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timeless-hollywood-classics · 4 years

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Gene Eliza Tierney (November 19, 1920 – November 6, 1991) was an American film and stage actress. Acclaimed as a great beauty, she became established as a leading lady. Tierney was best known for her portrayal of the title character in the film Laura (1944), and was nominated for an Academy Award for Best Actress for her performance as Ellen Berent Harland in Leave Her to Heaven (1945).

Tierney's other roles include Martha Strable Van Cleve in Heaven Can Wait (1943), Isabel Bradley Maturin in The Razor's Edge (1946), Lucy Muir in The Ghost and Mrs. Muir (1947), Ann Sutton in Whirlpool (1949), Maggie Carleton McNulty in The Mating Season (1951), and Anne Scott in The Left Hand of God (1955).

I Gene Eliza Tierney was born on November 19, 1920 in Brooklyn, New York, the daughter of Howard Sherwood Tierney and Belle Lavinia Taylor. She was named after a beloved uncle, who died young.[4][page needed] She had an elder brother, Howard Sherwood "Butch" Tierney Jr., and a younger sister, Patricia "Pat" Tierney. Their father was a successful insurance broker of Irish descent, their mother a former physical education instructor.[4][page needed]

Tierney was raised in Westport, Connecticut. She attended St. Margaret's School in Waterbury, Connecticut, and the Unquowa School in Fairfield. She published her first poem, entitled "Night", in the school magazine and wrote poetry occasionally throughout her life. Tierney played Jo in a student production of Little Women, based on the novel by Louisa May Alcott.

Tierney spent two years in Europe, attending Brillantmont International School in Lausanne, Switzerland, where she learned to speak fluent French. She returned to the US in 1938 and attended Miss Porter's School in Farmington, Connecticut. On a family trip to the West Coast, she visited Warner Bros. studios, where a cousin worked as a producer of historical short films. Director Anatole Litvak, taken by the 17-year-old's beauty, told Tierney that she should become an actress. Warner Bros. wanted to sign her to a contract, but her parents advised against it because of the relatively low salary; they also wanted her to take her position in society.

Tierney's society debut occurred on September 24, 1938, when she was 17 years old. page needed] Soon bored with society life, she decided to pursue an acting career. Her father said, "If Gene is to be an actress, it should be in the legitimate theatre." Tierney studied acting at a small Greenwich Village acting studio in New York with Yiddish and Broadway actor/director Benno Schneider. She became a protégée of Broadway producer-director George Abbott.

In Tierney's first role on Broadway, she carried a bucket of water across the stage in What a Life! (1938). A Variety magazine critic declared, "Miss Tierney is certainly the most beautiful water carrier I've ever seen!" She also worked as an understudy in The Primrose Path (1938).

The following year, she appeared in the role of Molly O'Day in the Broadway production Mrs. O'Brien Entertains (1939). The New York Times critic Brooks Atkinson wrote, "As an Irish maiden fresh from the old country, Gene Tierney in her first stage performance is very pretty and refreshingly modest." That same year, Tierney appeared as Peggy Carr in Ring Two (1939) to favorable reviews. Theater critic Richard Watts Jr. of the New York Herald Tribune wrote, "I see no reason why Miss Tierney should not have an interesting theatrical career – that is, if cinema does not kidnap her away."

Tierney's father set up a corporation, Belle-Tier, to fund and promote her acting career. Columbia Pictures signed her to a six-month contract in 1939. She met Howard Hughes, who tried unsuccessfully to seduce her. From a well-to-do family herself, she was not impressed by his wealth. Hughes eventually became a lifelong friend.

After a cameraman advised Tierney to lose a little weight, she wrote to Harper's Bazaar magazine for a diet, which she followed for the next 25 years. Tierney was initially offered the lead role in National Velvet, but production was delayed. page needed] When Columbia Pictures failed to find Tierney a project, she returned to Broadway and starred as Patricia Stanley to critical and commercial success in The Male Animal (1940). In The New York Times, Brooks Atkinson wrote, "Tierney blazes with animation in the best performance she has yet given". She was the toast of Broadway before her 20th birthday. The Male Animal was a hit, and Tierney was featured in Life magazine. She was also photographed by Harper's Bazaar, Vogue, and Collier's Weekly.

