tag:blogger.com,1999:blog-80820527773833475592024-03-19T07:00:32.096+01:00European Film Star Postcards
Vintage postcards, stars and stories.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.comBlogger4068125tag:blogger.com,1999:blog-8082052777383347559.post-85936606670690444992024-03-19T07:00:00.156+01:002024-03-19T07:00:00.133+01:00Bette Midler<b>American singer, actress, activist and comedienne Bette Midler (1945) became known as The Divine Miss M. In her career spanning nearly half a century, she has won multiple film awards and sold more than 30 million albums worldwide. Her most successful songs include 'Boogie Woogie Bugle Boy' (1972), 'The Rose' (1980), 'From a Distance' (1990) and the number-one hit in the USA, 'The Wind Beneath My Wings' (1989).</b><br />
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Dutch promotion card by WEA Records. <b>Bette Midler</b> in <i>The Rose</i> (1979).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53501924051/in/photolist-2pvMm3p-2pwxr4k-2px5Hwq-2pxz7cY-2pyjGUp-2pyWWge" title="Bette Midler"><img alt="Bette Midler" height="500" src="https://live.staticflickr.com/65535/53501924051_c8403c7bfb.jpg" width="356" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by Fotofolio, no. F514. Photo: Greg Gorman. Caption: Bette Midler, Los Angeles, 1990. Proceeds from the sale of this card benefit the AIDS Healthcare Foundation.<br />
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American postcard by Fotofolio, NY, NY., no. 2319. Photo: Annie Leibovitz. Caption: Bette Midler, New York City, 1979. Proceeds from the sale of this card were donated to AIDS organizations.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Bathhouse Betty
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<b>Bette Midler</b> was born in 1945 in Honolulu, Hawaii, where her family was one of the few Jewish families in a mostly Asian neighbourhood. Her parents, <b>Fred Midler</b>, a painter, and <b>Ruth Midler (Schindel)</b>, a seamstress, named her after film star <b><a href="https://filmstarpostcards.blogspot.com/search/label/Bette%20Davis">Bette Davis</a></b>. The last syllable of her first name is unpronounced because her mother thought that was how Davis pronounced her name. Her sisters <b>Susan</b> and <b>Judy</b> are named after <b><a href="https://filmstarpostcards.blogspot.com/search/label/Susan%20Hayward">Susan Hayward</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Judy%20Garland">Judy Garland</a></b>.<br />
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Midler was already interested in singing as a teenager. She studied drama at the University of Hawaii and her first film role was as an extra in <i>Hawaii</i> (George Roy Hill, 1966) as a seasick passenger. Midler was also hired for a small speaking role in the film and went to Los Angeles to film these scenes in a studio. Her scenes were cut from the final film. In 1966, she moved to New York, using money from her film work.<br />
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Midler studied theatre at HB Studio under <b>Uta Hagen</b>. She landed her first professional onstage role in <b>Tom Eyen</b>'s off-off-Broadway plays in 1965, 'Miss Nefertiti Regrets' and 'Cinderella Revisited', a children's play by day and an adult show by night. In the late 1960s, Midler appeared in the musicals 'Fiddler on the Roof' (1966-1970) and 'Salvation' (1969) on Broadway. While Bette played Tzeitel in 'Fiddler on the Roof', her sister <b>Judy</b> visited New York City to see her perform and was tragically struck by a taxi and killed. Midler's career as a singer began in 1970 when she began performing in the Continental Baths, a local gay bathhouse in the basement of the Ansonia Hotel in New York. There she managed to build up a core following, nicknamed 'Bathhouse Betty', and befriended <b>Barry Manilow</b>, who accompanied her on the piano. Midler established herself as an interpreter of mainly songs from the 1940s, including 'Boogie Woogie Bugle Boy, first performed by the <b>Andrews Sisters</b>. <b>Sophie Tucker</b> was also a major influence on her. Her performances quickly became insider tips on the New York scene.<br />
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In 1971, Midler starred in the first professional production of <b>the Who</b>'s rock opera 'Tommy', with director <b>Richard Pearlman</b> and the Seattle Opera. The 1970s were characterised by successful albums and unusual stage programmes that made her an enfant terrible of American show business. <b>Barry Manilow</b> produced her first album, 'The Divine Miss M', (1972) based on a stage show of the same name and for which she received her first golden record. In 1973, she was honoured with the Grammy Award for Best New Artist. Her self-titled follow-up album was released at the end of 1973. Again, the album was co-produced by Manilow. After some minor film work, her starring film debut was as a drug-addicted rock musician in the drama <i>The Rose</i> (Mark Rydell, 1979), loosely based on the life of <b>Janis Joplin</b>. She received two Golden Globes and an Oscar nomination for her sensitive performance and the film's title song, which she sang, became a top ten hit in the United States.<br />
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In 1980, the concert film <i>Divine Madness</i> (Michael Ritchie, 1980) was released which featured Midler's stand-up comedy routines, as well as 16 songs. In the same year, Midler successfully published the book 'A View from a Broad', which became a bestseller. After the flop of the comedy <i>Jinxed</i> (Don Siegel, 1982) in which she had a difficult collaboration with the director and her co-star <b>Ken Wahl</b>, her career as a film actress already seemed to come to an end. However, four years later, she got a role opposite <b>Richard Dreyfuss</b> and <b>Nick Nolte</b> in the hilarious comedy <i>Down and Out in Beverly Hills</i> (Paul Mazursky, 1986). The hit film was based on the French play 'Boudu sauvé des eaux' (1919) by <b>René Fauchois</b>. The play was already filmed successfully by <b><a href="https://filmstarpostcards.blogspot.com/2020/12/directed-by-jean-renoir.html">Jean Renoir</a></b> as <i>Boudu sauvé des eaux</i> (1932). Midler's next role as a kidnap victim in the black comedy <i>Ruthless People</i> (David Zucker, Jim Abrahams en Jerry Zucker, 1986) with <b>Danny DeVito</b> as her scoundrel husband was another big hit. It was the start of a successful career in film comedies.<br />
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American postcard by Coral-Lee, Rancho Cordova, CA, no. Personality # 70, 1981, no. SC17643. Photo: Douglas Kirkland / Contact.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53537744667/in/dateposted/" title="Bette Midler"><img alt="Bette Midler" height="377" src="https://live.staticflickr.com/65535/53537744667_c5ef7b572d.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American promotion card by Warner Bros. Records Inc. for the album 'Bathhouse Betty' (1998). Photo: Diego Uchitel. Caption: It's her world. You're just soaking in it.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Tear-jerker
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During the 1980s and 1990s, <b>Bette Midler</b> starred in such comedies as <i>Outrageous Fortune</i> (Arthur Hiller, 1987), <i>Big Business</i> (Jim Abrahams, 1988) with <b>Lily Tomlin</b> as sets of identical twins mismatched at birth, and <i>Scene from a Mall</i> (Paul Mazursky, 1991) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Woody%20Allen">Woody Allen</a></b>. She also continued to record albums and expanded her repertoire to include pop, rock, musicals, jazz, chanson and disco.<br />
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In 1989, the single 'Wind Beneath My Wings' from the soundtrack of the tear-jerker <i>Beaches</i> (Garry Marshall, 1988) with <b>Barbara Hershey</b>, reached number one in the US charts and was named Single of the Year at the 1990 Grammy Awards. The following year, Midler received another Grammy for her version of 'From a Distance'. She received an Oscar nomination for her role in the WWII drama <i>For the Boys</i> (Mark Rydell, 1991) with <b>James Caan</b>. She also appeared in the comedies <i>Hocus Pocus</i> (Kenny Ortega, 1993) which achieved cult status over the years, and <i>The First Wives Club</i> (Hugh Wilson, 1996) in which she made a dynamic trio with <b>Diane Keaton</b> and <b>Goldie Hawn</b>. <i>The First Wives Club</i> grossed over $100 million at the box office and was her biggest hit.<br />
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On television, she had supporting roles in <i>The Simpsons</i>, <i>Seinfeld</i> and <i>The Nanny</i>, where she played herself. She also had her own sitcom called <i>Bette</i> (2000-2001), where she was nominated for a Golden Globe Award. Following a reported long-standing feud with <b>Barry Manilow</b>, the two joined forces after many years in 2003 to record 'Bette Midler Sings the Rosemary Clooney Songbook'. The album was an instant success and was nominated for a Grammy the following year. Throughout 2003 and 2004, Midler toured the United States in her show, 'Kiss My Brass', to sell-out audiences.<br />
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A disappointment was the glossy remake <i>The Stepford Wives</i> (Frank Oz, 2004) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nicole%20Kidman">Nicole Kidman</a></b>. Midler joined forces again with Manilow for another tribute album, 'Bette Midler Sings the Peggy Lee Songbook' (2005). It was again a hit and nominated for a Grammy Award. In 2008, Midler signed a contract with Caesars Palace in Las Vegas for a residency, 'Bette Midler: The Showgirl Must Go On', which ended in 2010. In 2010, Midler voiced the character Kitty Galore in the animated film <i>Cats & Dogs: The Revenge of Kitty Galore</i> (Brad Peyton, 2010) with <b>Chris O'Donnell</b>. The film was a success, grossing $112 million worldwide. Midler was one of the producers of the Broadway production of the musical 'Priscilla, Queen of the Desert', which opened in February 2011.<br />
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From March 2017 to January 2018, Midler was seen for the first time in a leading role on Broadway in a revival of the musical 'Hello, Dolly!'. She received several awards for her performance, including the Tony Award in 2017. In 2019, she popped up in the final episodes of the first season of <i>The Politician</i>, where she played the campaign manager Hadassah Gold. She was nominated for a Primetime Emmy Award for this guest role. In the second season, her role was upgraded to a lead role. In the cinema, she appeared again as Winnie Sanderson in <i>Hocus Pocus 2</i> (Anne Fletcher, 2022) with <b>Sarah Jessica Parker</b> and <b>Kathy Najimy</b> and the comedy-drama <i>Sitting in Bars with Cake</i> (Trish Sie, 2023). Since 1984, Bette Midler has been married to the actor <b>Martin von Haselberg</b> and they have a daughter, <b>Sophie von Haselberg</b> (1986). Apart from selling 15 million albums worldwide, Bette Midler won four Grammy awards, four Golden Globes, one Tony Award, and three Emmy Awards.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53522169158/in/photolist-2pvMm3p-2pwxr4k-2px5Hwq-2pxz7cY-2pyjGUp-2pyWWge/" title="Bette Midler"><img alt="Bette Midler" height="500" src="https://live.staticflickr.com/65535/53522169158_765b0e7a04.jpg" width="355" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by Fotofolio, N.Y., N.Y., no. GG7. Photo: Greg Gorman. Caption: Bette Midler, Los Angeles, 1984. Proceeds from the sale of this card The American Foundation for Aids Research.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53548762361/in/photostream/" title="Bette Midler in The Rose (1979)"><img src="https://live.staticflickr.com/65535/53548762361_86463a0a5c.jpg" width="500" height="354" alt="Bette Midler in The Rose (1979)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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French postcard by Lost Films for the re-issue in 2015 of <i>The Rose</i>. Photo: Vilmos Zsigmond / 20th Century Fox / Lost Films Distribution. <b>Bette Midler</b> in <i>The Rose</i> (Mark Rydell, 1979).<br />
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Sources: Wikipedia (<a href="https://nl.wikipedia.org/wiki/Bette_Midler">Dutch</a>, <a href="https://de.wikipedia.org/wiki/Bette_Midler">German</a> and <a href="https://en.wikipedia.org/wiki/Bette_Midler">English</a>) and <a href="https://www.imdb.com/name/nm0000541/">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-39967583904430939302024-03-18T07:00:00.002+01:002024-03-18T08:54:32.557+01:00Photo by Steve Schapiro<b>American photographer Steve Schapiro (1934-2022) photographed key moments of the civil rights movement in the US such as the March on Washington for Jobs and Freedom or the Selma to Montgomery marches. He is also known for his portraits of celebrities and film stills, most importantly from <i>The Godfather</i> (1972) and <i>Taxi Driver</i> (1976). In Hollywood, he worked on more than 200 films.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53158331436/in/album-72177720310923561/" title="Barbra Streisand in Funny Girl (1968)"><img alt="Barbra Streisand in Funny Girl (1968)" height="500" src="https://live.staticflickr.com/65535/53158331436_447e244bce.jpg" width="343" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 186/70. Photo: Steve Schapiro / Columbia. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Barbra%20Streisand">Barbra Streisand</a></b> in <i>Funny Girl</i> (William Wyler, 1968).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/49366209262/in/album-72177720310923561/" title="Al Pacino and Marlon Brando in The Godfather (1972)"><img alt="Al Pacino and Marlon Brando in The Godfather (1972)" height="500" src="https://live.staticflickr.com/65535/49366209262_fc3e8eb05e.jpg" width="355" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Star-Graphics, no. S 91. Photo: Steve Schapiro. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Al%20Pacino">Al Pacino</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Marlon%20Brando">Marlon Brando</a></b> in <i>The Godfather</i> (Francis Ford Coppola, 1972).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/26386697067/in/album-72177720310923561/" title="Robert de Niro in Taxi Driver (1976)"><img alt="Robert de Niro in Taxi Driver (1976)" height="500" src="https://live.staticflickr.com/867/26386697067_0b9747f892.jpg" width="353" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Italian postcard by Edizioni Beatrice D'Este, no. 20 162. Photo: Steve Schapiro. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20De%20Niro">Robert De Niro</a></b> in <i>Taxi Driver</i> (Martin Scorsese, 1976).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/47785732711/in/album-72177720310923561/" title="Jodie Foster in Taxi Driver (1976)"><img alt="Jodie Foster in Taxi Driver (1976)" height="500" src="https://live.staticflickr.com/65535/47785732711_37fb2d5f8b.jpg" width="356" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Music & Movie Stars Ltd. Publishers, no. MMS 036. Photo: Steve Schapiro. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jodie%20Foster">Jodie Foster</a></b> in <i>Taxi Driver</i> (Martin Scorsese, 1976).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53160773659/in/album-72177720310923561/" title="Burt Reynolds"><img alt="Burt Reynolds" height="500" src="https://live.staticflickr.com/65535/53160773659_df27781277.jpg" width="317" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by Coral-Lee, Rancho Cordova, CA, no. Personality #81, SC176971063. Photo: Steve Schapiro / Sygma.<b> <a href="https://filmstarpostcards.blogspot.com/search/label/Burt%20Reynolds">Burt Reynolds</a></b>.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Photojournalist and real activist
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<br /><b>Stephen Albert Schapiro</b> was born during the Great Depression, in 1934 in Brooklyn and grew up in the Bronx. His parents were <b>David Schapiro</b>, a stationery store owner in Rockefeller Center and <b>Esther (Sperling) Schapiro</b> who worked at her husband's stationery store.<br />
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Steve discovered photography at Summer Camp at the age of nine and continued to take pictures as he grew up. One of his role models was the French photographer <b>Henri Cartier-Bresson</b>. He sought to emulate his style as he roamed the streets of New York. Schapiro attended Stuyvesant High School and Amherst College, from where he later transferred to Bard College. He graduated from there in 1955 with a degree in literature.<br />
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In 1960, Schapiro took lessons with <b>W. Eugene Smith</b>, an influential photographer during the Second World War. Smith taught him how to develop his own views of the world and photography. Schapiro even embedded with Smith for a time in his Manhattan loft. He learned how to make prints and picked up some tricks of the trade, like showing two points of interest in a portrait, which Smith told him would make the viewer’s eye go back and forth and thereby hold the viewer’s attention. Schapiro's work reflects the influence of his teacher.<br />
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In 1961 Schapiro began working as a freelance photographer. His photos were published in <i>Life</i>, <i>Look</i>, <i>Vanity Fair</i>, <i>Sports Illustrated</i>, <i>Newsweek</i>, <i>Time</i> and <i>Paris Match</i>. Schapiro photographed jazz pianist <b>Bill Evans,</b> artist <b><a href="https://filmstarpostcards.blogspot.com/2023/05/andy-warhol.html">Andy Warhol</a></b>, writer <b>Samuel Beckett</b>, heavyweight boxer <b>Muhammad Ali</b>, actresses <b><a href="https://filmstarpostcards.blogspot.com/search/label/Barbra%20Streisand">Barbra Streisand</a></b> and <b>Mia Farrow</b> and musician <b><a href="https://filmstarpostcards.blogspot.com/search/label/David%20Bowie">David Bowie</a></b>, among others.<br />
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The political, cultural and social changes of the 1960s in the United States were an inspiration for Schapiro. He accompanied <b>Robert F. Kennedy</b> during his presidential campaign. He captured key moments of the civil rights movement such as the March on Washington for Jobs and Freedom or the Selma to Montgomery marches. For <i>Life</i>, he documented the scene of the assassination of <b>Martin Luther King</b> in Memphis in 1968. Schapiro not only worked in photojournalism and documentation but also became a real activist. This is, for instance, visible in his way of documenting the hard lives of immigrant workers from Arkansas he dealt with in 1961.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/24872479076/in/album-72177720310923561/" title="Marlon Brando in The Godfather (1972)"><img alt="Marlon Brando in The Godfather (1972)" height="500" src="https://live.staticflickr.com/1672/24872479076_07ecebdff1.jpg" width="345" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by Classico San Francisco, no. 136-183. Photo: Steve Schapiro / The Ludlow Collection. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Marlon%20Brando">Marlon Brando</a></b> and Cat in <i>The Godfather</i> (Francis Ford Coppola, 1972).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/49408184122/in/album-72177720310923561/" title="Al Pacino in The Godfather (1972)"><img alt="Al Pacino in The Godfather (1972)" height="500" src="https://live.staticflickr.com/65535/49408184122_b6906fb0e9.jpg" width="354" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Star-Graphics, no. S 89. Photo: Steve Schapiro. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Al%20Pacino">Al Pacino</a></b> in <i>The Godfather</i> (Francis Ford Coppola, 1972).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/30637556054/in/album-72177720310923561/" title="Robert De Niro in Taxi Driver (1976)"><img alt="Robert De Niro in Taxi Driver (1976)" height="500" src="https://live.staticflickr.com/5592/30637556054_ecd6dc3a75.jpg" width="358" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Belgian promotion card Taschenhen Gallery for the exhibition 'Taxi Driver - Unseen Photographs from Scorsese's Masterpiece'. Photo: Steve Schapiro. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20De%20Niro">Robert de Niro</a></b> in <i>Taxi Driver</i> (Martin Scorsese, 1976).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51985100123/in/photolist-GcGHJT-NenYSh-NFku25-Ps4VmK-PSCfPJ-Q7A6Vu-Q812AT-Qk4Sq6-QswbW1-RKzsRX-2bk4TGP-2dPNf5z-2eiQyH4-2fvRX3u-2fNEnvi-2ncj4Sh-2ncKe8H-2ndbTLa-2necxEa-2nfyGtK-2nkRhTM-2oSPF93-2pzAUhu" title="Robert De Niro in Taxi Driver (1976)"><img src="https://live.staticflickr.com/65535/51985100123_18d86b04a7.jpg" width="500" height="345" alt="Robert De Niro in Taxi Driver (1976)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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Canadian postcard by Canadian Postcard, no. A-5. Photo: Steve Schapiro. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20De%20Niro">Robert de Niro</a></b> in <i>Taxi Driver</i> (Martin Scorsese, 1976).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52076815411/in/album-72177720310923561/" title="Robert De Niro in Taxi Driver (1976)"><img alt="Robert De Niro in Taxi Driver (1976)" height="500" src="https://live.staticflickr.com/65535/52076815411_98a00c7423.jpg" width="339" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard. Photo: Steve Schapiro. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20De%20Niro">Robert de Niro</a></b> in <i>Taxi Driver</i> (Martin Scorsese, 1976).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Capturing key moments of modern American history
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With the sharp decline in circulation figures for magazines such as <i>Life</i> and <i>Look</i>, the demand for high-quality photo essays fell from the end of the 1960s. Steve Schapiro moved to Los Angeles, where he photographed promotional material for film studios, artwork for record sleeves and portraits of well-known Hollywood stars, among other things. Having taken photos of <i>Midnight Cowboy</i> (John Schlesinger, 1969), among them also a famous one of <b><a href="https://filmstarpostcards.blogspot.com/search/label/Dustin%20Hoffman">Dustin Hoffman</a></b>, he was hired as a photographer by Paramount Pictures.<br />
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He photographed on the set of the mafia epic <i>The Godfather</i> (1972) by <b>Francis Ford Coppola</b> with a cast including <b><a href="https://filmstarpostcards.blogspot.com/search/label/Marlon%20Brando">Marlon Brando</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Al%20Pacino">Al Pacino</a></b>, <b>James Caan</b> and <b>Robert Duvall</b>. One of his photographs is of "Marlon Brando and the Cat". <b>Rob Sharp</b> in <b><i>The Independent</i>:</b> "A man in his early fifties is dressed in black tie. He is lit from above, which throws his features into an intimidating scowl. The picture is completed – rather incongruously – by a young cat in his arms."<br />
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Schapiro was also present at the film set of <i>Chinatown</i> (1974) by <b>Roman Polanski</b>. His role involved being as unobtrusive as possible while the actors worked. As such, very little of what he produced was posed for. In 1974, he also shot the cover for the debut issue of <i>People </i>magazine: a portrait of <b>Mia Farrow</b> as Daisy Buchanan in <i>The Great Gatsby </i>(Jack Clayton, 1974).<br />
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Two years later, Schapiro was – by request of <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20De%20Niro">Robert De Niro</a></b> – hired as a photographer on the set of <b>Martin Scorsese</b>'s film <i><a href="https://filmstarpostcards.blogspot.com/2022/06/taxi-driver-1976.html">Taxi Driver</a></i> (1976). The chilling film situated in New York in the angry climate of the post-Vietnam era, became a milestone and DeNiro’s portrait of a trigger-happy psychopath with a mohawk is one of the greatest performances of the 1970s. As the special photographer on the set, Schapiro captured the film’s most intense and violent moments from behind the scenes.<br />
<br />During his career of six decades, Schapiro captured key moments of modern American history with his photos that also reflect his own social and human awareness. In 2022, he died from pancreatic cancer at his home in Chicago, at the age of 87. Schapiro was married three times. His first two marriages ended in divorce. He was survived by his wife <b>Maura Smith</b>, two sons, <b>Theophilus Donoghue</b> and <b>Adam Schapiro</b>; two daughters, <b>Elle Harvey</b> and <b>Taylor Schapiro</b>; and four grandchildren. Another son,<b> Teddy Schapiro</b>, died in 2014.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/31720893221/in/album-72177720310923561/" title="Robert de Niro in Taxi Driver (1976)"><img alt="Robert de Niro in Taxi Driver (1976)" height="356" src="https://live.staticflickr.com/737/31720893221_7cef7392cc.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard in the Collection Cinema Couleur by Editions La Malibran, Paris, no. MC 33, 1990. Photo: Steve Schapiro. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20De%20Niro">Robert De Niro</a></b> in <i>Taxi Driver</i> (Martin Scorsese, 1976).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52001551849/in/album-72177720310923561/" title="Jodie Foster and Robert De Niro in Taxi Driver (1976)"><img alt="Jodie Foster and Robert De Niro in Taxi Driver (1976)" height="349" src="https://live.staticflickr.com/65535/52001551849_0cf8c1a5df.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Memory Card, no. 530. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jodie%20Foster">Jodie Foster</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20De%20Niro">Robert de Niro</a></b> in <i>Taxi Driver</i> (Martin Scorsese, 1976).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51990107869/in/album-72177720310923561/" title="Robert De Niro in Taxi Driver (1976)"><img alt="Robert De Niro in Taxi Driver (1976)" height="352" src="https://live.staticflickr.com/65535/51990107869_99571c7109.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Memory Card, no. 531. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20De%20Niro">Robert de Niro</a></b> in <i>Taxi Driver</i> (Martin Scorsese, 1976).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52016995369/in/album-72177720310923561/" title="Harvey Keitel and Robert De Niro in Taxi Driver (1976)"><img alt="Harvey Keitel and Robert De Niro in Taxi Driver (1976)" height="348" src="https://live.staticflickr.com/65535/52016995369_5a9dbe3f56.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Memory Card, no. 532. <b>Harvey Keitel</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20De%20Niro">Robert de Niro</a></b> in <i>Taxi Driver</i> (Martin Scorsese, 1976).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51980191152/in/album-72177720310923561/" title="Robert de Niro in Taxi Driver (1977)"><img alt="Robert de Niro in Taxi Driver (1977)" height="500" src="https://live.staticflickr.com/65535/51980191152_d9245c05fb.jpg" width="360" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Palm Pictures, no. C 20. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20De%20Niro">Robert de Niro</a></b> in <i>Taxi Driver</i> (Martin Scorsese, 1976).<br />
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Sources: Katharine Q. Seelye (<a href="https://www.nytimes.com/2022/01/24/arts/steve-schapiro-dead.html">New York Times</a>), Rob Sharp (<a href="https://www.independent.co.uk/arts-entertainment/films/features/observations-the-poster-boy-for-hollywood-s-star-gangsters-1607710.html">The Independent</a>), Wikipedia (<a href="https://en.wikipedia.org/wiki/Steve_Schapiro">English</a> and <a href="https://de.wikipedia.org/wiki/Steve_Schapiro">German</a>) and <a href="https://www.imdb.com/name/nm0788631/?ref_=fn_al_nm_1">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-55367978113247594042024-03-17T07:00:00.001+01:002024-03-17T09:54:24.620+01:00Patricia Ellis<b><b>Patricia Ellis</b> (1915-1970) was an American film actress of the 1930s. Barely a teenager, she came to films in 1932, playing a variety of ingenues opposite such Warner Bros. contractees as James Cagney, Dick Powell, George Arliss, Paul Muni and Joe E. Brown. Most of her post-Warners roles were unremarkable, though she demonstrated that she could carry a picture when she starred in the innocuous Republic musical <i>Rhythm in the Clouds</i> (1937), and proved a worthy foil to Laurel and Hardy in <i>Block-Heads</i> (1938). Patricia Ellis retired from films in 1941 to marry a Kansas City business executive.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/48370554296/in/photolist-ohFmD5-2gGkJA5-2p3tcV3-2pp73d3-2ppuyrq/" title="Patricia Ellis"><img alt="Patricia Ellis" height="500" src="https://live.staticflickr.com/65535/48370554296_dd665014de.jpg" width="317" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Art Photo. Photo: Warner Bros / Vitaphone Pictures.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53426355714/in/photolist-ohFmD5-2gGkJA5-2p3tcV3-2pp73d3-2ppuyrq/" title="Patricia Ellis"><img alt="Patricia Ellis" height="500" src="https://live.staticflickr.com/65535/53426355714_3abfc2ce24.jpg" width="324" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British Real Photograph postcard, no. 79. Photo: Warner Bros / Vitaphone Pictures.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
The Queen of B pictures at Warner Brothers
</span></h3>
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<b>Patricia Ellis</b> was born <b>Patricia Gene O'Brien</b> in 1915 (sources differ about her age) in Birmingham, Michigan. Ellis was the oldest of four children born to <b>Eugene Gladstone O'Brien</b>, a Detroit insurance salesman, and <b>Florence Calkins</b>. Her parents divorced in 1929. She was later known as <b>Patricia Leftwich</b> after her step-father, <b>Alexander Leftwich</b>, an actor and New York producer of musical shows.<br />
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Her childhood activities included singing and dancing, and she learned French and German. A 1932 newspaper article said, "Since she was able to walk, Patricia has been familiar with the world of the theatre, accompanying her father constantly to rehearsals and performances."<br />
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Also in 1932, another newspaper reported, "She understudied all her father's leading women in the last few years, assisted him with lighting and costuming and knows stage production, too." Ellis attended Brantwood Hall School and Gardner School for Girls and began her stage career after leaving school. She took classes in studio facilities while pursuing her acting career.<br />
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Ellis appeared with <b>Chamberlain Browns</b> stock company. Given a film test, while appearing on stage in New York City, Ellis was put under contract by Warner Bros. In 1932, she had two small parts, both uncredited, in the crime dramas <i>Three on a Match</i> (Mervyn LeRoy, 1932) with <a href="https://filmstarpostcards.blogspot.com/search/label/Joan%20Blondell"><b>Joan Blondell</b></a>, <b>Ann Dvorak</b> and <a href="https://filmstarpostcards.blogspot.com/search/label/Bette%20Davis"><b>Bette Davis</b></a>, and <i>Central Park</i> (John G. Adolfi, 1932), also starring Blondell. That same year, she was chosen as WAMPAS Baby Star, alongside 13 other girls considered to have potential such as <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ginger%20Rogers">Ginger Rogers</a></b> and <b>Mary Carlisle</b>. Ellis was the youngest.<br />
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Her first credited role was in <i>The King's Vacation</i> (John G. Adolfi, 1933), starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/George%20Arliss">George Arliss</a></b>. After that film, her career took off, with her starring mostly in lower-budget B-movies but still working steadily. Ellis called herself "the Queen of B pictures at Warner Brothers". <br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53192839304/in/photolist-ohFmD5-2gGkJA5-2p3tcV3-2pp73d3-2ppuyrq/" title="Joe E. Brown and Patricia Ellis in Elmer, the Great (1933)"><img alt="Joe E. Brown and Patricia Ellis in Elmer, the Great (1933)" height="329" src="https://live.staticflickr.com/65535/53192839304_30a9d13aea.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Film Weekly, London. Photo: First national. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Joe%20E.%20Brown">Joe E. Brown</a></b> and <b>Patricia Ellis</b> in <i>Elmer, the Great</i> (Mervyn LeRoy, 1933).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/14628591630/in/photolist-ohFmD5-2gGkJA5-2p3tcV3-2pp73d3-2ppuyrq/" title="Jack Hulbert and Patricia Ellis in Paradise for Two"><img alt="Jack Hulbert and Patricia Ellis in Paradise for Two" height="314" src="https://live.staticflickr.com/5567/14628591630_0800cc331c.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Partners Series, London, no. P 241. Photo: London Films. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jack%20Hulbert">Jack Hulbert</a></b> and <b>Patricia Ellis</b> in <i>Paradise for Two/Gaiety Girls</i> (Thornton Freeland, 1937).
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<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Starring alongside some of Hollywood's biggest names
</span></h3>
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<b>Patricia Ellis</b> had roles in eight films in 1933, co-starring that year with <b><a href="https://filmstarpostcards.blogspot.com/search/label/James%20Cagney">James Cagney</a></b> in <i>Picture Snatcher</i> (Lloyd Bacon, 1933), and in another seven in 1934. Within a few years, she had worked her way up from juvenile supporting roles to second leads.<br />
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She started 1935 off with <i>A Night at the Ritz</i> (William C. McGann, 1935), in which she had the lead female role, opposite <b>William Gargan</b>. She starred in seven films that year and another seven in 1936. Most of her roles were in comedy films, along with some mysteries and crime dramas, and by 1936 she was playing the female lead in almost all her films.<br />
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Starring alongside some of Hollywood's biggest names, including <b><a href="https://filmstarpostcards.blogspot.com/search/label/James%20Cagney">James Cagney</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ricardo%20Cortez">Ricardo Cortez</a></b>, and <b><a href="https://filmstarpostcards.blogspot.com/search/label/B%C3%A9la%20Lugosi">Bela Lugosi</a></b>, Ellis's career was at its peak by 1937. That year, she demonstrated that she could carry a picture when she starred in the innocuous Republic musical <i>Rhythm in the Clouds</i> (John H. Auer, 1937). In Great Britain, Patricia appeared in the comedy <i>The Gaiety Girls/Paradise for two</i> (Thornton Freeland, 1937) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jack%20Hulbert">Jack Hulbert </a></b>and a young <b>Googie Withers</b>. She proved a worthy foil to <b><a href="https://filmstarpostcards.blogspot.com/search/label/Stan%20Laurel">Stan Laurel</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Oliver%20Hardy">Oliver Hardy</a></b> in <i>Block-Heads</i> (John G. Blystone, 1938), and, against type, played a femme fatale in <i>Fugitive at Large</i> (Lewis D. Collins, 1939).<br />
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She starred in five films in 1937, then only three in 1938, and finally just two in 1939. After her work in film ended, Ellis ventured into music saying, "I was just getting into a rut in Hollywood. ... I want to start a new career -- singing." She made a soundie in 1941. A review in the trade publication <b><i>Billboard</i></b> commented: "Miss Ellis isn't bad on voice and excels (sic) on appearance. Men will pay attention to her." In 1941, she and <b>Blue Barron</b> and his Orchestra were headliners, along with <b>Henny Youngman</b>, at Hamid's Pier in Atlantic City, New Jersey and appeared on Broadway in 'Louisiana Purchase', a musical comedy.<br />
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Patricia Ellis retired in 1939 leaving Hollywood behind and in 1941, she married <b>George Thomas O'Malley</b>, future president of Protection Securities Systems in Kansas City, Missouri. She settled into private life, raising her family in Kansas City. The O'Malleys had one daughter. Ellis remained married to O'Malley for the remainder of her life, dying of cancer in 1970, in Kansas City. <b>George O'Malley</b> died thirty years later, in 2000.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53431542960/in/dateposted/" title="Patricia Ellis"><img alt="Patricia Ellis" height="500" src="https://live.staticflickr.com/65535/53431542960_e9708b76dc.jpg" width="326" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Italian postcard, series no. 24. Photo: Warner Bros., Italy. <b>Patricia Ellis</b> in <i>The Picture Snatcher</i> (Lloyd Bacon, 1933). The Italian release title was <i>Dinamita doppia</i>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53430749874/in/photolist-ohFmD5-2gGkJA5-2p3tcV3-2pp73d3-2ppuyrq" title="Patricia Ellis in Paradise for Two (1937)"><img alt="Patricia Ellis in Paradise for Two (1937)" height="500" src="https://live.staticflickr.com/65535/53430749874_33c7f0e3c9.jpg" width="321" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Colorgraph Series, London, no. C 294. Photo: London Films. <b>Patricia Ellis</b> in <i>Paradise for Two/Gaiety Girls</i> (Thornton Freeland, 1937). Caption: A Hand-coloured Real Photograph.<br />
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Sources: <a href="https://www.imdb.com/name/nm0255012/bio/?ref_=nm_ov_bio_sm">I.S.Mowis</a> (IMDb), <a href="https://www.allmovie.com/artist/patricia-ellis-vn15869177">AllMovie</a>, <a href="https://en.wikipedia.org/wiki/Patricia_Ellis">Wikipedia</a> and <a href="https://www.imdb.com/name/nm0255012/?ref_=fn_al_nm_1">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-72553729950742139182024-03-16T07:00:00.172+01:002024-03-16T07:00:00.145+01:00Jack Oakie<b>American actor Jack Oakie (1903-1978) was one of the best wisecracking comedians during the golden age of Hollywood. The beefy, plump-faced comedian could steal a scene simply by looking at a girl’s legs.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53512335374/in/photolist-5zg95y-2puS2zp-2pvjbsY-2pvunNp-2pw8k4k-2pwGGXY-2pxcZiD-2pxMDm7" title="Jack Oakie"><img alt="Jack Oakie" height="500" src="https://live.staticflickr.com/65535/53512335374_127da292bd.jpg" width="319" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Ross Verlag, no. 5145/1, 1930-1931. Photo: Paramount Pictures.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53518048587/in/photolist-5zg95y-2puS2zp-2pvjbsY-2pvunNp-2pw8k4k-2pwGGXY-2pxcZiD-2pxMDm7" title="Jack Oakie"><img alt="Jack Oakie" height="500" src="https://live.staticflickr.com/65535/53518048587_3f2279e7ef.jpg" width="329" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish collector card by I.G. Viladot, Barcelona. Image: Cifesa.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
From Broadway to Vaudeville to Hollywood
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<b>Jack Oakie</b> was born <b>Lewis Delaney Offield</b> in 1903, in Sedalia, Missouri. His father was a grain dealer, and his mother was a psychology teacher. When he was 5, the Offield family moved to Muskogee, Oklahoma, the source of his "Oakie" nickname.<br />
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Oakie spent part of his boyhood in Kansas City with his grandmother and attended Woodland School. He sold papers for the Kansas City Star: He later recalled that he made good money selling “extras” on the night Woodrow Wilson was reelected as president in 1916. Oakie worked as a runner on Wall Street and narrowly escaped being killed in the Wall Street bombing of 16 September 1920.<br />
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While in New York, he also started appearing in amateur theatre as a mimic and a comedian. In 1923 Oakie landed a job as a chorus boy in <b>George M. Cohan</b>’s 'Little Nelly Kelly' on Broadway.<br />
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He went from Broadway to vaudeville, with <b>Lulu McConnell</b> as his partner. From there he found employment in several comedies, as well as musicals throughout the mid to late 1920s These included 'Sharlee' (1923), the revues 'Innocent Eyes' (1924) and 'Artists and Models' (1925), and the musical 'Peggy-Ann' (1926).<br />
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In 1927 Oakie went to Hollywood, and he was cast as a comedian in his first silent film, <i>Finders Keepers</i> (Wesley Ruggles, 1927) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Laura%20La%20Plante">Laura La Plante</a></b>. He also appeared in the silent films <i>The Fleet's In</i> (Malcolm St. Clair, 1928) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Clara%20Bow">Clara Bow</a></b> and the Western <i>Sin Town</i> (J. Gordon Cooper, William K. Howard, 1929).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53505822981/in/photolist-5zg95y-2puS2zp-2pvjbsY-2pvunNp-2pw8k4k-2pwGGXY-2pxcZiD-2pxMDm7" title="Jack Oakie and Polly Walker in Hit the Deck (1929)"><img alt="Jack Oakie and Polly Walker in Hit the Deck (1929)" height="315" src="https://live.staticflickr.com/65535/53505822981_90db4a385e.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Ross Verlag, no. 5161/1, 1930-1931. Photo: Radio. <b>Jack Oakie</b> and <b>Polly Walker</b> in <i>Hit the Deck</i> (Luther Reed, 1929).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/3001825296/in/photolist-5zg95y-2puS2zp-2pvjbsY-2pvunNp-2pw8k4k-2pwGGXY-2pxcZiD-2pxMDm7" title="Jack Oakie, Clara Bow and Maurice Chevalier in Paramount on Parade (1930)"><img alt="Jack Oakie, Clara Bow and Maurice Chevalier in Paramount on Parade (1930)" height="313" src="https://live.staticflickr.com/3032/3001825296_36774755a5.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Ross Verlag, no. 5749/1, 1930-1931. Photo: Paramount. <b>Jack Oakie</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Clara%20Bow">Clara Bow</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Maurice%20Chevalier">Maurice Chevalier</a></b> in <i>Paramount on Parade</i> (Dorothy Arzner a.o., 1930).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
The World's Oldest Freshman
</span></h3>
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With the advent of sound, Jack Oakie signed a contract with Paramount. His first talkie was <i>The Dummy</i> (Robert Milton, Louis J. Gasnier, 1929) starring <b>Ruth Chatterton</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Fredric%20March">Fredric March</a></b>.<br />
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Jack went on to support <b><a href="https://filmstarpostcards.blogspot.com/search/label/Wallace%20Beery">Wallace Beery</a></b> in <i>Chinatown Nights</i> (William A. Wellman, 1929), <b><a href="https://filmstarpostcards.blogspot.com/search/label/Dorothy%20Mackaill">Dorothy Mackaill</a></b> in <i>Hard to Get</i> (William Beaudine, 1929) and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Betty%20Compson">Betty Compson</a></b> in <i>Street Girl</i> (Wesley Ruggles, 1929).<br />
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Settling in, he never returned to the Broadway stage. With <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nancy%20Carroll">Nancy Carroll</a></b>, he played in the musical <i>Sweetie</i> (Frank Tuttle, 1929). He appeared in many of the big musicals of the day with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Bing%20Crosby">Bing Crosby</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Maurice%20Chevalier">Maurice Chevalier</a></b> and <b>Alice Faye</b>. He was a brush salesman turned Olympic scout in the hilarious screwball farce <i>Million Dollar Legs</i> (Edward F. Cline, 1932) and an unwilling gangster in <i>Dancers in the Dark</i> (David Burton, 1932) opposite <b><a href="https://filmstarpostcards.blogspot.com/search/label/Miriam%20Hopkins">Miriam Hopkins</a></b>.<br />
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He played Tweedledum to <b>Roscoe Karns</b>' Tweedledee in the all-star version of <i>Alice in Wonderland </i>(Norman Z. McLeod, Hugh Harman, Rudolf Ising, 1933). In <i>Too Much Harmony</i> (A. Edward Sutherland, 1933), the part of Oakie's on-screen mother was played by his real mother, <b>Mary Evelyn Offield</b>.<br />
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During the 1930s, he was known as "The World's Oldest Freshman", as a result of appearing in such collegiate films as <i>The Wild Party</i> (Dorothy Arzner, 1929), <i>Sweetie</i> (Frank Tuttle, 1929), <i>Touchdown!</i> (Norman Z. McLeod, 1931), <i>College Humor</i> (Wesley Ruggles, 1933), <i>College Rhythm</i> (Norman Taurog, 1934) and <i>Collegiate</i> (Ralph Murphy, 1935). Oakie's contract with Paramount ended in 1934 and he continued as a freelancing agent. Not being limited by a film studio contract, Oakie branched into radio and had his radio show between 1936 and 1938.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53498613063/in/photolist-5zg95y-2puS2zp-2pvjbsY-2pvunNp-2pw8k4k-2pwGGXY-2pxcZiD-2pxMDm7" title="Jack Oakie"><img alt="Jack Oakie" height="500" src="https://live.staticflickr.com/65535/53498613063_1d0ccd6531.jpg" width="322" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard in the Series Estrellas del Cine, no. 135. Photo: Paramount Film.<br />
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Belgian postcard by Nels for Chocolat Martougin. Photo: Photo Actualit, Brux. Caption: <b>Wynne Gibson</b> and <b>Jack Oakie</b> visit the Paramount Zoo.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Napolini, Il Duce of Bacteria
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<b>Jack Oakie</b>'s role as Napolini, Il Duce of Bacteria in Chaplin's <i>The Great Dictator</i> (Charles Chaplin, 1940), was a brilliant and very thinly disguised slam at Mussolini. It earned Oakie his only Oscar nomination, for Best Supporting Actor. It was the highlight of his career.<br />
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He followed it with supporting parts in bright, silly and feather-light films such as <i>Tin Pan Alley</i> (Walter Lang, 1940), <i>Hello, Frisco, Hello</i> (H. Bruce Humberstone, 1943), and <i>Sweet and Low-Down</i> (Archie Mayo, 1944), with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Linda%20Darnell">Linda Darnell</a></b> and <b>Benny Goodman</b>.<br />
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Jack's last high-profile films were the <b><a href="https://filmstarpostcards.blogspot.com/search/label/Betty%20Grable">Betty Grable</a></b> musical <i>When My Baby Smiles at Me</i> (Walter Lang, 1948) and the fast-moving gangster film <i>Thieves Highway</i> (Jules Dassin, 1949). In his later years, Oakie made some television appearances in episodes of such television shows as <i>The Real McCoys</i> (1963), <i>Daniel Boone</i> (1966), and <i>Bonanza</i> (1966).<br />
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He also turned up in films from time to time, including a cameo in <i>Around the World in 80 Days</i> (Michael Anderson, John Farrow, 1956) and roles in <i>The Wonderful Country</i> (Robert Parrish, 1958), <b>Debbie Reynolds</b>' <i>The Rat Race </i>(Robert Mulligan, 1960) and the comedy <i>Lover Come Back</i> (Delbert Mann, 1961) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Doris%20Day">Doris Day</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Rock%20Hudson">Rock Hudson</a></b>. It was his final film.<br />
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Jack Oakie lived in baronial style on a ten-acre estate in Northridge, at the northern end of the San Fernando Valley. His first marriage (1936-1945) was to <b>Venita Varden</b>, who perished in the 1948 air crash of United Airlines Flight 624 at Mount Carmel, Pennsylvania. Oakie's second marriage was to actress <b>Victoria Horne</b> in 1950. They moved to an estate in Northridge and lived there until his death. He died in 1978, at the age of seventy-four. Jack Oakie was married twice. His remains were interred at Forest Lawn Memorial Park, in the Los Angeles area.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53524615258/in/photolist-5zg95y-2puS2zp-2pvjbsY-2pvunNp-2pw8k4k-2pwGGXY-2pxcZiD-2pxMDm7" title="Jack Oakie"><img alt="Jack Oakie" height="500" src="https://live.staticflickr.com/65535/53524615258_643c7f026d.jpg" width="321" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Picturegoer Series, London, no, 463.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53491520997/in/photolist-5zg95y-2puS2zp-2pvjbsY-2pvunNp-2pw8k4k-2pwGGXY-2pxcZiD-2pxMDm7/" title="Jack Oakie"><img alt="Jack Oakie" height="500" src="https://live.staticflickr.com/65535/53491520997_20bc217861.jpg" width="323" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British Real Photograph postcard, no. 143. Photo: Paramount Pictures.<br />
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Sources: <a href="https://web.archive.org/web/20050207115624/http://www.classicimages.com/1997/february/jackoakie.html">Eve Golden</a> (Classic Images), <a href="https://missouriencyclopedia.org/people/oakie-jack">Arthur F. McClure</a> (Missouri Encyclopedia), <a href="https://en.wikipedia.org/wiki/Jack_Oakie">Wikipedia</a> and <a href="https://www.imdb.com/name/nm0642988/">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com1tag:blogger.com,1999:blog-8082052777383347559.post-26724791825564080252024-03-15T07:00:00.041+01:002024-03-15T07:00:00.139+01:00Michael Douglas<div style="text-align: left;" trbidi="on"><b>Michael Douglas (1944) is an American actor-producer best known for his roles in films like <i>Wall Street</i> (1987), <i>Fatal Attraction</i> (1987), and <i>Basic Instinct</i> (1992). The elder son of Kirk Douglas gained fame after starring in the police series <i>Streets of San Francisco</i> (1972–1977). Douglas branched out into independent feature production in 1975 with the acclaimed One Flew Over the Cuckoo's Nest (1975), for which he won an Oscar as one of the film's producers. Starring roles followed in <i>The China Syndrome</i> (1979), <i>Romancing the Stone</i> (1984), and <i>Wall Street</i> (1987), for which he won his second Oscar. Later films include <i>Traffic</i> (2000), <i>Wonder Boys</i> (2000), the Emmy Award-winning <i>Behind the Candelabra</i> (2013), and <i>Ant-Man</i> (2015).</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50402668348/in/photolist-2jPZoFt-2jP3Ezy-2jMURif-2jL2KMB-2jJkLDP-2jGGagf-2jF4jgE/" title="Michael Douglas"><img alt="Michael Douglas" height="500" src="https://live.staticflickr.com/65535/50402668348_9ed7eaf61f.jpg" width="345" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German collectors card by Bravo, ca. 1980.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50343609848/in/photolist-2jPZoFt-2jP3Ezy-2jMURif-2jL2KMB-2jJkLDP-2jGGagf-2jF4jgE/" title="Michael Douglas and Sharon Stone in Basic Instinct (1992)"><img alt="Michael Douglas and Sharon Stone in Basic Instinct (1992)" height="500" src="https://live.staticflickr.com/65535/50343609848_67d7d2bbd9.jpg" width="341" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard by Novograf. Photo: <b>Michael Douglas</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Sharon%20Stone" target="_blank">Sharon Stone</a></b> in <i>Basic Instinct</i> (Paul Verhoeven, 1992).<br />
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<h3><span style="color: #b45f06;">Seeing Kirk only on holidays
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<b>Michael Kirk Douglas</b> was born in 1944, in New Brunswick, New Jersey, to film legend <b>Kirk Douglas</b> and his wife, British actress <b>Diana Dill</b>. Douglas grew up with three brothers: <b>Joel</b>, <b>Peter</b>, and <b>Eric</b>. Douglas's parents divorced when he was six, and he went to live with his mother and her new husband. Only seeing Kirk on holidays, Michael attended the Eaglebrook School in Deerfield, Massachusetts, where he was about a year younger than all of his classmates. Douglas's strained relationship with his father developed more as he progressed through life. Douglas attended the elite preparatory Choate Rosemary Hall School and spent his summers with his father on film sets.<br />
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Deciding he wanted to be an actor in his teenage years, Michael often asked his father about getting a 'foot in the door'. Kirk was strongly opposed to Michael pursuing an acting career, saying that it was an industry with many downs and few ups and that he wanted all four of his sons to stay out of it. Michael, however, was persistent and studied drama at the University of California, Santa Barbara, and in New York at the Neighborhood Playhouse School of the Theatre and the American Place Theatre. Michael began his Hollywood career as an assistant director on some of his father's 1960s films. He made his film acting debut in his father's film <i>Cast a Giant Shadow</i> (Melville Shavelson, 1966). A few months after moving to New York, Douglas got his first big break, when he was cast in the pivotal role of the free-spirited scientist who compromises his liberal views to accept a lucrative job with a high-tech chemical corporation in the CBS Playhouse production of <b>Ellen M. Violett</b>'s drama, <i>The Experiment</i> (1969).<br />
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Then followed the leading role in the adaptation of <i>John Weston</i>'s controversial novel, <i>Hail, Hero!</i> (David Miller, 1969). His performance in this Vietnam-era antiwar film earned him a nomination for the Golden Globe Award for Most Promising Male Newcomer. He played a well-meaning, almost saintly young pacifist determined not only to justify his beliefs to his conservative parents but also to test them under fire in the jungles of Indochina. He made a handful of mostly forgettable films. The best was the Disney-produced family adventure <i>Napoleon and Samantha</i> (1972) with the young Jodie Foster. Finally, Douglas became well-known as the sidekick of <b>Karl Malden</b> in the TV series <i>The Streets of San Francisco</i> (1972-1977). The police series became one of ABC's highest-rated prime-time programs in the mid-1970s. Douglas earned three successive Emmy Award nominations for his performance and he directed two episodes of the show. <br />
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During the annual breaks in the shooting schedule for <i>The Streets of San Francisco</i>, Douglas devoted his time to his film production company, Big Stick Productions, Ltd., which produced several short subjects in the early 1970s. He got involved in (executive) producing <i>One Flew Over the Cuckoo's Nest</i> (Milos Forman, 1975) after his father, who owned the rights to <b>Ken Kesey</b>'s novel since the early 1960s, couldn't successfully develop it into a film for many years. After several major studios turned Michael down, he formed a partnership with <b>Saul Zaentz</b>, a record industry executive, and the two set about recruiting the cast and crew. <i>One Flew Over the Cuckoo's Nest</i> (Miloš Forman, 1975). It became the second film in Hollywood history to win Oscars in all five major categories: Best Picture, Best Actor (<a href="https://filmstarpostcards.blogspot.com/search/label/Jack%20Nicholson" target="_blank"><b>Jack Nicholson</b></a>), Best Actress (<b>Louise Fletcher</b>), and Best Director (<b>Miloš Forman</b>). The film grossed more than $180 million at the box office.<br />
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Despite the success of the film, it was difficult for Douglas to find work as an actor, having received so much recognition as a producer. After leaving <i>The Streets of San Francisco</i> in 1976, Douglas played a hospital doctor in the medical thriller <i>Coma</i> (Michael Crichton, 1978) with <b>Genevieve Bujold</b>, <b>Claudia Weill</b>'s feminist comedy <i>It's My Turn</i> (1980) starring <b>Jill Clayburgh</b>, and <i>Peter Hyams</i>' gripping tale of modern-day vigilante justice, <i>The Star Chamber</i> (1983). Douglas then co-produced and co-starred with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jane%20Fonda" target="_blank">Jane Fonda</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jack%20Lemmon">Jack Lemmon</a></b> in <i>The China Syndrome</i> (James Bridges, 1979), a drama about a nuclear power plant accident. The film received Oscar nominations for Lemmon and Fonda, as well as for Best Screenplay. The National Board of Review named the film one of the best films of the year. The following year, Douglas was involved in a serious skiing accident that sidelined his acting career for three years.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53493999042/in/photostream/" title="Michael Douglas"><img alt="Michael Douglas" height="500" src="https://live.staticflickr.com/65535/53493999042_9a39f51f3c.jpg" width="354" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Romanian postcard by Casa Filmului Acin.<br />
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French postcard by Edition Erving, Paris, no. 702. <b>Michael Douglas</b> and <b>Kathleen Turner</b> in <i>Romancing the Stone</i> (Robert Zemeckis, 1984).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Greed is good
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Michael Douglas became a star with his leading role in the tongue-in-cheek romantic fantasy <i>Romancing the Stone</i> (Robert Zemeckis, 1984). He portrayed Jack Colton, an Indiana Jones-type adventurer, opposite <b>Kathleen Turner</b> as Joan Wilder, the dowdy writer of gothic romances, and <b>Danny DeVito</b> as the feisty comic foil Ralphie. <i>Romancing</i> was a resounding hit and grossed more than $100 million at the box office. Their successful teaming led to a sequel, <i>The Jewel of the Nile</i> (Lewis Teague, 1985). The three worked again in <i>The War of the Roses</i> (Danny DeVito, 1989), a dark comedy about an ugly divorce.<br />
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In between, he played Zach the dictatorial director/choreographer in <b><a href="https://filmstarpostcards.blogspot.com/search/label/Richard%20Attenborough" target="_blank">Richard Attenborough</a></b>'s screen version of Broadway's longest-running musical <i>A Chorus Line</i> (1985). In 1987, Douglas made two films that reflected a much darker side: the psychological thriller <i>Fatal Attraction</i> (Adrian Lyne, 1987), in which he played an adulterer stalked by an ex-lover — played by <b><a href="https://filmstarpostcards.blogspot.com/search/label/Glenn%20Close">Glenn Close</a></b> — and <i>Wall Street</i> (Oliver Stone, 1987), in which he played the ruthless corporate raider Gordon Gekko, whose trademark slogan is "Greed is good". For this role, he won an Oscar for Best Actor.<br />
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<b><i>Encyclopaedia Britannica</i></b>: "Several of Douglas’s performances flaunt this dichotomy: his villainous characters exhibit personal magnetism, and his heroes are often victims of their own inadequacies. He (like his father) was one of the few actors to build a successful career out of portraying less-than-virtuous characters."
