More suitable alternative photo for:
New still suggestion for Possessed
David Bowie (et al) deserves a music credit for Mauvais sang.
In the Bleak Midwinter should at least have the subtitle of ‘A Midwinter’s Tale’.
Alternative photo for Warren Beatty:
and Ronald Reagan
Still for : House of Flying Daggers
You can use this still for his profile:
Photo for :
both refer to: http://www.imdb.com/name/nm0205805/
Alice O’Fredericks (1899–1968) was a Danish actress, screen writer, and film director. She is best known for directing the series of Far til Fire (Father of Four) comedies and the series of family dramas based on Morten Korch novels. Having written 38 produced screenplays and directed 72 feature films, O’Fredericks was one of the most prolific directors in Danish cinema. O’Fredericks also directed the first Danish films which highlighted women’s rights. The Alice Award, presented annually to the Best Female Director at the Copenhagen International Film Festival, is named in her honor.
Alice O’Fredericks was born Mitzi Otha Alice Fredericksen on 8 September 1899 in Gothenburg, Sweden, the daughter of Danish parents. Her parents divorced when she was a young girl, after which she moved with her mother to Copenhagen. She was educated at a secretarial school then landed a job in 1918 as a script girl for Danish director, Benjamin Christensen. At this time she adopted the stage name of Alice O’Fredericks. In 1920, O’Fredericks stepped in front of the camera, making her film debut as a nun in Christensen’s controversial silent film Häxan (The Witches). Through the 1920s, she performed in Gudmundur Kamban’s Hadda Padda as well as a couple of Fy & Bi films. She also started the Tumling Film production company with actor Johannes Meyer, played the starring role in two movies for Nordisk Film, and finished her acting career in George Schnéevoigt’s 1929 Norwegian production of Laila.
O’Fredericks debuted as a screenwriter in 1928 after winning a contest sponsored by the B.T. newspaper. Her manuscript became the Fy & Bi film Filmens Helte (The Heroes of the Movies). Thereafter she was employed with Palladium Film as a screenwriter and became a director’s assistant to Lau Lauritzen Sr.. Through Lauritzen’s mentoring, O’Fredericks learned the craft of filmmaking which laid the groundwork for her long and successful career as a director. She began directing films in 1934 in partnership with Lauritzen’s son, Lau Lauritzen Jr.. Their first effort was the farce Ud i den kolde sne (Out in the Cold Snow). The O’Fredericks-Lauritzen partnership flourished and they made 27 films together during the 1930s and 1940s. In 1950, she took a solo turn in the director’s chair at ASA Film with the filmatization of the Morten Korch novel De røde heste (The Red Horse). Korch’s novels about rural life were very popular in Denmark but until then had never been transferred to the screen. The Red Horses was a huge success, and with 2.3 million viewers, became the most watched film in Danish history. O’Fredericks went on to film six more Korch novels.
She also made several films in partnership with Jon Iversen and Robert Saaskin. During the same period, O’Fredericks created her popular series of Far til Fire (Father to Four) family comedies. Between 1953 and 1961, she wrote and directed eight of them. During her later years O’Fredericks suffered from rheumatism that confined her to a wheelchair. Nonetheless, she continued to write and direct, and she often employed two men to carry her around the set. In the mid 1960s she wrote and directed a series of three rural dramas, the Nesbygaard films. These became her final films. O’Fredericks died of rheumatism on 18 February 1968 in Hellerup, Denmark. With a total of 72 films directed and 38 produced screenplays, O’Fredericks is one of Denmark’s most productive filmmakers ever. Although film critics of her day gave her folk comedies only faint praise, her films were some of the most popular in Danish cinema.
O’Fredericks is noted as a pioneer for women filmmakers. She wrote and directed some of the first Danish films which focused on women and women’s rights. These include her 1946 drama Så mødes vi hos Tove (We Meet at Tove’s) about eight women who meet ten years after their graduation to discuss their lives; and 1943’s Det Brændende spørgsmål (The Burning Question) about abortion and its consequences. In 2003, the Copenhagen International Film Festival created the Alice Award, named in her honor, to be given annually to the Best Female Director.
O’Fredericks was married to Danish businessman and wholesaler Oskar Klintholm from 1927 until his death in 1959.—Wikipedia
“The Woo Woo Girl” — I guess the top brass thought I was a lady Hugh Herbert, but the audiences, the public, continue to remember me, and what greater accolade can an actress get?
A curvaceous, dark-haired WWII pin-up beauty (aka “The Woo Woo Girl” and “The Girl with the Million Dollar Figure”), “B” film star Lynn Bari had the requisite looks and talent but little of the lucky breaks to permeate the “A” rankings during her extensive Hollywood career. Nevertheless, some worthy performances continue to stand out for her in late-night viewings.