Two weeks after The Male Animal opened, Darryl F. Zanuck, the head of 20th Century Fox, was rumored to have been in the audience. During the performance, he told an assistant to note Tierney's name. Later that night, Zanuck dropped by the Stork Club, where he saw a young lady on the dance floor. He told his assistant, "Forget the girl from the play. See if you can sign that one." It was Tierney. At first, Zanuck did not think she was the actress he had seen. Tierney was quoted (after the fact), saying: "I always had several different 'looks', a quality that proved useful in my career."

Tierney signed with 20th Century-Fox[4][page needed] and her motion picture debut was in a supporting role as Eleanor Stone in Fritz Lang's western The Return of Frank James (1940), opposite Henry Fonda.

A small role as Barbara Hall followed in Hudson's Bay (1941) with Paul Muni and she co-starred as Ellie Mae Lester in John Ford's comedy Tobacco Road (also 1941), and played the title role in Belle Starr alongside co-star Randolph Scott, Zia in Sundown, and Victoria Charteris (Poppy Smith) in The Shanghai Gesture. She played Eve in Son of Fury: The Story of Benjamin Blake (1942), as well as the dual role of Susan Miller (Linda Worthington) in Rouben Mamoulian's screwball comedy Rings on Her Fingers, and roles as Kay Saunders in Thunder Birds, and Miss Young in China Girl (all 1942).

Receiving top billing in Ernst Lubitsch's comedy Heaven Can Wait (1943), as Martha Strable Van Cleve, signaled an upward turn in Tierney's career. Tierney recalled during the production of Heaven Can Wait:

Lubitsch was a tyrant on the set, the most demanding of directors. After one scene, which took from noon until five to get, I was almost in tears from listening to Lubitsch shout at me. The next day I sought him out, looked him in the eye, and said, 'Mr. Lubitsch, I'm willing to do my best but I just can't go on working on this picture if you're going to keep shouting at me.' 'I'm paid to shout at you', he bellowed. 'Yes', I said, 'and I'm paid to take it – but not enough.' After a tense pause, Lubitsch broke out laughing. From then on we got along famously.

Tierney starred in what became her best-remembered role: the title role in Otto Preminger's film noir Laura (1944), opposite Dana Andrews. After playing Tina Tomasino in A Bell for Adano (1945), she played the jealous, narcissistic femme fatale Ellen Berent Harland in Leave Her to Heaven (1945), adapted from a best selling novel by Ben Ames Williams. Appearing with Cornel Wilde, Tierney won an Academy Award nomination for Best Actress. This was 20th Century-Fox' most successful film of the 1940s. It was cited by director Martin Scorsese as one of his favorite films of all time, and he assessed Tierney as one of the most underrated actresses of the Golden Era.

Tierney then starred as Miranda Wells in Dragonwyck (1946), along with Walter Huston and Vincent Price. It was Joseph L. Mankiewicz' debut film as a director, In the same period, she starred as Isabel Bradley, opposite Tyrone Power, in The Razor's Edge (also 1946), an adaptation of W. Somerset Maugham's novel of the same name. Her performance was critically praised.

Tierney played Lucy Muir in Mankiewicz's The Ghost and Mrs. Muir (1947), opposite Rex Harrison. The following year, she co-starred again with Power, this time as Sara Farley in the successful screwball comedy That Wonderful Urge (1948). As the decade came to a close, Tierney reunited with Laura director Preminger to star as Ann Sutton in the classic film noir Whirlpool (1949), co-starring Richard Conte and José Ferrer. She appeared in two other film noirs: Jules Dassin's Night and the City, shot in London, and Otto Preminger's Where the Sidewalk Ends (both 1950), reunited with both Preminger and leading man Dana Andrews, who she appeared with in five movies total.

Tierney was loaned to Paramount Pictures, giving a comic turn as Maggie Carleton in Mitchell Leisen's ensemble farce, The Mating Season (1951), with John Lund, Thelma Ritter, and Miriam Hopkins. She gave a tender performance as Midge Sheridan in the Warner Bros. film, Close to My Heart (1951), with Ray Milland. The film is about a couple trying to adopt a child. Later in her career, she was reunited with Milland in Daughter of the Mind (1969).

After Tierney appeared opposite Rory Calhoun as Teresa in Way of a Gaucho (1952), her contract at 20th Century-Fox expired. That same year, she starred as Dorothy Bradford in Plymouth Adventure, opposite Spencer Tracy at MGM. She and Tracy had a brief affair during this time.[10] Tierney played Marya Lamarkina opposite Clark Gable in Never Let Me Go (1953), filmed in England.

