#Annette Dorn

[ramon-balaguer]

Today is #PTSDAwarenessDay.

US Military Veterans sacrifice so much for our GOD & Country, and All of US return home wounded in varying degrees from War and Work—some that can be seen and others that can’t. I’m on Fort Jackson where military are trained and many retirees live, and often visit MAHC, the Van Dorn VA Health Center and other local Hospitals where many of US Patriots are seeking physical and mental Healing but I see way more on the streets too, typically homeless and Not being treated for their wounds, much less treated as heroes, and all needing spiritual help and healing; so that’s what we (Annette and me) do as Christian Military Vets, minister, we minister to wounded military veterans, their spouses and families (if they have one or the other or both) through prayer, listening ear, compassionate care, brotherly love and support according to Being a Christian Brother and friend. Today, pray with me for all who suffer from and are affected by PTSD.

PTSD has been around for as long as conflicts and wars existed but has just been brought to light Post-traumatic stress disorder (PTSD) was first recognized as a mental health diagnosis in 1980 when the American Psychological Association included it in the third edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-III). The diagnosis was associated with the Vietnam War, and was created to help researchers and provide better treatment for trauma survivors.

And to a lesser degree during Post-Traumatic Psychiatric Symptoms in military personnel fighting in WWII were reported as early as 1945 by the American Psychiatrists Grinker and Spiegel but the earliest evidence or effects of PTSD were recorded in modern documentation of PTSD began when Swiss physician Johannes Hofer coined the term “Nostalgia” in 1688 to describe the sleeplessness, despair, and homesickness experienced by mercenaries fighting far from home. Around the same period, Spanish, French, and German also recorded similar symptoms in patients involved in military combat.

I’m trying to point the fact that it’s been around for centuries in silence and just now becoming something to seriously consider and compensate US for as a direct result of our duties, and might I add that it goes beyond the battle field and right in the middle of our daily duties… 😱🤷‍♀️🧐🙏🫡🇺🇸👨‍✈️❤️‍🩹👩‍✈️🥰🙌🎚️♥️🌎#REBTD😇

Of course, though I’m focusing on US Military, PTSD can be problem for anyone (Law Enforcement, First Responders, Rape, Crime Victims and anyone at any age who experienced through a traumatic event that haunts and essentially debilitates them emotionally and mentally, even if no physical trauma or evidence. 🤗#ptsdwarrior #ptsdawareness #Pray #military #veterans #prayer #GODblessAmerica #♥️🇺🇸🙏🌎REBTD😇

[genevieveetguy]

The Second Awakening of Christa Klages (Das zweite Erwachen der Christa Klages), Margarethe von Trotta (1978)

[ljones41]

"A POCKETFUL OF RYE" (1985) Review

"A POCKETFUL OF RYE" (1985) Review There have been two adaptation of Agatha Christie's 1953 novel, "A Pocket Full of Rye". Well . . . as far as I know. I have already seen the recent adaptation that aired on ITV's "AGATHA CHRISTIE'S MARPLE" series in 2009. Recently, I watched an earlier adaptation that aired on the BBC "MISS MARPLE" series in 1985. 

