vows have to do with not thinking about yourself and being there to help other people. He has developed a bad tendency to say yes to everything.”
Birgitte Caroline “Nena” von Schlebrügge (born January 8, 1941) is a German Mexican former fashion model of the 1950s and 1960s and is now the managing director of Menla Mountain Retreat.
She was born in Mexico City in 1941, the daughter of a Swedish mother, Birgit Holmquist, and a German father, Friedrich Karl Johannes von Schlebrügge. Her maternal grandmother’s parents were German and Danish. Her mother served as Axel Ebbe’s model for Famntaget (the embrace) – a 1930s statue of a nude woman that overlooks the harbor of Smygehuk in Sweden.
On her father’s side she has an older half sister, who was the paternal grandmother of German-Swedish football player Max von Schlebrügge.
In 1955 at the age of 14, Nena was discovered by Vogue (magazine) photographer Norman Parkinson when he was on a tour in Stockholm, Sweden. In 1957 Nena moved to London, England to pursue a career in high fashion modelling. She found immediate success and was invited to New York City by Eileen Ford of the Ford Modeling Agency to continue her modelling career.
In the snow storm of March 1958, at the age of 17 She arrived in New York City on the Queen Mary. In New York City she continued her modelling career as a top model, working at Vogue (magazine), and Harper’s Bazaar.
She married Doctor Timothy Leary in 1964. D.A. Pennebaker documented the event in his short film You’re Nobody Til Somebody Loves You. The marriage lasted only a year before Von Schlebrügge divorced Leary in 1965.
In 1967, she married Indo-Tibetan Buddhist scholar, and ex-monk Robert Thurman. In the same year Nena and Robert’s first child Ganden Thurman was born.
In 1967, she played a part in the Edie Sedgwick film, Ciao! Manhattan. The film took four years to make and drastic changes were made from the original story causing the film-makers to remove many scenes shot in 1967, which included Nena’s scenes. These deleted scenes can be found on the DVD version of the film.
The Thurmans lived in Massachusetts from 1973 to 1988. During which time Nena did an M.Ed in creativity, and an all but dissertation doctorate in counseling psychology.
In 1970 Robert and Nena’s second child, Uma Thurman was born.
From 1987 to 1989 Nena was the program director at the New York Open Center, and from 1991 to 2002 was the managing director of Tibet House US, where she oversaw the construction of Tibet House, the educational programming, and with Philip Glass initiated the annual benefit concert at Carnegie Hall, as well as the annual benefit auction at Christie’s.
Since 2001 Nena has been the managing director of Menla Mountain Retreat where she has overseen the construction of a state of the art Tibetan medicinal spa facility and business.—Wikipedia
“It was the thing to look like a chic, elegant woman, mysterious and unreachable. Fashion was a couture rather than a boutique world then. Even though we were girls in our teens and 20s, we looked like grown women.”
Margaret “Meg” Mundy (born 4 January 1915) is an English-American actress. She was born in London, but moved to the United States in 1921.
Mundy is the daughter of the Australian opera singer Clytie Hine (1887–1983) who studied at the Elder Conservatorium of Music in Adelaide, South Australia. Hine married the English cellist and orchestra manager of the Metropolitan Opera, John Mundy, and they emigrated to the United States in 1921 with their two children, John and Margaret. After retiring as a performer, Clytie Hine coached opera singers and musical performers. Meg Mundy’s brother was the Columbia University history professor John Hine Mundy (1917-2004).
In 1948 she starred in The Respectful Prostitute (see below), but Dorothy Parker professed ignorance: “Meg Mundy? What’s that, a Welsh holiday?” She played “Mona Aldrich Croft”, on The Doctors from 1971 until 1982, when the show was cancelled.
She lives in upstate New York.
In 1948, Meg Mundy won the Theatre World Award for her performance in The Respectful Prostitute at Cort Theatre. She was succeeded in the role by actress Ann Dvorak.
In 1982, she was nominated for a Daytime Emmy award for Outstanding Supporting Actress in a Daytime Drama Series at the 9th Daytime Emmy Awards for her role on The Doctors.—Wikipedia
Distinto Amanecer is in Black and White, not color and it also stars Pedro Armendáriz and Alberto Galán in leading roles.
La Pasion de Berenice stars Pedro Armendáriz Jr. (http://mubi.com/cast_members/45045) not his father (http://mubi.com/cast_members/36686) as is currently listed.
Could I inquire here about the status of some films I’ve submitted (which don’t even a “We’ll have it ready for you soon” page):
SA ILALIM NG COGON Rico Maria Ilarde 2005
KEMONOZUME Masaaki Yuasa 2006
11000 KM FROM NEW YORK Orzu Sharipov 2006
The English title of Le corbeau is “The Raven.”
and the English title of Les maîtres fous is “The Mad Masters”.