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Douglas next starred in <b>Ridley Scott</b>'s thriller <i>Black Rain</i> (1989) He continued exploring his dark side in the erotic thriller <i>Basic Instinct</i> (Paul Verhoeven, 1992), co-starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Sharon%20Stone" target="_blank">Sharon Stone</a></b>. The film was one of the year's top-grossing films and sparked controversy over its depictions of bisexuality and lesbianism.<br />
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In 1988, Douglas formed a production company, Stonebridge Entertainment, Inc., which produced <i>Flatliners</i> (Joel Schumacher, 1990) and <i>Radio Flyer</i> (Richard Donner, 1992). In 1992, he began a 30-day treatment for alcoholism and drug addiction at Sierra Tucson Center.<br />
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Douglas gave one of his most powerful performances opposite <b>Robert Duvall</b> in <b>Joel Schumacher</b>'s controversial drama <i>Falling Down</i> (1993). That year, he also produced the hit comedy <i>Made in America</i> (Richard Benjamin, 1993) starring <b>Whoopi Goldberg</b>, then starred opposite <b><a href="https://filmstarpostcards.blogspot.com/search/label/Demi%20Moore">Demi Moore</a></b> as a sexually harassed man in <i>Disclosure</i> (Barry Levinson, 1994), based on the bestseller by <b>Michael Crichton</b>, and as the titular commander-in-chief in the romantic comedy <i>The American President</i> (Rob Reiner, 1995), co-starring <b>Annette Bening</b>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50426187361/in/photostream/" title="Michael Douglas and Kathleen Turner in Romancing the Stone (1984)"><img alt="Michael Douglas and Kathleen Turner in Romancing the Stone (1984)" height="500" src="https://live.staticflickr.com/65535/50426187361_828c2b2eba.jpg" width="346" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Ebullitions, no. 12. <b>Michael Douglas</b> and <b>Kathleen Turner</b> in <i>Romancing the Stone</i> (Robert Zemeckis, 1984).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53504059048/in/photostream/" title="Michael Douglas and Glenn Close in Fatal Attraction (1987),"><img src="https://live.staticflickr.com/65535/53504059048_68f0a24c2f.jpg" width="349" height="500" alt="Michael Douglas and Glenn Close in Fatal Attraction (1987),"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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French postcard by Editions Avant Garde, no. P522. Image: Paramount Pictures. Poster for <b><i>Fatal Attraction</i></b> (Adrian Lyne, 1987), starring <b>Michael Douglas</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Glenn%20Close">Glenn Close</a></b>. Caption: On the other side of drinks, dinner and a one night stand lies a terrifying love story.<br />
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<h3 style="text-align: left;"><span style="color: #b45f06;">
A Father, A Son... Once Upon a Time in Hollywood
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In 1994, Michael Douglas signed a development deal at Paramount that included <i>The Ghost and the Darkness</i> (Stephen Hopkins, 1996), <i>The Game</i> (David Fincher, 1997) with <b>Sean Penn</b>, and <i>A Perfect Murder</i> (Andrew Davis, 1998). He executive produced <i>The Rainmaker</i> (Francis Ford Coppola, 1997), starring <b>Matt Damon</b>, as well as the action film, <i>Face/Off</i> (John Woo, 1997) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/John%20Travolta">John Travolta</a></b> and <b>Nicolas Cage</b>. Douglas earned critical acclaim for his starring role as a rumpled college professor and novelist suffering from writer's block in <i>Wonder Boys</i> (Curtis Hanson, 2000) co-starring <b>Tobey Maguire</b> and <b>Frances McDormand</b>. In <i>Traffic</i> (Steven Soderbergh, 2000), Douglas played Robert Wakefield, a newly appointed drug czar confronted by the drug war both at home and abroad. <i>Traffic</i> was named Best Picture by New York Film Critics and won four Oscars (Best Screenplay, Best Editing, Best Director, and Best Supporting Actor for <b>Benicio del Toro</b>).<br />
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Douglas then headlined the psychological thriller <i>Don't Say a Word</i> (Gary Fleder, 2001), co-starring <b>Brittany Murphy</b>. He featured alongside his famous father, his mother, and his son, <b>Cameron</b> in <i>It Runs in the Family</i> (2003), about a multi-generational dysfunctional Manhattan family clan trying to get along. The film fared poorly at the box office. In 2004 Michael and Kirk filmed the intimate HBO documentary A Father, <i>A Son... Once Upon a Time in Hollywood</i>. Directed by award-winning filmmaker <b>Lee Grant</b>, the documentary examines the professional and personal lives of both men and the impacts they each made on the film industry.<br />
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In 2010, Douglas announced that he would be reprising his role as Gordon Gekko in <i>Wall Street 2: Money Never Sleeps</i> (Oliver Stone, 2010), a sequel set in 2008 amid the global financial crisis. Once again, he was nominated for a Golden Globe for his performance. Douglas went on to play the famous 1950s and 1960s entertainer <b><a href="https://filmstarpostcards.blogspot.com/search/label/Liberace">Liberace</a></b> in <i>Behind the Candelabra</i> (Steven Soderbergh, 2013), a witty account of <b><a href="https://filmstarpostcards.blogspot.com/search/label/Liberace">Liberace</a></b>’s private life near the end of his career. <b>Matt Damon</b> played his partner <b>Scott Thorson</b> in the critically acclaimed television film. Douglas won an Emmy Award for his role.<br />
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He also filmed <i>Last Vegas</i> (John Turtletaub, 2013) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20De%20Niro" target="_blank">Robert De Niro</a></b>. In the following years, Douglas starred opposite <b>Diane Keaton</b> in <i>And So It Goes</i> (Rob Reiner, 2014) and the Marvel superhero action/comedy <i>Ant-Man</i> (Peyton Reed, 2015) opposite <b>Paul Rudd</b>. He reprised his role as biochemist Hank Pym in the sequel <i>Ant-Man and the Wasp</i> (Peyton Reed, 2018) and also appeared in the superhero film <i>Avengers: Endgame</i> (Anthony Russo, Joe Russo, 2019). In 1977, Michael Douglas married <b>Diandra Luker</b>. They had one son, <b>Cameron</b>, but separated in 1995 and later divorced. In 2000, Douglas married Welsh actress <b><a href="https://filmstarpostcards.blogspot.com/search/label/Catherine%20Zeta-Jones" target="_blank">Catherine Zeta-Jones</a></b>, his <i>Traffic</i> co-star. The couple welcomed a son, <b>Dylan Michael Douglas</b>, in 2000, followed by a daughter <b>Carys Zeta Douglas</b> in 2003. In 2013, Douglas and Zeta-Jones separated after more than 12 years of marriage, but they reconciled in 2014. In 2017, he became a grandfather when his son <b>Cameron Douglas</b> and his girlfriend <b>Viviane Thibes</b> welcomed a daughter, <b>Lua Izzy Douglas</b>.<br />
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Outside of his busy acting career, Michael Douglas is active in promoting human rights. His work in this area includes serving as a United Nations messenger of peace. Douglas recently starred as an ageing actor turned acting teacher in <b>Chuck Lorre</b>'s comedy series <i>The Kominsky Method</i> (2018-2019), for which he won the Golden Globe Award for Best Actor – Television Series Musical or Comedy, and in the Netflix series <i>Green Eggs and Ham</i> (2019), based on <b>Dr. Seuss</b>’s children’s classic, where he voices Guy-Am-I. Last year, he returned as Hank Pym in <i>Ant-Man and the Wasp: Quantumania</i> (Peyton Reed, 2023), the sequel to <i>Ant-Man</i> (2015) and <i>Ant-Man and the Wasp</i> (2018).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50381382601/in/photolist-2jPZoFt-2jP3Ezy-2jMURif-2jL2KMB-2jJkLDP-2jGGagf-2jF4jgE/" title="Michael Douglas and Sharon Stone in Basic Instinct (1992)"><img alt="Michael Douglas and Sharon Stone in Basic Instinct (1992)" height="500" src="https://live.staticflickr.com/65535/50381382601_1639f866e0.jpg" width="338" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard by Novograf. Photo: <b>Michael Douglas</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Sharon%20Stone" target="_blank">Sharon Stone</a></b> in <i>Basic Instinct</i> (Paul Verhoeven, 1992).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50325104508/in/photolist-2jPZoFt-2jP3Ezy-2jMURif-2jL2KMB-2jJkLDP-2jGGagf-2jF4jgE/" title="Michael Douglas in Basic Instinct (1992)"><img alt="Michael Douglas in Basic Instinct (1992)" height="500" src="https://live.staticflickr.com/65535/50325104508_a363610d26.jpg" width="339" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard by Novograf. Photo: <b>Michael Douglas</b> in <i>Basic Instinct</i> (Paul Verhoeven, 1992).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50362264537/in/photolist-2jPZoFt-2jP3Ezy-2jMURif-2jL2KMB-2jJkLDP-2jGGagf-2jF4jgE/" title="Jeanne Tripplehorn, Michael Douglas, Paul Verhoeven, Sharon Stone, at the Premiere of Basic Instinct in Cannes"><img alt="Jeanne Tripplehorn, Michael Douglas, Paul Verhoeven, Sharon Stone, at the Premiere of Basic Instinct in Cannes" height="377" src="https://live.staticflickr.com/65535/50362264537_561f792e5f.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Big photo, 1993. <b>Jeanne Tripplehorn</b>, <b>Michael Douglas</b>, <b><a href="https://filmstarpostcards.blogspot.com/2020/11/directed-by-paul-verhoeven.html">Paul Verhoeven</a></b>, and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Sharon%20Stone" target="_blank">Sharon Stone</a></b> at the Premiere of <i>Basic Instinct</i> (Paul Verhoeven, 1992) in Cannes.
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Sources: <a href="https://www.imdb.com/name/nm0000140/bio?ref_=nm_ov_bio_sm" target="_blank">Alburry and James Briggs</a> (IMDb), <a href="https://www.britannica.com/biography/Michael-Douglas" target="_blank">Encyclopaedia Britannica</a>, <a href="https://www.biography.com/actor/michael-douglas" target="_blank">Biography.com</a>, <a href="https://en.wikipedia.org/wiki/Michael_Douglas" target="_blank">Wikipedia</a>, and <a href="https://www.imdb.com/name/nm0000140/" target="_blank">IMDb</a>.</div>Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-43306195761037611202024-03-14T07:00:00.122+01:002024-03-14T07:00:00.145+01:00The Kiss Before the Mirror (1933)<b>The American mystery thriller <i>The Kiss Before the Mirror</i> (1933) was adapted from the 1932 play by Ladislas Fodor and directed by James Whale. The four stars of the film were Nancy Carroll, Frank Morgan, Paul Lukas, and Gloria Stuart.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53475469385/in/photolist-2psUSwe-2ptrKZt-2pu5csv-2puAfWu" title="Nancy Carroll and Frank Morgan in The Kiss Before the Mirror (1933)"><img alt="Nancy Carroll and Frank Morgan in The Kiss Before the Mirror (1933)" height="312" src="https://live.staticflickr.com/65535/53475469385_b842b69331.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Weekly series. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nancy%20Carroll">Nancy Carroll</a></b> and <b>Frank Morgan</b> in <i>The Kiss Before the Mirror</i> (James Whale, 1933).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
A similarity to the events described in court
</span></h3>
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Noted attorney Paul Held (<b>Frank Morgan</b>) is defending his friend, Walter Bernsdorf (<b><a href="https://filmstarpostcards.blogspot.com/search/label/Paul%20Lukas">Paul Lukas</a></b>), who has been charged with the murder of his wife Lucy (<b><a href="https://filmstarpostcards.blogspot.com/search/label/Gloria%20Stuart">Gloria Stuart</a></b>) in Vienna. By Walter's account, Lucy was unfaithful to him during their marriage.<br />
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After a court hearing, Paul returns home to his wife, Maria (<b><a href="https://filmstarpostcards.blogspot.com/search/label/Nancy%20Carroll">Nancy Carroll</a></b>), and watches her as she applies makeup in front of her vanity mirror. Paul recognizes a similarity to the events Walter had described in court and notices that his wife appears to pay special attention to her makeup for reasons unconnected with her love for him. Paul kisses Maria, and she angrily repulses him, claiming he has ruined her makeup; then she casually goes out.<br />
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Like Walter before him, Paul follows his wife through the streets of Vienna and observes her meeting with a male lover (<b>Donald Cook</b>). This enrages Paul, and he fantasizes about murdering Maria. He also becomes obsessed with vindicating Walter by proving that his love for his wife made him crazed with jealousy when he saw her with another man.<br />
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Maria becomes uneasy because the trial hits too close to home, but she continues to visit her lover. On the final day of deliberations in Walter's trial, Paul insists that Maria be present. He makes an impassioned closing appeal in which he claims that "the more a man loves and the more he is deceived, the greater his desire for revenge" and which he concludes by revealing a gun and pointing it at Maria in the audience. She screams in horror and loses consciousness, after which Paul finishes his speech.<br />
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While the jury deliberates, Paul meets Maria in his office, where she reacts in terror. She insists she still loves him despite her affair. Walter is ultimately acquitted and warns Paul against killing Maria, which he says he will regret. Paul heeds his advice and asks Maria to leave the courthouse. Upon returning home, Paul angrily smashes Maria's vanity mirror. Maria appears behind him, and the two embrace.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53482579085/in/photolist-2psUSwe-2ptrKZt-2pu5csv-2puAfWu/" title="Frank Morgan, Paul Lukas and Nancy Carroll in The Kiss Before the Mirror (1933)"><img alt="Frank Morgan, Paul Lukas and Nancy Carroll in The Kiss Before the Mirror (1933)" height="314" src="https://live.staticflickr.com/65535/53482579085_fe21cb43bc.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Weekly series. Photo: Universal. <b>Frank Morgan</b>, <a href="https://filmstarpostcards.blogspot.com/search/label/Paul%20Lukas"><b>Paul Lukas</b> </a>and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nancy%20Carroll">Nancy Carroll</a></b> in <i>The Kiss Before the Mirror</i> (James Whale, 1933).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53488444160/in/photolist-2psUSwe-2ptrKZt-2pu5csv-2puAfWu/" title="Nancy Carroll, Jean Dixon and Frank Morgan in The Kiss Before the Mirror (1933)"><img alt="Nancy Carroll, Jean Dixon and Frank Morgan in The Kiss Before the Mirror (1933)" height="317" src="https://live.staticflickr.com/65535/53488444160_ba50779316.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Weekly series. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nancy%20Carroll">Nancy Carroll</a></b>, <b>Jean Dixon</b> and <b>Frank Morgan</b> in <i>The Kiss Before the Mirror</i> (James Whale, 1933).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
The film is chock full of surprises
</span></h3>
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English film director James Whale is best remembered for his four classic horror films: <i>Frankenstein</i> (1931), <i>The Old Dark House</i> (1932), <i>The Invisible Man</i> (1933) and <i>Bride of Frankenstein</i> (1935). He also directed interesting films in other genres, including screwball comedies and musicals. <i>The Kiss Before the Mirror</i> (1933) is a superior mystery thriller.<br />
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In 1933, <b>Pare Lorentz</b> wrote in <i>Vanity Fair</i>: "Director Whale was fortunate in having <b>Frank Morgan</b> and <a href="https://filmstarpostcards.blogspot.com/search/label/Paul%20Lukas"><b>Paul Luka</b>s</a> as his leading men, and <b>Karl Freund</b>, the best man in the business, as cameraman for <i>A Kiss Before the Mirror</i>. I don't know how they happened to slip <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nancy%20Carroll">Nancy Carroll</a></b> into the show, but we'll dismiss that. There is a pictorial quality about the opening scenes, and a maturity in the dialogue which makes a better part of the picture seem true and important."<br />
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"The film is chock full of surprises for the viewer, almost as much in the twenty-first century as it was in 1933", writes <b>Bruce Eder</b> at <i>AllMovie</i>. "The opening minutes seem to be shaping up as a horror film, complete with the image of a stalker moving toward a house where an illicit couple (<b>Walter Pidgeon</b>, <a href="https://filmstarpostcards.blogspot.com/search/label/Gloria%20Stuart"><b>Gloria Stuart</b>)</a> are having a rendezvous - but it also almost threatens to become a musical, as the couple are each heard humming and vamping to tango as they prepare to meet, in what is just short of an erotic pre-coital ballet. And then, just as it reaches a new height of implied eroticism, it becomes something entirely different, as murderous rage explodes before the camera and the audience.<br />
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Director <b>James Whale</b> carries us across this rapidly shifting cinematic landscape - much of it decorated in a beautifully understated art deco style (courtesy of art director <b>Charles D. Hall</b>) - in seemingly effortless fashion in just the first few minutes of <i>The Kiss Before The Mirror</i>, and then it gets really interesting - we're introduced to an array of deceptively complex characters, of whom the most interesting, other than the pairing of <b>Frank Morgan</b> and <a href="https://filmstarpostcards.blogspot.com/search/label/Nancy%20Carroll"><b>Nancy Carroll</b> </a>as the husband-and-wife headed into dangerous straits, is the lawyer played by <b>Jean Dixon</b>. Amid some amazing acting and character flourishes by the two leads, and quietly flamboyant support from <b>Charles Grapewin</b> as a dipsomaniac law clerk, Dixon's lady lawyer must constantly differentiate between her perceptions as a lawyer and a woman; when asked which she is, she remarks that by day she is a lawyer, and by night . . . 'you'd be surprised'."<br />
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The film was the subject of a remake by director <b>James Whale</b> himself. Five years later, he directed the same story under the title <i>Wives Under Suspicion</i> (James Whale, 1938), with a different cast including <b>Warren William</b> and <b>Gail Patrick</b> and on a much smaller budget. He made a few noticeable concessions for the more militant censors of 1938. However, <b>Hal Erickson</b> at <i>AllMovie</i> liked the result: "Indeed, <i>Wives</i> is a "B" picture, but one wouldn't know it from the care and attention that Whale gives it. An expressionistic opening lets the viewer know that Whale is going to do his best with the budget at hand, and he keeps the film visually interesting throughout."<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53469442881/in/photolist-2psUSwe-2ptrKZt-2pu5csv-2puAfWu" title="Nancy Carroll and Frank Morgan in The Kiss Before the Mirror (1933)"><img alt="Nancy Carroll and Frank Morgan in The Kiss Before the Mirror (1933)" height="312" src="https://live.staticflickr.com/65535/53469442881_412830a83e.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Weekly series. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nancy%20Carroll">Nancy Carroll</a></b> and <b>Frank Morgan</b> in <i>The Kiss Before the Mirror</i> (James Whale, 1933).<br />
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Sources: <a href="https://archive.vanityfair.com/article/1933/6/the-screen">Pare Lorentz</a> (Vanity Fair), <a href="https://www.allmovie.com/movie/the-kiss-before-the-mirror-vm2467841/review">Bruce Eder </a>(AllMovie), <a href="https://www.allmovie.com/movie/the-kiss-before-the-mirror-vm2467841">Mark Deming</a> (AllMovie), <a href="https://www.allmovie.com/movie/wives-under-suspicion-vm437769">Hal Erickson</a> (AllMovie), <a href="https://catalog.afi.com/Film/7334-THE-KISSBEFORETHEMIRROR?sid=47aa86ae-79a8-44ad-b4ee-88eb1e92cfca&sr=11.901354&cp=1&pos=0">AFI Catalog</a>, <a href="https://en.wikipedia.org/wiki/The_Kiss_Before_the_Mirror">Wikipedia</a> and <a href="https://www.imdb.com/title/tt0024222/">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-54271158400763649572024-03-13T07:00:00.063+01:002024-03-13T07:00:00.142+01:00Toni van Eyck<b>German actress <b>Toni van Eyck</b> (1910-1988) became a star playing a rape victim in the Aufklärungsfilm <i>Gefahren der Liebe/Hazards of Love</i> (1931). Despite this film's success, she stayed primarily a stage actress.</b><br />
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<a href="https://www.flickr.com/photos/truusbobjantoo/5020018630" title="Toni van Eyck by Truus, Bob & Jan too!, on Flickr"><img alt="Toni van Eyck" height="500" src="https://farm5.staticflickr.com/4104/5020018630_7221d2308b.jpg" width="324" /></a><br />
German postcard by Ross Verlag, no. 4238/1, 1929-1930. Photo: Atelier Jacobi, Berlin.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53508201975/in/photolist-2pwkwft-2pvMm2T-2pvoH9o-Gy9ssD-oFd8xa-oXhbfy-oEP3Tf-8DAUDm" title="Toni van Eyck"><img src="https://live.staticflickr.com/65535/53508201975_3dffd128c2.jpg" width="326" height="500" alt="Toni van Eyck"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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Austrian postcard by Iris Verlag, no. 6667. Photo: Jacobi.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/26618048497/in/photolist-2pwkwft-2pvMm2T-2pvoH9o-Gy9ssD-oFd8xa-oXhbfy-oEP3Tf-8DAUDm/" title="Toni van Eyck and Gustl Starck-Gstettenbaur in Strich durch die Rechnung (1932)"><img src="https://live.staticflickr.com/805/26618048497_961ba66381.jpg" width="321" height="500" alt="Toni van Eyck and Gustl Starck-Gstettenbaur in Strich durch die Rechnung (1932)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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Dutch quartet play card, no. VIII, 4. Photo: Ufa. <b>Toni van Eyck</b> and <a href="https://filmstarpostcards.blogspot.com/search/label/Gustl%20Stark-Gstettenbauer"><b>Gustl Stark-Gstettenbaur</b></a> in <i>Strich durch die Rechnung/The Upset Plan</i> (Alfred Zeisler, 1932).<br />
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<h3>
<span style="color: #b45f06;">A woman branded</span></h3>
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Toni (also Tony) van Eyck (van Eyk) was born <b>Gertrud Johanna Antonie Eick</b> in 1910 in Koblenz, Germany. <br />
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She took acting lessons at the Max-Reinhardt-Seminar in Wien (Vienna) and at the Otto-Falkenberg-Schule in München (Munich). At the age of 15, she already played at various Berlin stages and convinced the critics with her performances.<br />
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She was discovered for the film in 1928 and appeared in the silent short <i>Ins Blaue hinein/Into the Blue</i> (Eugen Schüfftan, 1929) with <b><a href="https://filmstarpostcards.blogspot.nl/search/label/Theo%20Lingen">Theo Lingen</a></b>. <br />
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After a few more silent films, she became known with her leading role in the early <i>Aufklärungsfilm</i> (education film) <i>Gefahren der Liebe/A Woman Branded</i> (Eugen Thiele, 1931) opposite <b><a href="https://filmstarpostcards.blogspot.nl/search/label/Hans%20St%C3%BCwe">Hans Stüwe</a></b>. She played a rape victim, who finally becomes a murderess. <br />
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In the following years, she appeared in such films as <i>Kitty schwindelt sich ins Glück/Kitty is Giddy to Happiness</i> (Herbert Juttke, 1932), <i>Strich durch die Rechnung/Spoiling the Game</i> (Alfred Zeisler, 1932) costarring with <b><a href="http://filmstarpostcards.blogspot.nl/search/label/Heinz%20R%C3%BChmann">Heinz Rühmann</a></b>, <i>Was wissen denn Männer/What Do Men know</i> (Gerhard Lamprecht, 1933), and <i>Herthas Erwachen/Hertha's Awakening</i> (Gerhard Lamprecht, 1933) opposite <b><a href="https://filmstarpostcards.blogspot.nl/search/label/Heinz%20R%C3%BChmann">Hans Brausewetter</a></b>.<br />
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<a href="https://www.flickr.com/photos/truusbobjantoo/15065412452" title="Toni van Eyck by Truus, Bob & Jan too!, on Flickr"><img alt="Toni van Eyck" height="500" src="https://farm6.staticflickr.com/5557/15065412452_805599b23b.jpg" width="319" /></a><br />
German postcard by Ross Verlag, no. 4879/1, 1929-1930. Photo: Atelier Jacobi, Berlin.<br />
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German postcard by Ross Verlag, no. 6809/1, 1931-1932. Photo: Atelier Kiesel, Berlin.<br />
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<h3>
<span style="color: #b45f06;">Appeal from the ether</span></h3>
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Despite these successful roles in the early 1930s, Toni van Eyck would stay a theatre actress primarily. From 1938 to 1942 she was part of the ensemble of the famous Burgtheater in Vienna. <br />
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After the war, she acted at the Salzburger Landestheater (Salzburg State Theater). <br />
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In 1950 she made her last film. She played a small part in the crime drama <i>Ruf aus dem Äther/Appeal from the Ether</i> (Georg C. Klaren, Georg Wilhelm Pabst, 1951) starring <b><a href="https://filmstarpostcards.blogspot.nl/search/label/Oskar%20Werner">Oskar Werner</a></b>. <br />
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Later she worked as a playwright for stage and radio. In 1955 she published her novel, 'Ein Mann namens Miller' (A Man Named Miller). She also continued to appear on stage in guest appearances for a long time. <br />
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Toni van Eyck died in 1988.<br />
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<a href="https://www.flickr.com/photos/truusbobjantoo/14879055708" title="Toni van Eyck by Truus, Bob & Jan too!, on Flickr"><img alt="Toni van Eyck" height="500" src="https://farm4.staticflickr.com/3836/14879055708_14cd84b66a.jpg" width="319" /></a><br />
German postcard by Margarinewerk Gebr. Fauser GmbH. Eidelstadt, Holstein. 'Die trustfreie Eidelsan', no. 29. Photo Marcus.<br />
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<a href="https://www.flickr.com/photos/truusbobjantoo/14883558939" title="Toni van Eyck by Truus, Bob & Jan too!, on Flickr"><img alt="Toni van Eyck" height="500" src="https://farm4.staticflickr.com/3917/14883558939_90b07c559a.jpg" width="323" /></a><br />
German postcard by Harlip, Berlin, no. 0568.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53501924021/in/photolist-2pwkwft-2pvMm2T-2pvoH9o-Gy9ssD-oFd8xa-oXhbfy-oEP3Tf-8DAUDm/" title="Toni van Eyck"><img src="https://live.staticflickr.com/65535/53501924021_117daed5df.jpg" width="324" height="500" alt="Toni van Eyck"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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German postcard by Ross Verlag, no. 7381/1, 1932-1933. Photo: Ufa.<br />
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Sources: <a href="https://www.cyranos.ch/smeyck-e.htm">Thomas Staedeli</a> (Cyranos), <a href="https://de.wikipedia.org/wiki/Toni_van_Eyck">Wikipedia</a> (German), and <a href="https://www.imdb.com/name/nm0886873/maindetails">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-71815273162317416032024-03-12T07:00:00.241+01:002024-03-12T07:00:00.133+01:00Dorothy Malone<b>American actress Dorothy Malone (1925–2018) was a sultry, dreamy-eyed beauty. She started in Frank Sinatra musicals during the 1940s. She won a Best Supporting Actress Oscar for her sultry role in <i>Written on the Wind</i> (1956). Best known by the public for her starring role as Constance MacKenzie on <i>Peyton Place</i> (1964-1968). Her final role was as Sharon Stone's friend in <i>Basic Instinct</i> (1992).</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/45745648131/in/photolist-i93koY-22gcVxn-23CCy3a-2cGopre-2kJVciy-2n8T3fJ-2nx5mhj-2puLHAR-2pvXvLc-2pwFWHe/" title="Dorothy Malone"><img alt="Dorothy Malone" height="500" src="https://live.staticflickr.com/4881/45745648131_c002249605.jpg" width="330" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard by Edic. Raker, Barcelona, no. 247/6017.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/39795931741/in/photolist-i93koY-22gcVxn-23CCy3a-2cGopre-2kJVciy-2n8T3fJ-2nx5mhj-2puLHAR-2pvXvLc-2pwFWHe/" title="Dorothy Malone (1925–2018)"><img alt="Dorothy Malone (1925–2018)" height="500" src="https://live.staticflickr.com/4616/39795931741_a12d016a86.jpg" width="322" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Editions P.I., Paris, no. 832, offered by Les Carbones Korès 'Carboplane'. Photo: Browning Studio H.P.S.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53503907871/in/photolist-i93koY-22gcVxn-23CCy3a-2cGopre-2kJVciy-2n8T3fJ-2nx5mhj-2puLHAR-2pvXvLc-2pwFWHe/" title="Dorothy Malone"><img alt="Dorothy Malone" height="500" src="https://live.staticflickr.com/65535/53503907871_368737cdcc.jpg" width="309" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Picturegoer Series, London, no. D. 617. Photo: Warner.<br />
<h3 style="text-align: left;"><span style="color: #b45f06;"><br />
A seductive book clerk
</span></h3>
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<b>Dorothy Eloise Maloney</b> was born in Chicago, Illinois, in 1925. She was one of five children born to an accountant father. Two older sisters died of polio. A younger brother later was killed by lightning while on a Dallas golf course. When she was a child, her family moved to Dallas, Texas. Attending Ursuline Convent and Highland Park High School, Dorothy was the 'School Favorite' and won several awards for swimming and horseback riding.<br />
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She modelled for Neiman Marcus. Following graduation, she studied at Southern Methodist University with the intent of becoming a nurse, but a role in the college play 'Starbound' happened to catch the eye of an RKO talent scout and she was offered a Hollywood contract.<br />
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At age 18, Dorothy Maloney made her film debut in <i>Gildersleeve on Broadway</i> (Gordon Douglas, 1943). The lovely brunette continued as an RKO starlet in the <b><a href="https://filmstarpostcards.blogspot.com/search/label/Frank%20Sinatra">Frank Sinatra</a></b> musicals <i>Higher and Higher</i> (Tim Whelan, 1943) and <i>Step Lively</i> (Tim Whelan, 1944), and a couple of the Falcon mysteries.<br />
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She had a showier role in <i>Show Business</i> (Edwin L. Marin, 1944) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Eddie%20Cantor">Eddie Cantor</a></b>. RKO lost interest, however, after the two-year contract was up. Warner Bros. offered the actress a contract. As <b>Dorothy Malone</b>, she played a seductive book clerk in the <b><a href="https://filmstarpostcards.blogspot.com/search/label/Humphrey%20Bogart">Humphrey Bogart</a></b>/<b><a href="https://filmstarpostcards.blogspot.com/search/label/Lauren%20Bacall">Lauren Bacall</a></b> classic <i>The Big Sleep</i> (Howard Hawks, 1946).<br />
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Critics and audiences took notice and she got more visible roles in <i>Two Guys from Texas</i> (David Butler, 1948), <i>South of St. Louis</i> (Ray Enright, 1949) and <i>Colorado Territory</i> (Raoul Walsh, 1949). Despite this positive movement, Warner Bros. did not extend Dorothy's contract in 1949 and she returned to her family in Dallas and a steadier job with an insurance agency.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51025142926/in/photolist-i93koY-22gcVxn-23CCy3a-2cGopre-2kJVciy-2n8T3fJ-2nx5mhj-2puLHAR-2pvXvLc-2pwFWHe/" title="Guess Who"><img alt="Guess Who" height="500" src="https://live.staticflickr.com/65535/51025142926_216d16a148.jpg" width="346" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Small Dutch collector card.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/11249052496/in/photolist-i93koY-22gcVxn-23CCy3a-2cGopre-2kJVciy-2n8T3fJ-2nx5mhj-2puLHAR-2pvXvLc-2pwFWHe/" title="Dorothy Malone"><img alt="Dorothy Malone" height="500" src="https://live.staticflickr.com/7442/11249052496_3d7f71b891.jpg" width="327" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard, no. 3378. Photo: Columbia / Foto-archief Film en Toneel.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/38897123095/in/photolist-i93koY-22gcVxn-23CCy3a-2cGopre-2kJVciy-2n8T3fJ-2nx5mhj-2puLHAR-2pvXvLc-2pwFWHe/" title="Dorothy Malone (1925–2018)"><img alt="Dorothy Malone (1925–2018)" height="500" src="https://live.staticflickr.com/4753/38897123095_1e66a22926.jpg" width="325" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard, no. 174. Photo: Warner Bros.<br />
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<h3 style="text-align: left;"><span style="color: #b45f06;">
She needed to gamble on her career</span></h3>
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Dorothy Malone decided to recommit to her acting career and move to New York to study at the American Theater Wing. In between her studies, she worked for TV and appeared in B movies like <i>Saddle Legion</i> (Lesley Selander, 1951) and <i>The Bushwhackers</i> (Rod Amateau, 1951). Producer <b>Hal Wallis</b> called her back to Hollywood to appear in <i>Scared Stiff</i> (George Marshall, 1953) starring the comedy duo of <b><a href="https://filmstarpostcards.blogspot.com/search/label/Dean%20Martin">Dean Martin</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jerry%20Lewis">Jerry Lewis</a></b>. She also appeared with the duo in the musical-comedy <i>Artists and Models</i> (Frank Tashlin, 1955) as the love interest of Martin's character.<br />
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After 11 years of mostly roles as loving sweethearts and wives, the brunette actress decided she needed to gamble on her career instead of playing it safe. She fired her agent, hired a publicist, dyed her hair blonde and sought a new image. First off was as a sister to <b><a href="https://filmstarpostcards.blogspot.com/search/label/Doris%20Day">Doris Day</a></b> in <i>Young at Heart</i> (Gordon Douglas, 1954), a musical remake of <i>Four Daughters</i> (Michael Curtiz, 1938). The platinum blonde seemed to emphasize her overt and sensual beauty and she garnered even better attention when she appeared in the war pic Battle Cry (Raoul Walsh, 1955), in which she shared love scenes with heartthrob Tab Hunter.<br />
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She continued the momentum with the Westerns <i>Five Guns West</i> ( Roger Corman, 1955) and <i>Tall Man Riding</i> (Lesley Selander, 1955) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Randolph%20Scott">Randolph Scott</a></b>, but not with melodramatic romantic dud <i>Sincerely Yours</i> (Gordon Douglas, 1955) which tried to sell to the audiences a heterosexual <b><a href="https://filmstarpostcards.blogspot.com/search/label/Liberace">Liberace</a></b>. She signed with Universal and won the scenery-chewing role of Marylee Hadley in the soap opera <i>Written on the Wind</i> (Douglas Sirk, 1956) in which she played an alcoholic nymphomaniac who tries to steal <b><a href="https://filmstarpostcards.blogspot.com/search/label/Rock%20Hudson">Rock Hudson</a></b> from his wife, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Lauren%20Bacall">Lauren Bacall</a></b>. <b>Gary Brumburgh</b> at <b><i>IMDb</i></b>: "She won a supporting Oscar for her splendidly tramp, boozed-up Southern belle which was highlighted by her writhing mambo dance."<br />
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<i>The Tarnished Angels</i> (Douglas Sirk, 1957), which reunited Malone with Hudson faltered, and <i>Quantez</i> (Harry Keller, 1957) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Fred%20MacMurray">Fred MacMurray</a></b> was just another run-of-the-mill western. In <i>Man of a Thousand Faces</i> (Joseph Pevney, 1957) she played the unsympathetic first wife of <b><a href="https://filmstarpostcards.blogspot.com/search/label/James%20Cagney">James Cagney</a></b>'s Lon Chaney Sr, Then she appeared as alcoholic actress <b>Diana Barrymore</b> in the biographic melodrama <i>Too Much, Too Soon</i> (Art Napoleon, 1958) opposite <b><a href="https://filmstarpostcards.blogspot.com/search/label/Errol%20Flynn">Errol Flynn</a></b>.<br />
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At age 35, she married playboy actor <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jacques%20Bergerac">Jacques Bergerac</a></b>, <a href="https://filmstarpostcards.blogspot.com/search/label/Ginger%20Rogers"><b>Ginger Rogers</b>'</a> ex-husband, in 1959. A baby daughter, <b>Mimi</b>, was born the following year. Fewer film offers, which included <i>Warlock</i> (Edward Dmytryk, 1959) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Richard%20Widmark">Richard Widmark</a></b>, and <i>The Last Voyage</i> (Andrew L. Stone, 1960) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20Stack">Robert Stack</a></b>, came her way as Dorothy focused more on family life. A second daughter, <b>Diane</b>, was born in 1962.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53548762271/in/photostream/" title="Dorothy Malone"><img alt="Dorothy Malone" height="500" src="https://live.staticflickr.com/65535/53548762271_07d70be418.jpg" width="353" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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West German postcard in the Mimosa series by B.I.S.-Verlag, Stuttgart, no. 1146. Photo: Universal / Union-Film.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53537744602/in/photolist-2pwFWHe-2pvXvLc-2puLHAR-2pyWWf7" title="Dorothy Malone"><img alt="Dorothy Malone" height="500" src="https://live.staticflickr.com/65535/53537744602_a6ee15cf6e.jpg" width="355" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Yugoslavian postcard by ZK, no. 2913. Sent by mail in 1962.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53555531063/in/photostream/" title="Dorothy Malone"><img alt="Dorothy Malone" height="500" src="https://live.staticflickr.com/65535/53555531063_f32d30b703.jpg" width="337" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Yugoslavian postcard by ZK, no. 3904. Publicity still for <i>Man of a Thousand Faces</i> (Joseph Pevney, 1957).<br />
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<h3 style="text-align: left;"><span style="color: #b45f06;">
TV's first prime-time soap opera
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Dorothy Malone's turbulent marriage ended in 1964 in a divorce and a bitter custody battle with Dorothy eventually winning primary custody. It took the small screen to rejuvenate her career in the mid-1960s when she earned top billing for TV's first prime-time soap opera <i>Peyton Place</i> (1964). Dorothy starred as long-suffering Constance MacKenzie, the bookshop operator who harboured a dark secret about the birth of her daughter Allison, played by the 19-year-old <b>Mia Farrow</b>.<br />
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The series was a smash hit. The run wasn't entirely happy, however. Doctors discovered blood clots in her lungs which required major surgery and she almost died. Lola Albright filled in until she was able to return. Just as bad, the significance of her role dwindled with time and 20th Century Fox finally wrote her and co-star <b>Tim O'Connor</b> off the show in 1968. Dorothy filed a breach of contract lawsuit which ended in an out-of-court settlement.<br />
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She would later return to the role in the TV movies <i>Murder in Peyton Place</i> (Bruce Kessler, 1977) and <i>Peyton Place: The Next Generation</i> (Larry Elikann, 1985). Her life on- and off-camera did not improve. Dorothy's second marriage to stockbroker<b> Robert Tomarkin</b> in 1969 would last only three months, and a third to businessman <b>Charles Huston Bell</b> managed about three years.<br />
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Now-matronly roles in the films <i>Winter Kills</i> (William Richert, 1979), <i>Off Your Rocker</i> (Morley Markson, Larry Pall, 1982), <i>The Being</i> (Jackie Kong, 1983) and the Spanish-British horror film <i>Descanse en piezas/Rest in Pieces</i> (José Ramón Larraz, 1987), were few and far between a few TV-movies, did nothing to advance her.<br />