Directed by Guy Slater, this earlier adaptation starred Joan Hickson as the story's main sleuth, Miss Jane Marple. The story begins in the London office of financier Rex Fortescue, who suddenly dies after drinking his morning tea. At first suspicion falls upon the employees of Fortescue's firm. But the police coroner discovers that Fortescue had died from taxine, n alkaloid poison obtained from the leaves or berries of the yew tree. Due to this discovery, Detective-Inspector Neele realizes that someone within the Foretescue household may have poisoned the financier during breakfast. Suspicion falls upon Fortescue's second and much younger wife, Adele after Neele learns of her affair with a local golf pro at a resort. However, Adele is murdered during tea, via poison. Even worse, a third victim, a maid named Gladys Martin, is found in the garden, strangled to death and with a peg on her nose. After Adele and Gladys' murders are reported by the media; Miss Marple, who used to be Gladys' employer, pays a visit to the Fortescue home to discover the murderer's identity among the list of suspects: *Percival Fortescue - Rex's older son, who was worried over the financier's erratic handling of the family business *Jennifer Fortescue - Percival's wife, who disliked her father-in-law *Lance Fortescue - Rex's younger son, a former embezzler who had arrived home from overseas on the day of Adele and Gladys' murders *Patricia Fortescue - Lance's aristocratic wife, who had been unlucky with her past two husbands *Mary Dove - the Fortescues' efficient and mysterious housekeeper *Vivian Dubois - Adele's lover and professional golf instructor *Aunt Effie Ramsbottom - Rex's fanatically religious ex-sister-in-law Despite Inspector Neele's initial inclination to dismiss the elderly Miss Marple, he comes to appreciate her help in solving the three murders. I like "A POCKETFUL OF RYE". I like it a lot. I have always been a fan of Christie's 1953 novel. And if I must be honest, I also enjoyed the 2009 adaptation, as well. Originally, one would be inclined to believe that this earlier adaptation is more faithful to Christie's novel. Surprisingly, it is not. Screenwriter T.R. Bowen eliminated at least three characters from the novel and changed the murderer's fate in the end. Otherwise, this adaptation was pretty faithful. But it is not its faithfulness to Christie's novel that made me enjoy this production. I have read plenty of first-rate novels that translated badly to the television or movie screen. Fortunately, "A POCKETFUL OF RYE" does not suffer from this fate. At least not too much. Overall, "A POCKETFUL OF RYE" is an entertaining and solid story that left me intrigued. It is also one of the few Christie stories in which the revelation of the murderer's identity left me feeling very surprised . . . and a little sad. However, even sadder was the third murder . . . that of Gladys Martin. She was the only one of the three victims that was likable. Not only did I find her death sad, but also cruel. But it was also good drama. The movie also featured some strong characterization that I believe enhanced the story. Between the interactions between the members of the Fortescue family members, the interactions between Miss Marple and Inspector Neele, and the interaction between the latter and his assistant Sergeant Hay; this production reeked with strong characterization. "A POCKETFUL OF RYE" did have its problems. One, I thought the movie's pacing dragged a bit, following the death of Rex Fortescue. And because of this, the story took its time in reaching Miss Marple's arrival at the Fortescues' home. Another problem with Bowen's script is that it strongly hinted the killer's identity before Miss Marple could to the police. This problem has been a problem with the Joan Hickson movies throughout its run. For me, the real problem with "A POCKETFUL OF RYE" proved to be the killer's fate. Apparently, Bowen and director Guy Slater decided that Christie's version of what happened to the murderer was not enough. Instead, they decided to kill off the murderer in a convoluted manner via a traffic accident. Frankly, I found Christie's original version more emotionally satisfying. I certainly had no problem with the movie's performances. Joan Hickson was top-notch as usual, as Jane Marple. I also enjoyed Tom Wilkinson's very entertaining performance as Inspector Neele. I find it hard to believe that it took another 13 years or so for him to achieve stardom. There were three other performances that I truly enjoyed. One came from Rachel Bell, who was first-rate in her portrayal the victim's enigmatic daughter-in-law. Selina Cadell's portrayal of housekeeper Mary Dove proved to be just as enigmatic and impressive. Both Peter Davison and Clive Merrison gave interesting performances as the two Fortescue brothers, Lance and Percival, who seemed such complete opposites of one another. I also enjoyed Fabia Drake, who gave an excellent performance as the victim's religious, yet observant sister-in-law, Effie Ramsbottom. The movie also featured solid performances from Timothy West (whose appearance was sadly too brief), Annette Badland, Stacy Dorning, Jon Glover, Frances Low and Martyn Stanbridge. "A POCKETFUL OF RYE" proved to be an entertaining and solid adaptation of Christie's novel, thanks to director Guy Slater and screenwriter T.R. Bowen. The movie also featured excellent performances from a cast led by the always incomparable Joan Hickson. However, I do feel that the movie was somewhat marred by a slow pacing in the middle of the story and an early and unsatisfying revelation of the killer's identity. Oh well. At least "A POCKETFUL OF RYE" was not a bust or even mediocre.