We have added http://mubi.com/films/beneath-the-cogon and http://mubi.com/films/11000-km-from-new-york.
I am sorry but KEMONOZUME is a TV series and we do not list TV series in our database.
Thank you, Max. Since Masaaki Yuasa’s KAIBA and TATAMI GALAXY have also been added, I thought KEMONOZUME could be added as well – I hope there could still be an exception for this so that Yuasa’s filmography could be completed. :)
ZACH GALIFIANAKIS (http://mubi.com/cast_members/23437)
KEVIN SPACEY (http://mubi.com/cast_members/2555)
Still for :
Under the Volcano (http://mubi.com/films/under-the-volcano) should list IGNACIO LÓPEZ TARSO (http://mubi.com/cast_members/70161) not Ignacio Lopez Tarzo
“Women dress alike all over the world: they dress to be annoying to other women.”
Elsa Schiaparelli (1890–1973) was an Italian fashion designer. Along with Coco Chanel, her greatest rival, she is regarded as one of the most prominent figures in fashion between the two World Wars. Starting with knitwear, Schiaparelli’s designs were heavily influenced by Surrealists like her collaborators Salvador Dalí and Alberto Giacometti. Her clients included the heiress Daisy Fellowes and actress Mae West.
Schiaparelli did not adapt to the changes in fashion following World War II and her business closed in 1954.
Schiaparelli was born at the Palazzo Corsini in Rome. Her mother, Maria-Luisa, was a Neapolitan aristocrat, and her father, Celestino Schiaparelli, was a renowned scholar and curator of medieval manuscripts. Her father was Dean of the University of Rome and an authority on Sanskrit. She was a niece of astronomer Giovanni Schiaparelli, who discovered the so-called canali of Mars, and she spent hours with him studying the heavens. She studied philosophy at the University of Rome, during which she published a book of sensual poems that shocked her conservative family. Schiaparelli was sent to a convent until she went on hunger strike and at the age of 22 accepted a job in London as a nanny. Elsa led a refined life with a certain amount of luxury provided by her parents’ wealth and high social status. She believed, however, that this luxury was stifling to her art and creativity and so she removed herself from the “lap of luxury” as quickly as possible. Schiaparelli moved first to New York City and then to Paris, combining her love of art and design to become a couturier.
En route to London, Schiaparelli was invited to a ball in Paris. Having no ballgown, she bought some dark blue fabric, wrapped it around herself and pinned it in place. In London most of her time was spent visiting museums and attending lectures. Schiaparelli went on to marry one of her lecturers, Count William de Wendt de Kerlor, a Franco-Swiss theosophist. In 1921 they moved to New York, where Schiaparelli immediately responded to the modernity of the city. Her husband distanced himself from the city and had abandoned his family by the time their child was born. Maria Luisa Yvonne Radha de Wendt de Kerlor, better known as Gogo Schiaparelli, would become a noted socialite.
Schiaparelli was later introduced to Gaby Picabia, ex-wife of French Dadaist artist Francis Picabia and owner of a boutique selling French fashions in New York. Through her work there, Schiaparelli met artists like Marcel Duchamp and Man Ray. When Gaby and Man Ray left for Paris, Schiaparelli joined them.
In Paris, Schiaparelli – known as “Schiap” to her friends – began making her own clothes. With some encouragement from Paul Poiret, she started her own business but it closed in 1926 despite favourable reviews. She launched a new collection of knitwear in early 1927 using a special double layered stitch created by Armenian refugees and featuring sweaters with surrealist trompe l’oeil images. Although her first designs appeared in Vogue, the business really took off with a pattern that gave the impression of a scarf wrapped around the wearer’s neck. The “pour le Sport” collection expanded the following year to include bathing suits, ski-wear, and linen dresses. The divided skirt, a forerunner of shorts, shocked the tennis world when worn by Lili de Alvarez at Wimbledon in 1931. She added evening wear to the collection in 1931, and the business went from strength to strength, culminating in a move from Rue de la Paix to acquiring the renowned salon of Madeleine Chéruit at 21 Place Vendôme, nicknamed the Schiap Shop.
A darker tone was set when France declared war on Germany in 1939. Schiaparelli’s Spring 1940 collection featured “trench” brown and camouflage print taffetas. Soon after the fall of Paris on 14 June 1940, Schiaparelli sailed to New York for a lecture tour; apart from a few months in Paris in early 1941, she remained in New York City until the end of the war. On her return she found that fashions had changed, with Christian Dior’s “New Look” marking a rejection of pre-war fashion. The house of Schiaparelli struggled in the austerity of the post-war period, and Elsa finally closed it down in December 1954, the same year that her great rival Chanel returned to the business. Aged 64, she wrote her autobiography and then lived out a comfortable retirement between her apartment in Paris and house in Tunisia. She died on 13 November 1973.