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Malone returned and settled for good back in Dallas, returning to Hollywood only on occasion. Her last film was the popular thriller<i> Basic Instinct</i> (Paul Verhoeven, 1992) as a friend to <b><a href="https://filmstarpostcards.blogspot.com/search/label/Sharon%20Stone">Sharon Stone</a></b>, a mother convicted of murdering her family. <b>Dorothy Malone</b> died in a nursing facility in Dallas at the age of 92. <b>Gary Brumburgh</b> at <b>I<i>MDb</i></b>: "She will be remembered as one of those Hollywood stars who proved she had the talent but somehow got the short end of the stick when it came to quality films offered."<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53512186503/in/photostream/" title="Dorothy Malone"><img alt="Dorothy Malone" height="500" src="https://live.staticflickr.com/65535/53512186503_d9a37400ce.jpg" width="363" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage collector card.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51941358438/in/photolist-i93koY-22gcVxn-23CCy3a-2cGopre-2kJVciy-2n8T3fJ-2nx5mhj-2puLHAR-2pvXvLc-2pwFWHe/" title="Rock Hudson and Dorothy Malone in Written on the Wind (1956)"><img alt="Rock Hudson and Dorothy Malone in Written on the Wind (1956)" height="358" src="https://live.staticflickr.com/65535/51941358438_515efb2fcb.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Swiss-German-British postcard by News Productions, Baulmes / Filmwelt Berlin, Bakede / News Productions, Stroud, no. 56498. Photo: Collection Cinémathèque Suisse, Lausanne. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Rock%20Hudson">Rock Hudson</a></b> and <b>Dorothy Malone</b> in <i>Written on the Wind</i> (Douglas Sirk, 1956), produced by Universal.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52203844722/in/photolist-i93koY-22gcVxn-23CCy3a-2cGopre-2kJVciy-2n8T3fJ-2nx5mhj-2puLHAR-2pvXvLc-2pwFWHe/" title="Dorothy Malone and Robert Stack in Written on the Wind (1956)"><img alt="Dorothy Malone and Robert Stack in Written on the Wind (1956)" height="351" src="https://live.staticflickr.com/65535/52203844722_464bff7276.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Big programme card by Cineteca Bologna for Il Cinema Ritrovato, XXXVI edizione, Selezione Cinema Ritrovato Young, 25 June 2022. <b>Dorothy Malone</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20Stack">Robert Stack</a></b> in <i>Written on the Wind</i> (Douglas Sirk, 1956).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53490484969/in/photolist-i93koY-22gcVxn-23CCy3a-2cGopre-2kJVciy-2n8T3fJ-2nx5mhj-2puLHAR-2pvXvLc-2pwFWHe/" title="Dorothy Malone in Peyton Place (1964-1968)"><img alt="Dorothy Malone in Peyton Place (1964-1968)" height="500" src="https://live.staticflickr.com/65535/53490484969_5b596ccc5a.jpg" width="341" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage collectors card, no. 29. <b>Dorothy Malone</b> in the TV series <i>Peyton Place</i> (1964-1969).<br />
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Source: <a href="https://www.imdb.com/name/nm0540416/bio/?ref_=nm_ov_bio_sm">Gary Brumburgh</a> (IMDb), <a href="https://www.theguardian.com/film/2018/jan/21/dorothy-malone-obituary">Ronald Bergan</a> (The Guardian), <a href="https://en.wikipedia.org/wiki/Dorothy_Malone">Wikipedia</a> and <a href="https://www.imdb.com/name/nm0540416/">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-84383101799881387372024-03-11T07:00:00.375+01:002024-03-11T07:00:00.133+01:00Directed by Lucio D'Ambra<b style="font-weight: bold;">Lucio D'Ambra</b><b> (1879-1939), was an Italian film writer, director and producer. Although he is best known for his work in the cinema, he was also a journalist, literary and theatre critic, playwright, artistic director of theatre companies and author of novels. D'Ambra became involved in the cinema in 1911 when he anonymously wrote screenplays. From 1916 he formally entered the film industry, setting up his own production company and directing more than twenty films. His silent comedies were compared to the films of Ernst Lubitsch.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52928273748/in/photolist-PsYq1D-Q9w438-R6kyLu-R6kEyw-RLPe7u-2asAhvW-2bQwhCc-2c86h1s-2c86Bhd-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2d9EsyE-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2naGkUp-2naHNPc-2naHNQQ-2naKfcW-2naKfds-2nVYu8E-2oD6eMW-2c86zio-2c86DhL-2oD45GU-brAgca" title="Lucio D'Ambra"><img alt="Lucio D'Ambra" height="500" src="https://live.staticflickr.com/65535/52928273748_05e8be1eaf.jpg" width="319" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Italian postcard by Fotocelere, Torino.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52462979868/in/photolist-2nVYu8E-2ob7VYr-2ov6EYC-2oBUGvA-2oBUGw2-2oD6eMW-2oF4Qee-2oPCfqa-2oRGTto-2oRHGdf-2oZr5LH-2pdRwfZ-PsYq1D-Q9w438-Qfgd5k-QuSXdF-R6kyLu-R6kEyw-RLPe7u-24Ap4DD-2bQwhCc-2c86h1s-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2hyQ3m1-2iVKdQ1-2jHuaXM-2jHuZhn-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2kwhcUv-2kyKcET-2kKRtdb-hR2TMP-oibPAU-4p7a2g-FjfUYd-ZjzxbD-2asAhvW-2c86zio-2c86Bhd-2c86DhL-2d9EsyE-2j8agGw-2kwgF3V-2m7moq4" title="Lucio D'Ambra"><img alt="Lucio D'Ambra" height="500" src="https://live.staticflickr.com/65535/52462979868_9dea4493f8.jpg" width="315" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Italian postcard by Ed. A. Traldi, Milano, no. 13. Photo: Fontana.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
A delicious Lubitsch-like comedy
</span></h3>
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<b>Lucio D'Ambra</b> was born <b>Renato Eduardo Manganella</b> in Rome, Italy, in 1879. According to some sources, his full name was <b>Renato Tommaso Anacleto Manganella</b>, and his year of birth was 1880.<br />
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D'Ambra was a journalist, literary and theatre critic, playwright and artistic director of theatre companies. <b>Ettore Petrolini</b> reduced his play 'Ambasciatori' to one of his shows. He was also a screenwriter for the cinema, an academic of Italy and an author of novels, including 'I due modi di avere vent'anni' (The Two Ways to be 20), published by <b>Arnoldo Mondadori</b> in 1934. He had the writer and poet <b>Tullio Colsalvatico</b> as his secretary and was in contact with the philosopher and critic <b>Adriano Tilgher</b>, with whom he polemised at length.<br />
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D'Ambra was also the animator of a literary salon which allowed him to come into contact with literary figures and personalities from the art world. He was friends with the writer <b>Arturo Olivieri Sangiacomo</b>, the playwright <b>Tito Marrone</b> and the founder of the Bagutta Prize, <b>Marino Parenti</b>. In 1923, he founded a company called Teatro degli Italiani at the Teatro Eliseo in Rome, together with <b>Mario Fumagalli</b> and <b>Santi Severino</b>. The aim of the company, subsidised by the Fascist regime to promote theatre in Italy, but with little success.<br />
<br />In 1911, he entered the cinema writing a screenplay of 'I promessi sposi' (The Betrothed) for the film of the same name by <b>Ugo Falena</b>. In 1913, he wrote the script for the film <i>Il bacio di Cirano/The Kiss of Cyrano</i> (Carmine Gallone, 1913) starring <a href="https://filmstarpostcards.blogspot.com/search/label/Soava%20Gallone"><b>Soava Gallone</b></a>. It was <b>Carmine Gallone</b>'s debut film as a director. In 1916 D'Ambra started to work steadily in the cinema as a screenwriter for the company Medusa Film. First, he wrote the delicious Lubitsch-like comedy <i>La signorina Ciclone/Miss Cyclone</i> (Augusto Genina, 1916) with <b>Suzanne Armelle</b> as a dynamic New Yorkese heiress who keeps all of her seven admirers on a leash like dogs but in the end, prefers a European who possesses all seven sins the admirers represent individually.<br />
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Lucio D'Ambra also wrote scripts for star vehicles, such as <i>Effetti di luce/Light Effects</i> (Ugo Falena, 1916) with <a href="https://filmstarpostcards.blogspot.com/search/label/Stacia%20Napierkowska"><b>Stacia Napierkowska</b></a> and <i>La chiamavano 'Cosetta'/They called her 'Cosetta'</i> (Eugenio Perego, 1917) with <a href="https://filmstarpostcards.blogspot.com/search/label/Soava%20Gallone"><b>Soava Gallone</b></a>, <i>La storia dei tredici/The Thirteenth Man</i> (Carmine Gallone, 1917) and <a href="https://filmstarpostcards.blogspot.com/2020/02/carnavalesca-1918.html"><b><i>Carnevalesca/Varnival</i></b></a> (Amleto Palermi, 1918) both with <a href="https://filmstarpostcards.blogspot.com/search/label/Lyda%20Borelli"><b>Lyda Borelli</b></a>. D'Ambra also scripted <i>Medusa Il re, le torri, gli alfieri</i> (Ivo Illuminati, 1920), a now-lost film which had affinities with Italian Futurism. The story, based on D'Ambra's novel, was a dramatisation of a chess game, where the characters were dressed as various pieces and moved around on a chessboard floor. For the company Do-Re-Mi, D'Ambra directed a series of films starring <a href="https://filmstarpostcards.blogspot.com/search/label/Maria%20Corvin"><b>Mary Corwyn</b></a> aka <a href="https://filmstarpostcards.blogspot.com/search/label/Maria%20Corvin"><b>Maria Corvin</b></a>: <i>Napoleoncina</i> (1918), <i>Ballerine</i> (1918), <i>La commedia dal mio palco</i> (1918), <i>Passa il dramma a Lilliput</i> (1919), and <i>La valse bleue</i> (1919), in which the actress often was paired with <b>Romano Calò</b>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52927852956/in/photolist-PsYq1D-Q9w438-R6kyLu-R6kEyw-RLPe7u-2asAhvW-2bQwhCc-2c86h1s-2c86Bhd-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2d9EsyE-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2naGkUp-2naHNPc-2naHNQQ-2naKfcW-2naKfds-2nVYu8E-2oD6eMW-2c86zio-2c86DhL-2oD45GU-brAgca/" title="Suzanne Armelle"><img alt="Suzanne Armelle" height="500" src="https://live.staticflickr.com/65535/52927852956_fd21da3968.jpg" width="315" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Italian postcard by Vettori, Bologna, no. 191. Photo by Badodi, Milano. <b>Suzanne Armelle</b> (?-?), born in Paris, had a career as a film actress in Italian silent cinema between the mid-1910s and the early 1920s. She is particularly remembered for her part as Miss Fluffy Ruffles in <i>La Signorina Ciclone</i> (Augusto Genina, 1916), written by Lucio D'Ambra.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51961904571/in/photolist-PsYq1D-Q9w438-R6kyLu-R6kEyw-RLPe7u-2asAhvW-2bQwhCc-2c86h1s-2c86Bhd-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2d9EsyE-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2naGkUp-2naHNPc-2naHNQQ-2naKfcW-2naKfds-2nVYu8E-2oD6eMW-2c86zio-2c86DhL-2oD45GU-brAgca/" title="Ugo Piperno in La storia dei tredici (1917)"><img alt="Ugo Piperno in La storia dei tredici (1917)" height="313" src="https://live.staticflickr.com/65535/51961904571_c1f05d0ed6.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish cromo (collector card) by Chocolate Imperiale, no. 3 of 6 cards. Photo: Cines / distr. J. Muntañola, Barcelona. <a href="https://filmstarpostcards.blogspot.com/search/label/Ugo%20Piperno"><b>Ugo Piperno</b></a> in <i>La storia dei tredici</i> (Carmine Gallone, 1917), after a script by Lucio D'Ambra based on Honoré de Balzac's tripartite novel 'L'histoire des treize' (1833-39), published as 'Ferragus', 'La duchesse de Langeais' and 'La fille aux yeux d'or'.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51962190209/in/photolist-PsYq1D-Q9w438-R6kyLu-R6kEyw-RLPe7u-2asAhvW-2bQwhCc-2c86h1s-2c86Bhd-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2d9EsyE-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2naGkUp-2naHNPc-2naHNQQ-2naKfcW-2naKfds-2nVYu8E-2oD6eMW-2c86zio-2c86DhL-2oD45GU-brAgca" title="Lyda Borelli in La storia dei tredici (1917)"><img alt="Lyda Borelli in La storia dei tredici (1917)" height="317" src="https://live.staticflickr.com/65535/51962190209_63190826f8.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish cromo by Chocolate Imperiale, no. 5 of 6 cards. Photo: Cines / distr. J. Muntañola, Barcelona. <a href="https://filmstarpostcards.blogspot.com/search/label/Lyda%20Borelli"><b>Lyda Borelli</b></a> in <i>La storia dei tredici</i> (Carmine Gallone, 1917), after a script by Lucio D'Ambra based on Honoré de Balzac's tripartite novel 'L'histoire des treize' (1833-39), published as 'Ferragus', 'La duchesse de Langeais' and 'La fille aux yeux d'or'.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50353309822/in/photolist-PsYq1D-Q9w438-R6kyLu-R6kEyw-RLPe7u-2asAhvW-2bQwhCc-2c86h1s-2c86Bhd-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2d9EsyE-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2naGkUp-2naHNPc-2naHNQQ-2naKfcW-2naKfds-2nVYu8E-2oD6eMW-2c86zio-2c86DhL-2oD45GU-brAgca/" title="Mary Corwyn in Napoleoncina (1918)"><img alt="Mary Corwyn in Napoleoncina (1918)" height="500" src="https://live.staticflickr.com/65535/50353309822_ca40cfae21.jpg" width="307" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish cromo by Chocolat Imperiale, Barcelona, no. 1 of 6 cards. Photo: Do-Re-Mi Film / Dist. J. Verdaguer, Barcelona. <a href="https://filmstarpostcards.blogspot.com/search/label/Maria%20Corvin"><b>Maria Corvin</b></a> aka <b>Mary Corwyn</b> in <i>Napoleoncina</i> (Lucio D'Ambra, 1918). The Spanish title of the film was <i>Napoleoncilla</i>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50353311742/in/photolist-PsYq1D-Q9w438-R6kyLu-R6kEyw-RLPe7u-2asAhvW-2bQwhCc-2c86h1s-2c86Bhd-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2d9EsyE-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2naGkUp-2naHNPc-2naHNQQ-2naKfcW-2naKfds-2nVYu8E-2oD6eMW-2c86zio-2c86DhL-2oD45GU-brAgca/" title="Mary Corwyn in Napoleoncina (1918)"><img alt="Mary Corwyn in Napoleoncina (1918)" height="312" src="https://live.staticflickr.com/65535/50353311742_98bd668848.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish cromo by Chocolat Imperiale, Barcelona, no. 2 of 6 cromos. Photo: Do-Re-Mi Film / Dist. J. Verdaguer, Barcelona. <a href="https://filmstarpostcards.blogspot.com/search/label/Maria%20Corvin"><b>Mary Corwyn</b></a> in <i>Napoleoncina</i> (Lucio D'Ambra, 1918). The Spanish title of the film was <i>Napoleoncilla</i>.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
A largely independent author and director
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In 1919, in collaboration with the Piedmontese entrepreneur <b>Alfredo Fasola</b>, <b>Lucio D'Ambra</b> founded his own production company, D'Ambra-Film, with which directors <b>Carmine Gallone</b>, <a href="https://filmstarpostcards.blogspot.com/2023/12/directed-by-augusto-genina.html"><b>Augusto Genina</b></a> and others collaborated, e.g. for <i>Nemesis</i> (Carmine Gallone, 1920) and <i>La peccatrice senza peccato/Her Dreadful Secret</i> (Augusto Genina, 1922), both starring <a href="https://filmstarpostcards.blogspot.com/search/label/Soava%20Gallone"><b>Soava Gallone</b></a>.<br />
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Yet, many films were directed by D'Ambra himself, such as <i>Il girotondo degli undici lancieri/The round of the eleven lancers</i> (1919) with <a href="https://filmstarpostcards.blogspot.com/search/label/Maria%20Corvin"><b>Mary Corwyn</b></a> and <b>Romano Calò</b>, and the witty short comedy <i>L'illustre attrice Cicala Formica/The Illustrious Actress Cicala Formica</i> (1920), with <a href="https://filmstarpostcards.blogspot.com/search/label/Lia%20Formia"><b>Lia Formia</b></a> as a wannabe actress who to the frustration of her family pursues with all means to become a diva, but utterly fails. The film mocked the Italian diva and epic films, amateurism in the film world, but also the Italian family.<br />
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D'Ambra also directed serious drama, such as the <b>Ugo Foscolo</b> adaptation <i>Le ultime lettere di Jacopo Ortis/The Last Letters of Jacopo Ortis</i> (1921), on a man's despair about his inability to obtain the woman of his dreams. Until 1922 D'Ambra continued to direct and script various films at his company, often with <a href="https://filmstarpostcards.blogspot.com/search/label/Lia%20Formia"><b>Lia Formia</b></a> in the lead, the last being <i>Tragedia su tre carte/Tragedy on Three Cards</i> (1922). In 1922 D'Ambra's company was absorbed into the conglomerate Unione Cinematografica Italiana and he retired from regular filmmaking. In the late 1930s, he returned but only as a screenwriter for a few films, including the comedy <i>Occupati d’Amelia/Take Care of Amelia</i> (Telemaco Ruggeri, 1925) starring <a href="https://filmstarpostcards.blogspot.com/search/label/Pina%20Menichelli"><b>Pina Menichelli</b></a> and <a href="https://filmstarpostcards.blogspot.com/search/label/Marcel%20L%C3%A9vesque"><b>Marcel Lévesque</b></a>.<br />
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On D'Ambra's film career, Italian scholar <b>Gianni Rondolino</b> wrote in the <i><b>Enciclopedia Treccani</b></i>: "A largely independent author and director, he was able to deal with themes and topics, situations and characters from the high society, but also from everyday life, with great fluency, in a style that took into account the linguistic peculiarities of cinema, skillfully using close-ups and camera movements, scenic effects and daring narrative solutions.<br />
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His films, considered forerunners of those of <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ernst%20Lubitsch">Ernst Lubitsch</a></b> for the lightness of touch and the environments described, constitute a not inconsiderable chapter in the history of Italian silent films, for their formal innovation, after the more conventional splendour of the previous years, among historical reconstructions, novels of appendices, melodramas and farces." In 1937 he published his memoirs, recounting his time working in Italy's early film industry. <b>Lucio D'Ambra</b> died in 1939 in Rome. He was 59.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50353154861/in/photolist-PsYq1D-Q9w438-R6kyLu-R6kEyw-RLPe7u-2asAhvW-2bQwhCc-2c86h1s-2c86Bhd-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2d9EsyE-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2naGkUp-2naHNPc-2naHNQQ-2naKfcW-2naKfds-2nVYu8E-2oD6eMW-2c86zio-2c86DhL-2oD45GU-brAgca/" title="Mary Corwyn in Napoleoncina (1918)"><img alt="Mary Corwyn in Napoleoncina (1918)" height="500" src="https://live.staticflickr.com/65535/50353154861_8974f033e2.jpg" width="305" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish cromo by Chocolat Imperiale, Barcelona, no. 6 of 6 cards. Photo: Do-Re-Mi Film / Dist. J. Verdaguer, Barcelona. <a href="https://filmstarpostcards.blogspot.com/search/label/Maria%20Corvin"><b>Maria Corvin</b></a> aka <b>Mary Corwyn</b> in <i>Napoleoncina</i> (Lucio D'Ambra, 1918). The Spanish title of the film was <i>Napoleoncilla</i>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/31154004037/in/photolist-PsYq1D-Q9w438-R6kyLu-R6kEyw-RLPe7u-2asAhvW-2bQwhCc-2c86h1s-2c86Bhd-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2d9EsyE-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2naGkUp-2naHNPc-2naHNQQ-2naKfcW-2naKfds-2nVYu8E-2oD6eMW-2c86zio-2c86DhL-2oD45GU-brAgca" title="Carnevalesca (1918)"><img alt="Carnevalesca (1918)" height="304" src="https://live.staticflickr.com/65535/31154004037_91c96799d9.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish cromo by Amattler Marca Luna chocolate, series 7, no. 1. Photo: a scene from <i>Carnevalesca</i> (Amleto Palermi, 1918), after Lucio D'Ambra. Photography was by Giovanni Grimaldi. Here left of the marshall we see <b><a href="https://filmstarpostcards.blogspot.com/search/label/Livio%20Pavanelli">Livio Pavanelli</a></b> and <b>Augusto Poggioli</b>, on the back in the flowery dress, <a href="https://filmstarpostcards.blogspot.com/search/label/Lyda%20Borelli"><b>Lyda Borelli</b></a>, and right of her the unknown actor who plays Pietro.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/45368861874/in/photolist-PsYq1D-Q9w438-R6kyLu-R6kEyw-RLPe7u-2asAhvW-2bQwhCc-2c86h1s-2c86Bhd-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2d9EsyE-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2naGkUp-2naHNPc-2naHNQQ-2naKfcW-2naKfds-2nVYu8E-2oD6eMW-2c86zio-2c86DhL-2oD45GU-brAgca" title="Carnevalesca"><img alt="Carnevalesca" height="500" src="https://live.staticflickr.com/65535/45368861874_e53a42c1c1.jpg" width="319" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish cromo by Amattler Marca Luna chocolate, series 7, no. 7. <a href="https://filmstarpostcards.blogspot.com/search/label/Lyda%20Borelli"><b>Lyda Borelli</b></a> in <i>Carnevalesca</i> (Amleto Palermi, 1918), after Lucio D'Ambra. Photography was by Giovanni Grimaldi.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/31601520407/in/photolist-PsYq1D-Q9w438-R6kyLu-R6kEyw-RLPe7u-2asAhvW-2bQwhCc-2c86h1s-2c86Bhd-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2d9EsyE-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2naGkUp-2naHNPc-2naHNQQ-2naKfcW-2naKfds-2nVYu8E-2oD6eMW-2c86zio-2c86DhL-2oD45GU-brAgca/" title="Carnevalesca (1918)"><img alt="Carnevalesca (1918)" height="500" src="https://live.staticflickr.com/65535/31601520407_5334bc7a68.jpg" width="307" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish cromo by Amattler Marca Luna chocolate, series 7, no. 19. <a href="https://filmstarpostcards.blogspot.com/search/label/Lyda%20Borelli"><b>Lyda Borelli</b></a> in <i>Carnevalesca</i> (Amleto Palermi, 1918), after Lucio D'Ambra. Photography was by Giovanni Grimaldi. On this card, Borelli's character, Queen Maria Teresa, flees the castle after having unjustly killed her husband.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/6853164995/in/photolist-PsYq1D-Q9w438-R6kyLu-R6kEyw-RLPe7u-2asAhvW-2bQwhCc-2c86h1s-2c86Bhd-2cw1T5t-2cw1U2Z-2cw1UYZ-2cw1W9z-2d9EsyE-2jHx5Er-2jHx5HN-2jHxSJb-2jHxTih-2naGkUp-2naHNPc-2naHNQQ-2naKfcW-2naKfds-2nVYu8E-2oD6eMW-2c86zio-2c86DhL-2oD45GU-brAgca/" title="Lia Formia"><img alt="Lia Formia" height="500" src="https://live.staticflickr.com/7030/6853164995_9dc0d8fbe9.jpg" width="317" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Italian postcard, no. 226. Collection: Didier Hanson. Italian actress <a href="https://filmstarpostcards.blogspot.com/search/label/Lia%20Formia"><b>Lia Formia</b></a> appeared in 20 silent films between 1918 and 1925. For years she was the leading actress of director Lucio D'Ambra.<br />
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Sources: <a href="https://www.treccani.it/enciclopedia/lucio-d-ambra_(Enciclopedia-del-Cinema)/">Gianni Rondolino</a> (Enciclopedia Treccani), Wikipedia (<a href="https://it.wikipedia.org/wiki/Lucio_D%27Ambra">Italian</a>, <a href="https://fr.wikipedia.org/wiki/Lucio_D%27Ambra">French</a> and <a href="https://en.wikipedia.org/wiki/Lucio_D%27Ambra">English</a>) and <a href="https://www.imdb.com/name/nm0195076/?ref_=fn_al_nm_1">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-22800723223179458182024-03-10T07:00:00.135+01:002024-03-10T07:59:47.097+01:00Kay Kendall<b>Kay Kendall (1927-1959) was a British film actress and comedienne. The comedy <i>Genevieve</i> (1953) brought her widespread recognition and she won a Golden Globe for the musical-comedy <i>Les Girls</i> (1957). Kendall died of leukaemia, at the age of 32. She was married to Rex Harrison.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53519173017/in/dateposted/" title="Kay Kendall"><img alt="Kay Kendall" height="500" src="https://live.staticflickr.com/65535/53519173017_556f61c98a.jpg" width="345" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Italian postcard by S.A. Poligrafica Sammarinese, no. 025d.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53506134969/in/photolist-2mDCbGm-2pui2QF-2puWAiG-2pvvjJA-2pw9VNr-2pwTrsM-2pxiKyn" title="Kay Kendall"><img alt="Kay Kendall" height="500" src="https://live.staticflickr.com/65535/53506134969_8388075dda.jpg" width="308" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Greetings series, London. Photo: J. Arthur Rank Organisation.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53514429453/in/photolist-2puWAiG-2pw9VNr-2pvvjJA-2pwTrsM-2pui2QF-2pxiKyn" title="Kay Kendall"><img alt="Kay Kendall" height="500" src="https://live.staticflickr.com/65535/53514429453_1b184b8b18.jpg" width="323" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British autograph card by J. Arthur Rank Organisation.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
A pitch-perfect screen performance
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<b>Kay Kendall</b> was born <b>Justine Kay Kendall-McCarthy</b> in 1927 in Withernsea, Yorkshire, England. She was the second daughter of a theatrical couple, <b>Terrence "Terry" McCarthy</b> and <b>Gladys Drewery</b>. Her grandmother, <b>Marie Kendall</b>, was an Edwardian music hall legend. Kay studied ballet for six years in London. Kendall left school at the age of 12 to appear in revue.<br />
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Two years later, she toured English music halls in a double act with her sister Kim Kendall. During the war, she toured with ENSA singing and dancing, before switching to acting. From her mid-teens, she worked as an extra for Ealing Studios but soon graduated to bigger bit parts. At seventeen she landed a major role in the ambitious musical <i>London Town</i> (Wesley Ruggles, 1946) starring <b>Sid Field</b>. The film is best known for its massive box office failure.<br />
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Kendall returned to the theatre and bit parts in films. She co-starred with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Petula%20Clark">Petula Clark</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Diana%20Dors">Diana Dors</a></b> in the drama <i>Dance Hall</i> (Charles Crichton, 1950). Unusually for an Ealing production of the time, the film tells the story of the four women and their romantic encounters from a female perspective, presumably the input of screenwriter <b>Diana Morgan</b>. After <i>It Started in Paradise</i> (Compton Bennett, 1952) she secured a Rank contract.<br />
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Her appearance in the comedy <i>Genevieve</i> (Henry Cornelius, 1953) brought her widespread recognition. <b>Dylan Cave</b> at <b><i>BFI Screenonline</i></b>: "Many film actors spend a career looking for a defining moment; a screen performance so pitch-perfect that their name is indelibly stamped on the public consciousness and stardom is assured. Kay Kendall had such a moment in one of British cinema's most parochial films. Her vivacious Rosalie Peters in <i>Genevieve</i> (d. Henry Cornelius, 1953) secured her future as a star, but now unfairly summarises the extent of her fame."<br />
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Kendall followed this with the even more popular comedy <i>Doctor in the House</i> (Ralph Thomas, 1954), the first film in the Doctor series with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Dirk%20Bogarde">Dirk Bogarde</a></b>. She was under contract to the Rank Organisation but was unhappy with the parts offered. She appeared with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Peter%20Finch">Peter Finch</a></b> in the comedy <i>Simon and Laura</i> (Muriel Box, 1955), satirising the early days of BBC Television. Then followed the comedy <i>Abdulla the Great</i> (Gregory Ratoff, 1955) with <b>Sydney Chaplin</b>, the second son of actor <b><a href="https://filmstarpostcards.blogspot.com/search/label/Charles%20Chaplin">Charlie Chaplin</a></b>, with whom she had an affair. Her first big-budget film was the historical epic <i>The Adventures of Quentin Durward</i> (Richard Thorpe, 1955) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20Taylor">Robert Taylor</a></b>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53498797862/in/photolist-2puWAiG-2pw9VNr-2pvvjJA-2pwTrsM-2pui2QF-2pxiKyn" title="Kay Kendall"><img alt="Kay Kendall" height="500" src="https://live.staticflickr.com/65535/53498797862_2e583c9ecf.jpg" width="318" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Picturegoer Series, London, no. D 330. Photo: J. Arthur Rank Organisation.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53485083187/in/photolist-2puWAiG-2pw9VNr-2pvvjJA-2pwTrsM-2pui2QF-2pxiKyn/" title="Kay Kendall"><img alt="Kay Kendall" height="500" src="https://live.staticflickr.com/65535/53485083187_5d00ba0b5a.jpg" width="320" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Star Autograph Portrait Series, no. 62 Photo: J. Arthur Rank Organisation.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
An instinctive comedienne with a real clown sense
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<b>Kay Kendall</b> began a romantic relationship with actor <b><a href="https://filmstarpostcards.blogspot.com/search/label/Rex%20Harrison">Rex Harrison</a></b> after they appeared together in the comedy <i>The Constant Husband</i> (Sidney Gilliat, 1955). Harrison was married at the time.<br />
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According to legend, he learned of Kay's leukaemia from her doctor and divorced <b><a href="https://filmstarpostcards.blogspot.com/search/label/Lilli%20Palmer">Lilli Palmer</a></b>. He married Kay in 1957, agreeing with the doctor never to tell her the reason for her failing health.<br />
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Prolific in British films, Kendall achieved some popularity with American audiences and won a Golden Globe Award for her role as Lady Sybil Wren in the musical-comedy film <i>Les Girls</i> (George Cukor, 1957), the story of three showgirls in postwar Paris with <b>Mitzi Gaynor</b> and <b>Taina Elg</b>.<br />
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The following year, she and Harrison starred together in <i>The Reluctant Debutante</i> (Vincente Minnelli, 1958). They lived the good life up until the end. In 1959 Kay Kendall died of leukaemia, at the age of 32. Her last film, released posthumously, was the comedy <i>Once More, with Feeling!</i> (Stanley Donen, 1960), with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Yul%20Brynner">Yul Brynner</a></b>.<br />
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<b><i>Wikipedia</i></b> cites <b>Stanley Donen</b>: "She was completely unpredictable. She was an instinctive comedienne with a real clown sense. No one has had it since <b><a href="https://filmstarpostcards.blogspot.com/search/label/Carole%20Lombard">Carole Lombard</a></b> – and Kay was a better actress." Kendall's gravesite is in the churchyard of St John-at-Hampstead Church. Kendall's life is recounted in the 2002 biography 'The Brief, Madcap Life of Kay Kendall' by <b>Eve Golden</b> and <b>Kim Elizabeth Kendall</b>.<br />
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Yugoslavian postcard by Sedma Sila. Photo: Morava Film, Beograd (Belgrade). 'Kay Kennedy' is a misspelling of Kay Kendall.<br />
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Vintage postcard, no. 14. Photo: M.G.M. <b>Kay Kendall</b> in <i>Les Girls</i> (George Cukor, 1957).<br />
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Sources: <a href="http://www.screenonline.org.uk/people/id/485944/">Dylan Cave</a> (Screenonline), <a href="https://nl.findagrave.com/memorial/5635/kay-kendall">Find A Grave</a>, <a href="https://en.wikipedia.org/wiki/Kay_Kendall">Wikipedia</a> and <a href="https://www.imdb.com/name/nm0447608/">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-21368709379239789322024-03-09T07:00:00.300+01:002024-03-09T07:00:00.142+01:00Mel Ferrer<b>American film actor, director and producer Mel Ferrer (1917-2008) was a key figure in Hollywood cinema in the 1950s and 1960s. He is best remembered for the role of the lame puppeteer in <i>Lili</i> (1953) and as Prince Andrei in <i>War and Peace</i> (1956). He also starred in such period films as <i>Scaramouche</i> (1952) and <i>The Knights of the Round Table</i> (1953). As a producer, he achieved success with the thriller <i>Wait Until Dark</i> (1967), in which his wife Audrey Hepburn starred.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53528664644/in/photolist-K2eXeo-PU5num-2po1YPL-2puopQd-2puYKE7-2pv5JcN-2pvvjJk-2pwkwf8-2pwUcUd-2pxpaxW-2py9p67-2pyDSnd" title="Mel Ferrer in Rancho Notorious (1952)"><img alt="Mel Ferrer in Rancho Notorious (1952)" height="500" src="https://live.staticflickr.com/65535/53528664644_2840be60c1.jpg" width="318" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard, no. 952. Photo: R.K.O. <b>Mel Ferrer</b> in <i>Rancho Notorious</i> (Fritz Lang, 1952).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53486132728/in/photolist-K2eXeo-PU5num-2po1YPL-2puopQd-2puYKE7-2pv5JcN-2pvvjJk-2pwkwf8-2pwUcUd-2pxpaxW-2py9p67-2pyDSnd" title="Mel Ferrer in Lili (1953)"><img alt="Mel Ferrer in Lili (1953)" height="500" src="https://live.staticflickr.com/65535/53486132728_9fdedc9924.jpg" width="322" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Picturegoer Series, London, no. D. 364. Photo: Metro-Goldwyn-Mayer. <b>Mel Ferrer</b> in <i>Lili</i> (Charles Walters, 1953).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/31438078624/in/photolist-K2eXeo-PU5num-2po1YPL-2puopQd-2puYKE7-2pv5JcN-2pvvjJk-2pwkwf8-2pwUcUd-2pxpaxW-2py9p67-2pyDSnd" title="Audrey Hepburn and Mel Ferrer"><img alt="Audrey Hepburn and Mel Ferrer" height="500" src="https://live.staticflickr.com/464/31438078624_48893b97e9.jpg" width="329" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard by Takken, Utrecht, no. 1598. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Audrey%20Hepburn">Audrey Hepburn</a></b> and <b>Mel Ferrer</b>.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Assistant to John Ford
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<b>Melchor Gaston 'Mel' Ferrer</b> was born in Elberon, New Jersey, in 1917. His father, who died in 1920, was a Cuban-born surgeon and chief of staff at St Vincent's Hospital in New York. His mother was <b>Mary Matilda Irene O'Donohue</b>, the daughter of <b>Joseph J. O'Donohue</b>, a coffee merchant who had become a commissioner in the New York City Department of Parks and Recreation. Ferrer had two sisters and a brother.<br />
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Mel attended Bovée School in New York and Canterbury Prep School in Connecticut. Het studied briefly at Princeton University and made his stage debut in the play 'Awhile to Work', for which he won the Theatre Intime award for best new play by a Princeton student. His partner was <b>Frances Pilchard</b>, whom he married in 1937. At 21, he performed as a chorus dancer on Broadway in 1938 in two musicals.<br />
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Two years later, he made his Broadway debut as an actor. After contracting polio, he first worked as a disc jockey in Texas and Arkansas and then moved to Mexico to devote himself to writing the novel 'Tito's Hat', published in 1940. He eventually returned to Broadway and entered the film business. He also directed and produced several radio programmes for NBC.<br />
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He made his modest directorial debut with the drama <i>The Girl of the Limberlost</i> (Mel Ferrer, 1945). He returned to acting on Broadway to star in <b>Lillian Smith</b>'s 'Strange Fruit' and then assisted <b>John Ford</b> on the set of <i>The Fugitive</i> (John Ford, 1947) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Henry%20Fonda">Henry Fonda</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Dolores%20del%20R%C3%ADo">Dolores del Rio</a></b>, in which he also made a small appearance.<br />
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Along with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Gregory%20Peck">Gregory Peck</a></b>, <b>Dorothy McGuire</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Joseph%20Cotten">Joseph Cotten</a></b>, he founded the La Jolla Playhouse in San Diego. He directed <b><a href="https://filmstarpostcards.blogspot.com/search/label/Claudette%20Colbert">Claudette Colbert</a></b> in <i>The Secret Fury</i> (Mel Ferrer, 1950) and got his first real role in the drama <i>Lost Boundaries</i> (Alfred L. Werker, 1949) with <b>Beatrice Pearson</b>, where he played a light-skinned doctor from New Zealand, who passed for white while living in New England in the 1930s and 1940s. The film won the 1949 Cannes Film Festival award for Best Screenplay.<br />
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French postcard by Edition du Globe, Paris, no. 447. Photo: Sam Lévin.<br />
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West German postcard by Ufa/Film-Foto, Berlin-Tempelhof, no. FK 4383. Photo: Sam Lévin / Ufa.<br />
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West German postcard by WS-Druck, Wanne-Eickel, no. 254. Photo: MGM / Archiv Filmpress Zürich.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
'Hi-Lili-Hi-Lo'
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After being noticed, <b>Mel Ferrer</b> went on to play more important roles, notably in <i>Born to Be Bad</i> (Nicholas Ray, 1950). The following year, he played <b><a href="https://filmstarpostcards.blogspot.com/search/label/Marlene%20Dietrich">Marlene Dietrich</a></b>'s lover in the Western <i>Rancho Notorious</i> (Fritz Lang, 1951).<br />
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Then he played the Marquis of Maynes in the classic Swashbuckler <i>Scaramouche</i> (George Sidney, 1952) opposite <b><a href="https://filmstarpostcards.blogspot.com/search/label/Stewart%20Granger">Stewart Granger</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Janet%20Leigh">Janet Leigh</a></b>. The film, particularly notable for a long, climactic sword fight between Ferrer and Granger, was a huge hit. In 1953, he played opposite <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leslie%20Caron">Leslie Caron</a></b> in the musical <i>Lili</i> (Charles Walters, 1953). It was another big success. Ferrer and Caron also got a hit single out of it, 'Hi-Lili-Hi-Lo'.<br />
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That same year, he met <b><a href="https://filmstarpostcards.blogspot.com/search/label/Audrey%20Hepburn">Audrey Hepburn</a></b> and immediately thought of her for a play by <b>Jean Giraudoux</b>, 'Ondine' (1954), on Broadway. The two fell in love and married in 1954 in Switzerland. Mel Ferrer made a name for himself on screen in the British historical adventure film <i>The Knights of the Round Table</i> (Richard Thorpe, 1953), where he played King Arthur, who competed with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20Taylor">Robert Taylor</a></b> for the love of <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ava%20Gardner">Ava Gardner</a></b>.<br />
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He played a dashing captain in the British musical comedy <i>Oh Rosalinda</i> (Michael Powell, Emeric Pressburger, 1955). With <b><a href="https://filmstarpostcards.blogspot.com/search/label/Audrey%20Hepburn">Audrey Hepburn</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Henry%20Fonda">Henry Fonda</a></b>, he starred in the blockbuster <i>War and Peace</i> (King Vidor, 1956), based on <b>Leo Tolstoy</b>'s 1869 novel of the same name. With a huge budget, thousands of extras and historical reconstructions, it was a long, tough shoot, but the film was a success. Mel Ferrer played a very dignified Prince Andrei.<br />
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The following year, he was one of <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ingrid%20Bergman">Ingrid Bergman</a></b>'s suitors in <i>Elena et les Hommes/Elena and Her Men</i> (Jean Renoir, 1956), then a tormented writer in <i>The Sun Also Rises</i> (Henry King, 1957), an all-star adaptation of the 1926 <b>Ernest Hemingway</b> novel of the same name. He returned to directing with <i>Green Mansions</i> (Mel Ferrer, 1959), starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Audrey%20Hepburn">Audrey Hepburn</a></b>, in which he had a part of the Amazon rainforest reconstructed in the studio.<br />
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Dutch postcard by Takken, Utrecht, no. AX 1912. Photo: Ufa. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Audrey%20Hepburn">Audrey Hepburn</a></b> and <b>Mel Ferrer</b>. Collection: Marlene Pilaete.
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British postcard in the Picturegoer Series, London, no. D. 184. Photo: Film Classics.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/28237379772/in/photolist-K2eXeo-PU5num-2po1YPL-2puopQd-2puYKE7-2pv5JcN-2pvvjJk-2pwkwf8-2pwUcUd-2pxpaxW-2py9p67-2pyDSnd" title="Filmschauspeieler aus aller Welt"><img alt="Filmschauspeieler aus aller Welt" height="500" src="https://live.staticflickr.com/8731/28237379772_7979ab6ae9.jpg" width="358" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Kunst und Film Verlag H. Lukow, Hannover, no. L2/1042. Caption: Filmschauspieler aus aller Welt (Film actors from around the world). From top left to down right: <b><a href="https://filmstarpostcards.blogspot.com/search/label/Linda%20Darnell">Linda Darnell</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Tyrone%20Power">Tyrone Power</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Elizabeth%20Taylor">Elizabeth Taylor</a></b>, <a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20Taylor"><b>Robert Taylor</b> </a>and his wife <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ursula%20Thiess">Ursula Thiess</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Gina%20Lollobrigida">Gina Lollobrigida</a></b> and her husband <b>Milko Skofic</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Audrey%20Hepburn">Audrey Hepburn</a></b> and <b>Mel Ferrer</b>, <b>Mona Baptiste</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Mara%20Lane">Mara Lane</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Gloria%20DeHaven">Gloria DeHaven</a></b>.