[federer7]

Photo by Annett Müller-Dorn

[msbluebell]

Imagine Claude inviting the Blue Lions to his home country, very excited to meet with them outside his palace... only to see them sweating buckets and Byleth fanning them to keep them alive. (If Claude listens closely, he could hear Byleth reprimanding her husband for bringing his fur coat of all things.)

Claude waits until about a year after the war ends to send the invitation. Gotta make sure everything is set up and that reforms and repairs are at least in place before you invite the King and many of his trusted council to your country, y’know?

But he wants to open up between Almyra and Fodland, and has for a long, long time. It’s been his dream since he was a kid and it’s finally happening, so he doesn’t wait too long to pin the letter and invite his old pal Dimitri and teach over for a grand tour.

He’s been planning this for a long time, so he had to make sure that everything is PERFECT. He’s got whole feasts planned out, and he’s got a lot of entertainment brought in, and he lets EVERYONE know that the King and Queen of Fodlan are friends of his and are visiting as his guests. He’s cackling inside because Dimitri is tall and intimidating as fuck, and Teach may be shorter but she radiates power. He’s going to get these fuckers to respect Fodlanders if he has to drag them kicking and screaming towards that respect (he’ll throw them in an arena facing off against his former classmates if he has to). It’s all perfectly planned.

Except he miscalculated one thing.

He forgot Faerghus is so cold some parts of the country has snow all year around, and Almyra is a desert.

When the Gates are opened and the Fodlan Royal Procession are let into the city, he expects that the whole force will be a sight of impressively intimidating and powerful looking people.

What he doesn’t expect is a group of half dead disasters slumping their way towards his castle. 

Dimtri is wearing his black armor and that damn fur cloak! By the gods above, how is he not dead? He’s sweating buckets! You can barely see the crown on his head because his hair is dropping over the circlet. He’s leaning on that damn lance like it’s a walking cane! Claude is actually #Concerned. Holy balls, how is he alive right now? Byleth is fanning him with a silk fan, dressed way more appropriately, looking like she’s trying her best to keep her husband alive. 

The rest of the part isn’t much better. Everyone from Faerghus looks like they have some sort of fur in their clothes, which is a terrible idea. And they all look like they’re one good push over from dying. Felix has gotten rid of his shirt a long time ago, and the first thing Sylvain does upon entering the city is throw a sack of gold at a shop keeper and turning a jar of water over his head. Ingrid doesn’t even stop him, she’s too busy dropping against a cart, letting it drag her. Ashe is trying to fan her, but he’s barely better off himself. Annette looks like she may have passed out in her saddle. And poor Dedue looks like the most impressive, sweaty, statue ever. Even their horses, breed for the harsh Northern weather, are sweating bullets.

Claude can’t stop himself when he sees them, he immediately bursts out, “Good Gods, your highness, I knew you didn’t have sense, but why didn’t you wear SUMMER clothes?”

Dimitri takes one look at Claude and grunts out, “These ARE summer clothes in Faerghus, Claude, it snows all year.”

“Take that cloak OFF, you’re going to DIE.” Claude shakes his head, “You survived fighting living abominations and it’s the HEAT that’s going to kill you. Why didn’t you buy something lighter?!”

“You told us to wear local clothing to expose Almyra to our culture.” Dimitri says as he marches over, suddenly very impressive despite his state. He walks right up to Claude, picks him up with a single hand, and tosses him into a water lily garden (like Dorne in GOT because I said so), “Next time warn us!”