Schiaparelli was an innovative woman and fashion designer. She had a lot of “firsts” in the fashion industry. Her career began with her introduction of graphic knitwear to the world of fashion with knit patterns and emblems. These led to her fanciful prints of body parts, food, and many more unusual themes. She was the first to use brightly colored zippers, appearing first on her sportswear in 1930 and again five years later on her evening dresses. Not only was she the first to use brightly colored zippers, but she was also the first to have them dyed to match the material used in her garments. She was the first to create and use fanciful buttons that looked more like brooches. They came in the shapes of peanuts, bees, and even ram’s heads. In Parisian fashion, she invented culottes, introduced Arab breeches, embroidered shirts, wrapped turbans, pompom-rimmed hats, barbaric belts, the “wedge,” a soled shoe that would trend through the 20th century and into the next, and mix-and-match sportswear, the concept of which would not be fully recognized for another forty to fifty years. While her innovations in fashion design were numerous, it was her creation of the runway show as we know it today that was most influential. Her modern idea of a fashion show included a runway with music and art, and the use of elongated, shapeless women as models. She believed that this boyish figure would best display the clothing. Many people do not realize the true sum of her impact on fashion and the fashion industry.
Modern art, particularly Dada and Surrealism, provided a significant source of inspiration for Schiaparelli. She worked with a number of contemporary artists to develop her imaginative designs, most famously with Salvador Dalí. From these artistic collaborations, Schiaparelli’s most notable designs were born. In addition to well-documented collaborations such as the shoe hat and the Tears dress, Dali’s influence has been identified in designs such as the lamb-cutlet hat and a 1936 day suit with pockets simulating a chest of drawers. Schiaparelli also had a good relationship with other artists including Leonor Fini, Jean Cocteau, Meret Oppenheim, and Alberto Giacometti. Chanel referred to her as ‘that Italian artist who makes clothes’.
Schiaparelli’s perfumes were noted for their unusual packaging and bottles. Her best-known perfume was “Shocking!” (1936), contained in a bottle sculpted by Leonor Fini in the shape of a woman’s torso inspired by Mae West’s tailor’s dummy and Dali paintings of flower-sellers. The packaging, also designed by Fini, was in shocking pink, one of Schiaparelli’s signature colours which was said to have been inspired by Daisy Fellowe’s ‘Tête de Belier’ (Ram’s Head) pink diamond.
Schiaparelli designed the wardrobe for several films, starting with the French version of 1933’s Topaze, and ending with Zsa Zsa Gabor’s outfits for the 1952 biopic of Henri de Toulouse-Lautrec, Moulin Rouge in which Gabor played Jane Avril. Moulin Rouge won Marcel Vertès an Academy Award for Costume Design, although Schiaparelli’s role in costuming the leading lady went unacknowledged beyond a prominent on-screen credit for Gabor’s costumes. Authentically, Gabor’s costumes were directly based upon Toulouse-Lautrec’s portraits of Avril.
She famously dressed Mae West for Every Day’s a Holiday (1937) using a mannequin based on West’s measurements, which inspired the torso bottle for Shocking perfume.
The failure of her business meant that Schiaparelli’s name is not as well remembered as that of her great rival Chanel. But in 1934, Time placed Chanel in the second division of fashion, whereas Schiaparelli was one of "a handful of houses now at or near the peak of their power as arbiters of the ultra-modern haute couture….Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word “genius” is applied most often".4 At the same time Time recognised that Chanel had assembled a fortune of some US$15m despite being “not at present the most dominant influence in fashion”, whereas Schiaparelli relied on inspiration rather than craftsmanship and “it was not long before every little dress factory in Manhattan had copied them and from New York’s 3rd Avenue to San Francisco’s Howard Street millions of shop girls who had never heard of Schiaparelli were proudly wearing her models”.
Perhaps Schiaparelli’s most important legacy was in bringing to fashion the playfulness and sense of “anything goes” of the Dada and Surrealist movements. She loved to play with juxtapositions of colours, shapes and textures, and embraced the new technologies and materials of the time. With Charles Colcombet she experimented with acrylic, cellophane, a rayon jersey called “Jersela” and a rayon with metal threads called “Fildifer” – the first time synthetic materials were used in couture. Some of these innovations were not pursued further, like her 1934 “glass” cape made from Rhodophane, a transparent plastic related to cellophane. But there were more lasting innovations; Schiaparelli created wraparound dresses decades before Diane von Furstenberg and crumpled up rayon 50 years before Issey Miyake’s pleats and crinkles. In 1930 alone she created the first evening-dress with a jacket, and the first clothes with visible zippers. In fact fastenings were something of a speciality, from a jacket buttoned with silver tambourines to one with silk-covered carrots and cauliflowers.—Wikipedia