She was born with the elite-sounding name of Margaret Schuyler Fisher on December 18, 1913 (various sources also list 1915, 1917 and 1919!) in Roanoke, Virginia. She and her younger brother John moved with their mother to Boston following the death of their father in 1926. Her mother remarried, this time to a minister, and the family relocated once again when her stepfather was assigned a ministry in California (Institute of Religious Science in Los Angeles).
Paying her dues for years as a snappy bit-part chorine, secretary, party girl and/or glorified extra while being groomed as a starlet under contract to MGM and Fox respectively), her first released film was the MGM comedy Meet the Baron (1933) providing typical window dressing as a collegiate. For the next few years there was little growth at either studio, usually standing amidst others in crowd scenes and looking excited. Finally in Lancer Spy (1937), she received her first billing on screen in a minor part as “Miss Fenwick”. Though more bit parts were to dribble in, the year 1938 proved to be her break through year. She finally gained some ground into playing the “other woman” role in glossy soaps and musicals, first giving Barbara Stanwyck some trouble in Always Goodbye (1938).
Fox Studios finally handed her some smart co-leads and top supports in such second-tier films as Return of the Cisco Kid (1939), Pack Up Your Troubles (1939), Hotel for Women (1939) and Hollywood Cavalcade (1939). Anxiously waiting for “the big one”, she made due with her strong looks, tending toward unsympathetic parts. She enjoyed the attention she received playing disparaging society ladies, divas, villainesses and even a strong-willed prairie flowers in such films as Pier 13 (1940), Earthbound (1940), Kit Carson (1940) and Sun Valley Serenade (1941), but they did little to advance her in the ranks.
The very best role of her frisky career came with the grade “A” comedy The Magnificent Dope (1942) sharing top billing with Henry Fonda and Don Ameche. But good roles were hard to find in Lynn’s case and she good-naturedly took whatever was given her. Other ripe, above-average movies (she appeared in well over 150) of this period came with China Girl (1942), Hello Frisco, Hello (1943), The Bridge of San Luis Rey (1944) and Nocturne (1946).
With diminishing offers for film parts by the 1950s, she starting leaning heavily towards stage and TV work. She continued her career until the late 60s and then retired. Her last work included the film The Young Runaways (1968) and TV episodes of “The Girl from U.N.C.L.E.” and “The F.B.I.” Divorced three times in all, husband #2 was volatile manager/producer Sidney Luft, better known as Judy Garland ex-hubby years later and the father of her only child. Her third husband was a doctor/psychiatrist and she worked as his nurse for quite some time. They divorced in 1972. Plagued by arthritis in later years, Lynn passed away from heart problems on November 20, 1989. Although she may have been labeled a “B” leading lady, she definitely was in the “A” ranks when it came to class and beauty.—IMDb
Profile picture suggestion for her:
Profile picture for Varuzh Karim-Masihi: (http://mubi.com/cast_members/232705)
Profile picture for Chusei Sone: (http://mubi.com/cast_members/90159)
New Still Suggestion:
Synopsis for The Rainbow Thief:
A petty crook, in search of the proverbial pot of gold at the end of the rainbow, hopes to cash in by befriending the heir to a huge fortune. – IMDb
Barbara Ulrich is in Le bonheur c’est une chanson triste.
Still for :
Brian Desmond Hurst
I don’t know what happened here, but the correct english title for this recently added film I submitted is “The Dirty Outlaws”, not “Big Ripoff”. The actual onscreen title card in the movie says “The Dirty Outlaws”, that’s how it’s listed on IMDb, that’s the official english title on nearly every spaghetti western database on the internet and that’s how it’s listed on Quentin Tarantino’s favorite spaghetti westerns list, even. I never once saw this movie being refered to as “Big Ripoff”, which is probably just an alternate american title. I think “The Dirty Outlaws” would be a preferable title for MUBI as well, as it’s more recognizable.
Frank Theodore “Ted” Levine (born May 29, 1957) is an American actor. He is known for his roles as Buffalo Bill in The Silence of the Lambs and Captain Leland Stottlemeyer in the television series Monk.
Levine was born in Bellaire, Ohio, in 1957. He was born to Milton and Charlotte Levine, who were both doctors and members of Physicians for Social Responsibility. Levine is of Russian, Jewish, Native American and Welsh heritage and has described himself as a “hillbilly Jew”. In 1975, he enrolled at Marlboro College and then later University of Chicago. He became a fixture in the Chicago theatre scene and joined the Remains Theatre which was co-founded by Gary Cole and William L. Petersen. After his stage experience, Levine began to devote most of his energy during the 1980s toward finding roles in film and television such as a minor part in Charlie’s Angels. He also managed to get a minor role in Rambo: First Blood Part II, as one of the men getting the P.O.W.s off the helicopter.