[tarianus]

Adventskalender Tür19* - Annette von Droste-Hülshoff (1797-1848) - »Am vierten Sonntage im Advent«

Adventskalender Tür19* – Annette von Droste-Hülshoff (1797-1848) – »Am vierten Sonntage im Advent«

Fragst du mich, wer ich bin? Ich berg’ es nicht:Ein Wesen bin ich sonder Farb’ und Licht.Schau mich nicht an; dann wendet sich dein Sinn;Doch höre, höre, höre! denn ich binDes Rufers in der Wüste Stimme. In Nächten voller Pein kam mir das WortVon ihm, der Balsam sät an Sumpfes Bord,Im Skorpion der Heilung Öl gelegt,Dem auch der wilde Dorn die Rose trägt,Der tote Stamm entzündet sein…

[vivithemetalhead-blog]

My complete bio

I thought about letting you only a vague bio would be a crime for a devoted girl like me. So here you are.

Let’s start by a little introduction of myself. I’m Vivi, real name’s Virginie but I really prefer Vivi, a 20 years old french Metalhead and proud to be one.

I’m in metal since around 10 years now. Me and metal is a big thing. I started with Nightwish’s Dark Passion Play from my big sister. Firstly, I was listening to it because of the sounds. All the instruments and voices were new to me, it was just a wonderful discovery.

As time passed, I slowly dive into a severe depression, the one that can and will kill you if you do nothing.

I wasn’t really depressive, but I was surely tired to live. 

Metal helped me to hang on, I was listening to Nightwish every time I could, and I started to open up to more symphonic bands.

Strangely enough, Metal always had been a discreet passion with me until recently. 

Now, metal became a part of my soul and very being. It’s the only passion I kept, every other vanished with my growth as a person and an artist.

I can’t pass a day without metal, I can’t. And I have my periods. Sometimes Powerwolf, sometimes Delain...

It depends on my mood and mental health. I suffer from some “small” psychological trauma and metal helps me to be whole.

Without it, I feel worthless. 

But not only the music keep me alive, but also the artists, singers and musicians.

I’m a big fan of those people, I admire them a lot, they are special to me.

I am a respectful fangirl, I will never enter those people’s private life or harm them.

My main “idols” are currently Attila Dorn, Marco Hietala and Till Lindemann.

I love these three men to death and my blog will be, surely, mainly composed of them. 

I know I sound like some generic fangirl and maybe I am, but trust me. I despise hysterical, dangerous fangirls. They are not “fans” but crazy psycho to me.

Personality wise, I’m a friendly yet distant person at first sight. I was more sociable before but since a trauma involving a drama on DeviantART, I became less sociable and more serious.

I don’t want to be manipulated anymore.

But if I open with someone, I will be more crazy, don’t worry. 

I love to fangirl with other people ! 

Oh, and don’t be jealous of me. I know some will seeing how easily I communicate with famous metalheads. ( I hugged Marco irl, talked with Charles Greywolf and Attila’s wife on FB, talked with Kelly Sundown on FB as well...)

It’s some gift I have. I attract metalheads around me and I’m not too much shy with them though I’m terrified to be with them.

But this is nothing to be jealous of, I’m sure you will meet your loved idols one day too, dear reader. If I could, you too.

Random things about me : 

-I live near Paris but I never go in, I only do for concerts or festivals.

-My favorite and signature metal genre is symphonic metal !

-My favorite bands are : Nightwish, Epica, Delain, Rammstein and Powerwolf.

-I’m a completely different person when I’m with my close friends.

-Seeing bands playing happily together headbanging made me a lot happier. The perfect example : https://youtu.be/P_Ys_W7ySkM

-I am a very respectful person, and I will block any hateful comments here, must be towards me or anyone else.

-I am taken by a metalhead, he is the one who put me into Rammstein.

