Better still for The Wild Angels
Better still for Gas!
Profile pictures for:
Just a reminder: Cast members profile images should be 400 × 475. Saved for web JPEG (less than 50kb). Thanks!
Those should be the right size (?)
I wanted to invent some kind of American dance that was danced to the music that I grew up on: Cole Porter and Rodgers and Hart and Irving Berlin. So I evolved a style that certainly didn’t catch on right away.
In this business, until you’re known as a monster you’re not a star.
Chulpan Khamatova (resubmission from Amy’s picture)
A correct still for Georgy Girl
Current still is from ‘Thunder Rock’
A correct still for All Fall Down
Current still is from ‘Bonnie and Clyde’
Missing still for the 317th Platoon
A correct image for The Lavender Hill Mob
- Profile picture
“When I direct my non-professional actors, I don’t tell them anything. I try to catch what they are.”
Serge Roullet (born 6 July 1926) is a French film director and screenwriter. He has directed eight films since 1959. His 1967 film The Wall was entered into the 17th Berlin International Film Festival. —Wikipedia
Re-submitting my profile photos…
question~~~ why 400×475? Since you seem to use smaller versions on the profiles?
Info for Ronald Colman
“They talk of the artist finding liberation in work, it is true. One can be someone else in another, more dramatic, more beautiful world.”
British leading man of primarily American films, one of the great stars of the Golden Age. Raised in Ealing, the son of a successful silk merchant, he attended boarding school in Sussex, where he first discovered amateur theatre. He intended to attend Cambridge and become an engineer, but his father’s death cost him the financil support necessary. He joined the London Scottish Regionals and at the outbreak of World War I was sent to France. Seriously wounded at the battle of Messines, he was invalided out of service scarcely two months after shipping out for France. Upon his recovery, tried to enter the consular service, but a chance encounter got him a small role in a London play. He dropped other plans and concentrated on the theatre and was rewarded with a succession of increasingly prominent parts. He made extra money appearing in a few minor films, and in 1920 set out for New York in hopes of finding greater fortune there than in war- depressed England. After two years of impoverishment, he was cast in a Broadway hit, La Tendresse. Director ‘Henry King’ spotted him in the show and cast him as Lillian Gish’s leading man in his film The White Sister (1923). His success in the film led to a contract with Samuel Goldwyn, and career as a Hollywood leading man was underway. He became a vastly popular star of silent films, in romances as well as adventure films. With the coming of sound, his extraordinarily beautiful speaking voice made him even more important to the film industry. He played sophisticated thoughtful characters of integrity with enormous aplomb, and swashbuckled expertly when called to do so in films like The Prisoner of Zenda (1937). A decade later he received an Academy Award for his splendid portrayal of a tormented actor in A Double Life (1947). Much of his later career was devoted to ‘The Halls of Ivy’, a radio show that later was transferred to television. He continued to work until nearly the end of his life, which came in 1958 after a brief lung illness. He was survived by his second wife, actress Benita Hume, and their daughter Juliet.
How is there not info for this genius actor???: Alec Guinness
“Flamboyance doesn’t suit me. I enjoy being elusive.”
A member of a generation of British actors that included Sir Laurence Olivier and Ralph Richardson, Sir Alec Guinness possessed an astonishing versatility that was amply displayed over the course of his 66-year career. Dubbed “the outstanding poet of anonymity” by fellow actor Peter Ustinov, Guinness was a consummate performer, effortlessly portraying characters that ranged from eight members of the same family to an aging Jedi master. Synonymous throughout most of his career with old-school British aplomb and dry wit, the actor was considered to be second only to Olivier in his popularity on both sides of the Atlantic.
Theater critic J.C. Trewin once described Guinness as possessing “a player’s countenance, designed for whatever might turn up.” The latter half of this description was an apt summation of the actor’s beginnings, which were positively Dickensian. Born into poverty in London on April 2, 1914, Guinness was an illegitimate child who did not know the name on his birth certificate was Guinness until he was 14 (until that time he had used his stepfather’s surname, Stiven). Guinness never met his biological father, who provided his son’s private school funds but refused to pay for his university education.
It was while working as an advertising copywriter that Guinness began going to the theatre, spending his pound-a-week salary on tickets. Determined to become an actor himself, he somehow found the money to pay for beginning acting lessons and subsequently won a place at the Fay Compton School of Acting. While studying there, he was told by his acting teacher Martita Hunt that he had “absolutely no talent.” However, Sir John Gielgud apparently disagreed: as the judge of the end-of-term performance, he awarded Guinness an acting prize and further rewarded him with two roles in his 1934 production of Hamlet. Three years later, Guinness became a permanent member of Gielgud’s London company and in 1938, playing none other than Hamlet himself.