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<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
A complex and tormented man
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In 1961, Mel Ferrer took part in the war film <i>The Longest Day</i> (Bernhard Wicki, Andrew Morton, Ken Annakin, 1962) alongside an all-star cast including <b><a href="https://filmstarpostcards.blogspot.com/search/label/John%20Wayne">John Wayne</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Henry%20Fonda">Henry Fonda</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20Mitchum">Robert Mitchum</a></b>. Another major production, albeit a failure, was <b>Anthony Mann</b>'s <i>The Fall of the Roman Empire</i> (1963). He then embarked on a more international career, shooting extensively in Europe, notably in France for <b><a href="https://filmstarpostcards.blogspot.com/2023/10/directed-by-julien-duvivier.html">Julien Duvivier</a></b> and in Italy for <b>Luciano Salce</b>.<br />
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In an atypical role, Mel Ferrer played French priest and educational reformer <b>Jean-Baptiste de La Salle</b> in the Spanish biopic <i>El señor de La Salle/Who Are My Own</i> (Luis César Amadori, 1964). In Spain, he also directed his last film, a musical with teen star <b><a href="https://filmstarpostcards.blogspot.com/search/label/Marisol">Marisol</a></b>, <i>Cabriola</i> (Mel Ferrer, 1965). In 1967, he produced the psychological thriller <i>Wait Until Dark</i> (Terence Young, 1967), his last collaboration with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Audrey%20Hepburn">Audrey Hepburn</a></b>, whom he encouraged to accept the role. They separated the following year. A complex and tormented man, he never really accepted the fact that his wife was more famous than he was. <br />
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During the 1970s, he appeared in several Italian cult films, including the supernatural horror film <i>L'anticristo/The Antichrist</i> (Alberto De Martino, 1974), the Giallo <i>Morte sospetta di una minorenne/The Suspicious Death of a Minor</i> (Sergio Martino, 1975), the Swashbuckler <i>Il corsaro nero/The Black Corsair</i> (Sergio Sollima, 1976) starring <b>Kabir Bedi</b>, and the Science-Fiction Horror film <i>Incubo sulla città contaminata/Nightmare City</i> (Umberto Lenzi, 1980).<br />
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He went to Germany for two interesting films. Wolfgang Staudte's last feature film, <i>Zwischengleis/Yesterday's Tomorrow</i> (1978) with <b>Pola Kinski</b>, and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Rainer%20Werner%20Fassbinder">Rainer Werner Fassbinder</a></b>'s <i>Lili Marleen</i> (1981) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Hanna%20Schygulla">Hanna Schygulla</a></b>. From 1981 to 1984, he also rose to prominence among television viewers through his part in the TV series <i>Falcon Crest</i> in which he played the role of Philip Erickson, the rogue lawyer of leading lady Angela (<b>Jane Wyman)</b>, whom he eventually married briefly. He also appeared in the TV Mini-Series <i>Peter the Great</i> (Marvin J. Chomsky, Lawrence Schiller, 1986) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Maximilian%20Schell">Maximilian Schell</a></b>. His final film was the action film <i>Eye of the Widow</i> (Andrew V. MacLaglen, 1991).<br />
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Ferrer directed more than 10 films and acted in more than eighty. For his part in the film industry, Mel Ferrer received a star on the Hollywood Walk of Fame at 6268 Hollywood Blvd. Ferrer married five times. His first and third marriages were to the same woman, <b>Frances Gulby Pilchard</b>, the first from 1937 to 1939, the second in 1944, both marriages ended in divorce. His second marriage (1940) was to <b>Barbara C. Tripp</b>, this marriage also ended in divorce. His fourth marriage was to <b><a href="https://filmstarpostcards.blogspot.com/search/label/Audrey%20Hepburn">Audrey Hepburn</a></b>, from 1954 to 1968. His fifth marriage, in 1971, was to <b>Elizabeth Soukhoutine</b>. He had six children, including <b>Sean Hepburn Ferrer</b> with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Audrey%20Hepburn">Audrey Hepburn</a></b>. Mel Ferrer died of heart failure at a convalescent home in Santa Barbara, California, in 2008, aged 90.<br />
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German postcard by Kunst und Bild, Berlin-Charlottenburg, no. S 760. Photo: Metro Goldwyn Mayer. <b>Mel Ferrer</b> in <i>The Vintage</i> (Jeffrey Hayden, 1957).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53493999012/in/photolist-K2eXeo-PU5num-2po1YPL-2puopQd-2puYKE7-2pv5JcN-2pvvjJk-2pwkwf8-2pwUcUd-2pxpaxW-2py9p67-2pyDSnd" title="Pier Angeli and Mel Ferrer in The Vintage (1957)"><img alt="Pier Angeli and Mel Ferrer in The Vintage (1957)" height="500" src="https://live.staticflickr.com/65535/53493999012_0627dcf8be.jpg" width="325" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Kunst und Bild, Berlin-Charlottenburg, no. C D 22. Photo: M.G.M. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Pier%20Angeli">Pier Angeli</a></b> and <b>Mel Ferrer</b> in <i>The Vintage</i> (Jeffrey Hayden, 1957).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53498797847/in/photolist-K2eXeo-PU5num-2po1YPL-2puopQd-2puYKE7-2pv5JcN-2pvvjJk-2pwkwf8-2pwUcUd-2pxpaxW-2py9p67-2pyDSnd" title="Mel Ferrer"><img alt="Mel Ferrer" height="500" src="https://live.staticflickr.com/65535/53498797847_b6a83f3d5c.jpg" width="317" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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West German postcard by Ufa/Film-Foto, Berlin-Tempelhof, no. FK 3819. Photo: Centfox (20th Century Fox). <b>Mel Ferrer</b> in <i>Fräulein</i> (Henry Koster, 1958).<br />
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Sources: Wikipedia (<a href="https://nl.wikipedia.org/wiki/Mel_Ferrer">Dutch</a>, <a href="https://fr.wikipedia.org/wiki/Mel_Ferrer">French</a> and <a href="https://en.wikipedia.org/wiki/Mel_Ferrer">English</a>) and <a href="https://www.imdb.com/name/nm0002072/">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-42620065762235936512024-03-08T07:00:00.056+01:002024-03-08T07:38:23.707+01:00Faye Dunaway<div dir="ltr" style="text-align: left;" trbidi="on">
<b>American film actress <b>Faye Dunaway</b> (1941) is a classic beauty with high cheekbones and a husky resonant voice. She had her breakthrough as Bonnie Parker in <i>Bonnie and Clyde</i> (1967) and became one of Hollywood's biggest stars of the 1970s with <i>Chinatown</i> (1974), <i>Three Days of the Condor</i> (1975) and <i>Network</i> (1976), for which she won the Oscar. She also played in several European films.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/13864279523/in/photolist-n894h8-rfH9uX-rshmo4-s3mSeo-sf8eAf-ucu1e1-vEb3ab-2hXWkHe-2mPxLWa-2padc4Z-2pawSpN-2puciDR-2puKWcJ-2pw3MNU-2pwF5wR" title="Warren Beatty and Faye Dunaway in Bonnie and Clyde (1967)"><img alt="Warren Beatty and Faye Dunaway in Bonnie and Clyde (1967)" height="500" src="https://live.staticflickr.com/3710/13864279523_dba7ba465c.jpg" width="327" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard. Photo: publicity still for <i>Bonnie and Clyde</i> (Arthur Penn, 1967) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Warren%20Beatty">Warren Beatty</a></b>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51733902845/in/photolist-2hXWkHe-sf8eAf-2mPxLWa-rfH9uX-rshmo4-2puciDR-s3mSeo-2puKWcJ-vEb3ab-2jEabU8-ucu1e1-n894h8-2nbyiDZ-2nKmqra-2n7ACrb-2nmiEZm-2nkCpLR-2oCEboA-2nJ7Xgi-2nbULoR-2oBQs4A-2nooHbG-2gZdkYd-2n8yXPh-2n7En7o-2nLAtEd-2naExMi-2mWQbsU-2nJJAW5-2n9fa8F-2nHnLWv-2nkKg7A-2oyfNEf-2nmyE8K-2nm6LEJ-2nnPqCC-2jpvPAd-2n8wc7i-2oEmfu6-2oBohfL-2nHCMaD-2gbSEuE-2jH5grk-2jAwtQJ-2oDsgkz-2na9jh8-2n5go3Y-2g8rAxe-2jP2QrJ-2nJjtJd/" title="Faye Dunaway in Chinatown (1974)"><img alt="Faye Dunaway in Chinatown (1974)" height="500" src="https://live.staticflickr.com/65535/51733902845_bd6b970114.jpg" width="356" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Star-Graphics, London, no. S 118. <b>Faye Dunaway</b> in <i>Chinatown</i> (Roman Polanski, 1974). Collection: Carla Bosch. <br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/16575378327/in/photolist-rfH9uX-rshmo4-2pw3MNU-2puciDR-s3mSeo-vEb3ab-2jEabU8-2puKWcJ-2pwF5wR-ucu1e1-n894h8-2nKmqra-2nbyiDZ-2n7ACrb-2nmiEZm-2nkCpLR-2oCEboA-2nJ7Xgi-2nbULoR-2oBQs4A-2nooHbG-2gZdkYd-2n8yXPh-2n7En7o-2nLAtEd-2naExMi-2nJJAW5-2mWQbsU-2nHnLWv-2n9fa8F-2nkKg7A-2oyfNEf-2nm6LEJ-2nmyE8K-2nnPqCC-2jpvPAd-2n8wc7i-2oEmfu6-2oBohfL-2gbSEuE-2jH5grk-2jAwtQJ-2oDsgkz-2nHCMaD-2na9jh8-2n5go3Y-2g8rAxe-2jP2QrJ-2nJjtJd-2na2tnN" title="Faye Dunaway"><img alt="Faye Dunaway" height="500" src="https://live.staticflickr.com/7622/16575378327_a257e8a75d.jpg" width="322" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
American postcard by Coral-Lee, Rancho Cordova, Ca., Personality #22, 1978. Photo: Douglas Kirkland.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/16706338447/in/photolist-rfH9uX-rshmo4-2pw3MNU-2puciDR-s3mSeo-vEb3ab-2jEabU8-2puKWcJ-2pwF5wR-ucu1e1-n894h8-2nKmqra-2nbyiDZ-2n7ACrb-2nmiEZm-2nkCpLR-2oCEboA-2nJ7Xgi-2nbULoR-2oBQs4A-2nooHbG-2gZdkYd-2n8yXPh-2n7En7o-2nLAtEd-2naExMi-2nJJAW5-2mWQbsU-2nHnLWv-2n9fa8F-2nkKg7A-2oyfNEf-2nm6LEJ-2nmyE8K-2nnPqCC-2jpvPAd-2n8wc7i-2oEmfu6-2oBohfL-2gbSEuE-2jH5grk-2jAwtQJ-2oDsgkz-2nHCMaD-2na9jh8-2n5go3Y-2g8rAxe-2jP2QrJ-2nJjtJd-2na2tnN/" title="Faye Dunaway"><img alt="Faye Dunaway" height="500" src="https://live.staticflickr.com/8720/16706338447_707e1d1eba.jpg" width="353" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
Autograph card.<br />
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<h3 style="text-align: left;">
<span style="color: #b45f06;">Pop culture juggernaut</span></h3>
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<b>Dorothy Faye Dunaway</b> was born on a farm in Bascom, Florida in 1941, the daughter of <b>Grace April (Smith</b>), a housewife, and <b>John MacDowell Dunaway, Jr</b>., an army officer. After high school she majored in education at the University of Florida, but switched to theatre arts and transferred to Boston University, earning her degree in 1962. <br />
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In 1962, at the age of 21, she took acting classes at the American National Theater and Academy. She did four plays on Broadway over the next three years. Her first screen appearance was on the short-lived TV drama series <i>Seaway</i> (1965). Dunaway's first film appearance was in <i>The Happening</i> (Elliot Silverstein, 1967), which starred <b><a href="https://filmstarpostcards.blogspot.com/search/label/Freddy%20Quinn">Anthony Quinn</a></b>. That role was followed by a supporting role in the drama <i>Hurry Sundown</i> (Otto Preminger, 1967), co-starring <b><a href="https://filmstarpostcards.blogspot.nl/search/label/Michael%20Caine">Michael Caine</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jane%20Fonda">Jane Fonda</a></b>. While she had difficulties with Preminger, her performance was well-received and she was nominated for a Golden Globe Award for Best New Star of the Year. <br />
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Then she skyrocketed to fame as the bank robber Bonnie Parker in the pop culture juggernaut <i>Bonnie and Clyde</i> (Arthur Penn, 1967), with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Warren%20Beatty">Warren Beatty</a></b>. The film, though controversial, was a smash hit, and elevated Dunaway to stardom. For her part, Dunaway earned her first Academy Award nomination. She lost to <b><a href="https://filmstarpostcards.blogspot.com/search/label/Katharine%20Hepburn">Katherine Hepburn</a></b> but won the BAFTA Award for Best Newcomer. <br />
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From then on she was in demand everywhere, holding her own against <b><a href="https://filmstarpostcards.blogspot.com/2022/10/steve-mcqueen.html">Steve McQueen</a></b> in the caper film <i>The Thomas Crown Affair</i> (Norman Jewison, 1968). The film was immensely popular and was famed for a scene where Dunaway and McQueen play a chess game and silently engage in heavy seduction of each other across the board. <br />
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She then took on a role in the Italian film, <i>Amanti/A Place for Lovers</i> (Vittorio De Sica, 1968). Dunaway played a terminally ill fashion designer who has a doomed romance with an Italian race car driver (<b><a href="https://filmstarpostcards.blogspot.nl/search/label/Marcello%20Mastroianni">Marcello Mastroianni</a></b>). Dunaway and Mastroianni fell in love in reality too and had a two-year affair.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/18507934850/in/photolist-n894h8-rfH9uX-rshmo4-s3mSeo-sf8eAf-ucu1e1-vEb3ab-2hXWkHe-2mPxLWa-2padc4Z-2pawSpN-2puciDR-2puKWcJ-2pw3MNU-2pwF5wR" title="Faye Dunaway and Warren Beatty in Bonnie and Clyde (1967)"><img alt="Faye Dunaway and Warren Beatty in Bonnie and Clyde (1967)" height="325" src="https://live.staticflickr.com/345/18507934850_db2332f677.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard. Photo: publicity still for <i>Bonnie and Clyde</i> (Arthur Penn, 1967) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Warren%20Beatty">Warren Beatty</a></b>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53272769612/in/photolist-n894h8-rfH9uX-rshmo4-s3mSeo-sf8eAf-ucu1e1-vEb3ab-2hXWkHe-2mPxLWa-2padc4Z-2pawSpN-2puciDR-2puKWcJ-2pw3MNU-2pwF5wR" title="Gene Hackman, Estelle Parsons, Warren Beatty, Faye Dunaway and Michael J. Pollard in Bonnie and Clyde (1967)"><img alt="Gene Hackman, Estelle Parsons, Warren Beatty, Faye Dunaway and Michael J. Pollard in Bonnie and Clyde (1967)" height="352" src="https://live.staticflickr.com/65535/53272769612_647eb0938b.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Canadian postcard by Canadian Postcard, no. A-18. Photo: Columbia TriStar. <a href="https://filmstarpostcards.blogspot.com/search/label/Gene%20Hackman"><b>Gene Hackman</b></a>, <b>Estelle Parsons</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Warren%20Beatty">Warren Beatty</a></b>, <b>Faye Dunaway</b> and <b>Michael J. Pollard</b> in <i>Bonnie and Clyde</i> (Arthur Penn, 1967).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53269125251/in/photolist-n894h8-rfH9uX-rshmo4-s3mSeo-sf8eAf-ucu1e1-vEb3ab-2hXWkHe-2mPxLWa-2padc4Z-2pawSpN-2puciDR-2puKWcJ-2pw3MNU-2pwF5wR/" title="Faye Dunaway and Warren Beatty at the premiere of Bonnie and Clyde"><img alt="Faye Dunaway and Warren Beatty at the premiere of Bonnie and Clyde" height="344" src="https://live.staticflickr.com/65535/53269125251_f274cfb5ec.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Editions Hazan, 1996. Photo: Raymond Depardon. <b>Faye Dunaway</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Warren%20Beatty">Warren Beatty</a></b> at the premiere of <i>Bonnie and Clyde</i> (Arthur Penn, 1967).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53490332248/in/photolist-2hXWkHe-sf8eAf-2mPxLWa-rfH9uX-rshmo4-2puciDR-s3mSeo-2puKWcJ-vEb3ab-2jEabU8-ucu1e1-n894h8-2nbyiDZ-2nKmqra-2n7ACrb-2nmiEZm-2nkCpLR-2oCEboA-2nJ7Xgi-2nbULoR-2oBQs4A-2nooHbG-2gZdkYd-2n8yXPh-2n7En7o-2nLAtEd-2naExMi-2mWQbsU-2nJJAW5-2n9fa8F-2nHnLWv-2nkKg7A-2oyfNEf-2nmyE8K-2nm6LEJ-2nnPqCC-2jpvPAd-2n8wc7i-2oEmfu6-2oBohfL-2nHCMaD-2gbSEuE-2jH5grk-2jAwtQJ-2oDsgkz-2na9jh8-2n5go3Y-2g8rAxe-2jP2QrJ-2nJjtJd/" title="Faye Dunaway in Puzzle of a Downfall Child (1970)"><img alt="Faye Dunaway in Puzzle of a Downfall Child (1970)" height="356" src="https://live.staticflickr.com/65535/53490332248_72b02de34f.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Editions La Malibran, Paris / Saint-Dié, no. MC 14. <b>Faye Dunaway</b> in <i>Puzzle of a Downfall Child</i> (Jerry Schatzberg, 1970). The French title was <i>Portait d'une enfant déchue</i>.<br />
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<h3 style="text-align: left;">
<span style="color: #b45f06;">A shadowy femme fatale</span></h3>
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Faye Dunaway had another success with the villainous role of Milady de Winter in an all-star adaptation of <b><a href="https://filmstarpostcards.blogspot.com/2022/06/written-by-alexandre-dumas-pere.html">Alexandre Dumas</a></b>' <i>The Three Musketeers</i>, starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Michael%20York">Michael York</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Oliver%20Reed">Oliver Reed</a></b>, <b>Richard Chamberlain</b>, <b><a href="https://filmstarpostcards.blogspot.nl/search/label/Raquel%20Welch">Raquel Welch</a></b>, and Dunaway. After filming, the makers decided to split the film into two parts: <i>The Three Musketeers</i> (Richard Lester, 1973) and <i>The Four Musketeers</i> (Richard Lester, 1974). Critics and audiences alike praised the film for its action and its comic tone, and it was the first in a line of successful projects for Dunaway. <br />
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<b>Roman Polanski</b> offered Dunaway the lead role of Evelyn Mulwray in his mystery Neo-Noir <i>Chinatown</i> (1974). Mulwray is a shadowy femme fatale who knows more than she is willing to let Detective J.J. Gittes (played by <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jack%20Nicholson">Jack Nicholson</a></b>) know. The film made back its budget almost five times and received 11 Academy Award nominations. Dunaway received a second Best Actress nomination and also received a Golden Globe nomination and a BAFTA nomination. <br />
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Dunaway's next project was the all-star disaster epic <i>The Towering Inferno</i> (John Guillermin, 1974). She played the role of <a href="https://filmstarpostcards.blogspot.com/search/label/Paul%20Newman"><b>Paul Newman</b></a>'s girlfriend, who is trapped in a burning skyscraper along with several other hundred people. The film became the highest-grossing film of the year, further cementing Dunaway as a top actress in Hollywood. <br />
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It was also in 1974 that Dunaway married <b>Peter Wolf</b>, who was the lead singer of the rock group <b>The J. Geils Band</b>. In 1975, Dunaway joined <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20Redford">Robert Redford</a></b> in the political thriller <i>Three Days of the Condor</i> (Sydney Pollack, 1975). A significant critical and commercial success, the film continues to be praised. Dunaway's performance was very well regarded. <br />
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In 1976 she finally won the Oscar for the satire <i>Network</i> (Sidney Lumet, 1976) as the scheming TV executive Diana Christensen, a ruthless woman who will do anything for higher ratings. She returned to the screen in <i>Eyes of Laura Mars</i> (John Carpenter, 1978), a thriller about a fashion photographer who sees visions of a killer murdering people. <br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/17225118414/in/photolist-n894h8-rfH9uX-rshmo4-s3mSeo-sf8eAf-ucu1e1-vEb3ab-2hXWkHe-2mPxLWa-2padc4Z-2pawSpN-2puciDR-2puKWcJ-2pw3MNU-2pwF5wR" title="Faye Dunaway"><img src="https://live.staticflickr.com/7747/17225118414_6d9e21b417.jpg" width="345" height="500" alt="Faye Dunaway"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script><br />
Romanian postcard by Casa Filmului Acin, no. 33132. Photo: publicity still for <i>The Arrangement</i> (Elia Kazan, 1969).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53512017701/in/photolist-n894h8-rfH9uX-rshmo4-s3mSeo-sf8eAf-ucu1e1-vEb3ab-2hXWkHe-2mPxLWa-2padc4Z-2pawSpN-2puciDR-2puKWcJ-2pw3MNU-2pwF5wR/" title="Faye Dunaway"><img src="https://live.staticflickr.com/65535/53512017701_b634988e22.jpg" width="359" height="500" alt="Faye Dunaway"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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Romanian postcard by Casa Filmului Acin, no. 43 139.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53504937412/in/photolist-n894h8-rfH9uX-rshmo4-s3mSeo-sf8eAf-ucu1e1-vEb3ab-2hXWkHe-2mPxLWa-2padc4Z-2pawSpN-2puciDR-2puKWcJ-2pw3MNU-2pwF5wR/" title="Faye Dunaway in Eyes of Laura Mars (1978)"><img src="https://live.staticflickr.com/65535/53504937412_d0aebd48d1.jpg" width="500" height="351" alt="Faye Dunaway in Eyes of Laura Mars (1978)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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French postcard in the Collection Magie Noire by Editions Hazan, Paris, no. 6250. Photo: Edimedia. <b>Faye Dunaway</b> in <i>Eyes of Laura Mars</i> (John Carpenter, 1978).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/17091980176/in/photolist-rfH9uX-rshmo4-2pw3MNU-2puciDR-s3mSeo-vEb3ab-2jEabU8-2puKWcJ-2pwF5wR-ucu1e1-n894h8-2nKmqra-2nbyiDZ-2n7ACrb-2nmiEZm-2nkCpLR-2oCEboA-2nJ7Xgi-2nbULoR-2oBQs4A-2nooHbG-2gZdkYd-2n8yXPh-2n7En7o-2nLAtEd-2naExMi-2nJJAW5-2mWQbsU-2nHnLWv-2n9fa8F-2nkKg7A-2oyfNEf-2nm6LEJ-2nmyE8K-2nnPqCC-2jpvPAd-2n8wc7i-2oEmfu6-2oBohfL-2gbSEuE-2jH5grk-2jAwtQJ-2oDsgkz-2nHCMaD-2na9jh8-2n5go3Y-2g8rAxe-2jP2QrJ-2nJjtJd-2na2tnN/" title="Faye Dunaway in Mommie Dearest (1981)"><img alt="Faye Dunaway in Mommie Dearest (1981)" height="341" src="https://live.staticflickr.com/7674/17091980176_3a2466925a.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
Italian postcard by TV Film. Photo: <b>Faye Dunaway</b> as <b><a href="https://filmstarpostcards.blogspot.com/search/label/Joan%20Crawford">Joan Crawford</a></b> and <b>Mara Hobel</b> as little <b>Christina Crawford</b> in <i>Mommie Dearest</i> (Frank Perry, 1981).<br />
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<h3 style="text-align: left;">
<span style="color: #b45f06;">No wire hangers, ever!</span></h3>
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Faye Dunaway's tour de force as <b><a href="https://filmstarpostcards.blogspot.com/search/label/Joan%20Crawford">Joan Crawford</a></b> in <i>Mommie Dearest</i> (Frank Perry, 1981) marked her last chapter as a top-tier actress. The film is an adaptation of <b>Christina Crawford</b>'s controversial memoir, <i>Mommie Dearest</i>. Christina Crawford's book depicted her adopted mother as an abusive tyrant, who only adopted her four children to promote her career, and it made quite a stir as the first celebrity tell-all book. Though the film was poorly received by the critics at the time, Dunaway's performance received mixed reviews. The film was later seen as a camp classic. The American Film Institute named Dunaways' interpretation to be one of the greatest villainous characters in cinema history and the infamous line, "No wire hangers, ever!" to be one of the most memorable film quotes of all time. <br />
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After a remake of <i>The Wicked Lady</i> (Michael Winner, 1983), Dunaway played another villain in the superhero film, <i>Supergirl</i> (Jeannot Szwarc, 1984). Both films flopped. A late-career highlight came with the critically acclaimed drama <i>Barfly</i> (Barbet Schroeder, 1987), a semi-autobiography of poet/author <b>Charles Bukowski</b> (played by <b><a href="https://filmstarpostcards.blogspot.com/search/label/Mickey%20Rourke">Mickey Rourke</a></b>) during the time he spent drinking heavily in Los Angeles. From then on she appeared in several independent films. She appeared with <b>Joe Mantegna</b> and <b><a href="https://filmstarpostcards.blogspot.nl/search/label/Ornella%20Muti">Ornella Muti</a></b> in <i>Wait Until Spring, Bandini</i> (Dominique Deruddere, 1989) and with <b>Robert Duvall</b> and <b>Natasha Richardson</b> in <i>The Handmaid's Tale</i> (Volker Schlöndorff, 1990). <br />
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Then followed the sequel to <i>Chinatown</i> (1974), <i>The Two Jakes</i> (1990), directed by and starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jack%20Nicholson">Jack Nicholson</a></b>. The film was not a box office or critical success. She starred alongside <b><a href="https://filmstarpostcards.blogspot.com/search/label/Johnny%20Depp">Johnny Depp</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jerry%20Lewis">Jerry Lewis</a></b> in Serbian director <b>Emir Kusturica</b>'s surreal comedy-drama <i>Arizona Dream</i> (1993). Dunaway also appeared with Depp and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Marlon%20Brando">Marlon Brando</a></b> in the romantic comedy <i>Don Juan DeMarco</i> (Jeremy Leven, 1995). A hit at the box office, the film was praised for its romance and the performances of the three main characters.<br />
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She returned to the stage in 1996, playing famed opera singer Maria Callas in the Tony Award-winning play Master Class by <b>Terrence McNally</b>. Dunaway toured the play throughout the United States. Dunaway was nominated for a Golden Raspberry Award as Worst Supporting Actress for her part in the crime thriller <i>Albino Alligator</i> (Kevin Spacey, 1997) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Matt%20Dillon">Matt Dillon</a></b>. In 1998, she starred with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Angelina%20Jolie">Angelina Jolie</a></b> in <i>Gia</i> (Michael Christofer, 1998), about the tragic life of model <b>Gia Marie Carangi</b>, which would win Dunaway a third Golden Globe and win Jolie both a Golden Globe and an Emmy. <br />
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Faye Dunaway played a small part in the remake of <i>The Thomas Crown Affair</i> (John McTiernan, 1999) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Pierce%20Brosnan">Pierce Brosnan</a></b>. In 2002, she played <b>Ian Somerhalder</b>'s mother in <i>The Rules of Attraction</i> (Roger Avary, 2002), based on the novel by <b>Bret Easton Ellis</b>. She continues to act, mostly in B-films and European films like the campy British horror film <i>Flick</i> (David Howard, 2008) and the Polish thriller <i>Balladyna/The Bait</i> (Dariusz Zawiślak, 2009). After her divorce from <b>Peter Wolf</b> in 1979, Faye Dunaway was married from 1983 to 1987 to British photographer <b>Terry O'Neill</b>. She and O'Neill have one child, <b>Liam O'Neill</b> (1980). In 2003, despite Dunaway's earlier claims that she had given birth to Liam, Terry claimed that Liam was adopted. Over the past years, she starred in such films as <i>The Case for Christ</i> (Jon Gunn, 2017), the thriller <i>The American Connection</i> (Jeff Espanol, 2021) and <i>L'uomo che disegnò Dio/The Man Who Drew God</i> (Franco Nero, 2022), with <b>Kevin Spacey</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Franco%20Nero">Franco Nero</a></b>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/19466331500/in/photolist-rfH9uX-rshmo4-2pw3MNU-2puciDR-s3mSeo-vEb3ab-2jEabU8-2puKWcJ-2pwF5wR-ucu1e1-n894h8-2nKmqra-2nbyiDZ-2n7ACrb-2nmiEZm-2nkCpLR-2oCEboA-2nJ7Xgi-2nbULoR-2oBQs4A-2nooHbG-2gZdkYd-2n8yXPh-2n7En7o-2nLAtEd-2naExMi-2nJJAW5-2mWQbsU-2nHnLWv-2n9fa8F-2nkKg7A-2oyfNEf-2nm6LEJ-2nmyE8K-2nnPqCC-2jpvPAd-2n8wc7i-2oEmfu6-2oBohfL-2gbSEuE-2jH5grk-2jAwtQJ-2oDsgkz-2nHCMaD-2na9jh8-2n5go3Y-2g8rAxe-2jP2QrJ-2nJjtJd-2na2tnN/" title="Faye Dunaway and Mickey Rourke in Barfly (1987)"><img alt="Faye Dunaway and Mickey Rourke in Barfly (1987)" height="357" src="https://live.staticflickr.com/427/19466331500_e6478b4f44.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
French postcard by Editions La Malibran, Paris, no. MC 29, 1989. Photo: Collection Cinéma Couleur. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Mickey%20Rourke">Mickey Rourke</a></b> and <b>Faye Dunaway</b> in <i>Barfly</i> (Barbet Schroeder, 1987).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53483965711/in/photolist-2hXWkHe-sf8eAf-2mPxLWa-rfH9uX-rshmo4-2puciDR-s3mSeo-2puKWcJ-vEb3ab-2jEabU8-ucu1e1-n894h8-2nbyiDZ-2nKmqra-2n7ACrb-2nmiEZm-2nkCpLR-2oCEboA-2nJ7Xgi-2nbULoR-2oBQs4A-2nooHbG-2gZdkYd-2n8yXPh-2n7En7o-2nLAtEd-2naExMi-2mWQbsU-2nJJAW5-2n9fa8F-2nHnLWv-2nkKg7A-2oyfNEf-2nmyE8K-2nm6LEJ-2nnPqCC-2jpvPAd-2n8wc7i-2oEmfu6-2oBohfL-2nHCMaD-2gbSEuE-2jH5grk-2jAwtQJ-2oDsgkz-2na9jh8-2n5go3Y-2g8rAxe-2jP2QrJ-2nJjtJd/" title="Faye Dunaway"><img alt="Faye Dunaway" height="500" src="https://live.staticflickr.com/65535/53483965711_ce9ab9c055.jpg" width="367" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French collectors card in the 'Portrait de Stars - L'encyclopédie du Cinema' series by Edito-Service S.A., 1991. Photo: Koball Collection.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/49203410467/in/photolist-2hXWkHe-sf8eAf-2mPxLWa-rfH9uX-rshmo4-2puciDR-s3mSeo-2puKWcJ-vEb3ab-2jEabU8-ucu1e1-n894h8-2nbyiDZ-2nKmqra-2n7ACrb-2nmiEZm-2nkCpLR-2oCEboA-2nJ7Xgi-2nbULoR-2oBQs4A-2nooHbG-2gZdkYd-2n8yXPh-2n7En7o-2nLAtEd-2naExMi-2mWQbsU-2nJJAW5-2n9fa8F-2nHnLWv-2nkKg7A-2oyfNEf-2nmyE8K-2nm6LEJ-2nnPqCC-2jpvPAd-2n8wc7i-2oEmfu6-2oBohfL-2nHCMaD-2gbSEuE-2jH5grk-2jAwtQJ-2oDsgkz-2na9jh8-2n5go3Y-2g8rAxe-2jP2QrJ-2nJjtJd" title="Faye Dunaway"><img alt="Faye Dunaway" height="500" src="https://live.staticflickr.com/65535/49203410467_086291d503.jpg" width="357" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German autograph card by Kino, ca. 1988.<br />
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<iframe allowfullscreen="" frameborder="0" height="281" src="https://www.youtube.com/embed/Pz4a6tegfck" width="500"></iframe><br />
Trailer for <i>Wait Until Spring, Bandini</i> (1989). Source: Ximon NL (YouTube).<br />
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Sources: <a href="https://en.wikipedia.org/wiki/Faye_Dunaway">Wikipedia</a> and <a href="https://www.imdb.com/name/nm0001159/">IMDb</a>.</div>
Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com2tag:blogger.com,1999:blog-8082052777383347559.post-10539775114822335092024-03-07T07:00:00.039+01:002024-03-07T07:00:00.133+01:00Frankenstein (1931)<b><b><i>Frankenstein</i></b> (1931) is an iconic American Horror film directed by James Whale and produced by Carl Laemmle Jr. for Universal. Whale based the story on the 1927 play written by Peggy Webling which was again based on Mary Shelley's 1818 novel 'Frankenstein; or, The Modern Prometheus'. For Boris Karloff, his role as the monster was a breakthrough. The film became a huge success and received several sequels. In 1991, it was listed on the National Film Registry.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/33535702705/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptPVyx-2ptDh9j-2ptd4gs-2psyLrm-2p3tcVU-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj-4quSjs" title="Boris Karloff in Frankenstein (1931)"><img alt="Boris Karloff in Frankenstein (1931)" height="500" src="https://live.staticflickr.com/3741/33535702705_7bd7e732f3.jpg" width="344" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by Classico San Francisco, no. 233/06. Photo: Roman Freulich / Universal Pictures. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53492565333/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptPVyx-2ptDh9j-2ptd4gs-2psyLrm-2p3tcVU-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj-4quSjs" title="Boris Karloff and Mae Clarke in Frankenstein (1931)"><img alt="Boris Karloff and Mae Clarke in Frankenstein (1931)" height="360" src="https://live.staticflickr.com/65535/53492565333_aaab40c296.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by American Postcard, no. 37. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> and <b>Mae Clarke</b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53479794043/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptPVyx-2ptDh9j-2ptd4gs-2psyLrm-2p3tcVU-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj-4quSjs" title="Colin Clive and Dwight Frye in Frankenstein (1931)"><img alt="Colin Clive and Dwight Frye in Frankenstein (1931)" height="367" src="https://live.staticflickr.com/65535/53479794043_94b2dc0d8e.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage press photo. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Colin%20Clive">Colin Clive</a></b> and <b>Dwight Frye</b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<h3 style="text-align: left;"><span style="color: #b45f06;">
A man made entirely of parts from corpses
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For <b><i>Frankenstein</i></b> (1931), the <b>Peggy Webling</b> play was adapted by <b>John L. Balderston</b> and the screenplay was written by <b>Francis Edward Faragoh</b> and <b>Garrett Fort</b>, with uncredited contributions from <b>Robert Florey</b> and <b>John Russell</b>.<br />
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In a village in the Bavarian Alps, Dr Henry Frankenstein, Victor Frankenstein in the novel, (played by <b><a href="https://filmstarpostcards.blogspot.com/search/label/Colin%20Clive">Colin Clive</a></b>) is a brilliant scientist possessed by the idea of reviving dead tissue. To carry out his experiments, he goes out at night to dig up corpses along with his hunchback servant Fritz (<b>Dwight Frye</b>).<br />
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But instead of providing him with a healthy brain, Fritz gives him the brain of a murderer. Henry is about to marry his fiancée Elizabeth <b>(Mae Clarke</b>) to inherit his father's estate, but he increasingly loses sight of reality and becomes completely absorbed by his experiments. One stormy night, his greatest life wish is fulfilled when he uses lightning to revive his creation, a man made entirely of parts from corpses.<br />
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The creature (<b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b>), often known as "Frankenstein's monster", seems simple and harmless at first, meekly doing whatever Frankenstein commands, but soon Henry and Fritz begin to suspect that the creature could be dangerous and lock him in the cellar. Their fears prove well-founded when the monster breaks out and kills Fritz.<br />
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Henry realises his mistake and, helped by his old teacher Dr. Waldman (<b>Edward Van Sloan</b>), sets out to eliminate the monster with a lethal injection. They manage to administer the monster the injection, but it only renders the monster unconscious. As Henry goes to his wedding, the monster reawakens and kills Waldman. It then escapes from the castle. After some wandering, it meets Little Maria, a farmer's daughter (<b>Marilyn Harris</b>) who is not afraid of it, but in his ignorance, he throws her into the water and she drowns.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53484372870/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptPVyx-2ptDh9j-2ptd4gs-2psyLrm-2p3tcVU-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj-4quSjs" title="Boris Karloff and Mae Clarke in Frankenstein (1931)"><img alt="Boris Karloff and Mae Clarke in Frankenstein (1931)" height="500" src="https://live.staticflickr.com/65535/53484372870_d4261f04d1.jpg" width="349" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by American Postcard, no. 38. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> and <b>Mae Clarke</b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/33494514326/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptPVyx-2ptDh9j-2ptd4gs-2psyLrm-2p3tcVU-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj-4quSjs/" title="Boris Karloff in Frankenstein (1931)"><img alt="Boris Karloff in Frankenstein (1931)" height="500" src="https://live.staticflickr.com/2823/33494514326_b57cc72911.jpg" width="350" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by Zoetrope Images Ltd., Boston, no 432. Photo: <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/33152047770/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptPVyx-2ptDh9j-2ptd4gs-2psyLrm-2p3tcVU-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj-4quSjs/" title="Boris Karloff in Frankenstein (1931)"><img alt="Boris Karloff in Frankenstein (1931)" height="500" src="https://live.staticflickr.com/2821/33152047770_ab3a9c1258.jpg" width="346" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by Classico San Francisco, no. 233/01. Photo: Universal Pictures. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/2246298614/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptPVyx-2ptDh9j-2ptd4gs-2psyLrm-2p3tcVU-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj-4quSjs/" title="Colin Clive"><img alt="Colin Clive" height="500" src="https://live.staticflickr.com/2168/2246298614_e2deb7aaaf.jpg" width="320" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Picturegoer Series, London, no. 482. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Colin%20Clive">Colin Clive</a></b>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/33395030231/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptPVyx-2ptDh9j-2ptd4gs-2psyLrm-2p3tcVU-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj-4quSjs/" title="Boris Karloff"><img alt="Boris Karloff" height="500" src="https://live.staticflickr.com/3789/33395030231_ef4663967f.jpg" width="315" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Picturegoer series, London, no 707 H. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b>.<br />
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<h3 style="text-align: left;"><span style="color: #b45f06;">
How Dracula and Frankenstein Saved Universal</span></h3>
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In 1930, Universal Studios had lost $2.2 million in revenues. Within 48 hours of its opening at New York's Roxy Theatre on 12 February 1931, <i>Dracula</i> (Tod Browning, 1931) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/B%C3%A9la%20Lugosi">Béla Lugosi</a></b> had sold 50,000 tickets, building a momentum that culminated in a $700,000 profit, the largest of Universal's 1931 releases. As a result, the head of production, <b>Carl Laemmle Jr.</b>, announced immediate plans for more horror films.<br />
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<b><i>Frankenstein</i></b> (1931) was initially to be directed by <b>Robert Florey</b>. Following his acclaimed role as Count Dracula, <a href="https://filmstarpostcards.blogspot.com/search/label/B%C3%A9la%20Lugosi"><b>Béla Lugosi</b> </a>was Florey's first choice for the role of Dr. Frankenstein. However, when he proved unsuitable for the role, he was offered to play the monster instead so that Universal could at least include his name on the film poster.<br />
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<b>Robert Florey</b> shot two test reels with Lugosi in the role of the monster. Reportedly, these reels were disappointing. Universal then took Florey and Lugosi off the project. They were given <i>Murders in the Rue Morgue</i>, as a consolation. Lugosi would still play the monster years later in the film <i>Frankenstein Meets the Wolf Man</i> (Roy William Neill, 1943).<br />
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After Florey's departure, the newly arrived British director <b>James Whale</b> took over and he cast <b><a href="https://filmstarpostcards.blogspot.com/search/label/Colin%20Clive">Colin Clive</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b>. He had the screenplay rewritten to give the monster more character. <b>Jack Pierce</b> came up with the familiar look for the monster. Pierce was inspired by brain operations when surgeons cut off the top of the skull. He flattened the top of the skull and added staples. Pierce covered Karloff's hair with a skullcap. He drew a square skull and forehead using cotton soaked in collodion. The actor felt that his eyes were still too bright and Pierce made wax eyelids.<br />
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<b>Kenneth Strickfaden</b> was responsible for the special effects surrounding the monster's creation, especially the electricity. <a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff"><b>Boris Karloff</b> </a>reportedly feared being burnt by the electricity in the scene. The effects were so successful that they became an essential part of every subsequent Universal film involving Frankenstein's Monster. Accordingly, the equipment used to produce them has come to be referred to in fan circles as "Strickfadens". It appears that Strickfaden managed to secure the use of at least one Tesla Coil (transformer) built by inventor <b>Nikola Tesla</b> himself.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53472795932/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptPVyx-2ptDh9j-2ptd4gs-2psyLrm-2p3tcVU-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj-4quSjs/" title="Boris Karloff in Frankenstein (1931)"><img alt="Boris Karloff in Frankenstein (1931)" height="500" src="https://live.staticflickr.com/65535/53472795932_025e7ac250.jpg" width="367" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch press photo by Nederlands Film Museum, Amsterdam. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53465520174/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptPVyx-2ptDh9j-2ptd4gs-2psyLrm-2p3tcVU-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj-4quSjs/" title="Boris Karloff and Dwight Frye in Frankenstein (1931)"><img alt="Boris Karloff and Dwight Frye in Frankenstein (1931)" height="369" src="https://live.staticflickr.com/65535/53465520174_9167e2580b.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage press photo. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> and <b>Dwight Frye</b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53192839354/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptPVyx-2ptDh9j-2ptd4gs-2psyLrm-2p3tcVU-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj-4quSjs/" title="John Boles, Edward Van Sloan, Colin Clive and Boris Karloff in Frankenstein (1931)"><img alt="John Boles, Edward Van Sloan, Colin Clive and Boris Karloff in Frankenstein (1931)" height="369" src="https://live.staticflickr.com/65535/53192839354_08043cef46.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage photo. <b>John Boles</b>, <b>Edward Van Sloan</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Colin%20Clive">Colin Clive</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53493939253/in/dateposted/" title="Boris Karloff and Marilyn Harris in Frankenstein (1931)"><img src="https://live.staticflickr.com/65535/53493939253_76ddc3c723.jpg" width="500" height="344" alt="Boris Karloff and Marilyn Harris in Frankenstein (1931)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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Vintage press photo. <b>Boris Karloff</b> and <b>Marilyn Harris</b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52021109078/in/photolist-2puXo2c-2pueoFQ-2pu4DEr-2ptjQZn-2ptd4gs-2psyLrm-2p3tcVU-2nfVMkL-T2NeX9-Svx5uW-T2N9bj-SvwUNw-T6rf3M-ST1g2i-ST1fnn-SZtGjM-ShTUJj" title="Boris Karloff, Basil Rathbone and Bela Lugosi in Son of Frankenstein (1939)"><img alt="Boris Karloff, Basil Rathbone and Bela Lugosi in Son of Frankenstein (1939)" height="354" src="https://live.staticflickr.com/65535/52021109078_1494a97190.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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English postcard by Moviedrome, no. M7. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b>, <b>Basil Rathbone</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/B%C3%A9la%20Lugosi">Béla Lugosi</a></b> in <i>Son of Frankenstein</i> (Rowland V. Lee, 1939).<br />
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<h3 style="text-align: left;"><span style="color: #b45f06;">
"It's alive!"