-I hate deviantart for personal reasons and I use Tumblr as my main social place.

-I hate drama, ,never involve me in one.

-I can be too curious for my own sake..

-My favorite female singers are Charlotte Wessels ( who I surname “Chacha” since I met her irl ), Tarja Turunen, Annette Olzon, Floor Jansen and Simone Simons.

-I also love Georg Neuhanser and Tobias Sammet.

-My favorite keyboardists are Coen Janssen ( I love him way too much, and call him my personal hero ), Tuomas Holopainen, Falk Maria Schlegel and Flake.

-I used to collect popular metal artists in my FB’s friends ( and still do in a way but shh )

-I’m an artist who draw herself with her favorites artists because daydreaming of being with them make me happy. I don’t take any form of requests for now.

-I’m also a writer.

-I squeak a lot.

-To me, having an autograph is less full of feelings than hugging your loved artist and taking a pic of this precious moment. 

-I respect every metal genre and every metalhead as long respect is present.

Well folks...This is the end of my bio. Sorry for the huge size of it, I got pretty absorbed in it beyond my hopes.

Don’t be shy, ask me a question if you’re confused about something !

And don’t forget to RAISE YOUR HORNS \m/

[mrmichaelchadler]

The Seagull

The creation of producer Tom Hulce and theater director Michael Mayer, the latest cinematic incarnation of Anton Chekhov’s “The Seagull” is handsomely mounted and well-acted by a stellar cast, but it’s one of those theatrical adaptations that has no reason to exist for any viewer who can recall a superior stage version of the same work.

For me, that was a production in London that starred Vanessa Redgrave and her daughter, Joely Richardson. Though I saw it decades ago, the experience remains in memory as a night of transcendent theater, one in which the play was illuminated not only by the superb performances and direction but also by the space it allowed the audience’s imagination. There are rooms of a country house outside Moscow, there is a lake in the distance. But these things are just sketched in visually; we give them reality in our heads.

Giving us a well-appointed country house and a real lake adds nothing to the work, in my view. In fact, it can diminish it, substituting un-resonant literalism for poetic suggestion.

“The Seagull” was a famous disaster when it was first performed in 1896. The audience booed, one actress froze in fright, and critics savaged it. It was only when Konstantin Stanislavsky directed it for the Moscow Art Theater in 1898 that the play was hailed as a masterpiece and Chekhov, previously a noted short story writer and doctor, was launched on the playwriting career that would yield “Uncle Vanya,” “Three Sisters” and “The Cherry Orchard.”

The play is known for introducing a naturalistic form of writing that challenged the melodramatic conventions and cliches of the time, and is often credited with introducing subtext to the theater. These are dubious distinctions when it comes to making a contemporary movie, though, since cinema absorbed both innovations long ago.

So what can one do to “The Seagull” to give it freshness? One thing that screenwriter Stephen Karam does is take the beginning of the play’s fourth act and make it the first thing we see, so that the body of the story then plays as a flashback. Though some viewers may find meaning in the temporal shift, to me it just seemed like pointless gimmickry.

The main reason to see this production is the cast. Annette Bening anchors the proceedings with a strong performance as Arkadina, the famous, self-absorbed actress who’s visiting the country estate where her ailing, cantankerous brother Sorin (Brian Dennehy) lives. She’s accompanied by her younger lover, Trigorin (excellent Corey Stoll), a celebrated writer.

Billy Howle and the ubiquitous Saoirse Ronan, who play young lovers in the new “On Chesil Beach,” essay similar roles here, albeit transposed to the Russia of 1904 (shifting the time a decade ahead of when Chekhov wrote the story is another puzzling innovation). He is Konstantin, Arkadina’s son, who has grown up on the estate and has artistic ambitions that make him insanely jealous of both his mother and Trigorin. He’s in love with Nina (Ronan), a local lass who’s toying with the idea of a theatrical career and who becomes infatuated with Trigorin.