After his breakout role in The Silence of the Lambs (as primary antagonist Buffalo Bill), there was a period where he was typecast in villainous roles. Levine was able to remedy this by playing more positive characters, such as a member of Al Pacino’s police unit in Heat, astronaut Alan Shepard in the HBO mini-series From the Earth to the Moon, and Paul Walker’s police superior Sergeant Tanner in The Fast and the Furious. In the drama Georgia, he played Mare Winningham’s husband, one of his most sympathetic roles. His résumé also includes an uncredited role as the voice of the sociopathic trucker “Rusty Nail” in 2001’s Joy Ride, and his performance as Detective Sam Nico in the 2003 film Wonderland, based on the gruesome murders in the Hollywood Hills. From 2002 to 2009, he co-starred as Captain Leland Stottlemeyer on USA Network’s detective series Monk, starring Tony Shalhoub.
Levine provided the voice of the supervillain Sinestro in Superman: The Animated Series, Static Shock, Justice League, and Justice League Unlimited. Levine also appeared as a patriarch whose family takes a turn for the worse in the remake of The Hills Have Eyes (2006). In 2007, he portrayed local Sheriff James Timberlake in The Assassination of Jesse James by the Coward Robert Ford and appeared in Ridley Scott’s American Gangster, alongside Denzel Washington and Russell Crowe. Most recently, he was cast as the warden of the island prison in Shutter Island, starring Leonardo DiCaprio.
In a January 12, 2006, interview on The Late Late Show, actor Seth Green credited Levine’s portrayal of Buffalo Bill as the inspiration for the voice of his character Chris Griffin on Family Guy. —Wikipedia
Maribel Martín born Maria Isabel Martínez (1 November 1954 in Madrid, Spain), is a Spanish actress .
She made her acting debut at age seven in the film Tres de la Cruz Roja (1961),a film directed by Fernado Palacios. She had a career as a child actress in films like: La Gran Familia (1962), by Fernando Palacios and El Camino (1963) directed by Ana Mariscal. At the end of the 1960s, she took more important roles in films like: La Residencia (1969) by Narciso Ibanez Serrador and La Cera Virgen (1971) directed by Jose Maria Forque. She had her first starring role in La Novia Ensangrentada under the direction of Vicente Aranda. During the 1970s she concentrated her work in the theater and television. Among her films of this period are : Los Viajes Escolares (1973) directed by Jaime Chavarri; La Espada Negra (l976) film directed by Francisco Rovira Beleta. Campana del Infierno (1973) by Claudio Guerin.
After her starring role in Ultimas Tardes con Teresa (1983) directed by Gonzalo Herralde, she created the production company Ganesh Films with actor Julian Mateos and from then on she has taken roles in some of their production: Los Santos Inocentes (1984), by Mario Camus and El Nino de la Luna (1989), a film directed by Agusti Villaronga. Her most recent film is Engendro (2005) under the direction of Luis Cabeza.
Bernard Fresson (27 May 1931 – 20 October 2002) was a French cinema actor. He starred in over 160 films. Some of his notable roles include: Javert in the 1972 mini-series version of Les Misérables, Inspector Barthelmy in John Frankenheimer’s French Connection II (1974), Scope in Roman Polanski’s The Tenant (1976), Gilbert in L’amant de poche (1978), and Francis in Garçon! (1983), for which he received a César nomination for Best Supporting Actor. He also appeared in the 1969 Costa-Gavras film Z.
Michael Sarrazin (May 22, 1940 – April 17, 2011) was a Canadian film and television actor best known for his role in the drama film They Shoot Horses, Don’t They? (1969).
He was born Jacques Michel André Sarrazin in Quebec City, Quebec, and moved to Montreal, Quebec, as a child. After acting in school plays he landed his first professional role at 17.
Sarrazin worked on television productions in Toronto, Ontario, and then gained a contract with Universal Studios. His early appearances include The Virginian (1965), Gunfight in Abilene (1967), and a starring role in The Flim-Flam Man (1967) with George C. Scott. He served as a supporting actor in Sometimes a Great Notion (1971). He starred in a string of successes, including the television film Frankenstein: The True Story (1973), the crime caper Harry in Your Pocket (1973), the screwball comedy film For Pete’s Sake (1974), and the horror film The Reincarnation of Peter Proud (1975), about a man doomed to die the same kind of death twice. His film career as a leading man came to a close with his role in The Gumball Rally (1976).
He also appeared in Joshua Then and Now (1985), and the Star Trek: Deep Space Nine (1993–1999) episode The Quickening (1996). He hosted the April 15, 1978, episode of Saturday Night Live.