</span></h3>
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<b><i>Frankenstein</i></b> (James Whale, 1931) was produced with an estimated budget of $291,000. The film was a sensation. The scene in which the monster throws Little Maria into the water, accidentally drowning her, was long considered too controversial. In the states of Massachusetts, Pennsylvania, and New York, among others, the second part of this scene was cut. Cinemas in the state of Kansas wanted a total of 32 scenes removed from the film before they were willing to show it. If they had been removed, would have cut half of the film.<br />
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<i>Frankenstein</i> introduced several elements not found in the original book, but today closely associated with Frankenstein and his monster: Fr. Frankenstein's laboratory, the idea that Frankenstein steals the body parts for his creation from graves at night, the idea that Frankenstein uses lightning to bring his creation to life, the idea that Frankenstein would have an assistant, still called Fritz in this film but named Igor in many later films and series, Frankenstein's cry of joy "It's alive!" when the monster is successfully brought to life and the idea of an angry mob eventually armed with torches hunt down the monster.<br />
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Frankenstein</i> was well-received by critics. <b><i>The New York Times</i></b> film critic <b>Mordaunt Hall</b> said that the film "aroused so much excitement at the Mayfair yesterday that many in the audience laughed to cover their true feelings. [T]here is no denying that it is far and away the most effective thing of its kind. Beside it <i>Dracula</i> is tame and, incidentally, <i>Dracula</i> was produced by the same firm".<br />
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People flocked to the cinema and the box office receipts amounted to $5,000,000. It was one of the biggest box office hits of the 1931-1932 period, proving to Universal Pictures executives that there was an audience for Horror films. The film had a significant impact on popular culture. The imagery of a maniacal "mad" scientist with a subservient hunchbacked assistant and the film's depiction of Frankenstein's monster has since become iconic.<br />
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In 1991, the United States Library of Congress selected <i>Frankenstein</i> (James Whale, 1931) for preservation in the National Film Registry as being "culturally, historically, or aesthetically significant".<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53494207075/in/photostream/" title="Frankenstein (1931)"><img src="https://live.staticflickr.com/65535/53494207075_97e66e8dac.jpg" width="337" height="500" alt="Frankenstein (1931)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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Vintage postcard by Edition Hugo, Movie Collection, no. 810. American poster by Universal for <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53494093469/in/photostream/" title="Frankenstein (1931)"><img src="https://live.staticflickr.com/65535/53494093469_274e920b12.jpg" width="345" height="500" alt="Frankenstein (1931)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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French postcard by Editions Zreik, Paris, no. 24. Original artwork: Bos. Vintage poster for <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53494036671/in/dateposted/" title="Frankenstein"><img src="https://live.staticflickr.com/65535/53494036671_4263f34ae9.jpg" width="353" height="500" alt="Frankenstein"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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German postcard by Edition Tushita, Cinemania, no. B806. German poster for the Universal International film <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53494207120/in/photostream/" title="Frankenstein (1931)"><img src="https://live.staticflickr.com/65535/53494207120_44a7b02ec9.jpg" width="351" height="500" alt="Frankenstein (1931)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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German postcard by ZigZagPosters, no. B. 016. Original artwork: Kurt Degen. German poster for <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53494093584/in/photostream/" title="Frankenstein (1931)"><img src="https://live.staticflickr.com/65535/53494093584_57231ac027.jpg" width="332" height="500" alt="Frankenstein (1931)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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Vintage postcard by Edition Hugo, Movie Collection, no. 801. Spanish poster for <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53493791436/in/photostream/" title="Frankenstein (1931)"><img src="https://live.staticflickr.com/65535/53493791436_aa91b2fac3.jpg" width="347" height="500" alt="Frankenstein (1931)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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German flyer by Illustrierte Film-Bühne, no. 3656. Photo: Universal. <b>Boris Karloff</b>, <b>Colin Clive</b> and <b>Dwight Frye</b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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Sources: <a href="https://www.nytimes.com/1931/12/05/archives/the-screen-a-manmade-monster-in-grand-guignol-film-story-lawrence.html">Mordaunt Hall</a> (The New York Times), Wikipedia (<a href="https://nl.wikipedia.org/wiki/Frankenstein_%281931%29">Dutch</a>, <a href="https://fr.wikipedia.org/wiki/Frankenstein_%28film,_1931%29">French</a> and <a href="https://en.wikipedia.org/wiki/Frankenstein_%281931_film%29">English</a>) and <a href="https://www.imdb.com/title/tt0021884/?ref_=nv_sr_srsg_6_tt_6_nm_2_q_Frankenstein%2520">IMDb</a>.
Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-34551487687042994662024-03-06T07:00:00.138+01:002024-03-06T07:00:00.136+01:00Sue Carol<b>Sue Carol (1906-1982) was an American actress and talent agent. Carol's film career lasted from the late 1920s into the 1930s. When it ended, she became a talent agent. The last of her four marriages was to one of her clients, Alan Ladd, from 1942 until he died in 1964.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53469861260/in/photolist-2ifSDt9-2miAPtS-2pnEhLx-2psWAqW-2psX1TE-2ptreuE-2pu5crJ-2puzFtM-2pvahUY-2pvGNwC-2pwkweX/" title="Sue Carol"><img alt="Sue Carol" height="500" src="https://live.staticflickr.com/65535/53469861260_6935a25c3e.jpg" width="322" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Ross Verlag Foreign, no. 3727/1, 1928-1929. Photo: PDC. <br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53488331599/in/photolist-2ifSDt9-2miAPtS-2pnEhLx-2psWAqW-2psX1TE-2ptreuE-2pu5crJ-2puzFtM-2pvahUY-2pvGNwC-2pwkweX/" title="Sue Carol"><img alt="Sue Carol" height="500" src="https://live.staticflickr.com/65535/53488331599_39345ac966.jpg" width="323" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Ross Verlag, no. 4178/1, 1929-1930. Photo: Fox.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53508201945/in/photolist-2ifSDt9-2miAPtS-2pnEhLx-2psWAqW-2psX1TE-2ptreuE-2pu5crJ-2puzFtM-2pvahUY-2pvGNwC-2pwkweX" title="Sue Carol"><img alt="Sue Carol" height="500" src="https://live.staticflickr.com/65535/53508201945_73d4d92ca6.jpg" width="328" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Cinémagazine-Edition, Paris, no. 721, sent by mail in 1931.<br />
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<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
One of the WAMPAS Baby Stars of 1928
</span></h3>
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<b>Sue Carol</b> was born <b>Evelyn Jean Lederer</b> in 1906 in Chicago, Illinois. Her parents were<b> Samuel Lederer</b> and <b>Caroline Lederer née Schmidt</b>, Jewish emigrants from Austria and Germany, respectively.<br />
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While Carol was in Hollywood on vacation, a director offered her a screen test that resulted in a contract with Fox. In 1927, she began playing minor parts in such films as the silent comedy-drama <i>Slaves of Beauty</i> (John G. Blystone, 1927). She had a major part in the comedy <i>Soft Cushions</i> (Edward F. Cline, 1927), now considered lost.<br />
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She became one of the WAMPAS Baby Stars in 1928. The WAMPAS Baby Stars was a promotional campaign sponsored by the United States Western Association of Motion Picture Advertisers, which honoured 13 young actresses each year whom they believed to be on the threshold of movie stardom.<br />
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Her next films were made in association with producer <b><a href="https://filmstarpostcards.blogspot.com/2020/10/directed-by-cecil-b-demille.html">Cecil B. DeMille</a> </b>such as <i>Skyscraper</i> (Howard Higgin, 1928) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/William%20Boyd">William Boyd</a></b> and the silent drama <i>Walking Back</i> (Rupert Julian, 1928) in which she starred as a bob-haired flapper. For Metro-Goldwyn-Mayer, she starred in the silent drama <i>Beau Broadway</i> (Malcolm St. Clair, 1928) with <b>Lew Cody</b> and <b>Aileen Pringle</b>. For Fox, she made the comedy <i>Win That Girl</i> (David Butler, 1928) with synchronised sound. Both films are considered lost now.<br />
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Among her other films for Fox are the musical <i>Fox Movietone Follies of 1929</i> (David Butler, Marcel Silver, 1929) and the melodrama <i>Girls Gone Wild</i> (Lewis Seiler, 1929), which was released in sound and silent versions. The latter film starred Carol with <b>Nick Stuart</b>. Being an up-and-coming young film duo, they were moulded by Fox in the <b><a href="https://filmstarpostcards.blogspot.com/search/label/Janet%20Gaynor">Janet Gaynor</a></b>/<b><a href="https://filmstarpostcards.blogspot.com/search/label/Charles%20Farrell">Charles Farrell</a></b> tradition. The two would be married later in the year, in November, in a surprise ceremony.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53494889496/in/photolist-2ifSDt9-2miAPtS-2pnEhLx-2psWAqW-2psX1TE-2ptreuE-2pu5crJ-2puzFtM-2pvahUY-2pvGNwC-2pwkweX/" title="Sue Carol"><img alt="Sue Carol" height="500" src="https://live.staticflickr.com/65535/53494889496_47f3ba0a5e.jpg" width="323" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Picturegoer Series, London, no. 379a. <br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53475366794/in/photolist-2ifSDt9-2miAPtS-2pnEhLx-2psWAqW-2psX1TE-2ptreuE-2pu5crJ-2puzFtM-2pvahUY-2pvGNwC-2pwkweX/" title="Sue Carol"><img alt="Sue Carol" height="500" src="https://live.staticflickr.com/65535/53475366794_2160336620.jpg" width="317" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Austrian postcard by Iris Verlag, no. 5688. Photo: Max Munn Autrey / Fox.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53410015287/in/photolist-2ifSDt9-2miAPtS-2pnEhLx-2psWAqW-2psX1TE-2ptreuE-2pu5crJ-2puzFtM-2pvahUY-2pvGNwC-2pwkweX/" title="Sue Carol and Nick Stuart"><img alt="Sue Carol and Nick Stuart" height="500" src="https://live.staticflickr.com/65535/53410015287_2f12208f9a.jpg" width="316" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Ross Verlag, no. 4397/1, 1929-1930. Photo: Fox. Collection: Marlene Pilaete.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51395001868/in/photolist-2ifSDt9-2miAPtS-2pnEhLx-2psWAqW-2psX1TE-2ptreuE-2pu5crJ-2puzFtM-2pvahUY-2pvGNwC-2pwkweX/" title="Charles Morton and Sue Carol in Check and Double Check (1930)"><img alt="Charles Morton and Sue Carol in Check and Double Check (1930)" height="500" src="https://live.staticflickr.com/65535/51395001868_6ca6f9737d.jpg" width="317" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Ross Verlag, no. 5411/1, 1930-1931. Photo: RKO Radio Pictures. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Charles%20Morton">Charles Morton</a></b> and <b>Sue Carol</b> in <i>Check and Double Check</i> (Melville W. Brown, 1930).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Wife and manager of Alan Ladd
</span></h3>
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<b>Sue Carol</b> co-starred with <b><a href="https://filmstarpostcards.blogspot.com/search/label/George%20O%27Brien">George O'Brien</a></b> in the Western <i>The Lone Star Ranger</i> (A.F. Erickson, 1930) based on a novel by <b>Zane Grey</b>. With <b>Dixie Lee</b>, she co-starred in the popular comedy <i>The Big Party</i> (John G. Blystone, 1930). In the next years followed fewer and minor films. <b>Denny Jackson</b> at <b><i>IMDb</i></b>: "While she didn't land the roles her contemporaries did, Sue was a very competent actress."<br />
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She retired from acting in 1937. After retiring, Carol established her talent agency, the Sue Carol Agency. She married four times. In 1924, Carol married <b>Allen H. Keefer</b>, a buyer for a Chicago stockyard firm. They divorced in early 1929. In July 1929, Carol became engaged to actor <b>Nick Stuart</b>, and the couple married that November. They had a daughter, actress <b>Carol Lee Ladd</b> (1932), who was briefly married to actor <b>Richard Anderson</b>.<br />
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In 1933, Sue Carol was cleared in a case involving the disappearance of a baby from a Brooklyn, New York, family. The family had complained that the baby had been taken for adoption in November 1932 by a woman who said she was acting on behalf of Carol. The Stuarts divorced in 1934. In 1936 in Los Angeles, Carol married for the third time to fellow actor <b>William Harold Wilson</b>. That marriage also ended in divorce in 1942.<br />
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She married actor <b><a href="https://filmstarpostcards.blogspot.com/search/label/Alan%20Ladd">Alan Ladd</a></b> in 1942, in Mexico. They had a son, producer <b>David Ladd</b>, and a daughter, <b>Alana Ladd Jackson</b> who married radio commentator <b>Michael Jackson</b>. Actress <b>Jordan Ladd</b> is one of their grandchildren. Carol was also the stepmother of <b>Alan Ladd, Jr</b>.<br />
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Sue Carol was <b><a href="https://filmstarpostcards.blogspot.com/search/label/Alan%20Ladd">Alan Ladd</a></b>'s manager until he died in 1964. Sue Carol died in 1982, in Los Angeles, California, from a heart attack. She was 75. Carol was interred next to <b><a href="https://filmstarpostcards.blogspot.com/search/label/Alan%20Ladd">Alan Ladd</a></b> in the Forest Lawn Memorial Park Cemetery in Glendale, California. For her contribution to the motion picture industry, she was honoured in 1982 with a star on the Hollywood Walk of Fame at 1639 N. Vine Street. <br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53501037592/in/photolist-2ifSDt9-2miAPtS-2pnEhLx-2psWAqW-2psX1TE-2ptreuE-2pu5crJ-2puzFtM-2pvahUY-2pvGNwC-2pwkweX/" title="Sue Carol"><img alt="Sue Carol" height="500" src="https://live.staticflickr.com/65535/53501037592_c0b8c0ebb8.jpg" width="318" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Ross Verlag, no. 5007/1, 1930-1931, distributed in Italy by Casa Editrice Ballerini & Fratini, Firenze. Photo: Fox.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53482579040/in/photolist-2ifSDt9-2miAPtS-2pnEhLx-2psWAqW-2psX1TE-2ptreuE-2pu5crJ-2puzFtM-2pvahUY-2pvGNwC-2pwkweX/" title="Sue Carol"><img alt="Sue Carol" height="500" src="https://live.staticflickr.com/65535/53482579040_ec0b84da86.jpg" width="327" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Ross Verlag, no. 5471/1, 1930-1931. Photo: Radio Pictures.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53469778974/in/photolist-2ifSDt9-2miAPtS-2pnEhLx-2psWAqW-2psX1TE-2ptreuE-2pu5crJ-2puzFtM-2pvahUY-2pvGNwC-2pwkweX/" title="Sue Carol"><img alt="Sue Carol" height="500" src="https://live.staticflickr.com/65535/53469778974_26cd234ae7.jpg" width="327" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Ross Verlag, no. 5658/1, 1930-1931. Photo: Fox.<br />
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Sources: <a href="https://en.wikipedia.org/wiki/Sue_Carol">Wikipedia</a> and <a href="https://www.imdb.com/name/nm0138999/">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-36188509128142093072024-03-05T07:00:00.151+01:002024-03-05T07:00:00.131+01:00Nicolas Cage<b>Nicolas Cage (1964) is an American film actor and producer, who often plays eccentric wisecracking characters. His breakthrough came at the end of the 1980s with the Oscar-winning comedy <i>Moonstruck</i> (1988) and David Lynch's <i>Wild at Heart</i> (1990), which was awarded Best Film at the Cannes Film Festival. Cage won the Oscar for Best Actor with <i>Leaving Las Vegas</i> (1995). The action films <i>The Rock</i> (1996), <i>Con Air</i> (1997), <i>Face/Off</i> (1997) and <i>Gone in 60 Seconds</i> (2000) gave him four of his biggest box-office successes in the years that followed. He received another Oscar nomination for his performance as twins Charlie and Donald Kaufman in Spike Jonze's <i>Adaptation</i> (2002).</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53467344273/in/photolist-2psJ7Fk-2ptjQWS-2ptPabs-2pupNj1-2pvcr2e-2pvBqjD-2pwjXso" title="Nicolas Cage"><img alt="Nicolas Cage" height="500" src="https://live.staticflickr.com/65535/53467344273_d90c889dcf.jpg" width="347" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Pyramid, no. PC 8340.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53479644746/in/photolist-2psJ7Fk-2ptjQWS-2ptPabs-2pupNj1-2pvcr2e-2pvBqjD-2pwjXso/" title="Nicolas Cage and Laura Dern in Wild at Heart (1990)"><img alt="Nicolas Cage and Laura Dern in Wild at Heart (1990)" height="500" src="https://live.staticflickr.com/65535/53479644746_9d517c13a7.jpg" width="348" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Sonis, no. C. 146. Photo: BAC Films. <b>Nicolas Cage</b> and <b>Laura Dern</b> in <i>Wild at Heart</i> (David Lynch, 1990).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
A passion for method acting
</span></h3>
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<b>Nicolas Kim Coppola</b> was born in Long Beach, California, in 1964. He was the son of comparative literature professor <b>August Coppola</b> and dancer and choreographer <b>Joy Vogelsang</b>. His grandfather is the composer <b>Carmine Coppola</b> and his father is the brother of director <b>Francis Ford Coppola</b> and actress <b>Talia Shire</b>. His mother suffered from severe depression, which also led to hospitalisation. His parents divorced in 1976, but Nicolas always connected with his mother.<br />
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Nic was interested in the film business from an early age. He took professional acting lessons at the age of 15. Two years later, he dropped out of high school to concentrate on his career. Nicolas had a small role in his film debut <i>Fast Times at Ridgemont High</i> (Amy Heckerling, 1982), starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Sean%20Penn">Sean Penn</a></b> and <b>Jennifer Jason Leigh</b>. Most of his part was cut, dashing his hopes and leading to a job selling popcorn at the Fairfax Theater, thinking that would be the only route to a movie career.<br />
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A job reading lines with actors auditioning for Uncle Francis' <i>Rumble Fish</i> (Francis Ford Coppola, 1983) landed him a role in that film. He changed his name to avoid taking advantage of his uncle's success and being accused of nepotism. He chose the name 'Cage' after comic book hero Luke Cage and the avant-garde artist <b>John Cage</b>.<br />
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The same year, he broke through with a lead role as a punk rocker in the comedy <i>Valley Girl</i> (Martha Coolidge, 1983). Many films followed. For his role in <i>Birdy</i> (Alan Parker, 1984) with <b>Matthew Modine</b>, he had a tooth extracted without anaesthetic to immerse himself in his role. His passion for method acting reached a personal limit when he smashed a street vendor's remote-control car to achieve the sense of rage needed for his gangster character in <i>The Cotton Club</i> (Francis Ford Coppola, 1984).<br />
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In 1987, he starred in two of the most successful films of that year, proving his status as a major actor. In the <b>Coen Brothers</b>' <i>Raising Arizona</i> (Joel Coen, 1987), he played a dim-witted crook with a heart of gold who wants to start a family with police agent <b>Holly Hunter</b>. In <i>Moonstruck</i> (Norman Jewison, 1987), he plays the man <b><a href="https://filmstarpostcards.blogspot.com/search/label/Cher">Cher</a></b> falls in love with. The latter film earned him many female admirers and a Golden Globe nomination.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53486403460/in/photolist-2psJ7Fk-2ptjQWS-2ptPabs-2pupNj1-2pvcr2e-2pvBqjD-2pwjXso/" title="Nicolas Cage and Laura Dern in Wild at Heart (1990)"><img alt="Nicolas Cage and Laura Dern in Wild at Heart (1990)" height="347" src="https://live.staticflickr.com/65535/53486403460_733796a1fe.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Sonis, no. C. 146. Photo: BAC Films. <b>Nicolas Cage</b> and <b>Laura Dern</b> in <i>Wild at Heart</i> (David Lynch, 1990).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53508091654/in/photolist-2psJ7Fk-2ptjQWS-2ptPabs-2pupNj1-2pvcr2e-2pvBqjD-2pwjXso/" title="Nicolas Cage and Laura Dern in Wild at Heart (1990)"><img alt="Nicolas Cage and Laura Dern in Wild at Heart (1990)" height="351" src="https://live.staticflickr.com/65535/53508091654_6f60461db4.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard, no. Z 1064. Image: British poster for <i>Wild at Heart</i> (David Lynch, 1990) with <b>Nicolas Cage</b> and <b>Laura Dern</b>. Caption: From the director of <i>Blue Velvet</i>.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
A suicidal alcoholic who falls in love with a prostitute
</span></h3>
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In 1990, <b>Nicolas Cage</b> played a violent Elvis fan in <b>David Lynch</b>'s <i>Wild at Heart</i>. Another important role was <i>Leaving Las Vegas</i> (1995), in which he plays a suicidal alcoholic who falls in love with a prostitute (played by <b>Elisabeth Shue</b>) in Las Vegas. For his role in <i>Leaving Las Vegas</i>, Nicolas Cage received the Academy Award for Best Actor.<br />
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After proving himself as a serious actor in 1995, a series of big-budget action films followed, such as <i>The Rock</i> (Michael Bay, 1996), <i>Con Air</i> (Simon West, 1996) and <i>Face/Off</i> (John Woo, 1997) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/John%20Travolta">John Travolta</a></b>. He played an angel who fell in love with <b>Meg Ryan</b> in <i>City of Angels</i> (Brad Silberling, 1998) and returned to action films with <i>Gone in 60 Seconds</i> (Dominic Sena, 2000).<br />
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In the 21st century, he also started a new career, as a film producer. Among others, he produced <i>The Life of David Gale</i> (Alan Parker, 2003), with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Kate%20Winslet">Kate Winslet</a></b> and <b>Kevin Spacey</b>. He played a heavy double role in <b>Spike Jonze</b>'s <i>Adaptation (2002) - </i>both scriptwriter Charlie Kaufman and his (fictional) brother Donald. For this role, he received his second Oscar nomination.<br />
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In <i>World Trade Center</i> (Oliver Stone, 2006), he played Brigadier John McLoughlin who became trapped under the collapsed WTC for three days. <i>Ghost Rider: Spirit of Vengeance</i> (Mark Neveldine, Brian Taylor, 2012) was the sequel to the Marvel comic adaptation <i>Ghost Rider</i> (Mark Steven Johnson, 2007). In recent years, Cage has been facing major financial problems. Despite receiving over $150 million in total fees throughout his career, he had run out of funds and owed $14 million in taxes due to his lavish lifestyle (including buying exotic properties) after the housing bubble burst. In 2009, he had to sell two of his houses and several cars and boats. In 2022, Cage stated that he had paid off his debts. He also pointed out in a '60 Minutes' interview that he never went bankrupt to avoid having to pay off the debt.<br />
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He earned renewed critical recognition for his starring roles in the action Horror film <i>Mandy</i> (Panos Cosmatos, 2018), the drama <i>Pig</i> (Michael Sarnoski, 2021), the action comedy <i>The Unbearable Weight of Massive Talent</i> (Tom Gormican, 2022) and the comedy fantasy <i>Dream Scenario</i> (Kristoffer Borgli, 2023). Cage was married to actress <b>Patricia Arquette</b> (1995-2001), <b>Lisa Marie Presley</b> (2002-2004), <b>Alice Kim</b> (2004-2016) and make-up artist <b>Erika Koike</b> (2019), but this marriage was annulled the same year. Cage married <b>Riko Shibata</b> in 2021. He has three sons. His eldest son, with <b>Christina Fulton</b>, <b>Weston Coppola Cage</b> a.k.a. <b>Wes Cage</b>, is the singer and guitarist of the oriental metal band <b>Arsh Anubis</b>. In 2014, Nicolas became a grandfather at age 50 when Weston welcomed a son, <b>Lucian Augustus Coppola Cage</b>. <b>Alice Kim</b> gave birth to Cage's second son <b>Kal-El</b> (2005), named after the Kryptonian name of Superman. Cage is a confessed comic book fan.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53474120270/in/photolist-2psJ7Fk-2ptjQWS-2ptPabs-2pupNj1-2pvcr2e-2pvBqjD-2pwjXso/" title="Nicolas Cage"><img alt="Nicolas Cage" height="500" src="https://live.staticflickr.com/65535/53474120270_f4430811c0.jpg" width="346" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by Fotofolio, no. F 528. Photo: Greg Gorman. Caption: Nicolas Cage, Los Angeles, 1990. Proceeds from the sale of this card benefitted Make Love, Not Aids.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53495306995/in/photolist-2psJ7Fk-2ptjQWS-2ptPabs-2pupNj1-2pvcr2e-2pvBqjD-2pwjXso/" title="Nicolas Cage in Snake Eyes (1998)"><img alt="Nicolas Cage in Snake Eyes (1998)" height="500" src="https://live.staticflickr.com/65535/53495306995_7446de406a.jpg" width="347" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Cart.com for Centre Pompidou for the 'Rétrospective intégrale Brian de Palma, 2002. Photo: Gaumont Buena Vista International. <b>Nicolas Cage</b> in <i>Snake Eyes</i> (Brian De Palma, 1998).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53499987329/in/photolist-2psJ7Fk-2ptjQWS-2ptPabs-2pupNj1-2pvcr2e-2pvBqjD-2pwjXso/" title="Nicolas Cage in Gone in Sixty Seconds (2000)"><img alt="Nicolas Cage in Gone in Sixty Seconds (2000)" height="500" src="https://live.staticflickr.com/65535/53499987329_2fb61ea45e.jpg" width="354" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Boomerang Media. Photo: Touchstone Pictures. <b>Nicolas Cage</b> in <i>Gone in Sixty Seconds</i> (Brian De Palma, 2000). Caption: Ice cold hot wired.<br />
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Sources: <a href="https://www.imdb.com/name/nm0000115/bio/?ref_=nm_ov_bio_sm">Dan Hartung</a> (IMDb), Wikipedia (<a href="https://nl.wikipedia.org/wiki/Nicolas_Cage">Dutch</a>, <a href="https://de.wikipedia.org/wiki/Nicolas_Cage">German</a> and <a href="https://en.wikipedia.org/wiki/Nicolas_Cage">English</a>) and <a href="https://www.imdb.com/name/nm0000115/">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-41283325207752115392024-03-04T07:00:00.510+01:002024-03-04T17:51:03.689+01:00Directed by James Whale<b>This month, <i>EFSP</i> will focus on one of our favourite filmmakers, British director James Whale (1889-1957). Although he also made films for other genres, he is best known for his four Horror films, <i>Frankenstein</i> (1931), <i>The Old Dark House</i> (1932), <i>The Invisible Man</i> (1933) and <i>Bride of Frankenstein</i> (1935). Whale is considered the father of the classic Hollywood Horror film and he developed a style characterised by the influence of German Expressionism and a highly mobile camera. <i>EFSP</i> will present three film specials later this month, <i>Frankenstein</i> (1931), the mystery <i>The Kiss Before the Mirror</i> (1932) and <i>Bride of Frankenstein</i> (1935).</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53474120265/in/album-72157712350861672/" title="Ian McKellen and Brendan Fraser in Gods and Monsters (1998)"><img alt="Ian McKellen and Brendan Fraser in Gods and Monsters (1998)" height="500" src="https://live.staticflickr.com/65535/53474120265_7d21fe663f.jpg" width="380" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage press photo. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ian%20McKellen">Ian McKellen</a></b> as James Whale and <b>Brendan Fraser</b> in <i>Gods and Monsters</i> (Bill Condon, 1998).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/33152047770/in/album-72157712350861672/" title="Boris Karloff in Frankenstein (1931)"><img alt="Boris Karloff in Frankenstein (1931)" height="500" src="https://live.staticflickr.com/2821/33152047770_ab3a9c1258.jpg" width="346" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by Classico San Francisco, no. 233/01. Photo: Universal Pictures. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/31027777667/in/album-72157712350861672/" title="Gloria Stuart and Claude Rains in The Invisible Man (1933)"><img alt="Gloria Stuart and Claude Rains in The Invisible Man (1933)" height="328" src="https://live.staticflickr.com/4894/31027777667_34fd386bee.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Filmshots series by Film Weekly. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Gloria%20Stuart">Gloria Stuart</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Claude%20Rains">Claude Rains</a></b> in <i>The Invisible Man</i> (James Whale, 1933).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53482472129/in/album-72157712350861672/" title="Elsa Lanchester and Boris Karloff in Bride of Frankenstein (1935)"><img alt="Elsa Lanchester and Boris Karloff in Bride of Frankenstein (1935)" height="367" src="https://live.staticflickr.com/65535/53482472129_773cd477b7.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch press photo. <b>Elsa Lanchester</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> in <i>Bride of Frankenstein</i> (James Whale, 1935).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50511346738/in/album-72157712350861672/" title="Louis Hayward and Joan Bennett in The Man in the Iron Mask Year (1939 )"><img alt="Louis Hayward and Joan Bennett in The Man in the Iron Mask Year (1939 )" height="320" src="https://live.staticflickr.com/65535/50511346738_664e5c08e6.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Partners Series, London, no. P. 306. Photo: Edward Small Prod. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Louis%20Hayward">Louis Hayward</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Joan%20Bennett">Joan Bennett</a></b> in <i>The Man in the Iron Mask</i> (James Whale, 1939).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Journey's End
</span></h3>
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<b>James Whale</b> was born in Dudley, England in 1889. He was the sixth of seven children of blast furnace worker <b>William Whale</b> and his wife Sarah, a nurse. While his childhood in the West Midlands was characterised by the family's poverty, he decided not to become a worker in the local heavy industry like his brothers. He had to leave school at the age of thirteen to work. Juggling odd jobs, he gradually discovered a passion for drawing and painting and found work as a cartoonist for <i>The Bystander</i> magazine.<br />
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The First World War broke out when he was not yet 25. He joined the army and was taken prisoner of war as a non-commissioned officer in 1917. Imprisoned in a camp, he discovered his passion for theatre. The experience was a revelation for him. After a few attempts as an actor, he began a career as a set designer for the theatre. However, it was not until he was 40 that he had his first opportunity to direct a play.<br />
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In 1928 Whale got the chance to direct two private performances of <b>R. C. Sherriff</b>'s then-unknown anti-war play 'Journey's End' for the Incorporated Stage Society, a theatre society that mounted private Sunday performances of plays. Set over four days in March 1918 in the trenches at Saint-Quentin, France, 'Journey's End' gives a glimpse into the experiences of the officers of a British infantry company in World War I. The key conflict is between Captain Stanhope, the company commander, and Lieutenant Raleigh, the brother of Stanhope's fiancée. Whale offered the part of Stanhope to the then-barely-known <b><a href="https://filmstarpostcards.blogspot.com/search/label/Laurence%20Olivier">Laurence Olivier</a></b>. Olivier initially declined the role, but after meeting the playwright agreed to take it on. <b>Maurice Evans</b> was cast as Raleigh.<br />
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The play was well received and transferred to the Savoy Theatre in London's West End, opening on 21 January 1929. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Colin%20Clive">Colin Clive</a></b> was now in the lead role, Olivier having accepted an offer to take the lead in a production of 'Beau Geste'. 'Journey's End' was a tremendous success, with critics uniform and effusive in their praise and with audiences sometimes sitting in stunned silence following its conclusion only to burst into thunderous ovations. The play had more than 500 performances. In the same year, Whale directed and designed the set for the plays 'Fortunato and the Lady from Alfaqueque' and 'The Dreamers' with <b><a href="https://filmstarpostcards.blogspot.com/search/label/John%20Gielgud">John Gielgud</a></b>, before being invited to stage 'Journey's End' on Broadway in 1929. The play was also successful in the USA and Whale made the leap to film as a dialogue director for <i>The Love Doctor</i> (Melville W. Brown, 1929) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Richard%20Dix">Richard Dix</a></b>. He went on to direct the stage productions of <b>R. C. Sherriff</b>'s ‘Badger's Green’ and the two one-act plays ‘The Violet’ and ‘One Two Three’ by <b>Ferenc Molnár</b>.<br />
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Whale was also responsible as a dialogue director for some of the interior shots of <b>Howard Hughes</b>' World War I aerial drama <i>Hell's Angels</i> (1930) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jean%20Harlow">Jean Harlow</a></b>, which cost 3.95 million US dollars at the time. Having purchased the film rights to 'Journey's End', British producers <b>Michael Balcon</b> and <b>Thomas Welsh</b> agreed that Whale's experience directing the London and Broadway productions of the play made him the best choice to direct the film. The two partnered with a small American studio, Tiffany-Stahl, to shoot it in New York. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Colin%20Clive">Colin Clive</a></b> reprised his role as Stanhope, and <b>David Manners</b> was cast as Raleigh. On both sides of the Atlantic <i>Journey’s End</i> (James Whale, 1930) was a tremendous critical and commercial success. As Whale biographer <b>James Curtis</b> wrote, <i>Journey’s End</i> "managed to coalesce, at the right time and in the right manner, the impressions of a whole generation of men who were in the war and who had found it impossible, through words or deeds, to adequately express to their friends and families what the trenches had been like."<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53484372870/in/album-72157712350861672/" title="Boris Karloff and Mae Clarke in Frankenstein (1931)"><img alt="Boris Karloff and Mae Clarke in Frankenstein (1931)" height="500" src="https://live.staticflickr.com/65535/53484372870_d4261f04d1.jpg" width="349" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by American Postcard, no. 38. <a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff"><b>Boris Karloff</b> </a>and <b>Mae Clarke</b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/33535702705/in/album-72157712350861672/" title="Boris Karloff in Frankenstein (1931)"><img alt="Boris Karloff in Frankenstein (1931)" height="500" src="https://live.staticflickr.com/3741/33535702705_7bd7e732f3.jpg" width="344" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by Classico San Francisco, no. 233/06. Photo: Roman Freulich / Universal Pictures. <a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff"><b>Boris Karloff</b> </a>in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/33494514326/in/album-72157712350861672/" title="Boris Karloff in Frankenstein (1931)"><img alt="Boris Karloff in Frankenstein (1931)" height="500" src="https://live.staticflickr.com/2823/33494514326_b57cc72911.jpg" width="350" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by Zoetrope Images Ltd., Boston, no 432. Photo: <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53475469385/in/album-72157712350861672/" title="Nancy Carroll and Frank Morgan in The Kiss Before the Mirror (1933)"><img alt="Nancy Carroll and Frank Morgan in The Kiss Before the Mirror (1933)" height="312" src="https://live.staticflickr.com/65535/53475469385_b842b69331.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Weekly series. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nancy%20Carroll">Nancy Carroll</a></b> and <b>Frank Morgan</b> in <i>The Kiss Before the Mirror</i> (James Whale, 1932).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53469442881/in/album-72157712350861672/" title="Nancy Carroll and Frank Morgan in The Kiss Before the Mirror (1933)"><img alt="Nancy Carroll and Frank Morgan in The Kiss Before the Mirror (1933)" height="312" src="https://live.staticflickr.com/65535/53469442881_412830a83e.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Weekly series. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nancy%20Carroll">Nancy Carroll</a></b> and <b>Frank Morgan</b> in <i>The Kiss Before the Mirror</i> (James Whale, 1932).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Frankenstein
</span></h3>
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In 1931, Universal Pictures signed <b>James Whale</b> to a five-year contract. His first project was <i>Waterloo Bridge</i> (1931) starring <b>Mae Clarke</b> and <b>Douglass Montgomery</b>. It is the first film adaptation of <b>Robert E. Sherwood</b>'s play of the same name. The film tells the story of a tragic romance between a Canadian soldier who falls in love with an English woman during his stay in London, unaware that she is a prostitute. It was another critical and popular success.<br />
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Universal chief <b>Carl Laemmle Jr.</b> then offered Whale his choice of any property the studio owned. Whale chose <i>Frankenstein</i> (1931). Following the success of <i>Dracula</i> (Todd Browning, 1930), Universal had commissioned French director <b>Robert Florey</b> to write a screenplay for <b>Mary Shelley</b>'s novel 'Frankenstein or the Modern Prometheus'. However, the sequences directed by Florey were not to the studio’s liking and Universal decided that James Whale was to direct. Whale insisted that <b><a href="https://filmstarpostcards.blogspot.com/search/label/Colin%20Clive">Colin Clive</a></b> be given the part of Dr Frankenstein and he cast <b>Mae Clarke</b> as his fiancée Elizabeth. Whale gave the role of the monster, for which the Dracula actor <a href="https://filmstarpostcards.blogspot.com/search/label/B%C3%A9la%20Lugosi"><b>Bela Lugosi</b> </a>had originally been in discussion, to the little-known 42-year-old British theatre and film actor <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b>, who had a wide-ranging experience in supporting roles.<br />
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The production, estimated at 291,000 US dollars, made a huge profit and is still considered one of the most important Horror films to this day. <i>Frankenstein</i> (1931) made <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> a star overnight and <b>James Whale</b> one of Universal Studios' leading directors. Universal insisted on entrusting Whale with further Horror films. After the drama <i>Impatient Maiden</i> (1931), Whale directed the Horror film <i>The Old Dark</i> (1932), based on a novel by <b>John Boynton Priestley</b>. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> played the lead role of a bestial servant who terrifies a group of travellers in a Welsh country house.<br />
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The mystery <i>The Kiss Before the Mirror</i> (1932), starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nancy%20Carroll">Nancy Carroll</a></b>, <b>Frank Morgan</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Paul%20Lukas">Paul Lukas</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Gloria%20Stuart">Gloria Stuart</a></b>, was a critical success but a box-office failure and was followed by <i>The Invisible Man</i> (1933). In this film adaptation of a novel by <b>H. G. Wells</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Claude%20Rains">Claude Rains</a></b> plays a scientist who mutates into an invisible, insane murderer thanks to a formula he has developed. Shot from a script approved by Wells, the film blended horror with humour and confounding visual effects. It was critically acclaimed, with <i>The New York Times</i> listing it as one of the ten best films of the year, and it broke box-office records in cities across America. That same year, Whale directed the delicious romantic comedy <i>By Candlelight</i> (1933) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Elissa%20Landi">Elissa Landi</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Paul%20Lukas">Paul Lukas</a></b>. In 1934 he directed <i>One More River</i>, an adaptation of the novel of the same name by <b>John Galsworthy</b>. The film tells the story of a woman desperate to escape her abusive marriage to a member of the British aristocracy.<br />
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With the sequel <i>Bride of Frankenstein</i> (1935), in which <b>Elsa Lanchester</b> plays the title role alongside <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b>, Whale maintained his reputation as one of the most important directors of the Horror genre.<i> Bride</i> is frequently hailed as Whale's masterpiece and one of the best Gothic Horror films ever. Whale then adapted the novel 'The Hangover Murders', a comedy mystery in the style of 'The Thin Man', about a group of friends who were so drunk the night one of them was murdered that none can remember anything. Retitled <i>Remember Last Night?</i> (1935), the film was one of Whale's personal favourites. Then followed another of the director’s favourites, <i>Show Boat</i> (1936), a graceful adaptation of <b>Oscar Hammerstein</b>'s musical of the same name with <b><a href="https://filmstarpostcards.blogspot.com/2023/08/la-collectionneuse-irene-dunne.html">Irene Dunne</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Paul%20Robeson">Paul Robeson</a></b>. It was the last of Whale's films to be produced under the Laemmle family.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53494207155/in/dateposted/" title="The Old Dark House (1932)"><img src="https://live.staticflickr.com/65535/53494207155_a4dd70007c.jpg" width="354" height="500" alt="The Old Dark House (1932)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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American postcard by The Museum of Modern Art, New York, N.Y., 2001. American poster by Universal for <i>The Old Dark House</i> (James Whale, 1932).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/45038329845/in/album-72157712350861672/" title="Claude Rains and William Harrigan in The Invisible Man (1933)"><img alt="Claude Rains and William Harrigan in The Invisible Man (1933)" height="331" src="https://live.staticflickr.com/4820/45038329845_4dc234d01e.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Filmshots series by Film Weekly. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Claude%20Rains">Claude Rains</a></b> and <b>William Harrigan</b> in <i>The Invisible Man</i> (James Whale, 1933).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/31969288948/in/album-72157712350861672/" title="Gloria Stuart (and Claude Rains) in The Invisible Man (1933)"><img alt="Gloria Stuart (and Claude Rains) in The Invisible Man (1933)" height="322" src="https://live.staticflickr.com/4893/31969288948_fce303b597.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Filmshots series by Film Weekly. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Gloria%20Stuart">Gloria Stuart</a></b> (and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Claude%20Rains">Claude Rains</a></b>) in <i>The Invisible Man</i> (James Whale, 1933).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/49270759671/in/album-72157712350861672/" title="Paul Lukas and Elissa Landi in By Candlelight (1933)"><img alt="Paul Lukas and Elissa Landi in By Candlelight (1933)" height="326" src="https://live.staticflickr.com/65535/49270759671_2fec9eb7db.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Shots series by Film Weekly. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Paul%20Lukas">Paul Lukas</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Elissa%20Landi">Elissa Landi</a></b> in <i>By Candlelight</i> (James Whale, 1933).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/49270759646/in/album-72157712350861672/" title="Nils Asther and Esther Ralston in By Candlelight (1933)"><img alt="Nils Asther and Esther Ralston in By Candlelight (1933)" height="326" src="https://live.staticflickr.com/65535/49270759646_dc4c8c4d72.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Shots series by Film Weekly. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nils%20Asther">Nils Asther</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Esther%20Ralston">Esther Ralston</a></b> in <i>By Candlelight</i> (James Whale, 1933).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/49270957137/in/album-72157712350861672/" title="Nils Asther, Paul Lukas and Esther Ralston in By Candlelight (1933)"><img alt="Nils Asther, Paul Lukas and Esther Ralston in By Candlelight (1933)" height="328" src="https://live.staticflickr.com/65535/49270957137_de4dfe626d.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Shots series by Film Weekly. Photo: Universal. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Nils%20Asther">Nils Asther</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Paul%20Lukas">Paul Lukas</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Esther%20Ralston">Esther Ralston</a></b> in <i>By Candlelight</i> (James Whale, 1933).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
The Road Back
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The management at Universal Pictures changed due to financial problems. Although the film studio managed to stave off bankruptcy, the director and founder of Universal, <b>Carl Laemmle</b> and his son, <b>Carl Laemmle, Jr.</b>, who had always given <b>James Whale</b> a free hand with his films, were forced to resign and the Standard Capital Company took over Universal. In production was the war drama <i>The Road Back</i>, a sequel to its successful predecessor <i>All Quiet on the Western Front</i> (Lewis Milestone, 1930) and based on <b>Erich Maria Remarque</b>'s follow-up novel ‘Der Weg zurück’. Combining a strong anti-war message with prescient warnings about the rising dangers of the dictatorship of Nazi Germany, it was intended to be a powerful and controversial picture, and Universal had entrusted it to their finest director, <b>James Whale</b>.<br />
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The film was already heavily criticised during production by the Los Angeles consul for Nazi Germany, <b>Georg Gyssling</b>, for its anti-German tendencies. In fact, Whale had adopted the strong anti-Nazi tone of the novel for the adaptation. Whale's original cut of the film was given generally positive reviews, but sometime between preview screenings and the film's general release, the new studio boss <b>Charles Rogers</b> capitulated to the Germans, ordering that cuts be made. He ordered writer <b>Charles Kenyon</b> to interject the script with comedy scenes between <b>Andy Devine</b> and <b>Slim Summerville</b>. Whale was furious about the result, and the altered film was banned in Germany anyway. The Germans were successful in persuading China, Greece, Italy and Switzerland to ban the film as well.<br />
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For James Whale, <i>The Road Back</i> (1937) was the last major production he directed. <b>Charles Rogers</b> tried to get out of his contract with Whale, but Whale refused. Disgusted with the studio's cowardice under its new management, Whale only completed <i>Wives Under Suspicion</i> (1938), an unsuccessful remake of his own film <i>The Kiss Before the Mirror</i> (1932). Whale was loaned out to rival film studios Warner Bros. and MGM, for whom he made the romantic comedy <i>The Great Garrick</i> (1937) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Olivia%20De%20Havilland">Olivia de Havilland</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Brian%20Aherne">Brian Aherne</a></b> and the drama <i>Port of Seven Seas</i> (1938) a screen adaptation of <b>Marcel Pagnol</b>'s classic play ‘Fanny’ with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Wallace%20Beery">Wallace Beery</a></b> and <b>Frank Morgan</b>.<br />
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Whale's career and reputation had declined considerably by the end of the 1930s, but he was still more than enough of a highly skilled craftsman to helm the independent production <i>The Man in the Iron Mask</i> (1939). <b>Bruce Eder</b> at <i><b>AllMovie</b></i>: "Producer <b>Edward Small</b> didn't have the kind of money that MGM would have been able to put into a swashbuckler of this sort, but Whale had enough talent to make it look like he did. His clever and graceful camera moves (especially those dolly-shots) make the sets look twice as big and lavish as they ought to have, and his eye for characters and close-ups lends this movie a good level of emotional intensity, helped not a little bit by <b><a href="https://filmstarpostcards.blogspot.com/search/label/Louis%20Hayward">Louis Hayward</a></b>'s successful portrayal of a pair of identical (but emotionally and morally very different) twins. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Joan%20Bennett">Joan Bennett</a></b>'s Infanta of Spain is not quite as central to the action as one would expect of the leading lady, but she makes the most of her scenes."<br />
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Whale's last film for Universal was the adventure film <i>Green Hell</i> (1940) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Douglas%20Fairbanks%20Jr.">Douglas Fairbanks Jr.</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Joan%20Bennett">Joan Bennett</a></b>. Whale never completed his twentieth and final feature film, <i>They Dare Not Love</i> (1941), about an Austrian prince who flees into exile from the National Socialists and decides to fight against the regime. The film studio Columbia Pictures replaced him with <b>Charles Vidor</b> and only contractual clauses preserved the filmmaker's name in the credits. With the outbreak of World War II, Whale volunteered his services to make a training film for the United States Army. He shot the film, called <i>Personnel Placement in the Army</i>, in February 1942.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/49270292273/in/album-72157712350861672/" title="Paul Lukas and Elissa Landi in By Candlelight (1933)"><img alt="Paul Lukas and Elissa Landi in By Candlelight (1933)" height="321" src="https://live.staticflickr.com/65535/49270292273_c402afef37.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Shots series by Film Weekly. Photo: Universal. <a href="https://filmstarpostcards.blogspot.com/search/label/Paul%20Lukas"><b>Paul Lukas</b> </a>and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Elissa%20Landi">Elissa Landi</a></b> in <i>By Candlelight</i> (James Whale, 1933).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/33395028031/in/album-72157712350861672/" title="Boris Karloff on the set of The Bride of Frankenstein (1935)"><img alt="Boris Karloff on the set of The Bride of Frankenstein (1935)" height="500" src="https://live.staticflickr.com/3764/33395028031_87d9cd0968.jpg" width="353" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard in the Entr'acte series by Editions aphodèle mâcon, no 001/09. Photo: <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> relaxing with a cigarette during an interval of the shooting of <i>The Bride of Frankenstein</i> (James Whale, 1935).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53474120415/in/album-72157712350861672/" title="Boris Karloff in Bride of Frankenstein (1935)"><img alt="Boris Karloff in Bride of Frankenstein (1935)" height="500" src="https://live.staticflickr.com/65535/53474120415_89c45df5f4.jpg" width="352" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by American Postcard, no. 36. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> in <i>Bride of Frankenstein</i> (James Whale, 1935).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53477717050/in/album-72157712350861672/" title="Elsa Lanchester in Bride of Frankenstein (1935)"><img alt="Elsa Lanchester in Bride of Frankenstein (1935)" height="500" src="https://live.staticflickr.com/65535/53477717050_5cfed895ab.jpg" width="355" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by American Postcard, no. 41. <b>Elsa Lanchester</b> in <i>Bride of Frankenstein</i> (James Whale, 1935).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/33152080390/in/album-72157712350861672/" title="Boris Karloff and Elsa Lanchester in Bride of Frankenstein (1935)"><img alt="Boris Karloff and Elsa Lanchester in Bride of Frankenstein (1935)" height="355" src="https://live.staticflickr.com/2892/33152080390_c14c3c70c8.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard in the Collection Cinéma by Editions La Malibran, Paris, no. CA 53, 1989. Photo: <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> and <b>Elsa Lanchester</b> in <i>Bride of Frankenstein</i> (James Whale, 1935).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Gods and Monsters
</span></h3>
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After the end of his film career, James Whale returned to Broadway in 1944, where he directed the psychological thriller 'Hand in Glove' for the Playhouse Theatre. It was not a success.<br />
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In 1949, he took his last seat in the director's chair and made the 41-minute short film <i>Hello Out There</i>, based on a <b>William Saroyan</b> one-act play. It was the story of a man in a Texas jail falsely accused of rape and the woman who cleans the jail. The short was intended to be part of an anthology film for RKO along the lines of <i>Quartet</i> (Ken Annakin, a.o., 1948). The film was produced by the American supermarket heir <b>Huntington Hartford</b> to make his then-wife, the actress <b>Marjorie Steele</b>, better known. However, Hartford was unhappy with the result and <i>Hello Out There</i> (1949), made for 41,000 US dollars on a single set at KTTV Studios in Los Angeles, was never commercially released.<br />
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Whale's last work as a theatre director was the production of the play 'Pagan in the Parlour' at the Pasadena Playhouse. The play, a farce about two New England spinster sisters who are visited by a Polynesian whom their father, when shipwrecked years earlier, had married, was also performed briefly in England. In Europe, Whale rediscovered his love for painting and travel. His investments had made him wealthy and he lived a comfortable retirement until suffering strokes in 1956 that robbed him of his vigour and left him in pain.<br />
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Rumours of homosexuality had always accompanied the formerly celebrated film director. He actually lived openly with his partner <b>David Lewis</b>, an American film producer. After the strokes, Whale suffered from loneliness and depression and drowned in his swimming pool in Santa Monica in 1957 at the age of 67. The circumstances of his death remained a mystery until <b>David Lewis</b> confirmed the rumours of suicide years later. Lewis had found Whale dead, as well as a farewell note that was first printed in <b>James Curtis</b>' biography in 1982. It read "The future is just old age and illness and pain... I must have peace and this is the only way." Whale was buried in the Forest Lawn Memorial Park Cemetery in Glendale, California.<br />
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In 1997, the last phase of James Whale's life was made into a film based on the novel 'Father of Frankenstein' (1995) by <b>Christopher Bram</b>. Film and theatre actor <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ian%20McKellen">Ian McKellen</a></b> starred as Whale in <i>Gods and Monsters</i> (Bill Condon, 1997) with <b>Brendan Fraser</b> as the fictional gardener Clayton Boone, whom he hired and fell in love with. McKellen was nominated for an Oscar and a Golden Globe for Best Actor in a Leading Role in 1999. In 2002, a memorial statue in the form of a film reel was erected in front of a new multiplex cinema in James Whale's birthplace Dudley.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53492565333/in/album-72157712350861672/" title="Boris Karloff and Mae Clarke in Frankenstein (1931)"><img alt="Boris Karloff and Mae Clarke in Frankenstein (1931)" height="360" src="https://live.staticflickr.com/65535/53492565333_aaab40c296.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American postcard by American Postcard, no. 37. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Boris%20Karloff">Boris Karloff</a></b> and <b>Mae Clarke</b> in <i>Frankenstein</i> (James Whale, 1931).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53488331619/in/album-72157712350861672/" title="Elsa Lanchester in Bride of Frankenstein (1935)"><img alt="Elsa Lanchester in Bride of Frankenstein (1935)" height="500" src="https://live.staticflickr.com/65535/53488331619_51665a370c.jpg" width="394" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage press photo. <b>Elsa Lanchester</b> in <i>Bride of Frankenstein</i> (James Whale, 1935).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52942209659/in/album-72157712350861672/" title="Louis Hayward and Joan Bennett in The Man in the Iron Mask (1939)"><img alt="Louis Hayward and Joan Bennett in The Man in the Iron Mask (1939)" height="321" src="https://live.staticflickr.com/65535/52942209659_c4a6e193eb.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Film Partners Series, London, no. P. 306. Photo: Edward Small Prod. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Louis%20Hayward">Louis Hayward</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Joan%20Bennett">Joan Bennett</a></b> in <i>The Man in the Iron Mask</i> (James Whale, 1939).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53479794028/in/album-72157712350861672/" title="Ian McKellan and Rosalind Ayres in Gods and Monsters (1998)"><img alt="Ian McKellan and Rosalind Ayres in Gods and Monsters (1998)" height="380" src="https://live.staticflickr.com/65535/53479794028_9199d02b75.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage press photo. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ian%20McKellen">Ian McKellen</a></b> and <b>Rosalind Ayres</b> in <i>Gods and Monsters</i> (Bill Condon, 1998).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53465627605/in/photolist-2pszjnB-2ptjQWM-2ptPVyh" title="Brendan Fraser, Ian McKellen and Lynn Redgrave in Gods and Monsters (1998)"><img alt="Brendan Fraser, Ian McKellen and Lynn Redgrave in Gods and Monsters (1998)" height="386" src="https://live.staticflickr.com/65535/53465627605_2af8ba030c.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage press photo. <b>Brendan Fraser</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ian%20McKellen">Ian McKellen</a></b> and <b>Lynn Redgrave</b> in <i>Gods and Monsters</i> (Bill Condon, 1998).<br />
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Sources: <a href="https://www.goodreads.com/book/show/920314.James_Whale">James Curtis</a> (James Whale), ;<a href="https://www.allmovie.com/movie/the-man-in-the-iron-mask-vm1067789/review">Bruce Eder</a> (AllMovie), <a href="https://www.imdb.com/name/nm0001843/bio/?ref_=nm_ov_bio_sm">Pedro Borges</a> (IMDb), <a href="https://www.allmovie.com/artist/james-whale-vn15468939">AllMovie</a>, Wikipedia (<a href="https://nl.wikipedia.org/wiki/James_Whale">Dutch</a>, <a href="https://de.wikipedia.org/wiki/James_Whale">German</a>, <a href="https://fr.wikipedia.org/wiki/James_Whale">French</a> and <a href="https://en.wikipedia.org/wiki/James_Whale">English</a>) and <a href="https://www.imdb.com/name/nm0001843/">IMDb</a>.
Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-69693458366450440272024-03-03T07:00:00.213+01:002024-03-03T07:00:00.143+01:00Fernand Charpin<b>Fernand Charpin, better known by his nickname <b>Charpin</b>, (1887-1944) was a heavy-set French character actor and singer. He is best known for his interpretation of wealthy widower Honoré Panisse in Marcel Pagnol's Marseille trilogy, beginning with <i>Marius</i> (1931). He developed a very busy but short film career till he died all too soon at the age of 57.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53473844538/in/photolist-2puMiEd-2puciE2-2ptJwTB-2ptBUKh-2ptd4ib-2ptiqYS-2psJ7FL-2psx98D-2psjoax-2ps45jd-2kX2qz4-2kWUzMr-2jCuNzB" title="Charpin"><img alt="Charpin" height="500" src="https://live.staticflickr.com/65535/53473844538_2f07ce0f53.jpg" width="326" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Editions Chantal, Paris, no. 500. Photo: Films Tobis. <b>Charpin</b> as Jollivet in <i>Michel Strogoff</i> (Jacques de Baroncelli, Richard Eichberg, 1936).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53467344298/in/photolist-2psx98D-2psJ7FL-2ptBUKh-2puciE2-2ptiqYS-2ps45jd-2ptd4ib-2psjoax-2ptJwTB-2puMiEd" title="Raimu, Fernand Charpin, Paul Dullac and Robert Vattier in Marius (1931)"><img alt="Raimu, Fernand Charpin, Paul Dullac and Robert Vattier in Marius (1931)" height="333" src="https://live.staticflickr.com/65535/53467344298_0448e23034.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Editions La Malibran, Paris / Saint-Dié, no. CF 22. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b>, <b>Fernand Charpin</b>, <b>Paul Dullac</b> and <b>Robert Vattier</b> in <i>Marius</i> (Alexander Korda, 1931), written by Marcel Pagnol. Caption: The card game.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53483965721/in/photolist-2psx98D-2psJ7FL-2ptBUKh-2puciE2-2ptiqYS-2ps45jd-2ptd4ib-2psjoax-2ptJwTB-2puMiEd" title="Charpin"><img alt="Charpin" height="500" src="https://live.staticflickr.com/65535/53483965721_013b3149a6.jpg" width="324" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Marcel Pagnol's Marseille trilogy
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<b>Fernand Charpin</b> was born in 1887 in Marseille as the son of a gendarme. He grew up in Venelles, a village near Aix-en-Provence where his father was employed. Charpin fought in the First World War as a sergeant in the infantry. Taken prisoner of war in the Argonne in June 1916 and interned in Germany, he was repatriated in January 1919.<br />
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He was attracted to acting from a very early age. He went to Paris to take classes at the Conservatoire National Supérieur d'Art Dramatique (CNSAD). After his schooling, he became one of the stalwarts of the Théâtre de l'Odéon.<br />
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In 1928, he starred in the comedy 'Chotard et Cie'. One day, <b>Marcel Pagnol</b> went to see Charpin's acting on the advice of his regional colleague <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b>. After all, he was looking for a second actor like <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b> with a somewhat stocky build, a candid natural way of acting and the 'accent du Midi' for his new play 'Marius'. In 'Marius', Charpin played Honoré Panisse, the wealthy middle-aged sailmaker and widower who marries the pregnant Fanny (<b><a href="https://filmstarpostcards.blogspot.com/search/label/Orane%20Demazis">Orane Demazis</a></b>) when she's deserted by the irresponsible Marius (<b><a href="https://filmstarpostcards.blogspot.com/search/label/Pierre%20Fresnay">Pierre Fresnay</a></b>). Charpin was well-liked and 'Marius' achieved a resounding success. It was followed by 'Fanny', the second part of what would become the Marseille trilogy.<br />
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When Pagnol announced in 1931 that he would film his trilogy, Charpin also portrayed his role of the sailmaker on the big screen, both in the melodramas <i>Marius</i> (Alexander Korda, 1931) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Pierre%20Fresnay">Pierre Fresnay</a></b>, <i>Fanny</i> (Marc Allégret, 1932) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Orane%20Demazis">Orane Démazis</a></b>, and in <i>César</i> (Marcel Pagnol, 1936), the third part which was first filmed and only later staged as a play.<br />
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During the same period, <b><a href="https://filmstarpostcards.blogspot.com/2020/12/directed-by-jean-renoir.html">Jean Renoir</a></b> signed on with <i>Chotard et Cie/Chotard and Company</i> (Jean Renoir, 1933) to film the comedy that had led to Charpin's film debut. Finally, the film career of Fernand Charpin was launched.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53478742217/in/photolist-2jCuNzB-2kWUzMr-2kX2qz4-2ps45jd-2psjoax-2psx98D-2psJ7FL-2ptd4ib-2ptiqYS-2ptBUKh-2ptJwTB-2puciE2-2puMiEd/" title="Raimu, Robert Vattier, Marcel Maupi, Fernand Charpin, Paul Dullac and Alida Rouffe in Fanny (1932)"><img alt="Raimu, Robert Vattier, Marcel Maupi, Fernand Charpin, Paul Dullac and Alida Rouffe in Fanny (1932)" height="500" src="https://live.staticflickr.com/65535/53478742217_8b8470d46a.jpg" width="346" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard in the Raimu series by MPC (Marcel Pagnol Com), no. 2. Photo: Roger Foster. <b>Robert Vattier</b>, <b>Marcel Maupi</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b>, <b>Paul Dullac</b>, <b>Alida Rouffe</b> and <b>Fernand Charpin</b> in <i>Fanny</i> (Marc Allégret, 1932). Caption: A scene in front of the bar La Marine.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53465202931/in/photolist-2jCuNzB-2kWUzMr-2kX2qz4-2ps45jd-2psjoax-2psx98D-2psJ7FL-2ptd4ib-2ptiqYS-2ptBUKh-2ptJwTB-2puciE2-2puMiEd/" title="Raimu, Georges Grey, Josette Day, Line Noro and Fernand Charpin in La fille du Puisatier (1940)"><img alt="Raimu, Georges Grey, Josette Day, Line Noro and Fernand Charpin in La fille du Puisatier (1940)" height="350" src="https://live.staticflickr.com/65535/53465202931_1e6eaf06fb.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard in the Raimu series by MPC (Marcel Pagnol Com), no. 13. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Georges%20Grey">Georges Grey</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Josette%20Day">Josette Day</a></b>, <b>Line Noro</b> and <b>Fernand Charpin</b> in <i>La fille du Puisatier</i> (Marcel Pagnol, 1940), written by Marcel Pagnol.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53459726952/in/photolist-2jCuNzB-2kWUzMr-2kX2qz4-2ps45jd-2psjoax-2psx98D-2psJ7FL-2ptd4ib-2ptiqYS-2ptBUKh-2ptJwTB-2puciE2-2puMiEd" title="Raimu, Fernand Charpin, Paul Dullac and Robert Vattier in Marius (1931)"><img alt="Raimu, Fernand Charpin, Paul Dullac and Robert Vattier in Marius (1931)" height="348" src="https://live.staticflickr.com/65535/53459726952_bec112ce02.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard in the Raimu series by MPC (Marcel Pagnol Com), no. 15. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b>, <b>Fernand Charpin</b>, <b>Paul Dullac</b> and <b>Robert Vattier</b> in <i>Marius</i> (Alexander Korda, 1931), written by Marcel Pagnol. Caption: You break my heart!!!<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53472796032/in/photolist-2jCuNzB-2kWUzMr-2kX2qz4-2ps45jd-2psjoax-2psx98D-2psJ7FL-2ptd4ib-2ptiqYS-2ptBUKh-2ptJwTB-2puciE2-2puMiEd" title="Raimu and Fernand Charpin in Fanny (1932)"><img alt="Raimu and Fernand Charpin in Fanny (1932)" height="346" src="https://live.staticflickr.com/65535/53472796032_75ed3e1952.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard in the Raimu series by MPC (Marcel Pagnol Com), no. 27. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b> and <b>Fernand Charpin</b> in <i>Fanny</i> (Marc Allégret, 1932).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50296128053/in/photolist-2jCuNzB-2kWUzMr-2kX2qz4-2ps45jd-2psjoax-2psx98D-2psJ7FL-2ptd4ib-2ptiqYS-2ptBUKh-2ptJwTB-2puciE2-2puMiEd" title="Raimu and Fernand Charpin in Fanny (1932)"><img alt="Raimu and Fernand Charpin in Fanny (1932)" height="350" src="https://live.staticflickr.com/65535/50296128053_8f2d2df153.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard in the Raimu series by MPC (Marcel Pagnol Com), no. 29. Photo: Roger Foster. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b> and <b>Fernand Charpin</b> in <i>Fanny</i> (Marc Allégret, 1932).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Raimu and Fernandel
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<b>Marcel Pagnol</b>, who by now had become great friends with <b>Fernand Charpin</b>, also directed him in the comedies <i>Le Gendre de monsieur Poirier</i> (Marcel Pagnol, 1933) and <i>Le Schpountz/Heartbeat</i> (Marcel Pagnol, 1938), and the tragicomedies <i>La Femme du boulanger/The Baker's Wife</i> (Marcel Pagnol, 1938) and <i>La Fille du puisatier/The Well-Digger's Daughter</i> (Marcel Pagnol, 1940) in which he co-starred with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b>.<br />
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Charpin and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b> co-starred seven times, but Charpin also appeared alongside the young <b><a href="https://filmstarpostcards.blogspot.com/search/label/Fernandel">Fernandel</a></b> in eight comedies: <i>Le Train de 8 heures 47</i> (Henri Wulschleger, 1934), <i>Ignace</i> (Pierre Colombier, 1937), <i>Le Schpountz/Heartbeat</i> (Marcel Pagnol, 1938), <i>Berlingot et Compagnie</i> (Fernand Rivers, 1939), <i>La Fille du puisatier/The Well-Digger's Daughter</i> (Marcel Pagnol, 1940), <i>La Nuit merveilleuse/The Marvelous Night</i> (Jean-Paul Paulin, 1940), <i>Un chapeau de paille d'Italie</i> (Maurice Cammage, 1941) and <i>La Cavalcade des heures</i> (1943).<br />
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Besides his film work for Marcel Pagnol, Charpin also featured in several film adaptations of works by <b>Alphonse Daudet</b>: the drama <i>Sapho</i> (Léonce Perret, 1934) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Mary%20Marquet">Mary Marquet</a></b>, the comedy <i>Tartarin de Tarascon/Tartarin of Tarascon</i> (Raymond Bernard, 1934) where he again starred alongside <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b>, who took the title role, and the dramas <i>Le Petit Chose/The Little Thing</i> (Maurice Cloche, 1938) and <i>L'Arlésienne</i> (1942) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Raimu">Raimu</a></b>. Charpin portrayed military and police officers of all ranks (colonel, commander, captains, commissioner, gendarme, brigadiers). He was also seen in civilian authority roles such as investigating judge, mayor (three times), school headmaster, and parish priest.<br />
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He additionally acted in some dramas. <b><a href="https://filmstarpostcards.blogspot.com/2023/10/directed-by-julien-duvivier.html">Julien Duvivier</a></b> cast him twice. In the drama <i>La Belle Équipe/They Were Five</i> (Julien Duvivier, 1936), Charpin is a gendarme and in the crime film <i>Pépé le Moko</i> (Julien Duvivier, 1937), he is a snitch, a very atypical role for him. The film adaptations of novels he starred in were also mostly dramas: the family dramas <i>Les Anges noirs/The Dark Angels</i> (Willy Rozier, 1937), after <b>François Mauriac</b>, and <i>Les Roquevillard</i> (1943) after <b>Henry Bordeaux</b>, and the crime film <i>Les Caves du Majestic/Majestic Hotel Cellars</i> (Richard Pottier, 1945) after <b>Georges Simenon</b>.<br />
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Charpin married the actress <b>Gabrielle Doulcet</b> in 1913. Their marriage remained childless. In 1944, a few months after the Liberation, he suddenly died of heart failure at the age of 57. Charpin was suffering from a heart condition and when the lift in his building had stopped working due to electricity restrictions he had to climb the stairs to the seventh floor of his building, 3 rue Émile-Allez in Paris. It was too much. Fernand Charpin is buried in the Batignolles cemetery.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51160821391/in/photolist-2jCuNzB-2kWUzMr-2kX2qz4-2ps45jd-2psjoax-2psx98D-2psJ7FL-2ptd4ib-2ptiqYS-2ptBUKh-2ptJwTB-2puciE2-2puMiEd/" title="Charpin in Michel Strogoff (1936)"><img alt="Charpin in Michel Strogoff (1936)" height="500" src="https://live.staticflickr.com/65535/51160821391_34a9a39f24.jpg" width="326" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard. Photo: Les productions J.N. Ermoliev / Tobis. <b>Charpin</b> as Jolivet in <i>Michel Strogoff</i> (Jacques de Baroncelli, Richard Eichberg, 1936). Caption: A film based on the famous novel by Jules Verne.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53462713681/in/photolist-2jCuNzB-2kWUzMr-2kX2qz4-2ps45jd-2psjoax-2psx98D-2psJ7FL-2ptd4ib-2ptiqYS-2ptBUKh-2ptJwTB-2puciE2-2puMiEd/" title="Charpin"><img alt="Charpin" height="500" src="https://live.staticflickr.com/65535/53462713681_6456bd7859.jpg" width="318" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Editions P.I., Paris, no. 55. Photo: Studio Piaz.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53477449958/in/photolist-2jCuNzB-2kWUzMr-2kX2qz4-2ps45jd-2psjoax-2psx98D-2psJ7FL-2ptd4ib-2ptiqYS-2ptBUKh-2ptJwTB-2puciE2-2puMiEd/" title="Charpin"><img alt="Charpin" height="500" src="https://live.staticflickr.com/65535/53477449958_9124ef794b.jpg" width="320" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by A.N, Paris, no. 924. Photo: Pathé Natan.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53490599540/in/photolist-2jCuNzB-2kWUzMr-2kX2qz4-2ps45jd-2psjoax-2psx98D-2psJ7FL-2ptd4ib-2ptiqYS-2ptBUKh-2ptJwTB-2puciE2-2puMiEd/" title="Charpin"><img alt="Charpin" height="500" src="https://live.staticflickr.com/65535/53490599540_d838d24db5.jpg" width="352" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Edition Erpé, Paris.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53504059108/in/dateposted/" title="Fanny (1932)"><img src="https://live.staticflickr.com/65535/53504059108_a843f06a61.jpg" width="352" height="500" alt="Fanny (1932)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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French postcard by Jean Dubout, Paris, 2009, D 49. Poster design by Albert Dubout (1950) for a re-issue of <i>Fanny</i> (Marc Allegret, 1932), written by Marcel Pagnol.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53509467967/in/dateposted/" title="César (1936)"><img src="https://live.staticflickr.com/65535/53509467967_a54a944b62.jpg" width="500" height="344" alt="César (1936)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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French postcard by Jean Dubout, Paris, 2006, D 3. Poster design by Albert Dubout (1950) for a re-issue of <i>César</i> (Marcel Pagnol, 1936), written by Marcel Pagnol.<br />
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Sources: <a href="https://www.allmovie.com/artist/charpin-vn15333130">AllMovie</a>, Wikipedia (<a href="https://nl.wikipedia.org/wiki/Fernand_Charpin">Dutch</a>, <a href="https://en.wikipedia.org/wiki/Fernand_Charpin">English</a> and <a href="https://fr.wikipedia.org/wiki/Fernand_Charpin">French</a>) and <a href="https://www.imdb.com/name/nm0153457/">IMDb</a>.
Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-4140535480559523172024-03-02T07:00:00.000+01:002024-03-02T07:00:00.126+01:00Peter Lawford<b>English-American actor <b>Peter Lawford</b> (1923-1984) is mainly known as a member of the Rat Pack from which he was later banned due to an argument with Frank Sinatra and as the husband of Patricia Kennedy. Although he was never considered a very important actor, he has played in many famous films. He also appeared frequently on television. He was the first one to kiss Elizabeth Taylor and, according to him, the last one to speak to Marilyn Monroe before she died.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53356861555/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Peter Lawford, Laddie and Lassie"><img alt="Peter Lawford, Laddie and Lassie" height="500" src="https://live.staticflickr.com/65535/53356861555_d4e1d90f78.jpg" width="315" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage card. Photo: Metro-Goldwyn-Mayer. <b>Peter Lawford</b>, <b>Laddie</b> and <b>Lassie</b>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53386904009/in/dateposted/" title="Lassie and Peter Lawford in Son of Lassie"><img alt="Lassie and Peter Lawford in Son of Lassie" height="314" src="https://live.staticflickr.com/65535/53386904009_6f9c1c3f4a.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Belgian collectors card by Kwatta, no. C. 190, part of Kwatta collector cards' album C series, numberrs 99-196. Photo: MGM. <b>Lassie</b> and <b>Peter Lawford</b> in <i>Son of Lassie</i> (S. Sylvan Simon, 1945).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53304533793/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="June Allyson and Peter Lawford in Good News (1947)"><img alt="June Allyson and Peter Lawford in Good News (1947)" height="315" src="https://live.staticflickr.com/65535/53304533793_a3696c2fc4.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Belgian card by Kwatta, Bois-d'Haine, no. C. 161. Photo: M.G.M. <b>June Allyson</b> and <b>Peter Lawford</b> in <i>Good News</i> (Charles Walters, 1947).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53368303289/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Peter Lawford and Janet Leigh in The Red Danube (1949)"><img alt="Peter Lawford and Janet Leigh in The Red Danube (1949)" height="500" src="https://live.staticflickr.com/65535/53368303289_dec5392b5a.jpg" width="309" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Belgian card by Kwatta, Bois-d'Haine, no. C. 310. Photo: M.G.M. <b>Peter Lawford</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Janet%20Leigh">Janet Leigh</a></b> in <i>The Red Danube</i> (George Sidney, 1949).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53377319499/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Peter Lawford in Please Believe Me (1950)"><img alt="Peter Lawford in Please Believe Me (1950)" height="500" src="https://live.staticflickr.com/65535/53377319499_7121523a81.jpg" width="316" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Belgian card by Kwatta, Bois-d'Haine, no. C. 297. Photo: M.G.M. <b>Peter Lawford</b> in <i>Please Believe Me</i> (Norman Taurog, 1950).<br />
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<h3 style="text-align: left;"><span style="color: #b45f06;">
Son of Lassie
</span></h3>
<br />
<b>Peter Lawford</b> was born <b>Peter Sydney Vaughn Aylen</b> in London in 1923. He was the son of <b>Lieutenant General Sir Sidney Lawford</b> and his wife <b>May</b>. His parents married when he was one year old, which is why his mother's surname appears on his birth certificate.<br />
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He spent his childhood with his parents in France and therefore learnt French rather than English. Lawford later also became fluent in Spanish and Italian. He first appeared in front of the camera at the age of seven in the British film <i>Poor Old Bill</i> (Monty Banks, 1931).<br />
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In 1938, he played a supporting role in the drama <i>Lord Jeff</i> (Sam Wood, 1938) alongside child stars <b><a href="https://filmstarpostcards.blogspot.com/search/label/Freddie%20Bartholomew">Freddie Bartholomew</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Mickey%20Rooney">Mickey Rooney</a></b>, his first film in America. At the beginning of the 1940s, Lawford signed his first studio contract with Metro-Goldwyn-Mayer, where he was only given small roles in the early years.<br />
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A serious arm injury that Lawford suffered when he ran into a glass door at the age of 14 prevented him from serving in the Second World War. His breakthrough came with his roles in the <b><a href="https://filmstarpostcards.blogspot.com/2023/08/la-collectionneuse-irene-dunne.html">Irene Dunne</a></b> drama <i>The White Cliffs of Dover</i> (Clarence Brown, 1944) and the literary adaptation<i> The Picture of Dorian Gray</i> (Albert Lewin, 1945) as David Stone.<br />
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Lawford had his first leading role in the <b>Lassie</b> film <i>Son of Lassie</i> (S. Sylvan Simon, 1945). In 1946, he appeared in <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ernst%20Lubitsch">Ernst Lubitsch</a></b>'s comedy <i>Cluny Brown</i> and <b>Henry Koster</b>'s musical <i>Two Sisters from Boston</i> in major roles. He played alongside <b><a href="https://filmstarpostcards.blogspot.com/search/label/Fred%20Astaire">Fred Astaire</a></b> in the films <i>Easter Parade</i> (Charles Walters, 1948) and <i>Royal Wedding</i> (Stanley Donen, 1951).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53339577244/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Peter Lawford"><img alt="Peter Lawford" height="500" src="https://live.staticflickr.com/65535/53339577244_c71b085a8f.jpg" width="312" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Picturegoer Series, no. W 225. Photo: Metro Goldwyn Mayer.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53332058426/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Peter Lawford"><img alt="Peter Lawford" height="500" src="https://live.staticflickr.com/65535/53332058426_500d01d886.jpg" width="344" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage autograph card.<br />
<br />
<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53324289010/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr/" title="Peter Lawford"><img alt="Peter Lawford" height="500" src="https://live.staticflickr.com/65535/53324289010_5a6f20b820.jpg" width="349" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard by PEB.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53310317165/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Peter Lawford"><img alt="Peter Lawford" height="500" src="https://live.staticflickr.com/65535/53310317165_5286316130.jpg" width="323" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard by Takken 't Sticht, no. AX 337. Photo: Metro-Goldwyn-Mayer.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53351590212/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Peter Lawford"><img alt="Peter Lawford" height="500" src="https://live.staticflickr.com/65535/53351590212_ae1c5cea5e.jpg" width="313" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Belgian collectors card by Kwatta, Bois-d'Haine. Photo: Metro-Goldwyn-Mayer.
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<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Young lovers from good families
</span></h3>
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Peter Lawford usually played young lovers at MGM, often from good families, for example as Theodore Laurence in <i>Little Women</i> (Mervyn LeRoy, 1949), the film version of the novel by <b>Louisa May Alcott</b>. He was known in particular for his light-hearted and romantic roles.<br />
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As a result, Lawford became a household name, but never one of Hollywood's biggest stars. After the end of his contract with MGM, he turned to other roles and played more on television, including the leading role in the television series <i>The Thin Man</i> between 1957 and 1959.<br />
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At the end of the 1950s, he became a member of <a href="https://filmstarpostcards.blogspot.com/search/label/Frank%20Sinatra"><b>Frank Sinatra</b>'</a>s Rat Pack, which led to more roles. He played the playboy Jimmy Foster in <i>Ocean's Eleven</i> (Lewis Milestone, 1960).<br />
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In his later career, he turned to character roles and appeared in several television productions, including a recurring supporting role in the television series <i>The Doris Day Show</i> (1971-1973) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Doris%20Day">Doris Day</a></b>.<br />
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His later films include<i> The April Fools</i> (Stuart Rosenberg, 1969) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jack%20Lemmon">Jack Lemmon</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Catherine%20Deneuve">Catherine Deneuve</a></b>, and <i>Rosebud</i> (Otto Preminger, 1975), although he also made a few third-rate films. His last role was in the British comedy<i> Where Is Parsifal?</i> (Henry Helman, 1984) alongside <b><a href="https://filmstarpostcards.blogspot.com/search/label/Tony%20Curtis">Tony Curtis</a></b>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53360747152/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr/" title="Peter Lawford and Esther Williams in On an Island With You (1948)"><img alt="Peter Lawford and Esther Williams in On an Island With You (1948)" height="326" src="https://live.staticflickr.com/65535/53360747152_5ba7732647.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Belgian postcard, no. 1151. Photo: Metro Goldwyn Mayer. <b>Peter Lawford</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Esther%20Williams">Esther Williams</a></b> in <i>On an Island with You</i> (Richard Thorpe, 1948).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/46917211514/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Jimmy Durante, Peter Lawford, Esther Williams, Cyd Charisse, Ricardo Montalban and Xavier Cugat in On an Island with You (1948)"><img alt="Jimmy Durante, Peter Lawford, Esther Williams, Cyd Charisse, Ricardo Montalban and Xavier Cugat in On an Island with You (1948)" height="313" src="https://live.staticflickr.com/65535/46917211514_c1e0d67514.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Belgian postcard. Photo: M.G.M. <b>Jimmy Durante</b>, <b>Peter Lawford</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Esther%20Williams">Esther Williams</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Cyd%20Charisse">Cyd Charisse</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ricardo%20Montalban">Ricardo Montalban</a></b> and <b>Xavier Cugat </b>in <i>On an Island with You</i> (Richard Thorpe, 1948).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52002541212/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Vera Ellen and Peter Lawford"><img alt="Vera Ellen and Peter Lawford" height="500" src="https://live.staticflickr.com/65535/52002541212_19cb4d6f85.jpg" width="329" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Belgian postcard by Nieuwe Merksemsche Chocolaterie S.P.R.I., Merksem (Anvers / Antwerpen). Photo: M.G.M., 1950. With <b><a href="https://filmstarpostcards.blogspot.com/search/label/Vera-Ellen">Vera Ellen</a></b>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51438877933/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Esther Williams and Peter Lawford in On an Island with You (1948)"><img alt="Esther Williams and Peter Lawford in On an Island with You (1948)" height="320" src="https://live.staticflickr.com/65535/51438877933_c12d3f342d.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard by Fotoarchief Film en Toneel, no. 3528. Photo: Metro Goldwyn Mayer. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Esther%20Williams">Esther Williams</a></b> and <b>Peter Lawford</b> in <i>On an Island with You</i> (Richard Thorpe, 1948).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50279072436/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Fred Astaire, Jane Powell, Peter Lawford, Sarah Churchill in Royal Wedding (1951)"><img alt="Fred Astaire, Jane Powell, Peter Lawford, Sarah Churchill in Royal Wedding (1951)" height="500" src="https://live.staticflickr.com/65535/50279072436_e126a1a1bd.jpg" width="317" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Picturegoer Series, London, no. W 966. Photo: Metro Goldwyn Mayer. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Fred%20Astaire">Fred Astaire</a></b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jane%20Powell">Jane Powell</a></b>, <b>Peter Lawford</b>, and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Sarah%20Churchill">Sarah Churchill</a></b> in <i>Royal Wedding</i> (Stanley Donen, 1951).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Marilyn Monroe's last words
</span></h3>
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<b>Peter Lawford</b> was known for his colourful, sometimes turbulent private life. He married <b>Patricia Kennedy</b>, <b>John F. Kennedy</b>'s sister, in 1954 and thus became a member of the Kennedy family. They had four children together, including the actor <b>Christopher Lawford</b> (1955-2018). The marriage ended in divorce in 1966.<br />
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Lawford and the Rat Pack around <b><a href="https://filmstarpostcards.blogspot.com/search/label/Frank%20Sinatra">Frank Sinatra</a></b> also supported Kennedy in his election campaigns. Lawford is said to have significantly supported the close personal relationship between the two Kennedy brothers <b>John F.</b> and <b>Robert Kennedy</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Marilyn%20Monroe">Marilyn Monroe</a></b>, whom he had known well since the early 1950s. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Marilyn%20Monroe">Marilyn Monroe</a></b> exchanged her last words with Lawford during a telephone call on the night of 4 August 1962, when she died.<br />
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After divorcing the Kennedy daughter, Lawford married <b>Mary Rowan</b>, 27 years his junior and daughter of comedian <b>Dan Rowan</b>, in 1971. The marriage lasted until 1975, after which he went down the aisle twice more, once with <b>Debora Gould</b> (1977-1978, divorced) and a few months before his death with <b>Patricia Seaton</b>.<br />
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The friendship between him and Sinatra suffered for years because he had an affair with Sinatra's wife <b>Ava Gardner</b> and Sinatra considered this to be the reason for his separation from Gardner. Lawford had various more or less serious affairs with stars such as <b>June Allyson</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Lana%20Turner">Lana Turner</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Kim%20Novak">Kim Novak</a></b>. Before his marriage to Patricia Kennedy, he had a relationship with the African-American actress <b><a href="https://filmstarpostcards.blogspot.com/search/label/Dorothy%20Dandridge">Dorothy Dandridge</a></b>.<br />
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Peter Lawford was addicted to alcohol for many years, which affected both his health and his professional career from the 1970s onwards. In 1984, Lawford died from kidney and liver failure in Los Angeles. He was 61. In 2018, his 63-year-old son <b>Christopher Lawford</b> also died of a heart attack.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53382647517/in/dateposted/" title="Peter Lawford in Kangaroo (1952)"><img alt="Peter Lawford in Kangaroo (1952)" height="500" src="https://live.staticflickr.com/65535/53382647517_e056197809.jpg" width="325" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Belgian postcard, no. 152. Photo: 20th Century Fox. <b>Peter Lawford</b> in <i>Kangaroo</i> (Lewis Milestone, 1952).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53321418090/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr/" title="Peter Lawford"><img alt="Peter Lawford" height="500" src="https://live.staticflickr.com/65535/53321418090_c3c4be03a9.jpg" width="318" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Swedish postcard by Forlag Torsten G. Ericson, Hälsingborg, no. AX 408. Photo: Metro Goldwyn Mayer.<br />
<br />
<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53343981498/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr/" title="Peter Lawford"><img alt="Peter Lawford" height="500" src="https://live.staticflickr.com/65535/53343981498_d0b313b804.jpg" width="323" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard, no. AX 119. Photo: Metro Goldwyn Mayer.<br />
<br />
<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53348748780/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr/" title="Peter Lawford"><img alt="Peter Lawford" height="500" src="https://live.staticflickr.com/65535/53348748780_a9afc2b4b5.jpg" width="315" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the The People series by Show Parade Picture Service, London, no. P. 1066. Photo: Metro-Goldwyn-Mayer.<br />
<br />
<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53336302658/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Peter Lawford"><img alt="Peter Lawford" height="500" src="https://live.staticflickr.com/65535/53336302658_11020f72fb.jpg" width="308" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard by van Leer's Fotodrukindustrie N.V., Amsterdam, no. 31. Photo: Metro Goldwyn Mayer.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/48840729767/in/photolist-2etUYpU-2hpTvnH-2jAZoxf-2mntGiK-2nehBL9-2pdkEN6-2pdRiZp-2peQcUE-2pf5Vkh-2pfLJUJ-2pg9uz9-2pgrgZw-2pgPRdW-2phfhns-2phuR2E-2phXS1T-2piiM4W-2piYvfa-2pjLHs4-2pkf2hr" title="Sammy Davis Jr., Dean Martin, Peter Lawford and Frank Sinatra"><img alt="Sammy Davis Jr., Dean Martin, Peter Lawford and Frank Sinatra" height="351" src="https://live.staticflickr.com/65535/48840729767_cf0fc64628.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Krüger, no. 902/193. Photo: Terb Agency. <b>Sammy Davis Jr.</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Dean%20Martin">Dean Martin</a></b>, <b>Peter Lawford</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Frank%20Sinatra">Frank Sinatra</a></b>.<br />
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Sources: Wikipedia (<a href="https://nl.wikipedia.org/wiki/Peter_Lawford">Dutch</a>, <a href="https://de.wikipedia.org/wiki/Peter_Lawford">German</a> and <a href="https://en.wikipedia.org/wiki/Peter_Lawford">English</a>) and <a href="https://www.imdb.com/name/nm0492444/">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-56570835443412975382024-03-01T07:00:00.022+01:002024-03-01T07:00:00.125+01:00Mamie van Doren<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Voluptuous American actress <b>Mamie Van Doren</b> (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as <i>Untamed Youth</i> (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, torpedo bras, skin-tight capri pants, and daring swimsuits. Mamie and her colleague blond bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.' In the 1960s, she appeared in some European films.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/23414197136/" title="Mamie Van Doren"><img alt="Mamie Van Doren" height="500" src="https://farm6.staticflickr.com/5685/23414197136_46fc17e85b.jpg" width="357" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
Italian postcard in the series Divi del Cinema by Vetta Traldi, Milano, no 232.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/5427020417/in/photolist-sboaRC-scp2FY-rN5Zzf-rGEXJ1-qEnJpw-qQcT9h-qNhgUY-qzmpv3-qitGb2-pccFMM-pRoqiA-pjARbz-oHBoMH-nwaDWX-iWbL7x-iyoomL-gU4ATz-gU5jfR-gQND95-gKKn2u-gHwEtR-gHwExi-fqUJyb-fhVx2H-dLabPG-Ff9vcW-edsvZA-doyzY7-cF7RTm-c3EbN1-bvrrUd-boi2EH-edgFdh-bjJdht-tt6Co7-aTAwhT-aPjY48-rnjQ3a-aphKzM-czv3Q9-bbLEQc-aisHpc-9PQwJ8-9PTp8d-9NGg3z-9gyU6x-7z7bXX-6WAMfM-6CGHLs-4wZVSJ/" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://farm6.staticflickr.com/5253/5427020417_9b72a7aeb2.jpg" width="327" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
Italian postcard by Bromofoto, Milano (Milan). Sent by mail in the Netherlands in 1958.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/3001907312/in/photolist-BF2T55-AiA6ay-z3cjU4-zhp2b7-zjH7t2-qgmq9c-pLBZKz-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://farm4.staticflickr.com/3244/3001907312_2e32c92271.jpg" width="383" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
Big German card by ISV, no. PX 3.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/8168790194/in/photolist-BF2T55-AiA6ay-z3cjU4-zhp2b7-zjH7t2-qgmq9c-pLBZKz-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://farm8.staticflickr.com/7126/8168790194_f347040419.jpg" width="355" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
Italian postcard by Rotalfoto, Milano, no. 39.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/6855402539/in/photolist-BF2T55-AiA6ay-z3cjU4-zhp2b7-zjH7t2-qgmq9c-pLBZKz-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://farm8.staticflickr.com/7069/6855402539_dc975de406.jpg" width="324" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
French postcard by P.I., Paris, no. 706, offered by Les Carbones Korès 'Carboplane'. Photo: H.P.S.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/46575496805/in/photolist-2poyGqU-2pkf2m9-2nhz1cM-2necxFh-2mPwxnY-2kEt4RY-2k4erTv-2k4erTk-2erCRdd-2dXHAwZ-2cVNc5P-Rwukew-2cW9eeW-2a8arsC-29Cmwyb-2aTDNby-H2Q6Xu-23BpWAb-YHWQif-Td8Yjz-BF2T55-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC/" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://live.staticflickr.com/7919/46575496805_9172f6d044.jpg" width="345" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by WS-Druck, Wanne-Eickel, no. F 107. Photo: Metro-Goldwyn-Mayer / Filmpress Zürich.<br />
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<h3 style="text-align: left;">
<span style="color: #b45f06;">Condemned by the Catholic Legion of Decency</span></h3>
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Mamie Van Doren was born <b>Joan Lucille Olander</b> in Rowena, South Dakota, in 1931. She was the daughter of <b>Warner Carl Olander</b> and <b>Lucille Harriet Bennett</b>. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with <b>Ted Fio Rito</b>'s band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, <b>Jack Newman</b>, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. <br />
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In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer <b>Howard Hughes</b> the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in <i>Jet Pilot</i> at RKO Radio Pictures. Her line of dialogue consisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist <b>Alberto Vargas</b>, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of <i>Esquire</i> magazine. Van Doren did a few more bit parts in RKO films, including <i>His Kind of Woman</i> (John Farrow, 1951) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robert%20Mitchum">Robert Mitchum</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jane%20Russell">Jane Russell</a></b>. <br />
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Van Doren then began working on the stage. She was a showgirl in New York in <b>Monte Proser</b>'s nightclub version of 'Billion Dollar Baby'. Songwriter <b>Jimmy McHugh</b> discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with <b>Ben Bard</b> and <b>Bliss-Hayden</b>. While appearing in the role of Marie in a showcase production of 'Come Back, Little Sheba', Van Doren was seen by <b>Phil Benjamin</b>, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Marilyn%20Monroe">Marilyn Monroe</a></b>. Van Doren, whose signing day coincided with the inauguration of <b>President Eisenhower</b>, was given the first name Mamie for Ike's wife, <b>Mamie Eisenhower</b>. Universal first cast Van Doren in a minor role as a singer in <i>Forbidden</i> (Rudolph Maté, 1953), starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Tony%20Curtis">Tony Curtis</a></b>. <br />
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Interested in Van Doren's allure, Universal then cast her again opposite Curtis in <i>The All American</i> (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In <i>Yankee Pasha</i> (Joseph Pevney, 1954), starring <b>Jeff Chandler</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Rhonda%20Fleming">Rhonda Fleming</a></b>, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical <i>Ain't Misbehavin'</i> (Edward Buzzell, 1955) and starred in the crime-drama, <i>Running Wild</i> (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play 'Will Success Spoil Rock Hunter?' and was replaced by newcomer<a href="https://filmstarpostcards.blogspot.nl/search/label/Jayne%20Mansfield"> <b>Jayne Mansfield</b></a>. In 1956, Van Doren appeared in the Western <i>Star in the Dust</i> (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside <b>John Agar</b> and <b>Richard Boone</b>, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as <i>Teacher's Pet</i> (George Seaton, 1958) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Doris%20Day">Doris Day</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Clark%20Gable">Clark Gable</a></b>. <br />
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She appeared in some of the first movies to feature rock 'n' roll music, such as <i>Untamed Youth</i> (Howard W. Koch, 1957). <b>Hal Erickson</b> at <b><i>AllMovie</i></b>: "Delivering a superb performance under the circumstances, <b>Russ Tamblyn</b> heads the cast as 'typical' high schooler Tony Baker. Usually seen in the company of his voluptuous "aunt" Gwen Dulaine (the truly impressive <b>Mamie Van Doren</b>), Tony convinces one and all that he's looking for kicks of the controlled-substance kind. In truth, however, our hero is really an undercover narcotics agent named Mike Wilson, bound and determined to smash the operation of drug lord Mr. A. (<b><a href="https://filmstarpostcards.blogspot.com/search/label/Jackie%20Coogan">Jackie Coogan</a></b>). The once-in-a-lifetime cast includes such worthies as <b>John Drew Barrymore</b> (<b><a href="https://filmstarpostcards.blogspot.com/search/label/Drew%20Barrymore">Drew Barrymore</a></b>'s daddy), <b>Ray Anthony</b> (then married to Mamie Van Doren), <b>Charles Chaplin Jr.</b>, <b>Michael Landon</b>, and <b>Jerry Lee Lewis</b> as 'himself'." The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style and made some rock records. She went on to star in several bad girl movies that later became cult films. These include <i>Born Reckless</i> (Howard W. Koch, 1958), <i>High School Confidential</i> (Jack Arnold, 1958), and <i>The Beat Generation</i> (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work. <br />
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Yugoslavian postcard by Ifis-glas, Smederevo.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/8955964255/in/photolist-BF2T55-AiA6ay-z3cjU4-zhp2b7-zjH7t2-qgmq9c-pLBZKz-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://farm8.staticflickr.com/7399/8955964255_2177557859.jpg" width="325" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
Dutch postcard by 'Emdeeha' de Hond, Oosterbeek, no. 15. Photo: MGM.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/9017608616/in/photolist-BF2T55-AiA6ay-z3cjU4-zhp2b7-zjH7t2-qgmq9c-pLBZKz-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://farm4.staticflickr.com/3781/9017608616_6e7b38c430.jpg" width="330" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
Yugoslavian postcard by Studio Sombor.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/45897403715/in/photolist-2poyGqU-2pkf2m9-2nhz1cM-2necxFh-2mPwxnY-2kEt4RY-2k4erTv-2k4erTk-2erCRdd-2dXHAwZ-2cVNc5P-Rwukew-2cW9eeW-2a8arsC-29Cmwyb-2aTDNby-H2Q6Xu-23BpWAb-YHWQif-Td8Yjz-BF2T55-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC/" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://live.staticflickr.com/4890/45897403715_557f9d36de.jpg" width="341" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Italian postcard by Bromostampa, Milano, no. 380.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/11058105413/in/photolist-BF2T55-AiA6ay-z3cjU4-zhp2b7-zjH7t2-qgmq9c-pLBZKz-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://farm8.staticflickr.com/7318/11058105413_d31843294f.jpg" width="323" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
French postcard by Editions du Globe, no. 475. Photo: Universal International / International Press.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/7409919928/in/photolist-BF2T55-AiA6ay-z3cjU4-zhp2b7-zjH7t2-qgmq9c-pLBZKz-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://farm6.staticflickr.com/5239/7409919928_a71798c084.jpg" width="320" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
Yugoslavian postcard.<br />
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<h3 style="text-align: left;">
<span style="color: #b45f06;">Hip-hugging skin-tight pants and seashell brassieres</span></h3>
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Mamie Van Doren became known for her provocative roles. She was in prison for <i>Girls Town</i> (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in <i>The Private Lives of Adam and Eve</i> (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like <i>Vice Raid</i> (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is <i>Sex Kittens Go to College</i> (Albert Zugsmith, 1960), which co-starred <b>Tuesday Weld</b> and <b>Mijanou Bardot</b> - Brigitte's sister. <br />