The cast also includes Elisabeth Moss as Masha, a gloomy young woman who drinks too much, harbors an unrequited crush on Konstantin and resists the puppyish attentions of Medvedenko (Michael Zegen). The roles of Dr. Dorn, Shamrayev and Polina meanwhile are played by Jon Tenney, Glenn Fleshler and Mare Winningham, respectively.

While Chekhov called “The Seagull” a comedy and it was regarded as subtle and complex in the changes it wrought on dramatic conventions, the tale’s melodramatic content today is undeniable. The fact that when Konstantin decides to kill himself, the attempt—which only leaves him with a bandaged head—isn’t shown hardly has the impact on screen that it did more than a century ago on stage.

What Chekhov left to audiences and actors is a play in which the characters are rich, multi-dimensional and embroiled in passions—amorous, artistic, or both—that are often contradictory or ultimately destructive but always recognizably human. As a stage piece, “The Seagull” seems sure to last for ages. When thinking of what I’d like to see in a film of it, the idea I kept returning to was a Russian production that would convey the flavor of the original’s setting and language. But Mayer’s film was shot in New York State and its cast is entirely Brits and Americans. I’ll keep hoping for that Russian version.

from All Content https://ift.tt/2jNbKpM

[52ciab-blog]

Gloria Grahame in The Big Heat (1953)

German postcard by Ufa/Film-Foto, Berlin-Tempelhof, no. FK 897. Photo: Columbia Film. Gloria Grahame in The Big Heat (Fritz Lang, 1953).

American stage, film, television actress and singer Gloria Grahame (1923-1981) was often cast in Film Noirs as a tarnished beauty with an irresistible sexual allure. She received an Oscar for Best Supporting Actress nomination for Crossfire (1947), and would later win the award for The Bad and the Beautiful (1952). Her best known films are Sudden Fear (1952), Human Desire (1953), The Big Heat (1953), and Oklahoma! (1955), but her film career began to wane soon afterwards.

Gloria Grahame Hallward was born in in Los Angeles, California in 1921 Her father, Reginald Michael Bloxam Hallward, was an architect and author; her mother, Jeanne McDougall, who used the stage name Jean Grahame, was a British stage actress and acting teacher. Her older sister, Joy Hallward became an actress who married John Mitchum, the younger brother of Robert Mitchum. During Gloria’s childhood and adolescence, her mother taught her acting. Grahame attended Hollywood High School before dropping out to pursue acting. She was signed to a contract with MGM Studios under her professional name after Louis B. Mayer saw her performing on Broadway. Grahame made her film debut as a tart-with-a-heart in the sex comedy Blonde Fever (Richard Whorf, 1944) with Philip Dorne, and then scored one of her most widely praised roles as the flirtatious Violet Bick, saved from disgrace by James Stewart in It’s a Wonderful Life (Frank Capra, 1946). MGM was not able to develop her potential as a star and her contract was sold to RKO Studios in 1947. She was nominated for the Academy Award for Best Supporting Actress in Crossfire (Edward Dmytryk, 1947), a Film Noir which deals with the theme of anti-Semitism. During this time, she made films for several Hollywood studios. For Columbia Pictures, Grahame starred with Humphrey Bogart in the Film Noir In a Lonely Place (Nicholas Ray, 1950), a performance for which she again gained praise.