Sarrazin was originally cast to play Joe Buck in the drama film Midnight Cowboy (1969); however, he was unable to gain release from a prior contract and the part went to Jon Voight.
For fourteen years he was in a relationship with actress Jacqueline Bisset, whom he met while making the drama film The Sweet Ride (1968).
Sarrazin died after falling ill with cancer. According to a family spokesman his daughters Catherine and Michele were at his side when he died.
Add to all three
Sorry about that
Wieman was born in Osnabrück, the only son of Carl Philipp Anton Wieman and his wife Louise. Raised in Osnabrück, Wiesbaden and Berlin, where he studied four terms of philosophy, history of art and languages, Wieman wanted to actually become an airplane technical designer and flier. He started his acting career on the stage in Berlin under the direction of Max Reinhardt at the Deutsches Theater. In the early 1920s, he was a member of the Holtorf-Truppe, a stock theater group that included future director Veit Harlan. His fellow stage actors included his future wife, Erika Meingast, Marlene Dietrich, Dora Gerson and Max Schreck (the vampire in Nosferatu). Later he began working in silent and sound films; he landed supporting roles in Femme, Königin Luise and Das Land ohne Frauen. In 1930, along with Leni Riefenstahl, he appeared in Avalanche (Stürme über dem Mont Blanc), and in 1932 he played the lead in Riefenstahl’s Das Blaue Licht.
At the height of his film career, during the decade of the 1930s, Wieman acted in such productions as The Man Without a Name (Mensch ohne Namen), Queen of Atlantis (Die Herrin von Atlantis), The Countess of Monte Cristo (Die Gräfin von Monte Christo), Fräulein Hoffmanns Erzählungen, The Rider of the White Horse (Der Schimmelreiter), Viktoria, Patriots, and Togger. He also had an international success with his appearance in “The Eternal Mask” (Die Ewige Maske). The movie was awarded with the American National Board of Review Award for Best Foreign Film in the United States in 1937 (National Board of Review Awards 1937). The film was also nominated for an award at the Venice Film Festival. Also in 1937, Wieman was made Staatsschauspieler, an honorary title bestowed by the German government and the highest honour attainable by an actor in Germany.
Wieman was eventually classed as “persona non grata” by Joseph Goebbels, this greatly reduced his activity. He acted in the following movies in the 1940s: Ich klage an, Das andere Ich, Paracelsus, Träumerei and Wie sagen wir es unseren Kindern. After the failed 20 July plot to assassinate Adolf Hitler happened in 1944, Mathias and his wife Erika helped the family of Count Fritz-Dietlof von der Schulenburg. This assistance is detailed by Charlotte von der Schulenburg in the book Courageous Hearts: Women and the Anti-Hitler Plot of 1944 (Dorothee Von Meding, Berghahn Books, 1997).
After World War II he was able to work more intensively in the film business again, normally in support roles. To his fairly well known work belongs The Alfred Nobel Story (Herz der Welt), As Long as You’re Near Me (Solange du da bist), The Last Summer (Der letzte Sommer), Ripening Youth (Reifende Jugend), The Girl and the Legend (Robinson soll nicht sterben), and opposite Ingrid Bergman in Roberto Rossellini’s Fear (La Paura). Two of the films Mathias starred in were in competition at the Cannes Film Festival: In 1952, Herz Der Welt; and in 1954, Solange Du Da Bist.
Wieman also made many records (LPs) of classic stories where he would narrate the story accompanied by orchestral music. One example is Peter und der Wolf with Mathias and the Berlin Philharmonic in 1950 conducted by Fritz Lehmann and the Orchestre National de France in 1962 conducted by Lorin Maazel. Another example is Mathias Wiemans kleine Diskothek. In 1992 Deutsche Grammophon issued a commemorative set of CDs in honour of the 100th anniversary of Wieman’s birth: Für Kenner & Kinder.
On stage, Wieman appeared in a number of productions including, Goethe’s Faust, Pygmalion (play) by George Bernard Shaw, the most famous play of Italian playwright Luigi Pirandello, Six Characters in Search of an Author, and in Bertolt Brecht’s In The Jungle of Cities (Im Dickicht der Städte).
His many friends included such diverse people as Hanna Reitsch, Lida Baarova, Hans Fallada, Anny Ondra, and Fritz-Dietlof von der Schulenburg.
After World War II, Wieman moved to Switzerland with his wife, stage actress Erika Meingast, there in 1969 he died of cancer. Mathias and his wife Erika (died in 1972) were cremated and the ashes buried in the Wieman family plot in the Johannesfriedhof cemetery in Osnabrück. —Wikipedia
Still for the film The Talent Given Us
Just posting this again in case it didn’t get noticed before.
New still for Death in Venice (http://mubi.com/films/death-in-venice):