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Mamie also appeared in foreign productions, such as the Italian crime comedy <i>Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina</i> (Camillo Mastrocinque, 1959) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Antonio%20Cifariello">Antonio Cifariello</a></b>, and the Argentine film <i>Una americana en Buenos Aires/The Blonde from Buenos Aires</i> (George Cahan, 1961) with <b><a href="https://filmstarpostcards.blogspot.nl/search/label/Jean-Pierre%20Aumont">Jean-Pierre Aumont</a></b>. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical <i>Freddy und das Lied der Prärie/In the Wild West</i> (Sobey Martin, 1964), starring <b><a href="https://filmstarpostcards.blogspot.nl/search/label/Freddy%20Quinn">Freddy Quinn</a></b> and <b><a href="https://filmstarpostcards.blogspot.nl/search/label/Rik%20Battaglia">Rik Battaglia</a></b>. <b>Tommy Noonan</b> convinced Van Doren to appear as a neurotic striptease artist in <i>3 Nuts in Search of a Bolt</i> (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in <i>Promises! Promises!</i>, in which she would have to do nude scenes. She was replaced by <a href="https://filmstarpostcards.blogspot.nl/search/label/Jayne%20Mansfield"><b>Jayne Mansfield</b></a>. In <i>3 Nuts in Search of a Bolt</i>, Mamie did a beer-bath scene but is not seen nude. She posed for <i>Playboy</i> to promote the film. <br />
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Van Doren next appeared in <i>The Las Vegas Hillbillys</i> (Arthur C. Pierce, 1966) which co-starred <a href="https://filmstarpostcards.blogspot.nl/search/label/Jayne%20Mansfield"><b>Jayne Mansfield</b></a>. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled <i>Hillbillys in a Haunted House</i>, but Van Doren turned this role down and was replaced by <b>Joi Lansing</b>. She appeared in <i>You've Got to Be Smart</i> (Ellis Kadison, 1967), and the Sci-Fi film, <i>Voyage to the Planet of Prehistoric Women</i> (1968), directed by the young <b>Peter Bogdanovich</b> (a.k.a. Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sunbathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film <i>The Ice House</i> as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by <b><a href="https://filmstarpostcards.blogspot.nl/search/label/Sabrina">Sabrina</a></b>. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theatre. She performed in stage productions of 'Gentlemen Prefer Blondes' and 'Dames at Sea' at the Drury Lane Theater, Chicago, and appeared in 'Will Success Spoil Rock Hunter?' and 'The Tender Trap' at the Arlington Park Theater. <br />
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After a supporting role in the Western <i>The Arizona Kid</i> (Luciano B. Carlos, 1970), Van Doren disappeared from films. In the 1970s, she performed a nightclub act in Las Vegas. <b>Hal Erickson</b> at <b><i>AllMovie</i></b>: "Van Doren continued popping up at important Hollywood social functions and awards presentations, as zaftig and exhibitionist as ever, much to the delight of her ever-growing fan club. In 1987 Mamie Van Doren wrote her memoirs, 'Playing the Field', in which she claimed she slept with practically every male star in the entertainment industry." <i>Playing the Field</i> (1987) brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication, she has often been interviewed and profiled and has occasionally returned to acting. Van Doren's guest appearances on television include <i> Fantasy Island</i>, <i>Burke's Law</i>, <i>Vega$</i>, and <i>L.A. Law</i>. Van Doren's last film appearance was a cameo role in the comedy <i>Slackers</i> (Dewey Nicks, 2002). <br />
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Mamie Van Doren has been married five times. Her first marriage was to sportswear manufacturer <b>Jack Newman</b> whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor <b>Ray Anthony</b> whom she married in 1955. They had one son, <b>Perry Ray Anthony</b> (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicised, on-again off-again engagement to baseball player <b>Bo Belinsky</b> ended in 1964, she married baseball player <b>Lee Meyers</b> in 1966. They were divorced in 1967. Her fourth marriage was to businessman <b>Ross McClintock</b> in 1972. They met while working on <b>President Nixon</b>'s reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to <b>Thomas Dixon</b>, an actor and dentist.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53420240708/in/photolist-2poyGqU-2pkf2m9-2nhz1cM-2necxFh-2mPwxnY-2kEt4RY-2k4erTv-2k4erTk-2erCRdd-2dXHAwZ-2cVNc5P-Rwukew-2cW9eeW-2a8arsC-29Cmwyb-2aTDNby-H2Q6Xu-23BpWAb-YHWQif-Td8Yjz-BF2T55-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC" title="Mamie van Doren and Ray Anthony"><img alt="Mamie van Doren and Ray Anthony" height="500" src="https://live.staticflickr.com/65535/53420240708_a6c8c8d814.jpg" width="323" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard by Editions Altona, no. 5155. Photo: Capitol. Collection: Marlene Pilaete.<br />
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British postcard in the Picturegoer Series, London, no. D. 495. Photo: Universal International.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53382647732/in/photolist-2poyGqU-2pkf2m9-2nhz1cM-2necxFh-2mPwxnY-2kEt4RY-2k4erTv-2k4erTk-2erCRdd-2dXHAwZ-2cVNc5P-Rwukew-2cW9eeW-2a8arsC-29Cmwyb-2aTDNby-H2Q6Xu-23BpWAb-YHWQif-Td8Yjz-BF2T55-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC/" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://live.staticflickr.com/65535/53382647732_10b0d7f12a.jpg" width="320" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Celebrity Autograph Series, no. 167. Photo: Universal International. Publicity still for <i>Francis Joins the WACS</i> (Arthur Lubin, 1954).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52039687987/in/photolist-2poyGqU-2pkf2m9-2nhz1cM-2necxFh-2mPwxnY-2kEt4RY-2k4erTv-2k4erTk-2erCRdd-2dXHAwZ-2cVNc5P-Rwukew-2cW9eeW-2a8arsC-29Cmwyb-2aTDNby-H2Q6Xu-23BpWAb-YHWQif-Td8Yjz-BF2T55-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC/" title="Mamie Van Doren"><img alt="Mamie Van Doren" height="500" src="https://live.staticflickr.com/65535/52039687987_571e7b579a.jpg" width="324" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard by Takken, Utrecht, no. 3151. <b>Mamie Van Doren</b> and her son <b>Perry Ray</b>. Collection: Marlene Pilaete.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/52001551914/in/photolist-2poyGqU-2pkf2m9-2nhz1cM-2necxFh-2mPwxnY-2kEt4RY-2k4erTv-2k4erTk-2erCRdd-2dXHAwZ-2cVNc5P-Rwukew-2cW9eeW-2a8arsC-29Cmwyb-2aTDNby-H2Q6Xu-23BpWAb-YHWQif-Td8Yjz-BF2T55-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC/" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://live.staticflickr.com/65535/52001551914_f98b73fa37.jpg" width="321" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Belgian postcard, no. 96.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/32506504348/in/photolist-2poyGqU-2pkf2m9-2nhz1cM-2necxFh-2mPwxnY-2kEt4RY-2k4erTv-2k4erTk-2erCRdd-2dXHAwZ-2cVNc5P-Rwukew-2cW9eeW-2a8arsC-29Cmwyb-2aTDNby-H2Q6Xu-23BpWAb-YHWQif-Td8Yjz-BF2T55-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC/" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://live.staticflickr.com/4814/32506504348_d928186f94.jpg" width="328" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard by Takken / 't Sticht., no. 1633.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/44056960580/in/photolist-2poyGqU-2pkf2m9-2nhz1cM-2necxFh-2mPwxnY-2kEt4RY-2k4erTv-2k4erTk-2erCRdd-2dXHAwZ-2cVNc5P-Rwukew-2cW9eeW-2a8arsC-29Cmwyb-2aTDNby-H2Q6Xu-23BpWAb-YHWQif-Td8Yjz-BF2T55-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC/" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://live.staticflickr.com/4878/44056960580_989b6e1eb7.jpg" width="324" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 2330. Photo: Keystone.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/45901313212/in/photolist-2poyGqU-2pkf2m9-2nhz1cM-2necxFh-2mPwxnY-2kEt4RY-2k4erTv-2k4erTk-2erCRdd-2dXHAwZ-2cVNc5P-Rwukew-2cW9eeW-2a8arsC-29Cmwyb-2aTDNby-H2Q6Xu-23BpWAb-YHWQif-Td8Yjz-BF2T55-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC/" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://live.staticflickr.com/4883/45901313212_1312bfc22b.jpg" width="349" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Italian postcard by Rotalfoto, Milano, no. 612. <br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53514429478/in/photolist-2pyuwAr-2pxpWVW-2pwTrtd-2pxW7hU/" title="Mamie van Doren"><img src="https://live.staticflickr.com/65535/53514429478_f8f7ca2767.jpg" width="313" height="500" alt="Mamie van Doren"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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American Arcade card.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53520381944/in/photolist-2pyuwAr-2pxpWVW-2pwTrtd-2pxW7hU/" title="Mamie van Doren"><img src="https://live.staticflickr.com/65535/53520381944_7a2f47da2a.jpg" width="321" height="500" alt="Mamie van Doren"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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American postcard. <br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/46891432504/in/photolist-2poyGqU-2pkf2m9-2nhz1cM-2necxFh-2mPwxnY-2kEt4RY-2k4erTv-2k4erTk-2erCRdd-2dXHAwZ-2cVNc5P-Rwukew-2cW9eeW-2a8arsC-29Cmwyb-2aTDNby-H2Q6Xu-23BpWAb-YHWQif-Td8Yjz-BF2T55-hRaFtT-eJRASC-eDpE9P-eu8ahh-drRbJf-chMM39-brMJkv-9gyU6x-5zgysC/" title="Mamie van Doren"><img alt="Mamie van Doren" height="500" src="https://live.staticflickr.com/65535/46891432504_f3d136a8d1.jpg" width="385" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage photo.<br />
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<iframe allowfullscreen="" frameborder="0" height="375" src="https://www.youtube.com/embed/lSXIUC0KxgQ" width="500"></iframe><br />
Trailer <i>Untamed Youth</i> (Howard W. Koch, 1957). Source: Horror Movie Shows (YouTube).<br />
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<iframe allowfullscreen="" frameborder="0" height="375" src="https://www.youtube.com/embed/rz9TXhs4Cjk" width="500"></iframe><br />
Trailer for <i>Sex Kittens Go to College</i> (Albert Zugsmith, 1960). Source: Horrormovieshows (YouTube).<br />
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Sources: <a href="http://www.allmovie.com/artist/p72842">Hal Erickson</a> (AllMovie). <a href="https://en.wikipedia.org/wiki/Mamie_Van_Doren">Wikipedia</a> and <a href="http://www.imdb.com/name/nm0886638/">IMDb</a>.</div>
Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-81969419507783415462024-02-29T07:00:00.187+01:002024-02-29T07:00:00.348+01:00Romeo + Juliet (1996)<b><i>Romeo + Juliet</i> (Baz Luhrmann, 1996) is the tenth American film adaptation of William Shakespeare's 1596 tragedy. The title roles were played by Leonardo DiCaprio and Claire Danes. The film is a modern version of 'Romeo and Juliet'. Chases on foot have been replaced by car chases and swords by pistols, but the Shakespeare dialogues are authentic. <b>Romeo + Juliet</b> was nominated for an Oscar for Best Art Direction. More than 10 other film awards were given to the production, including the BAFTA Awards for Best Directing, Best Script and Best Production Design, the Silver Bear for Leonardo DiCaprio, and the award for Best Directing at the Berlin Film Festival.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53450674929/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Romeo + Juliet (1996)"><img alt="Romeo + Juliet (1996)" height="500" src="https://live.staticflickr.com/65535/53450674929_12b2a10bbd.jpg" width="351" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Sonis, no. C. 731. Photo: 20th Century Fox Film Corporation. French film affiche with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> and <b>Claire Danes</b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996). Caption: Hope despair tragedy love. The world's greatest love story.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53448213448/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Leonardo DiCaprio in Romeo + Juliet (1996)"><img alt="Leonardo DiCaprio in Romeo + Juliet (1996)" height="500" src="https://live.staticflickr.com/65535/53448213448_4e333178b9.jpg" width="354" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard, no. 012. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996). Caption: Romeo.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50014697003/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY" title="Leonardo DiCaprio in Romeo + Juliet (1996)"><img alt="Leonardo DiCaprio in Romeo + Juliet (1996)" height="357" src="https://live.staticflickr.com/65535/50014697003_373582e20a.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53452946104/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Claire Danes in Romeo + Juliet (1996)"><img alt="Claire Danes in Romeo + Juliet (1996)" height="356" src="https://live.staticflickr.com/65535/53452946104_b369c9622b.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage promotion card. Photo: 20th Century Fox Film Corporation. <b>Claire Danes</b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
They immediately fall in love
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<b><i>Romeo + Juliet</i></b> (Baz Luhrmann, 1996) is set in Los Angeles, in the fictional Verona Beach. Two great families, the Montagues, and the Capulets, are warring mafia empires with legitimate business fronts.<br />
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The young men of the two feuding Montague and Capulet families get into fights at every opportunity, although the heads of the families urge moderation. After a petrol station goes up in flames during a shootout, the police give the families the ultimate warning to keep the peace from now on.<br />
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Romeo (<b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b>), son of the Montague family, initially attends a costume party at the Capulet house without being recognised and meets the Capulet's daughter Juliet (<b>Claire Danes</b>). They immediately fall in love, although they don't even know each other's names at first. After talking to each other during a secret dip in the pool, they decide to get married the next day, settling the long dispute between the two families.<br />
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They find support from Juliet's nurse (<b>Miriam Margolyes</b>) and Father Laurence (<b>Pete Postlethwaite</b>), who marries them. Shortly afterwards, Romeo's friend Mercutio (<b>Harold Perrineau</b>) is killed by Juliet's cousin Tybalt (<b>John Leguizamo</b>) in a quarrel. Romeo, who initially tried to de-escalate the situation, is furious. He pursues Tybalt and shoots him. He then seeks help from Father Laurence, who advises him to spend the night with Juliet, flee to Mantua in the early morning, and stay there until he receives news.<br />
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Juliet's parents, who still know nothing about Romeo, have now arranged their daughter's wedding to the heartthrob Count Paris (<b>Paul Rudd</b>). When she resists, she is accused of ingratitude. Desperate, she also seeks advice from Father Laurence and receives a drug from him that will put her into a 24-hour death-like sleep to escape a forced marriage to Count Paris. Father Laurence immediately sends Romeo an express letter to Mantua to inform him of this plan. However, the letter cannot be delivered after two attempts.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53467526394/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Leonardo DiCaprio in Romeo + Juliet (1996)"><img alt="Leonardo DiCaprio in Romeo + Juliet (1996)" height="500" src="https://live.staticflickr.com/65535/53467526394_87c4a0a421.jpg" width="340" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard by Promode, no. PR 090. Photo: 20th Century Fox. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/50032566621/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Leonardo DiCaprio in Romeo + Juliet (1996)"><img alt="Leonardo DiCaprio in Romeo + Juliet (1996)" height="357" src="https://live.staticflickr.com/65535/50032566621_7fe66fc9f7.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard. Photo: 20th Century Fox. <b>Jamie Kennedy</b>, <b>Zak Orth</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b>, <b>Dash Mihok</b>, and <b>Harold Perrineau</b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996). Caption: Montague. Quarrel I Will Back Thee.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53458358807/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Leonardo DiCaprio and Claire Danes in Romeo + Juliet (1996)"><img alt="Leonardo DiCaprio and Claire Danes in Romeo + Juliet (1996)" height="339" src="https://live.staticflickr.com/65535/53458358807_bef3c28649.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard by Promode, no. PR 094. Photo: 20th Century Fox Film Corporation. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> and <b>Claire Danes</b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53453871302/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Leonardo DiCaprio and Claire Danes in Romeo + Juliet (1996)"><img alt="Leonardo DiCaprio and Claire Danes in Romeo + Juliet (1996)" height="339" src="https://live.staticflickr.com/65535/53453871302_a258972ab1.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard by Promode, no. PR 094. Photo: 20th Century Fox Film Corporation. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> and <b>Claire Danes</b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996). Caption: My only love sprung from my only hate.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53485989686/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY" title="Claire Danes and Leonardo DiCaprio in Romeo + Juliet (1996)"><img alt="Claire Danes and Leonardo DiCaprio in Romeo + Juliet (1996)" height="336" src="https://live.staticflickr.com/65535/53485989686_026a0897fa.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Australian postcard by Avant Card, 1996, no. 1205. Photo: 20th Century Fox Film Corporation.<b>Claire Danes</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996). Caption: The greatest love story the world has ever known.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Firearms called Dagger, Sword, or Rapier
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<b><i>Romeo + Juliet</i></b> is the second film in <b>Baz Luhrmann</b>'s Red Curtain trilogy. The other two are <i>Strictly Ballroom</i> (1992) and <i>Moulin Rouge!</i> (2001). The film was an international co-production involving principals from the United States, Mexico, Australia, and Canada.<br />
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<a href="https://filmstarpostcards.blogspot.com/search/label/Kate%20Winslet"><b>Kate Winslet</b> </a>auditioned for the role of Juliet. A year later, she appeared alongside <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> in <i><b><a href="https://filmstarpostcards.blogspot.com/2019/02/titanic-1997.html">Titanic</a></b></i> (James Cameron, 1997). <b>Natalie Portman</b>, then 14, had been cast as Juliet but, during rehearsals, it was thought that she looked too young for the part, and the footage looked as though DiCaprio (21) was "molesting" her. After <b>Sarah Michelle Gellar</b> turned down the role due to scheduling conflicts, DiCaprio proclaimed that <b>Claire Danes</b> should be cast, as he felt she was genuine in her line delivery and did not try to impress him by acting flirtatious.<br />
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Both <b>Christian Bale</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Ewan%20McGregor">Ewan McGregor</a></b> auditioned for the role of Mercutio, which eventually went to African-American actor <b>Harold Perrineau</b>. <i>Romeo + Juliet</i> was filmed in Mexico from January to April 1996. Mercutio's murder was filmed during a hurricane. The element of water has a special significance in this film. It symbolizes the purity of love between Romeo and Juliet. Both are seen underwater in various scenes, they see each other for the first time through an aquarium and kiss in the pool. The purity of this love is destroyed by Tybalt's death in a fountain.<br />
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One of the reasons the film has become famous is because of the specially modified vehicles and weapons. The modified automatic pistols are based on the Beretta 92FS model and its licensed version Taurus PT92 or PT96 and the Colt Combat Commander, a variant of the Colt 1911. The engraved names were then adapted to the original of <b><a href="https://filmstarpostcards.blogspot.com/2022/05/written-by-william-shakespeare.html">William Shakespeare</a></b>'s version. Thus, the firearms are called Dagger, Sword, or Rapier, each with the corresponding calibre information.<br />
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<b><i>Romeo + Juliet</i></b> is the third major film version of the play, following adaptations by <b>George Cukor</b> in 1936 and <b><a href="https://filmstarpostcards.blogspot.com/2023/10/romeo-and-juliet-1968.html">Franco Zeffirelli</a></b> in 1968. The film, produced by 20th Century Fox, was met with generally positive reviews from critics. However, <b>Roger Ebert</b> gave the film a mixed review of only two stars out of four, saying, "I've seen King Lear as a samurai drama and Macbeth as a Mafia story, and two different Romeo and Juliets about ethnic difficulties in Manhattan (<i><b><a href="https://filmstarpostcards.blogspot.com/2018/06/west-side-story-1961.html">West Side Story</a></b></i> and <i>China Girl</i>), but I have never seen anything remotely approaching the mess that the new punk version of Romeo & Juliet makes of Shakespeare's tragedy.". The film grossed over $147 million against its $14.5 million budget.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/49969365051/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Leonardo DiCaprio in Romeo + Juliet (1996)"><img alt="Leonardo DiCaprio in Romeo + Juliet (1996)" height="500" src="https://live.staticflickr.com/65535/49969365051_eae5f4a96e.jpg" width="357" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/49955126866/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Leonardo DiCaprio and Claire Danes in Romeo + Juliet (1996)"><img alt="Leonardo DiCaprio and Claire Danes in Romeo + Juliet (1996)" height="500" src="https://live.staticflickr.com/65535/49955126866_3219f7a443.jpg" width="352" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard by Memory Card, no. 434. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> and <b>Claire Danes</b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53460648736/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Leonardo DiCaprio in Romeo + Juliet (1996)"><img alt="Leonardo DiCaprio in Romeo + Juliet (1996)" height="345" src="https://live.staticflickr.com/65535/53460648736_dd6f58e092.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard by Editions Mercuri, no. 399. <b>Jamie Kennedy</b>, <b>Zak Orth</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b>, <b>Dash Minok</b> and <b>Harold Perrineau</b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53475193528/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Leonardo DiCaprio in Romeo + Juliet (1996)"><img alt="Leonardo DiCaprio in Romeo + Juliet (1996)" height="500" src="https://live.staticflickr.com/65535/53475193528_88fd8f9e57.jpg" width="354" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard by Memory Card, no. 406. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53482472134/in/photolist-2j7n5NN-2j8C4jK-2jcCoW8-2jecYWZ-2pr34Kw-2prfFsR-2prsjB3-2prx4CJ-2prW4Bv-2ps8Nk3-2psK3Pm-2ptqkZj-2pu4DEw-2punFiY/" title="Leonardo DiCaprio and Claire Danes in Romeo + Juliet (1996)"><img alt="Leonardo DiCaprio and Claire Danes in Romeo + Juliet (1996)" height="500" src="https://live.staticflickr.com/65535/53482472134_c1495460d2.jpg" width="349" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Vintage postcard in the Cinemascope Collection, no. 24. Poster by: 20th Century Fox Film Corporation. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leonardo%20DiCaprio">Leonardo DiCaprio</a></b> and <b>Claire Danes</b> in <i>Romeo + Juliet</i> (Baz Luhrmann, 1996). Caption: My only love sprung from my only hate.<br />
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Sources: <a href="https://www.rogerebert.com/reviews/romeo-and-juliet-1996">Roger Ebert</a> (RogerEbert.com), Wikipedia (<a href="https://nl.wikipedia.org/wiki/Romeo_%2B_Juliet">Dutch</a>, <a href="https://de.wikipedia.org/wiki/William_Shakespeares_Romeo_%2B_Julia">German</a> and <a href="https://en.wikipedia.org/wiki/Romeo_%2B_Juliet">English</a>) and <a href="https://www.imdb.com/title/tt0117509/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_Romeo%2520%252B%2520Juliet">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-54205523222445798782024-02-28T07:00:00.001+01:002024-02-28T09:58:37.961+01:00Conway Tearle<b>American actor <b>Conway Tearle</b> (1878-1938) was at the end of the 1910s and early 1920s one of the highest-paid leading men in Hollywood.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/41829543340/in/photolist-26JkkV7-2p5GbkL-2p5HbWL-2oa9XoS-2o8ECXL-2nzUQvh-2oaW9VM-2n9w67i-2nB1H8D-2oaooEj-2o9sPT9-2i6LiYe-2p5H4Nv-2kn4EAY-2nA916B-2ix1ssM-2i5WmSw-2i8Sgq9-2p5BWBx-2jaLfue-2mVWRH9-2mVWRFF" title="Conway Tearle"><img alt="Conway Tearle" height="500" src="https://live.staticflickr.com/842/41829543340_2a27b6b4e0.jpg" width="317" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard in the Les vedettes de cinéma series by A.N. Paris, no. 230. Photo: Metro-Goldwyn.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53217176829/in/photolist-26JkkV7-2p5GbkL-2p5HbWL-2oa9XoS-2o8ECXL-2nzUQvh-2oaW9VM-2n9w67i-2nB1H8D-2oaooEj-2o9sPT9-2i6LiYe-2p5H4Nv-2kn4EAY-2nA916B-2ix1ssM-2i5WmSw-2i8Sgq9-2p5BWBx-2jaLfue-2mVWRH9-2mVWRFF/" title="Conway Tearle in Marooned Hearts (1920)"><img alt="Conway Tearle in Marooned Hearts (1920)" height="500" src="https://live.staticflickr.com/65535/53217176829_1589fca4c4.jpg" width="308" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American Arcade card. Photo: Witzel, L.A. <b>Conway Tearle</b> in <i>Marooned Hearts</i> (George Archainbaud, 1920).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
The dashing hero or ardent lover
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<b>Conway Tearle</b> was born <b>Frederick Conway Levy</b> in 1878 in New York, New York. His parents were <b>Jules Levy</b>, a well-known cornetist and actress <b>Marianne "Minnie" Conway</b>. After Tearle's parents separated, his mother married <b>Osmond Tearle</b>, a British Shakespearean actor popular in 'the provinces'. His maternal half-brother was British actor <b>Godfrey Tearle</b>.<br />
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Conway Levy was educated in England and America and took to the stage at an early age. By the age of ten, he could recite twelve Shakespearean plays from memory. Levy took over the stage name <b>Conway Tearle</b>. His big break came at the age of twenty-one when in Manchester, England, without any preparation, he was called upon to play Hamlet after the lead actor took ill just before the first act. <br />
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Tearle's performance that night led to his first appearance on the London stage playing the Viscomte de Chauvin, the lead role in 'The Queen's Double' (1901), at the Garrick Theatre. At the beginning of the 1900s, Tearle was on numerous tours in Australia, Ireland and Britain before he made his debut on Broadway in 1905. The great success was denied him, so in 1914, he turned to cinema. <br />
<br />He made his debut alongside <b>Ethel Barrymore</b> in the silent movie drama <i>The Nightingale</i> (1914), written and directed by <b>Augustus Thomas</b>. Over the next few years, Tearle performed in 93 films and for some years he was the highest paid actor in Hollywood. He was often cast as the dashing hero or ardent lover. Tearle made his breakthrough in 1918 alongside <b><a href="https://filmstarpostcards.blogspot.com/search/label/Mary%20Pickford">Mary Pickford</a></b> in the drama <i>Stella Maris</i> (Marshall Neilan, 1918).<br />
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In 1923, he appeared alongside <b><a href="https://filmstarpostcards.blogspot.com/search/label/Pola%20Negri">Pola Negri</a></b> in her US debut, the romance <i>Bella Donna</i> (George Fitzmaurice, 1923), and in the same year, he appeared alongside <b><a href="https://filmstarpostcards.blogspot.com/search/label/Corinne%20Griffith">Corinne Griffith</a></b> in <b>Frank Lloyd</b>'s fantasy drama <i>Black Oxen</i> (Frank Lloyd, 1923), in which <b><a href="https://filmstarpostcards.blogspot.com/search/label/Clara%20Bow">Clara Bow</a></b> played one of her first roles.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51948587185/in/photolist-26JkkV7-2p5GbkL-2p5HbWL-2oa9XoS-2o8ECXL-2nzUQvh-2oaW9VM-2n9w67i-2nB1H8D-2oaooEj-2o9sPT9-2i6LiYe-2p5H4Nv-2kn4EAY-2nA916B-2ix1ssM-2i5WmSw-2i8Sgq9-2p5BWBx-2jaLfue-2mVWRH9-2mVWRFF/" title="Constance Talmadge in A Virtuous Vamp (1919)"><img alt="Constance Talmadge in A Virtuous Vamp (1919)" height="319" src="https://live.staticflickr.com/65535/51948587185_1869a13dee.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish minicard, series B, no. 19 in the Escenas selectas de cinematografia series by Chocolates Piera y Brugueras, Tarrasa (Barcelona). <b><a href="https://filmstarpostcards.blogspot.com/search/label/Constance%20Talmadge">Constance Talmadge</a></b> and <b>Conway Tearle</b> in <i>A Virtuous Vamp</i> (David Kirkland, 1919). The Spanish title is <i>La coqueta irresistibile</i>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51806305462/in/photolist-26JkkV7-2p5GbkL-2p5HbWL-2oa9XoS-2o8ECXL-2nzUQvh-2oaW9VM-2n9w67i-2nB1H8D-2oaooEj-2o9sPT9-2i6LiYe-2p5H4Nv-2kn4EAY-2nA916B-2ix1ssM-2i5WmSw-2i8Sgq9-2p5BWBx-2jaLfue-2mVWRH9-2mVWRFF/" title="Norma Talmadge in The Eternal Flame (1922)"><img alt="Norma Talmadge in The Eternal Flame (1922)" height="316" src="https://live.staticflickr.com/65535/51806305462_829f967fe2.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish minicard, series A, no. 10 in the Escenas selectas de cinematografia series by Chocolates Piera y Brugueras, Tarrasa (Barcelona). <b><a href="https://filmstarpostcards.blogspot.com/search/label/Norma%20Talmadge">Norma Talmadge</a></b> and <b>Conway Tearle</b> in <i>The Eternal Flame</i> (Frank Lloyd, 1922).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/51806305377/in/photolist-26JkkV7-2p5GbkL-2p5HbWL-2oa9XoS-2o8ECXL-2nzUQvh-2oaW9VM-2n9w67i-2nB1H8D-2oaooEj-2o9sPT9-2i6LiYe-2p5H4Nv-2kn4EAY-2nA916B-2ix1ssM-2i5WmSw-2i8Sgq9-2p5BWBx-2jaLfue-2mVWRH9-2mVWRFF/" title="Norma Talmadge in The Eternal Flame"><img alt="Norma Talmadge in The Eternal Flame" height="322" src="https://live.staticflickr.com/65535/51806305377_b29ae4247b.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish minicard in the Escenas selectas de cinematografia series, series B, no. 16. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Norma%20Talmadge">Norma Talmadge</a></b> and <b>Conway Tearle</b> in <i>The Eternal Flame</i> (Frank Lloyd, 1922).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Dinner at Eight
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By that time, Conway Tearle had already passed the zenith of his popularity, but could still demand a $ 2,750 weekday wage. Other memorable titles are <i>A Virtuous Vamp</i> (David Kirkland, 1919) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Constance%20Talmadge">Constance Talmadge</a></b>, <i>She Loves and Lies</i> (Chester Withey, 1920) and <i>The Eternal Flame</i> (Frank Lloyd, 1922), both opposite <b><a href="https://filmstarpostcards.blogspot.com/search/label/Norma%20Talmadge">Norma Talmadge</a></b>.<br />
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Later followed such films as <i>Lilies of the Field</i> (John Francis Dillon, 1924) featuring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Corinne%20Griffith">Corinne Griffith</a></b>, and <i>Dancing Mothers</i> (Herbert Brenon, 1926) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Clara%20Bow">Clara Bow</a></b>. The actor easily made the leap into the sound film and played regular supporting roles until his death.<br />
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In 1932, Tearle finally had the hoped-for success on stage in the production of 'Dinner at Eight' by <b>George S. Kaufman</b> and <b>Edna Ferber</b>. In the 1933 film adaptation, <i>Dinner at Eight</i> (George Cukor, 1933) his role was taken over by <b><a href="https://filmstarpostcards.blogspot.com/search/label/John%20Barrymore">John Barrymore</a></b>. Both actors played together in Cukor's Shakespeare film adaptation <i>Romeo and Juliet</i> (George Cukor, 1936), starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Norma%20Shearer">Norma Shearer</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Leslie%20Howard">Leslie Howard</a></b>.<br />
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Conway Tearle was married four times. His third wife, <b>Roberta Hill</b>, filed for a divorce in 1916 after detectives she hired found him in a hotel room with <b>Adele Rowland</b>, a musical-comedy actress and singer. The two claimed they were just rehearsing a play. Tearle and Rowland wed in 1918 and remained together until his death. <br />
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Conway Tearle died in 1938 in Los Angeles at the age of 60 years of a heart attack, after he had already withdrawn from the acting business the year before because of health problems.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53218003458/in/photolist-26JkkV7-2p5GbkL-2p5HbWL-2oa9XoS-2o8ECXL-2nzUQvh-2oaW9VM-2n9w67i-2nB1H8D-2oaooEj-2o9sPT9-2i6LiYe-2p5H4Nv-2kn4EAY-2nA916B-2ix1ssM-2i5WmSw-2i8Sgq9-2p5BWBx-2jaLfue-2mVWRH9-2mVWRFF/" title="Conway Tearle"><img alt="Conway Tearle" height="500" src="https://live.staticflickr.com/65535/53218003458_404ac2988c.jpg" width="317" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard in the Picturegoer Series, London, no. 26a.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53218200600/in/photolist-26JkkV7-2p5GbkL-2p5HbWL-2oa9XoS-2o8ECXL-2nzUQvh-2oaW9VM-2n9w67i-2nB1H8D-2oaooEj-2o9sPT9-2i6LiYe-2p5H4Nv-2kn4EAY-2nA916B-2ix1ssM-2i5WmSw-2i8Sgq9-2p5BWBx-2jaLfue-2mVWRH9-2mVWRFF/" title="Conway Tearle"><img alt="Conway Tearle" height="500" src="https://live.staticflickr.com/65535/53218200600_b592698618.jpg" width="319" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
German postcard by Verlag Ross, Berlin, no. 1186/1, 1927-1928. Photo: First National.<br />
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Source: Wikipedia (<a href="https://de.wikipedia.org/wiki/Conway_Tearle">German</a> and <a href="https://en.wikipedia.org/wiki/Conway_Tearle">English</a>), and <a href="https://www.imdb.com/name/nm0853604/">IMDb</a>.Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-18479710073296994182024-02-27T07:00:00.093+01:002024-02-28T09:57:06.184+01:00Jean Lefebvre<div dir="ltr" style="text-align: left;" trbidi="on"><b>French comedian Jean Lefebvre (1919-2004) appeared in about 150 films, mainly in supporting roles. He is best known for the film comedies about the gendarme of Saint-Tropez, in which he co-starred with Louis de Funès. The public loved his big, black, mournful spaniel's eyes and nervous, slightly rat-like smile.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/4266915658/in/photolist-7v44nm-2pr34K1-2prkWn8-2prBNGL-2ps3Usn-2psstzL-2ptd4jy" title="Jean Lefebvre"><img alt="Jean Lefebvre" height="349" src="https://live.staticflickr.com/65535/4266915658_a63f77980a.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script><br />
East-German postcard by VEB Progress Film Vertrieb, Berlin, no. 2.632, 1966. Retail price: 0,20 MDN.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53464292802/in/photolist-7v44nm-2pr34K1-2prkWn8-2prBNGL-2ps3Usn-2psstzL-2ptd4jy/" title="Jean Lefebvre and Dany Carrel in Un idiot à Paris (1967)"><img alt="Jean Lefebvre and Dany Carrel in Un idiot à Paris (1967)" height="334" src="https://live.staticflickr.com/65535/53464292802_0d65fa3d55.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Romanian collector card. <b>Jean Lefebvre</b> and <b>Dany Carrel</b> in <i>Un idiot à Paris/An Idiot in Paris</i> (Serge Korber, 1967). <br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53448213418/in/photolist-7v44nm-2pr34K1-2prkWn8-2prBNGL-2ps3Usn-2psstzL-2ptd4jy" title="Jean Lefebvre in Chéri-Bibi (1974-1975)"><img alt="Jean Lefebvre in Chéri-Bibi (1974-1975)" height="329" src="https://live.staticflickr.com/65535/53448213418_e1fa0b27f8.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Editions Atlas, Evreux, no. 28. Photo: INA. <b>Jean Lefebvre</b> in the TV series <i>Chéri-Bibi</i> (Jean Pignol, 1974-1975). <i>IMDb</i>: "Billy Bob Thornton appears to have lifted his <i>Sling Blade</i> (1996) performance - for which he lost the Best Actor Oscar, but won one for writing - entirely from Hervé Sand's <i>Chéri-Bibi</i>, down to his facial expressions, mannerisms and vocalizations (lower pitched voice and grunting). The French series being completely obscure and unheard of in the USA, no one was the wisest back in 1996." Hervé Sand was Lefebvre's co-star.<br />
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<h3 style="text-align: left;"><b><span style="color: #b45f06;">Too big for his body</span></b></h3>
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<b>Jean Marcel Lefebvre</b> (sometimes Lefevre) was born in Valenciennes, in the North of France in 1919 (some sources indicate he was born in 1922). He was the son of <b>Georges Marcel Lefebvre </b>and <b>Zélia Louise Mathilde Masquelier</b>.<br />
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As a boy, Jean made his first film appearance as the son of Judex in <i>Judex 34</i> (Maurice Champreux, Roger de Trémeuse, 1933). After the war, he was an extra in films like <i>Un flic/A Cop</i> (Maurice de Canonge, 1947).<br />
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He went to the conservatory in Paris in 1948. He won second prize at the Opéra Comique, where he studied for a while. But his subsequent drama teacher, <b>René Simon</b>, took him down a few pegs when he informed Lefebvre that his stage acting voice was too big for his body. The effect was unintentionally ludicrous, so he was advised to stick to light comedy.<br />
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He made his stage debut in 'Vignes du Seigneur' at the Cabaret Amiral, then played a small part in <b>Robert Dhéry</b>'s first great success, 'La Plume de ma tante' (The Pen of My Aunt), in the early fifties. He became a member of Dhéry’s company Les Branquignols.<br />
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He was to appear in numerous plays and in more than a hundred films, some of them total flops. In French, a flop is called a "navet" (turnip) which prompted him to remark that in his long career, he had planted a whole field of turnips. But he also appeared in some memorable comedies.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53454796636/in/photolist-7v44nm-2pr34K1-2prkWn8-2prBNGL-2ps3Usn-2psstzL-2ptd4jy/" title="Lino Ventura, Francis Blanche, Robert Dalban, Bernard Blier and Jean Lefebvre in Les Tontons flingueurs (1963)"><img alt="Lino Ventura, Francis Blanche, Robert Dalban, Bernard Blier and Jean Lefebvre in Les Tontons flingueurs (1963)" height="351" src="https://live.staticflickr.com/65535/53454796636_c28eb7d813.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Finart-Print (DR), no. 307. <b><a href="https://filmstarpostcards.blogspot.com/search/label/Lino%20Ventura">Lino Ventura</a></b>, <b>Francis Blanche</b>, <b> Robert Dalban</b>, <b><a href="https://filmstarpostcards.blogspot.com/search/label/Bernard%20Blier">Bernard Blier</a></b> and <b>Jean Lefebvre</b> in <i>Les Tontons flingueurs/Crooks in Clover</i> (Georges Lautner, 1963).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53451700617/in/photolist-7v44nm-2pr34K1-2prkWn8-2prBNGL-2ps3Usn-2psstzL-2ptd4jy/" title="Francis Blanche, Robert Dalban and Jean Lefebvre in Les Tontons flingueurs (1963)"><img alt="Francis Blanche, Robert Dalban and Jean Lefebvre in Les Tontons flingueurs (1963)" height="350" src="https://live.staticflickr.com/65535/53451700617_30c535e3e6.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Finart-Print (DR), no. 312. <b>Francis Blanche</b>, <b>Robert Dalban</b> and <b>Jean Lefebvre</b> in <i>Les Tontons flingueurs/Crooks in Clover</i> (Georges Lautner, 1963).<br />
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<h3 style="text-align: left;"><b><span style="color: #b45f06;">Les Gendarmes</span></b></h3>
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Jean Lefebvre entered the film world in the early 1950s and played some minor roles. In 1954 he appeared as a drunken sailor in <i>Les Diaboliques/Diabolique</i> (Henri-Georges Clouzot, 1954) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Simone%20Signoret">Simone Signoret</a></b>.<br />
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Two years later he appeared as René in <i>Et Dieu... créa la femme/And Woman… Was Created</i> (Roger Vadim, 1956) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Brigitte%20Bardot">Brigitte Bardot</a></b>, and again two years later in <i>La Fille de Hamburg/The Girl From Hamburg</i> (Yves Allégret, 1958) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Daniel%20Gelin">Daniel Gélin</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Hildegard%20Knef">Hildegard Knef</a></b>.<br />
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He also appeared in some comedies by his old buddy <b>Robert Dhéry</b>, <i>La belle Américaine/The American Beauty</i> (Robert Dhéry, Pierre Tchernia, 1961) and <i>Allez France!/Up the French!</i> (Robert Dhéry, Pierre Tchernia, 1964) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Diana%20Dors">Diana Dors</a></b>. He also appeared in the Hollywood production <i>Gigot</i> (Gene Kelly, 1964), an Oscar-nominated tribute to <b><a href="https://filmstarpostcards.blogspot.com/search/label/Charles%20Chaplin">Charlie Chaplin</a></b> and his film <i>The Kid</i> (1921) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jackie%20Coogan">Jackie Coogan</a></b>.<br />
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Among his other successful films of the 1960s were the gangster comedy <i>Les Tontons flingueurs/Crooks in Clover </i>(Georges Lautner, 1963), and <i>Ne nous fâchons pas/Let’s Not Get Angry</i> (Georges Lautner, 1966), both with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Lino%20Ventura">Lino Ventura</a></b>.<br />
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Very popular was the comic series about the policemen of St. Tropez, starting with <i>Le Gendarme de Saint-Tropez/The Gendarme of St. Tropez</i> (Jean Girault, 1964). In these hilarious farces, he co-starred as the naïve Fougasse at the side of <b><a href="https://filmstarpostcards.blogspot.com/search/label/Louis%20de%20Fun%C3%A8s">Louis de Funès</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Michel%20Galabru">Michel Galabru</a></b>. According to <b>James Kirkup</b> in <b><i>The Independent</i></b>, Lefebvre was called ‘le tendre pitre’ - the soft-hearted stooge. Audiences loved his randy adolescent's sidelong off-screen look of slightly panic-stricken bliss in the clutches of a statuesque but indulgently motherly hoofer.<br />
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<a href="https://www.flickr.com/photos/truusbobjantoo/7056656967/" title="Louis de Funès by Truus, Bob & Jan too!, on Flickr"><img alt="Louis de Funès" height="325" src="https://farm6.staticflickr.com/5470/7056656967_71bf9f5cd2.jpg" width="500" /></a><br />
<b><a href="https://filmstarpostcards.blogspot.com/search/label/Louis%20de%20Fun%C3%A8s">Louis de Funès</a></b>. Romanian postcard by Casa Filmului Acin, no. 294. Retail price: 1,50 Lei. Photo: publicity shot for <i>Le gendarme se marie/The Gendarme Gets Married</i> (Jean Girault, 1968) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Genevi%C3%A8ve%20Grad">Geneviève Grad</a></b>.<br />
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<a href="http://www.flickr.com/photos/truusbobjantoo/7056657067/" title="Louis de Funès by Truus, Bob & Jan too!, on Flickr"><img alt="Louis de Funès" height="324" src="http://farm6.staticflickr.com/5332/7056657067_214c1b7015.jpg" width="500" /></a><br />
<b><a href="https://filmstarpostcards.blogspot.com/search/label/Louis%20de%20Fun%C3%A8s">Louis de Funès</a></b>. Romanian postcard by Casa Filmului Acin, no. 309. Retail price: 1,50 Lei.<br />
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<h3 style="text-align: left;"><b><span style="color: #b45f06;">The Seventh Company</span></b></h3>
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Jean Lefebvre appeared in the 1970s in some international productions, such as <i>Treasure Island</i> (John Hough, 1972) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Orson%20Welles">Orson Welles</a></b>. Among his most successful films of this decade were <i>Le Magnifique/The Magnificent Secret Agent</i> (Philippe de Broca, 1973) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jean-Paul%20Belmondo">Jean-Paul Belmondo</a></b>, and <i>Pas de problème!/No Problem</i> (Georges Lautner, 1975) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Miou-Miou">Miou-Miou</a></b>.<br />
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He also starred in the popular war comedies about the seventh company, <i>On a retrouvé la 7eme compagnie !/The Seventh Company Has been Found</i> (Robert Lamoureux, 1975) and <i>La 7ème compagnie au clair de lune/The Seventh Company Oudoors</i> (Robert Lamoureux, 1977).<br />
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In the 1980s he made far fewer films. He published a book, 'Pourquoi ça n'arrive qu'à moi?' in 1984, in which he mentions his birth date as 1922 and not 1919. And in the following decades, he mainly appeared on TV.<br />