In 1939, Guinness’ stage version of Charles Dickens’ Great Expectations, which featured the actor as Herbert Pocket, caught the attention of fledgling director David Lean. Seven years later, Lean would cast Guinness in the novel’s screen adaptation; the 1946 film was the actor’s second screen engagement, the first being the 1934 Evensong, in which he was an extra. It was in Lean’s Oliver Twist (1948) that he had his first memorable onscreen role as Fagin, although his portrayal — complete with stereotypically Semitic gestures and heavy makeup — aroused charges of anti-Semitism in the United States that delayed the film’s stateside release for three years.
Guinness won bona fide international recognition for his work in Robert Hamer’s Kind Hearts and Coronets (1949), an Ealing black comedy that featured him as eight members of the d’Ascoyne family. He would subsequently be associated with a number of the classic Ealing comedies, including The Lavender Hill Mob (1951), The Man in the White Suit (1951), The Detective (1954), and The Ladykillers (1955). In 1955, Guinness’ contributions to the arts were recognized by Queen Elizabeth, who dubbed him Commander of the British Empire. Two years later, he received recognition on the other side of the Atlantic when he won a Best Actor Oscar for his role as Colonel Nicholson, a phenomenally principled and at times foolhardy British POW in The Bridge on the River Kwai. Ironically, Guinness turned down the role twice before being persuaded to take it by producer Sam Spiegel; his performance remained one of the most acclaimed of his career.
In 1960, Guinness once again earned acclaim for his portrayal of another officer, in Tunes of Glory. Cast as hard-drinking, ill-mannered Scottish Lieutenant-Colonel Jock Sinclair, a role he would later name as his favorite, the actor gave a powerful performance opposite John Mills as the upper-crust British officer assigned to take over his duties. He subsequently became associated with David Lean’s great epics of the 1960s, starring as Prince Feisal in Lawrence of Arabia (1962) and as Zhivago’s brother in Dr. Zhivago (1965); much later in his career, Guinness would also appear in Lean’s A Passage to India (1984) as Professor Godbole, an Indian intellectual.
Although Guinness continued to work at a fairly prolific pace throughout the 1960s and 1970s, his popularity was on the wane until director George Lucas practically begged him to appear as Obi Wan Kenobi in Star Wars (1977). The role earned the actor his third Academy Award nomination (his second came courtesy of his screenplay for Ronald Neame’s 1958 satire The Horse’s Mouth) and introduced him to a new generation of fans. Guinness reprised the role for The Empire Strikes Back (1980) and Return of the Jedi (1983); although the role Obi Wan was perhaps the most famous of his career and earned him millions, he reportedly hated the character and encouraged Lucas to kill him off in the trilogy’s first installment so as to limit his involvement in the subsequent films.
After receiving an honorary Academy Award in 1979, Guinness did a bit of television (most notably a 1979 adaptation of John LeCarre’s Tinker, Tailor, Soldier, Spy) and acted onscreen in supporting roles. In 1988 he earned a slew of award nominations — including his fourth Oscar nomination — for his work in a six-hour adaptation of Dickens’ Little Dorrit. In addition to acting, Guinness focused his attention on writing, producing two celebrated memoirs. He died on August 5, 2000, at the age of 86, leaving behind his wife of 62 years, a son, and one of the acting world’s most distinguished legacies.
cast additions for Once Upon a Time in America
Joe PesciDanny AielloJennifer Connelly
Slew of better stills…..