In 1952, 29-year-old Gloria Grahame starred in four major Hollywood-prodctions, including a part in the Film Noir Sudden Fear (David Miller, 1952), starring Joan Crawford, and a reunion with James Stewart in Cecil B. DeMille’s The Greatest Show on Earth, which won the Best Picture Oscar in 1953. Grahame was on the verge of superstardom, when she herself won the Supporting Actress Oscar for her performance in The Bad and the Beautiful (Vincente Minnelli, 1952), starring Lana Turner and Kirk Douglas. Sadly, following her Oscar victory, the beauty Grahame embodied so artfully on screen never reflected the personal turmoil festering under the surface. Her two marriages had ended in a divorce: one from allegedly abusive actor Stanley Clements (1945-1948), the other from Rebel Without a Cause director Nicholas Ray (1948-1952), with whom she had a son, Timothy. In the following years, her image hardened as the mysterious bad girl of Film Noir in The Big Heat (Fritz Lang, 1953) and Human Desire (Fritz Lang, 1954). In a classic, horrifying off-screen scene in The Big Heat, her character, mob moll Debby Marsh is scarred by hot coffee thrown in her face by Lee Marvin’s character. In 1954, she acted and sang in the adaptation of Richard Rodgers and Oscar Hammerstein’s musical Oklahoma! (Fred Zinnemann, 1955) as the ‘girl who can’t say no,’ Ado Annie. That same year she married writer-producer Cy Howard. After Oklahoma!, Grahame scaled back her work. There were rumours that she had been difficult to work with on the set of Oklahoma!. Two years later, she divorced Howard. In 1960, she married former stepson Tony Ray, son of Nicholas Ray. This led Nicholas Ray and Cy Howard to each sue for custody of each’s child by Grahame, putting gossip columnists and scandal sheets into overdrive. Rumours circulated that Grahame had initially seduced Tony when he was just 13. Along with her tarnished professional reputation, this gossip made her a Hollywood outcast.

In the 1960s, Gloria Grahame dedicated herself to raising her growing family after having two sons with Tony. The stress of the scandal, her waning career and her custody battle with Howard took its toll on Grahame and she had a nervous breakdown. She later underwent electroshock therapy in 1964. After that, she began a slow return to the theatre. She popped up as an occasional guest on TV series, and when she found her way back to the big screen, it was in exploitation films like Blood and Lace (Philip S. Gilbert, 1971) and Mama’s Dirty Girls (John Hayes, 1974). In March 1974, Grahame was diagnosed with breast cancer. She underwent radiation treatment, changed her diet, stopped smoking and drinking alcohol, and also sought homeopathic remedies. In less than a year the cancer went into remission. Grahame never reclaimed her former glory, but the Oscar itself stood proudly on her mantel, an enduring reminder of her accomplishments. In 1978, she met aspiring actor Peter Turner, while she was in Britain working on a stage production of W. Somerset Maugham’s Rain. Although Turner was nearly three decades her junior, they had a whirlwind romance. She co-starred in the British heist film A Nightingale Sang in Berkeley Square (Ralph Thomas, 1979) starring Richard Jordan, Oliver Tobias, and David Niven. In 1980 followed her last major film, Melvin and Howard, (Jonathan Demme, 1980), in which she played Mary Steenburgen’s mother. The cancer returned in 1980 but Grahame refused to acknowledge her diagnosis or seek radiation treatment. Despite her failing health, Grahame continued working in stage productions in the United States and the United Kingdom. At age 57, Gloria Grahame died in 1981 in a New York hospital from cancer-related complications. Peter Turner wrote about their love story in his memoir, Film Stars Don’t Die in Liverpool, which director Paul McGuigan adapted into a 2017 film starring Annette Bening and Jamie Bell.

Sources: Joey Nolfi (Entertainment Weekly), Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

Posted by Truus, Bob & Jan too! on 2019-11-25 04:15:52

Tagged: , Gloria Grahame , Gloria , Grahame , Hollywood , Movie Star , American , Actress , Vamp , Femme Fatale , Film Noir , Film , Cinema , Kino , Cine , Movie , Movies , Picture , Screen , Filmster , Star , Fifties , Vintage , Postcard , Carte , Postale , Cartolina , Postkarte , Tarjet , Postal , Postkaart , Briefkarte , Briefkaart , Ansichtskarte , Ansichtkaart , Ufa/Film-Foto , Columbia , The Big Heat , 1953

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