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In 1999, Lefebvre won 15 million French Francs (2.5 million euros) with the Lottery, and he opened a restaurant, 'La Bohème', in Marrakech, Morocco (some sources indicate that the fortune was won with gambling and not with the Lottery). Incidentally, he appeared in films or on TV. His last film was <i>Fifi Martingale</i> (Jacques Rozier, 2001).<br />
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At the age of 84, Jean Lefebvre died in Marrakech in 2004. He was married four times (of which twice with the same wife): to <b>Micheline Reine Grasser</b> (1950-1962); <b>Catherine Chassin-Briault</b>, aka actress <b>Yori Bertin </b>(1967-1973 and 1974-1977); and finally in 1994, with <b>Brigitte Jacqueline Françoise Lerebours</b>. He had five children: <b>Bernard</b>, <b>Catherine</b>, <b>Marie-Christine</b>, <b>Carole</b> and <b>Pascal</b>.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53459693785/in/photolist-7v44nm-2pr34K1-2prkWn8-2prBNGL-2ps3Usn-2psstzL-2ptd4jy/" title="Jean Lefebvre"><img alt="Jean Lefebvre" height="500" src="https://live.staticflickr.com/65535/53459693785_522634fe24.jpg" width="353" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by La Roue Tourne, Paris.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53472796112/in/photolist-7v44nm-2pr34K1-2prkWn8-2prBNGL-2ps3Usn-2psstzL-2ptd4jy/" title="Jean Lefebvre"><img alt="Jean Lefebvre" height="500" src="https://live.staticflickr.com/65535/53472796112_d0c74f69e2.jpg" width="328" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French card by Dominique Dalbret. Photo: Jack Anaclet. <br />
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<iframe allowfullscreen="" frameborder="0" height="290" src="https://www.youtube.com/embed/01jycMQoBeI" width="500"></iframe><br />
Recut trailer for <i>Les Tontons flingueurs/Crooks in Clover</i> (1963). Source: Donny Brenton (YouTube).<br />
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Sources: <a href="https://www.independent.co.uk/news/obituaries/jean-lefebvre-550080.html">James Kirkup</a> (The Independent), <a href="https://en.wikipedia.org/wiki/Jean_Lefebvre">Wikipedia</a>, and <a href="https://www.imdb.com/name/nm0498876/">IMDb</a>.<br />
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</div>Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-3500170811149599062024-02-26T07:00:00.321+01:002024-02-26T07:00:00.134+01:00La Collectionneuse: Photo by Juan Gyenes<b>Noted and talented photographer Juan (Janos) Gyenes was born on 21 October 1912 in Hungary. In 1927, he decided to start studying photography. In the 1930s, he notably worked for the stage and screen magazine <i>Szinhazi Elet</i>. In 1940, he settled in Spain, where he worked for several years for photographer and impresario Jose Denaria Vazquez. At the end of the 1940s, he opened his own studio and quickly rose to the first ranks of his profession. He photographed celebrities of his time, such as film and stage stars, singers, dancers, painters, etc. For the record, one of his portraits of dictator Francisco Franco was used on a stamp and he shot the first official photo of King Juan Carlos and Queen Sofia. He passed away in Madrid on 18 May 1995.</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53536331562/in/album-72157676998600200/" title="Aurora Bautista"><img alt="Aurora Bautista" height="500" src="https://live.staticflickr.com/65535/53536331562_778862e43c.jpg" width="316" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard, no. 443. Photo: Juan Gyenes / Cifesa.<br />
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<b>Aurora Bautista</b> (1925-2012) became a film star thanks to <i>Locura de amor</i> (1948), in which she played the mad queen Joanna of Castile. Until the mid-1970s, she was featured in about fifteen movies which include <i>Pequeneces</i> (1950), <i>Condenados</i> (1953), <i>La gata</i> (1956), <i>Teresa de Jesus</i> (1962), <i>La tia Tula</i> (1964), <i>Pepa Doncel</i> (1969) or <i>Los pasajeros</i> (1975). She also had a brilliant career on stage, appearing in plays by, for example, Shakespeare, Garcia Lorca, Tennessee Williams, Fernando Arrabal, ...<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53537396288/in/album-72157676998600200/" title="Ana Belen"><img alt="Ana Belen" height="500" src="https://live.staticflickr.com/65535/53537396288_f1f98febb8.jpg" width="319" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish promotional postcard for <i>Zampo y yo/Zampo and Me</i> (Luis Lucia, 1966). Photo: Juan Gyenes /Época Films. <br />
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After having gained popularity in radio musical programs, <b>Ana Belen</b> (1951) signed in the mid-1960s a four-picture deal with Epoca Films, which hoped to turn her into a <b>Marisol</b>-like child star. She made her film debut in <i>Zampo y yo</i> (1966), alongside <b>Fernando Rey</b>, but it didn’t meet the expected success and the three other films were never produced. Fortunately, she quickly bounced back by turning to theatre acting under <b>Miguel Narros</b>’ guidance. It was the beginning of a long and impressive stage career. She came back to film in <i>Espanolas in Paris</i> (1971) and, this time, she found success. She then starred in, e.g., <i>Morbo</i> (1972), <i>Vidal conyugal sana</i> (1974), <i>La peticion</i> (1976), <i>La oscura historia de la prima Montse</i> (1977), <i>Demonios en el jardin</i> (1982), <i>La corte de Faraon</i> (1985), <i>Divinas palabras</i> (1987), <i>El vuelo de la Paloma</i> (1989), <i>La pasion turca</i> (1994), <i>El amor prejudica seriamente la salud</i> (1996), <i>Antigua vida mia</i> (2001), <i>Cosas que hacen que la vida vulga la pena</i> (2004), etc. On television, she notably was much appreciated in the big-budgeted series <i>Fortunata y Jacinta</i> (1980). She is also a renowned singer and received an honorary Latin Grammy Award for musical excellence in 2015.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53537212616/in/album-72157676998600200/" title="Susana Campos"><img alt="Susana Campos" height="500" src="https://live.staticflickr.com/65535/53537212616_e9d7d557d7.jpg" width="322" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish autographed postcard. Photo: Juan Gyenes.<br />
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Argentinian-born <b>Susana Campos</b> (1933-2004) starred in Argentinian and Spanish films. She got most of her leading parts from the mid-1950s to the end of the 1960s. She received a Best Actress Award from the 'Argentinian Film Critic Association' for <i>Rosaura a las diez</i> (1958) and her acting in <i>El dia que me quieras</i> (1969) gained her an Award from the American 'Association of Latin Entertainment Critics'. She also was active on stage.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53536331552/in/album-72157676998600200/" title="Marisa De Leza"><img alt="Marisa De Leza" height="500" src="https://live.staticflickr.com/65535/53536331552_7c60dc031f.jpg" width="333" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish autographed postcard. Photo: Juan Gyenes.<br />
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<b>Marisa De Leza</b> (1933-2020) starred in Spanish films from the beginning of the 1950s to the beginning of the 1960s. She was featured in <i>Surcos</i> (1951), which is considered one of the best examples of Spanish neorealism, and received a Best Actress Award at the San Sebastian Film Festival for <i>La patrulla</i> (1954). She also performed on stage and on TV.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53537396263/in/album-72157676998600200/" title="Blanca De Silos"><img alt="Blanca De Silos" height="500" src="https://live.staticflickr.com/65535/53537396263_8c32a0c5b2.jpg" width="308" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish autographed postcard. Photo: Juan Gyenes.<br />
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<b>Blanca De Silos</b> (1914-2002) starred in Spanish films during the 1940s. They include <i>Orosia</i> (1943), <i>Mariona Rebull</i> (1947) and <i>En un rincon de Espana</i> (1949), which was the first production to use the Spanish Cinefotocolor process. After 1950, she was more active on stage.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53539952238/in/album-72157676998600200/" title="Marujita Diaz"><img alt="Marujita Diaz" height="500" src="https://live.staticflickr.com/65535/53539952238_1b9bbc0bc4.jpg" width="307" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard, no. 4093. Photo: Juan Gyenes / Cifesa. <br />
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<b>Marujita Diaz</b> (1932-2015) became a film star thanks to <i>Pueblo de las mujeres</i> (1953). Until 1965, she was featured in fifteen more films such as <i>El pescador de coplas</i> (1954), <i>El genio alegre</i> (1957), <i>Pelusa</i> (1960), <i>La casta Susana</i> (1963) or <i>La pergola de las flores</i> (1965). Afterwards, she only appeared occasionally on screen. She was also a very popular stage performer, in variety shows and musicals. Furthermore, her disinhibited personality and her self-confidence enabled her to become a sought-after figure on various TV programs.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53540194715/in/album-72157676998600200/" title="Rocio Durcal"><img alt="Rocio Durcal" height="500" src="https://live.staticflickr.com/65535/53540194715_77b9913db9.jpg" width="327" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard by Ediciones Tarjefher, no. 220. Photo: Juan Gyenes. <br />
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<b><a href="https://filmstarpostcards.blogspot.com/search/label/Roc%C3%ADo%20D%C3%BArcal">Rocio Durcal</a></b> (1944-2006) became a star thanks to her first film <i>Cancion de juventud</i> (1962), which made the best use of her musical talents. It was followed by other popular musicals such as <i>Rocio de la Mancha</i> (1963), <i>Tengo 17 anos</i> (1964), <i>Mas bonita que ninguna</i> (1965) or <i>Buenos dias, condesita</i> (1967). She played her first dramatic role in <i>Cristina Guzman</i> (1968) and then went back to musicals in <i>Las Leandras</i> (1969) and <i>La novicia rebelde</i> (1972). The dramas <i>Marianela</i> (1972) and <i>Diselo con flores/Dites-le avec des fleurs</i> (1974) were her two first movies in which she didn’t sing. In 1977, she played a lesbian in <i>Me siento extrana</i>, a role she regretted to have accepted. She then decided to give up film and to focus on her singing career. She soon specialised in a popular Mexican style of music known as 'ranchera' and became a true icon in that field, selling millions of records.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53539772376/in/album-72157676998600200/" title="Marisol"><img alt="Marisol" height="500" src="https://live.staticflickr.com/65535/53539772376_3d1937315e.jpg" width="327" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard by Ediciones Tarjefher, no. 110. Photo: Juan Gyenes.<br />
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<b><a href="https://filmstarpostcards.blogspot.com/search/label/Marisol">Marisol</a></b> (1948) became a hugely popular child star thanks to her film debut <i>Un rayo de luz</i> (1960), followed by, e.g., <i>Tombola</i> (1962) or <i>Marisol rumbo a Rio</i> (1963). In the second half of the 1960s, she matured into a ravishing young lady, without losing the audiences’ favour, and was featured in films such as <i>Las 4 bodas de Marisol</i> (1967) or <i>Carola de dia, Carola de noche</i> (1969). From 1973 on, she turned to dramatic roles and appeared for instance in <i>La corrupcion de Chris Miller</i> (1973), <i>El poder del deseo</i> (1975) or <i>Los dias del pasado</i> (1977). She retired after <i>Caso cerrado</i> (1985).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53541838098/in/album-72157676998600200/" title="Nati Mistral"><img alt="Nati Mistral" height="500" src="https://live.staticflickr.com/65535/53541838098_1b791fe786.jpg" width="319" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish autographed postcard. Photo: Juan Gyenes.<br />
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<b>Nati Mistral</b> (1928-2017) was a multi-talented artist who had a brilliant career on stage. She starred in plays such as Garcia Lorca’s 'Bodas y sangre', Cocteau’s 'Les parents terribles', <b>Jacinto Benavente</b>’s 'La malquerida', Fernando de Rojas’ 'La Celestina' and <b>Antonio Gala</b>’s 'Cafe cantante' and in musicals such as <b>Juan Ignacio Luca de Tena</b>’s 'La Perrichola', <b>Dale Wasserman</b>’s 'Man of la Mancha' or <b>Michael Stewart</b>’s 'Hello Dolly'. She was a noted singer as well, with an interesting recording career which began in 1944, and gave poetry recitals. She also appeared in several films, especially at the end of the 1940s and the beginning of the 1950s. She notably was featured in <i>Maria Fernanda, la Jerezana</i> (1947), <i>Currito de la Cruz</i> (1949) and <i>Cabaret</i> (1953).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53541657221/in/album-72157676998600200/" title="Matilde Munoz Sampedro"><img alt="Matilde Munoz Sampedro" height="500" src="https://live.staticflickr.com/65535/53541657221_9aeb0c893c.jpg" width="323" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish autographed postcard. Photo: Juan Gyenes.<br />
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<b>Matilde Munoz Sampedro</b> (1900-1969) was a popular character actress in films, from 1944 until her death, and on stage. She was famous director <b>Antonio Juan Bardem</b>’s mother. He gave her roles in several of his films, such as <i>Comicos</i> (1954), <i>Calle Mayor</i> (1956) or <i>Nunca pasa nada</i> (1963).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53540778702/in/album-72157676998600200/" title="Marisa Pavan"><img alt="Marisa Pavan" height="500" src="https://live.staticflickr.com/65535/53540778702_b53a9b83d5.jpg" width="318" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Editions du Globe, Paris, no. 740. Photo: Juan Gyenes. <br />
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Italian-born <b><a href="https://filmstarpostcards.blogspot.com/search/label/Marisa%20Pavan">Marisa Pavan</a></b> (1932-2023) followed her twin sister <b>Pier Angeli</b>’s footsteps and became a star in her own right in the 1950s. Her Hollywood films include <i>Drum Beat</i> (1954), <i>Down Three Dark Streets</i> (1954), <i>The Rose Tattoo</i> (1955), <i>Diane</i> (1956) and <i>The Midnight Story</i> (1957).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53542085375/in/album-72157676998600200/" title="Pastora Pena"><img alt="Pastora Pena" height="500" src="https://live.staticflickr.com/65535/53542085375_50a0dc6b51.jpg" width="319" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish autographed postcard. Photo: Juan Gyenes.<br />
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In the 1940s, <b>Pastora Pena</b> (1920-2003) starred in Spanish movies such as <i>Porque te vi llorar</i> (1942), <i>Lecciones de buen amor</i> (1944) or <i>Una noche en blanco</i> (1949). During her long and impressive stage career, she notably had great success in <b>Robert Anderson</b>’s 'Tea and Sympathy' at the end of the 1950s.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53543826360/in/photostream/" title="Amparo Rivelles"><img alt="Amparo Rivelles" height="500" src="https://live.staticflickr.com/65535/53543826360_a2ba1e395b.jpg" width="314" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard, no. 445. Photo: Juan Gyenes / Cifesa.<br />
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<b>Amparo Rivelles</b> (1925-2013) was the daughter of famous actors <b>Maria Teresa Ladron de Guevara</b> and <b>Rafael Rivelles</b>. She followed in her parent’s footsteps and became a star upon her film debut in 1941 in the leading roles of<i> Mari Juana</i> and <i>Alma de Dios</i>. During her long and successful career, she was featured in Spanish and Mexican films. The 'Circulo de Escritores Cinematograficos' gave her a Best Actress Award for her performances in <i>La Fe</i> (1947) and <i>Fuenteovejuna</i> (1947) and she received a Goya Award in the same category for <i>Hay que deshacer la casa</i> (1986). She also played in the Spanish version of <b>Orson Welles</b>’ <i>Mr. Arkadin</i> (1955). She worked to great acclaim as well on stage and on TV.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53543826355/in/photostream/" title="Lina Rosales"><img alt="Lina Rosales" height="500" src="https://live.staticflickr.com/65535/53543826355_0f9e0aab52.jpg" width="322" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard. Photo: Juan Gyenes.<br />
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In the 1950s, <b>Lina Rosales</b> (1928) starred in Spanish movies such as <i>Sierra maldita</i> (1954), <i>El puente del diablo</i> (1956) or <i>El pasado te acusa</i> (1958). After <i>Cancion da cuna</i> (1961), in which she plays a nun who lovingly takes care of an abandoned little girl, she only occasionally acted in films. She also performed on stage.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53543826365/in/photostream/" title="Maria Rosa Salgado"><img alt="Maria Rosa Salgado" height="500" src="https://live.staticflickr.com/65535/53543826365_8df56914dc.jpg" width="317" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish postcard, no. 4089. Photo: Juan Gyenes / Cifesa.<br />
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After having starred at the beginning of the 1950s in Spanish films such as <i>La nina de Luzmela</i> (1950), <i>El hijo de la noche</i> (1950) and <i>El negro que tenia el alma blanca</i> (1951), <b>Maria Rosa Salgado</b> (1929-1995) went to the U.S.A. under the aegis of film producer <b>Alexander Paal</b>, who thought she had the makings of a Hollywood star. She spent several months learning English and a successful screen test soon prompted a movie contract offer. But she preferred to go back to Spain and marry her boyfriend, toreador <b>Pepe Dominguin</b>, in 1953. Later she occasionally appeared again on the screen, for example in <i>Rapsodia de sangre</i> (1958), <i>Fuenteovejuna</i> (1972) or <i>Sonambulos</i> (1978).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53543395791/in/photostream/" title="Amparo Soler Leal"><img alt="Amparo Soler Leal" height="500" src="https://live.staticflickr.com/65535/53543395791_5ed49f0839.jpg" width="327" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Spanish autographed postcard. Photo: Juan Gyenes.<br />
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<b>Amparo Soler Leal</b> (1933-2013) was a popular movie star in the 1960s, 1970s and 1980s. She twice received a Best Actress Award from the 'Circulo de Escritores Cinematograficos' for <i>La gran familia</i> (1962) and <i>Bearn o la sala de las munecas</i> (1983). She also got a Best Supporting Actress Award for <i>Jo, papa!</i> (1975). In 1984, she was directed by <b>Pedro Almodovar</b> in <i>Qué he hecho yo para merecer esto!</i> (1984). She performed on stage as well and formed her own company in the 1960s.<br />
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<b>Text and postcards: Marlene Pilaete.</b>
Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-15353540663292906372024-02-25T07:00:00.039+01:002024-02-25T07:00:00.327+01:00Patrick Dewaere<div dir="ltr" style="text-align: left;" trbidi="on"><b>French actor Patrick Dewaere (1947-1982) was a promising and popular European film star in the 1970s. In 1982, the actor shot himself. He was only 35 years old.</b><br />
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<a href="https://www.flickr.com/photos/truusbobjantoo/7892349620/" title="Patrick Dewaere by Truus, Bob & Jan too!, on Flickr"><img alt="Patrick Dewaere" height="500" src="https://farm9.staticflickr.com/8310/7892349620_f94026742a.jpg" width="358" /></a><br />
Rumanian postcard by Casa Filmului Acin, no. cd. 43 157.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53443873178/in/dateposted/" title="Patrick Dewaere"><img alt="Patrick Dewaere" height="500" src="https://live.staticflickr.com/65535/53443873178_bea55ce2f6.jpg" width="346" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Editions F. Nugeron, Tessancourt, no. R 5B.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53448087171/in/photostream/" title="Patrick Dewaere"><img alt="Patrick Dewaere" height="500" src="https://live.staticflickr.com/65535/53448087171_0d8957e1a8.jpg" width="349" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Editions Humour à la Carte, Paris, no. 3735. <br />
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<h3 style="text-align: left;"><b><span style="color: #b45f06;">Sensitivity and isolation</span></b></h3>
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<b>Patrick Dewaere</b> was born <b>Patrick Jean Marie Henri Bourdeaux</b> in Saint-Brieuc in Britanny, in the northwest region of France, in 1947. He was the third of six children of actress <b>Mado Maurin</b>. His five siblings, <b>Jean-Pierre Maurin</b> (1941-1996), <b>Yves-Marie Maurin</b> (1944), <b>Dominique Maurin</b> (1949), <b>Jean-Francois Maurin</b> (1957) and <b>Marie-Veronique Maurin</b> (1960), all became actors, with varying degrees of success.<br />
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Patrick made his film debut at the age of four under the name <b>Patrick Maurin</b> in <i>Monsieur Fabre/Amazing Monsieur Fabre</i> (Henri Diamant Berger, 1951) featuring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Pierre%20Fresnay">Pierre Fresnay</a></b>. More small film roles followed in <i>La Madelon</i> (Jean Boyer, 1954) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Line%20Renaud">Line Renaud</a></b>, and <i>En effeuillant la marguerite/Plucking the Daisy</i> (Marc Allégret, 1956) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Brigitte%20Bardot">Brigitte Bardot</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Daniel%20Gelin">Daniel Gélin</a></b>.<br />
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Taunted by his schoolyard friends for his young film endeavours, he learned sensitivity and isolation at an early age. Other films during this period included <b><a href="https://filmstarpostcards.blogspot.com/2022/05/gene-kelly.html">Gene Kelly</a></b>'s <i>The Happy Road</i> (1957) and the comedy <i>Mimi Pinson</i> (Robert Darène, 1958) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Dany%20Robin">Dany Robin</a></b>.<br />
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As a young adult in the early 1960s, Patrick appeared on French television and in the star-studded war film <i>Paris brûle-t-il?/Is Paris burning?</i> (René Clément, 1966). In 1968, he joined the Café de la Gare, an experimental theatre troupe where he remained for nearly a decade. The performers also included such future stars as <b><a href="https://filmstarpostcards.blogspot.com/search/label/G%C3%A9rard%20Depardieu">Gérard Depardieu</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Miou-Miou">Miou-Miou</a></b>.<br />
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He became romantically involved with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Miou-Miou">Miou-Miou</a>.</b> A child, <b>Angèle Herry-Leclerc</b>, was born to this liaison in 1974, but the couple broke up after only two years. After initially appearing under the pseudonym <b>Patrick Maurin</b>, he finally opted for <b>Dewaere</b>, which was his grandmother's maiden name. In this period he played small parts in films. The best was the art-house hit <i>Themroc</i> (Claude Faraldo, 1973), an absurdist black comedy starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Michel%20Piccoli">Michel Piccoli</a></b> as an urban caveman.<br />
<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53475366829/in/photolist-2pqDPxh-2pr2qdk-2prDUZL-2psK3NV-2ptrevg-d2qmzs/" title="Patrick Dewaere and Philippe Léotard in Le juge Fayard dit le Sheriff (1977)"><img src="https://live.staticflickr.com/65535/53475366829_638e0ed86e.jpg" width="500" height="369" alt="Patrick Dewaere and Philippe Léotard in Le juge Fayard dit le Sheriff (1977)"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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Vintage French press photo. <b>Patrick Dewaere</b> and <b>Philippe Léotard</b> in <i>Le juge Fayard dit le Sheriff/Judge Fayard Called the Sheriff</i> (Yves Boisset, 1977).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53455208030/in/photolist-2pqDPxh-2pr2qdk-2prDUZL-2psK3NV-2ptrevg-d2qmzs/" title="Patrick Dewaere"><img src="https://live.staticflickr.com/65535/53455208030_390f604d86.jpg" width="324" height="500" alt="Patrick Dewaere"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>
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French postcard in the Le Monde Vécu series by Editions SEPPMG, Paris, Serie 3D, no. 000012. Caption. "The Living World". Patrick Dewaere, 16 July 1982. Farewell Patrick Dewaere.<br />
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<h3 style="text-align: left;"><b><span style="color: #b45f06;">Instant anti-hero stardom</span></b></h3>
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Patrick Dewaere made his breakthrough in the cinema with his major role in <b>Bertrand Blier</b>'s anarchic comedy <i>Les Valseuses/Going Places</i> (1974). <b><a href="https://filmstarpostcards.blogspot.com/search/label/G%C3%A9rard%20Depardieu">Gérard Depardieu</a></b> and Dewaere played two young rebellious petty thugs who team up with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Miou-Miou">Miou-Miou</a></b>. The three earned instant ‘anti-hero’ stardom with their roles. He followed this with the romantic comedy <i>Lily, aime-moi</i> (Maurice Dugowson, 1975), and the crime drama <i>Adieu, poulet/The French Detective</i> (Pierre
Granier-Deferre, 1975) as <b><a href="https://filmstarpostcards.blogspot.com/search/label/Lino%20Ventura">Lino Ventura</a></b>'s sidekick.<br />
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Despite Dewaere's obvious talent for comedy, he was often successfully cast as a fragile, neurotic individual. He earned marks for his off-balanced role in <i>La meilleure façon de marcher/The Best Way to Walk</i> (Claude Miller, 1976). In Italy he appeared in <i>Marcia trionfale/Victory March</i> (Marco Bellocchio, 1976) with <b>Michele Placido</b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Franco%20Nero">Franco Nero</a></b>, and in <i>L'ingorgo - Una storia impossibile/Black Out in Autostrada</i> (Luigi Comencini, 1979) about the biggest traffic jam ever seen.<br />
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He starred again with Depardieu in Blier's Oscar-winning cross-over comedy <i>Préparez vos mouchoirs/Get Out Your Handkerchiefs</i> (Bertrand Blier, 1978). <b>Gary Brumburgh</b> writes at <b><i>IMDb</i></b>: “Infinitely more interested in searching out complex roles than fame, his work in films were more often than not experimental, low budget and quirky in style. He appeared innately drawn to playing sensitive, scruffy, miserable neurotics, misfits and losers.“ Examples are his characters in the soccer drama <i>Coup de tête/Hothead</i> (Jean-Jacques Annaud, 1979), the detective <i>Série noire</i> (1979, Alain Corneau), <i>Un mauvais fils/A Bad Son</i> (Claude Sautet, 1980), <i>Hôtel des Amériques/Hotel America</i> (André Téchiné, 1981) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Catherine%20Deneuve">Catherine Deneuve</a></b>, and the critically-acclaimed <i>Beau-père/Stepfather</i> (Bertrand Blier, 1981).<br />
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Unlike his counterpart Depardieu, Patrick's fame never branched out to Hollywood, but he was recognized consistently for his superlative portrayals. Amazingly, he was nominated for seven César awards (the French Oscar) but never won. Shortly after the release of <i>Paradis Pour Tous/Paradise for All</i> (Alain Jessua, 1982), a black comedy where his character suffers from depression and commits suicide, the actor shot himself with a rifle in a Paris hotel.<br />
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Patrick Dewaere was 35 years old. At the time he was working on <b>Claude Lelouch</b>'s film <i>Édith et Marcel/Edith and Marcel</i> (1983). A shocking, inexplicable end to friends, fans and family alike. For eleven years Dewaere was married to French actress <b>Sotha</b>. They had one daughter, <b>Lola</b>. A year after his death, the Patrick Dewaere Award was established in France. The actor was the subject of the French documentary <i>Patrick Dewaere</i>, which was shown at the 1992 Cannes Film Festival.<br />
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<a href="https://www.flickr.com/photos/truusbobjantoo/5397231029/" title="Franco Nero by Truus, Bob & Jan too!, on Flickr"><img alt="Franco Nero" height="500" src="https://farm6.staticflickr.com/5252/5397231029_6d9fde7471.jpg" width="353" /></a><br />
<b><a href="https://filmstarpostcards.blogspot.com/search/label/Franco%20Nero">Franco Nero</a></b>. Rumanian postcard by Casa Filmului Acin.<br />
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<a href="https://www.flickr.com/photos/truusbobjantoo/5960351436/" title="Catherine Deneuve by Truus, Bob & Jan too!, on Flickr"><img alt="Catherine Deneuve" height="500" src="https://farm7.staticflickr.com/6131/5960351436_e80d410172.jpg" width="348" /></a><br />
<b><a href="https://filmstarpostcards.blogspot.com/search/label/Catherine%20Deneuve">Catherine Deneuve</a></b>. Rumanian postcard by Casa Filmului Acin.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53467526369/in/photolist-2pqDPxh-2pr2qdk-2prDUZL-2psK3NV-2ptrevg-d2qmzs" title="Patrick Dewaere"><img alt="Patrick Dewaere" height="500" src="https://live.staticflickr.com/65535/53467526369_21b1061743.jpg" width="344" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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East German postcard by VEB Progress Film-Verleih, Berlin, no. 98/78. Photo: Unifrance.<br />
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Sources: <a href="https://www.allmovie.com/artist/patrick-dewaere-p18880">Yuri German</a> (AllMovie), <a href="https://www.imdb.com/name/nm0223033/bio">Gary Brumburgh</a> (IMDb), <a href="https://en.wikipedia.org/wiki/Patrick_Dewaere">Wikipedia</a> and <a href="https://www.imdb.com/name/nm0223033/">IMDb</a>.<br /></div>Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0tag:blogger.com,1999:blog-8082052777383347559.post-12336456909546666922024-02-24T07:00:00.188+01:002024-02-24T07:00:00.237+01:00Sally Field<b>American screen and stage actress Sally Field (1946) has received many accolades throughout her career spanning over five decades, including two Academy Awards, two Golden Globe Awards, and three Primetime Emmy Awards, in addition to nominations for a Tony Award and two British Academy Film Awards. She began her career on television, starring in the comedies <i>Gidget</i> (1965–1966), <i>The Flying Nun</i> (1967–1970), and <i>The Girl with Something Extra</i> (1973–1974).</b><br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53488444125/in/photolist-2iHS3Fx-2pr9jfF-2prDV1T-2prMAmZ-2psaTzb-2psQeNJ-2ptpCet-2ptXtjX-99AMDV-2puAfVT-2pv5JcC-2pvqf3y" title="Sally Field in The Flying Nun (1967-1970)"><img alt="Sally Field in The Flying Nun (1967-1970)" height="354" src="https://live.staticflickr.com/65535/53488444125_5818efebff.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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British postcard by Klasik Kards, London, no. 1589. <b>Sally Field</b> in the TV series <i>The Flying Nun</i> (1967-1970).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53455208095/in/photolist-2iHS3Fx-2pr9jfF-2prDV1T-2prMAmZ-2psaTzb-2psQeNJ-2ptpCet-2ptXtjX-99AMDV-2puAfVT-2pv5JcC-2pvqf3y" title="Sally Field"><img alt="Sally Field" height="500" src="https://live.staticflickr.com/65535/53455208095_bed2b5d972.jpg" width="315" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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American Arcade card.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53449432907/in/photolist-2iHS3Fx-2pr9jfF-2prDV1T-2prMAmZ-2psaTzb-2psQeNJ-2ptpCet-2ptXtjX-99AMDV-2puAfVT-2pv5JcC-2pvqf3y/" title="Sally Field"><img alt="Sally Field" height="500" src="https://live.staticflickr.com/65535/53449432907_7475184e69.jpg" width="353" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Big East German Starfoto by VEB Progress Film-Verleih, Berlin, no. 71/80s.<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Sister Bertrille
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<b>Sally Margaret Field</b> was born in 1946, in Pasadena, California, to <b>Margaret Field (née Morlan)</b>, an actress, and <b>Richard Dryden Field</b>, who served in the Army during World War II. Her brother is <b>Richard D. Field</b>, a physicist and an academic. Her parents were divorced in 1950. In 1952, her mother married <b>Jock Mahoney</b>, an actor and a stuntman. Field said in her 2018 memoir that she was sexually abused by Mahoney during her childhood.<br />
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As a teen, Field attended Portola Middle School and Birmingham High School in Van Nuys, where she was a cheerleader. Her film debut was as an extra (a Beatnik girl) in <i>Moon Pilot</i> (James Neilson, 1962). Field got her start on television as the boy-crazy surfer girl in the sitcom <i>Gidget</i> (1965–1966). The show was not an initial success and was cancelled after a single season; however, summer reruns garnered respectable ratings, making the show a belated success.<br />
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Wanting to find a new starring vehicle for Field, ABC produced <i>The Flying Nun</i> with Field cast as Sister Bertrille. Field found the concept of the show silly and refused the role at first, only to resettle on it after her stepfather, <b>Jock Mahoney</b>, warned her that she might not work again in show business if she did not accept the role. Screen Gems dismissed its second choice, <b>Ronne Troup</b>, who had already begun filming the pilot. Field recalled hanging from a crane and being humiliated by a parade of episodic television directors, one of whom grabbed her shoulders and moved her into position as if she were a prop.<br />
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<i>The Flying Nun</i> (1967-1970) centred on the adventures of a community of nuns in the Convent San Tanco in San Juan, Puerto Rico. The comic elements of the storyline were provided by the flying ability of the 90-pound novice Sister Bertrille, whose large headgear, enables her to fly in any stiff breeze. Her gift enables her to aid others, whether they wish it or not. The sitcom produced by Screen Gems for ABC was based on the 1965 book 'The Fifteenth Pelican', written by <b>Tere Rios</b>. The series was developed by <b>Bernard Slade</b>. <i>The Flying Nun</i> originally ran on ABC from 7 September 1967 to 3 April 1970, producing 82 episodes, including a one-hour pilot episode. Field credits co-star <b>Madeleine Sherwood</b> for encouraging her to enrol in acting classes. She also later commented that she has great affection for her young Gidget persona and was proud of her work on that show, but she has also admitted that she disliked and was embarrassed with <i>The Flying Nun</i>.<br />
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<b>Phil Lindholm</b> at <b><i>IMDb</i></b>: "Watching a show like <i>The Flying Nun</i> is like experiencing part of a 60's time capsule (in the best sense) because it's light years away from today's television fare. Starring the young <b>Sally Field</b> as a novice at the Convent San Tanco in Puerto Rico (who, incidentally, can fly) and co-starring such worthies as <b>Madeleine Sherwood</b> (as Mother Superior), <b>Alejandro Rey </b>(as playboy Carlos Ramirez) and <b>Marge Redmond</b> (as Sister Jacqueline), the makers of the show actually triumphed over its admittedly outrageous premise and crafted a series full of humor and heart. Field was ideally cast as Sister Bertrille (the former Elsie Etherington) who eventually wins over even the staid Mother Superior with her undeniable charm, high spirits and always good intentions. The gradual way in which she endears herself to The Reverend Mother (beautifully played by the gifted Sherwood) and the often exasperated Carlos, is unexpectedly moving."<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53461056600/in/photolist-2iHS3Fx-2pr9jfF-2prDV1T-2prMAmZ-2psaTzb-2psQeNJ-2ptpCet-2ptXtjX-99AMDV-2puAfVT-2pv5JcC-2pvqf3y/" title="Sally Field in The Flying Nun (1967-1970)"><img alt="Sally Field in The Flying Nun (1967-1970)" height="500" src="https://live.staticflickr.com/65535/53461056600_23987372f9.jpg" width="371" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard, no. 2. <b>Marge Redmond</b>, <b>Madeleine Sherwood</b> and <b>Sally Field</b> in <i>The Flying Nun</i> (1967-1970).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53497806524/in/photolist-2iHS3Fx-2pr9jfF-2prDV1T-2prMAmZ-2psaTzb-2psQeNJ-2ptpCet-2ptXtjX-99AMDV-2puAfVT-2pv5JcC-2pvqf3y/" title="Sally Field in The Flying Nun (1967-1970)"><img alt="Sally Field in The Flying Nun (1967-1970)" height="371" src="https://live.staticflickr.com/65535/53497806524_e1d073a6cf.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard, no. 6. <b>Marge Redmond</b>, <b>Sally Field</b>and <b>Madeleine Sherwood</b> in <i>The Flying Nun</i> (1967-1970).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53456706241/in/photolist-2iHS3Fx-2pr9jfF-2prDV1T-2prMAmZ-2psaTzb-2psQeNJ-2ptpCet-2ptXtjX-99AMDV-2puAfVT-2pv5JcC-2pvqf3y/" title="Sally Field and Alejandro Rey in The Flying Nun (1967-1970)"><img alt="Sally Field and Alejandro Rey in The Flying Nun (1967-1970)" height="500" src="https://live.staticflickr.com/65535/53456706241_9c14ff0398.jpg" width="370" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard, no. 9. <b>Sally Field</b> and <b>Alejandro Rey</b> in <i>The Flying Nun</i> (1967-1970).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/49700498557/in/photolist-2iHS3Fx-2pr9jfF-2prDV1T-2prMAmZ-2psaTzb-2psQeNJ-2ptpCet-2ptXtjX-99AMDV-2puAfVT-2pv5JcC-2pvqf3y" title="Sally Field in The Flying Nun (1967-1970)"><img alt="Sally Field in The Flying Nun (1967-1970)" height="500" src="https://live.staticflickr.com/65535/49700498557_85c1221cff.jpg" width="373" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard, no. 10. <b>Sally Field</b> in <i>The Flying Nun</i> (1967-1970).<br />
<br /><h3 style="text-align: left;"><span style="color: #b45f06;">
Moving past her television image of the girl next door
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In 1973, Sally Field was cast in a starring role opposite <b>John Davidson</b> in the short-lived series <i>The Girl with Something Extra</i> (1973-1974). Following the series' cancellation, Field studied at the Actors Studio with acting teacher <b>Lee Strasberg</b>. Strasberg became a mentor to Field, helping her move past her television image of the girl next door. During this period, Field divorced her first husband in 1975.<br />
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Soon after studying with Strasberg, Field landed the title role in the television film <i>Sybil</i> (Daniel Petrie, 1976), based on the book by <b>Flora Rheta Schreiber</b>. Her dramatic portrayal of a young woman afflicted with dissociative identity disorder earned her an Emmy Award in 1977 and enabled her to break through the typecasting of her sitcom work.<br />
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It was followed by starring roles in the films <i>Stay Hungry</i> (Bob Rafelson, 1976) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Jeff%20Bridges">Jeff Bridges</a></b> and <b><a href="https://filmstarpostcards.blogspot.com/search/label/Arnold%20Schwarzenegger">Arnold Schwarzenegger</a></b>, <i>Smokey and the Bandit</i> (Hal Needham, 1977) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Burt%20Reynolds">Burt Reynolds</a></b>, <i>Heroes</i> (Jeremy Kagan, 1977), <i>The End</i> (Burt Reynolds, 1978), and <i>Hooper</i> (Hal Needham, 1978).
She won two Academy Awards for Best Actress for <i>Norma Rae</i> (Martin Ritt, 1979), and <i>Places in the Heart</i> (Robert Benton, 1984). She also played notable roles in <i>Smokey and the Bandit II</i> (Hal Needham, 1980), <i>Absence of Malice</i> (Sydney Pollack, 1981) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Paul%20Newman">Paul Newman</a></b>, <i>Murphy's Romance</i> (Martin Ritt, 1985), <i>Steel Magnolias</i> (Herbert Ross, 1989), <i>Soapdish</i> (Michael Hoffman, 1991), <i>Mrs. Doubtfire</i> (Chris Columbus, 1993) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Robin%20Williams">Robin Wiliams</a></b>, and <i>Forrest Gump</i> (Robert Zemeckis, 1994) with <b><a href="https://filmstarpostcards.blogspot.com/search/label/Tom%20Hanks">Tom Hanks</a></b>.<br />
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In the 2000s, Field returned to television with a recurring role on the medical drama <i>ER</i>, for which she won the Primetime Emmy Award for Outstanding Guest Actress in a Drama Series in 2001. For her role as Nora Walker in the ABC drama series <i>Brothers & Sisters</i> (2006-2011), Field won the Primetime Emmy Award for Outstanding Lead Actress in a Drama Series. She portrayed Mary Todd Lincoln in <i>Lincoln</i> (Steven Spielberg, 2012) starring <b><a href="https://filmstarpostcards.blogspot.com/search/label/Daniel%20Day-Lewis">Daniel Day-Lewis</a></b>, for which she received an Academy Award for Best Supporting Actress nomination. She portrayed Aunt May in <i>The Amazing Spider-Man</i> (Marc Webb, 2012) and its sequel, <i>The Amazing Spider-Man 2</i> (Marc Webb, 2014).<br />
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Sally Field also appeared in the films <i>Hello, My Name Is Doris</i> (Michael Showalter, 2015), and <i>Spoiler Alert</i> (Michael Showalter, 2022), as well as in the Netflix limited series <i>Maniac</i> (Cary Joji Fukunaga, 2018) with <b>Emma Stone</b>. She made her professional stage debut in the Broadway revival of <b>Edward Albee</b>'s 'The Goat, or Who Is Sylvia?' in 2002. Field returned to the stage after an absence of 15 years with the 2017 revival of <b>Tennessee Williams</b>'s 'The Glass Menagerie', for which she received a nomination for the Tony Award for Best Actress in a Play. She made her debut on the West End theatre in the revival of <b>Arthur Miller</b>'s 'All My Sons' in 2019.<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53481266687/in/photolist-2iHS3Fx-2pr9jfF-2prDV1T-2prMAmZ-2psaTzb-2psQeNJ-2ptpCet-2ptXtjX-99AMDV-2puAfVT-2pv5JcC-2pvqf3y/" title="Sally Field in The Flying Nun (1967-1970)"><img alt="Sally Field in The Flying Nun (1967-1970)" height="500" src="https://live.staticflickr.com/65535/53481266687_14d817a5f4.jpg" width="380" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard, no. 12. <b>Sally Field</b> in <i>The Flying Nun</i> (1967-1970).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53493999002/in/photolist-2iHS3Fx-2pr9jfF-2prDV1T-2prMAmZ-2psaTzb-2psQeNJ-2ptpCet-2ptXtjX-99AMDV-2puAfVT-2pv5JcC-2pvqf3y/" title="Sally Field in The Flying Nun (1967-1970)"><img alt="Sally Field in The Flying Nun (1967-1970)" height="500" src="https://live.staticflickr.com/65535/53493999002_be52fc16f6.jpg" width="368" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard, no. 14. <b>Sally Field</b> in <i>The Flying Nun</i> (1967-1970).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53475053061/in/photolist-2iHS3Fx-2pr9jfF-2prDV1T-2prMAmZ-2psaTzb-2psQeNJ-2ptpCet-2ptXtjX-99AMDV-2puAfVT-2pv5JcC-2pvqf3y/" title="Sally Field in The Flying Nun (1967-1970)"><img alt="Sally Field in The Flying Nun (1967-1970)" height="367" src="https://live.staticflickr.com/65535/53475053061_ea36e97e6b.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard, no. 22. <b>Sally Field</b> in <i>The Flying Nun</i> (1967-1970).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/5348173499/in/photolist-2iHS3Fx-2pr9jfF-2prDV1T-2prMAmZ-2psaTzb-2psQeNJ-2ptpCet-2ptXtjX-99AMDV-2puAfVT-2pv5JcC-2pvqf3y/" title="The Flying Nun"><img alt="The Flying Nun" height="367" src="https://live.staticflickr.com/5046/5348173499_f3e31d6c09.jpg" width="500" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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Dutch postcard, no. 24. <b>Sally Field</b> in <i>The Flying Nun</i> (1967-1970).<br />
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<a data-flickr-embed="true" href="https://www.flickr.com/photos/truusbobjantoo/53468538922/in/photolist-2pvqf3y-2pv5JcC-2puAfVT-2ptXtjX-2ptpCet-2psQeNJ-2psaTzb-2prMAmZ-2prDV1T-2pr9jfF-2iHS3Fx-99AMDV/" title="Sally Field on affiche Places in the Heart (1984)"><img alt="Sally Field on affiche Places in the Heart (1984)" height="500" src="https://live.staticflickr.com/65535/53468538922_1d96bd1364.jpg" width="356" /></a><script async="" charset="utf-8" src="//embedr.flickr.com/assets/client-code.js"></script>
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French postcard by Editions F. Nugeron, no. E 225. Image: Tristar. French affiche for <i>Places in the Heart</i> (Robert Benton, 1984) with <b>Sally Field</b>,<b> Gennie James</b> and <b>Yankton Hatten</b>.<br />
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Sources: <a href="https://www.imdb.com/name/nm0000398/bio/?ref_=nm_ov_bio_sm">Phil Lindholm</a> (IMDb), <a href="https://en.wikipedia.org/wiki/Sally_Field">Wikipedia</a> and <a href="https://www.imdb.com/name/nm0000398/">IMDb</a>. Paul van Yperenhttp://www.blogger.com/profile/00839067381947344501noreply@blogger.com0