A Matter of Life and Death:
F for Fake:
The Enigma of Kaspar Hauser:
Pride and Prejudice:
Burden of Dreams:
The Importance of Being Earnest:
Crime and Punishment:
The Tales of Hoffmann:
Zero for Conduct:
Yup, I just added a link to make sure it would go to the right one. :D
Also, some info for the lovely and intense Austrian, Anton Walbrook
Descended from ten generations of European circus clowns, Anton Walbrook learned the rudiments of acting under such masters as Max Reinhardt. On stage from his teens, Walbrook first performed before the cameras in the 1922 German serial Mater Dolorosa. He hit his stride as a matinee idol in the early-talkie period, starring in such Mittel-European productions as Viktor und Viktoria (1933) and Maskerade (1933). He made his American film debut in a roundabout manner. When RKO Radio Pictures decided to utilize generous stock footage from Walbrook’s French/German film Michael Strogoff (1937) for their own The Soldier and His Lady (1937), the actor was hired to reshoot his scenes in English. Walbrook was cast as Prince Albert in his first British film, Victoria the Great (1937), a characterization he repeated in Sixty Glorious Years (1938). His British popularity was cemented by his suavely villainous portrayal of the wife-murdering protagonist (“Zee roobies…zee roobies…”) in the 1939 version of Gaslight. In the 1940s, Walbrook was virtually adopted by the production team of Michael Powell and Emeric Pressburger. He played the Paderewski-inspired Polish concert pianist in Dangerous Moonlight (1941), the Czech-Canadian patriot in 49th Parallel (1941) and German officer Theodor Krestchmer-Schuldorf (a surprisingly likable portrayal of a wartime enemy) in The Life and Death of Colonel Blimp (1943). The most famous of his Powell-Pressburger assignments was the showcase role of ruthless (but ultimately sympathetic) ballet impresario Boris Lermontov in The Red Shoes (1948). In the 1950s, Walbrook brilliantly essayed a brace of roles for director Max Ophuls: the worldly-wise “raconteur” in La Ronde (1950) and the ageing, foolhardy Ludwig I of Bavaria in Lola Montes. Anton Walbrook’s last screen role was Major Esterhazy in I Accuse, a 1957 version of “l’affair Dreyfuss”; he then retired with such finality that many assumed he’d died long before his actual passing in 1967.
Information for the often overlooked Ivor Novello
“The cinema is an institution nowadays, with its roots sunk deep in the hearts of the millions of people who find enjoyment and entertainment in going to the pictures.”
His special gifts were in music and composing, but dapper, multi-talented Welsh actor Ivor Novello (born David Ivor Davies), with his leading man good looks, had an affinity for the camera. Born in Cardiff, Wales in 1893, his father was a tax collector and mother a well-known singing teacher. His prodigious musical skills were evident fairly early. Trained at the Magdalen College Choir School on a soprano scholarship, he soon began writing songs under the name Ivor Novello. In his overall career, Novello would write over 250 songs, a large percentage of them uplifting, touchingly sentimental and war-inspired morale boosters. He moved with his family to London in 1914, and became an overnight celebrity after composing the patriotic World War I standard “Keep the Home Fires Burning,” which was introduced much later in the film The Lost Squadron (1932). He then pursued acting and debuted with The Call of the Blood (1919), a French romantic melodrama which earned him promising notices. Other roles that ensured his status as a screen idol followed, including The Man Without Desire (1923), which he produced. He wrote and appeared in the successful 1924 play “The Rat,” which transferred quite well to film the following year. This inspired two sequels — The Triumph of the Rat (1926) and The Return of the Rat (1929). He peaked headlining two of Alfred Hitchcock’s early suspense thrillers, serving as the put-upon protagonist in both the silent classic The Lodger (1927) and the less well-received Downhill (1927). Novello had a fine, well-modulated speaking voice that transferred quite well to talkies. He wrote and starred in Symphony in Two Flats (1930) and remade The Lodger (1932) successfully. During this time he also wrote the dialogue for Tarzan the Ape Man (1932), the first to star Johnny Weissmuller and Maureen O’Sullivan. He starred in his last movie Autumn Crocus (1934) before deciding to devote himself full time to music and the theatre. He earned rave reviews for his opulent, romantically melodramatic stagings of "Glamorous Night (1935), “The Dancing Years” (1939) and “Perchance to Dream” (1945). He wrote eight musicals in all and appeared in six of them, all non-singing parts. His longtime companion of 35 years, actor Bobby Andrews, was with Novello when he died suddenly on March 6, 1951 of a coronary thrombosis only hours after performing in his own play “The King’s Rhapsody.” Hugely popular in his time (though virtually unknown in America), Novello’s lasting influence on film, theatre and especially music cannot be denied.
Needs to be added to these films.
The Lodger: A Story of the London Fog (actor, he was the lead even!)Gosford Park (music)
Also, better stills for The Lodger: A Story of the London Fog
A still for Tom Jones, which has the wrong one currently.
Missing still for The Alamo
Better still for Camille
Better stills for Mutiny on the Bounty
Better quality of current:
A correct still for Arrival of a Train at La Ciotat
Gene Kelly should be added to the cast of The Young Girls of Rochefort
Bob Fosse should be added to the cast of Kiss Me Kate
Speaking of, Kiss Me Kate needs a better, color still…
Also, Annie Get Your Gun needs a color still…