In the course of the 1940s, she reached a pinnacle of fame as a beautiful leading lady, on a par with "fellow sirens Rita Hayworth, Lana Turner and Ava Gardner". She was "called the most beautiful woman in movie history" and many of her movies in the 1940s became classic films.

Tierney remained in Europe to play Kay Barlow in United Artists' Personal Affair (1953). While in Europe, she began a romance with Prince Aly Khan, but their marriage plans met with fierce opposition from his father Aga Khan III. Early in 1953, Tierney returned to the U.S. to co-star in the film noir Black Widow (1954) as Iris Denver, with Ginger Rogers and Van Heflin.

Tierney had reportedly started smoking after a screening of her first movie to lower her voice, because she felt, "I sound like an angry Minnie Mouse." She subsequently became a heavy smoker.

With difficult events in her personal life, Tierney struggled for years with episodes of manic depression. In 1943, she gave birth to a daughter, Daria, who was deaf and mentally disabled, the result of a fan breaking a rubella quarantine and infecting the pregnant Tierney while she volunteered at the Hollywood Canteen. In 1953, she suffered problems with concentration, which affected her film appearances. She dropped out of Mogambo and was replaced by Grace Kelly.[4][page needed] While playing Anne Scott in The Left Hand of God (1955), opposite Humphrey Bogart, Tierney became ill. Bogart's sister Frances (known as Pat) had suffered from mental illness, so he showed Tierney great sympathy, feeding her lines during the production and encouraging her to seek help.

Tierney consulted a psychiatrist and was admitted to Harkness Pavilion in New York. Later, she went to the Institute of Living in Hartford, Connecticut. After some 27 shock treatments, intended to alleviate severe depression, Tierney fled the facility, but was caught and returned. She later became an outspoken opponent of shock treatment therapy, claiming it had destroyed significant portions of her memory.

In late December 1957, Tierney, from her mother's apartment in Manhattan, stepped onto a ledge 14 stories above ground and remained for about 20 minutes in what was considered a suicide attempt. Police were called, and afterwards Tierney's family arranged for her to be admitted to the Menninger Clinic in Topeka, Kansas. The following year, after treatment for depression, she was discharged. Afterwards, she worked as a sales girl in a local dress shop with hopes of integrating back into society, but she was recognized by a customer, resulting in sensational newspaper headlines.

Later in 1958, 20th Century-Fox offered Tierney a lead role in Holiday for Lovers (1959), but the stress upon her proved too great, so only days into production, she dropped out of the film and returned to Menninger for a time.

Tierney made a screen comeback in Advise and Consent (1962), co-starring with Franchot Tone and reuniting with director Otto Preminger.[4][page needed] Soon afterwards, she played Albertine Prine in Toys in the Attic (1963), based on the play by Lillian Hellman. This was followed by the international production of Las cuatro noches de la luna llena, (Four Nights of the Full Moon - 1963), in which she starred with Dan Dailey. She received critical praise overall for her performances.

Tierney's career as a solid character actress seemed to be back on track as she played Jane Barton in The Pleasure Seekers (1964), but then she suddenly retired. She returned to star in the television movie Daughter of the Mind (1969) with Don Murray and Ray Milland. Her final performance was in the TV miniseries Scruples (1980).

Tierney married two men: the first was Oleg Cassini, a costume and fashion designer, on June 1, 1941, with whom she eloped. She was 20 years old. Her parents opposed the marriage, as he was from a Russian-Italian family and born in France. She had two daughters, Antoinette Daria Cassini (October 15, 1943 – September 11, 2010) and Christina "Tina" Cassini (November 19, 1948 – March 31, 2015).

In June 1943, while pregnant with Daria, Tierney contracted rubella (German measles), likely from a fan ill with the disease. Antoinette Daria Cassini was born prematurely in Washington, DC, weighing three pounds, two ounces (1.42 kg) and requiring a total blood transfusion. The rubella caused congenital damage: Daria was deaf, partially blind with cataracts, and severely mentally disabled. She was institutionalized for much of her life. This entire incident was inspiration for a plot point in the 1962 Agatha Christie novel The Mirror Crack'd from Side to Side.

It is claimed that she had an affair with Mohammad Reza Shah of Iran during the late 1940s.

Tierney's friend Howard Hughes paid for Daria's medical expenses, ensuring the girl received the best care. Tierney never forgot his acts of kindness. Daria Cassini died in 2010, at the age of 66.

Tierney and Cassini separated October 20, 1946, and entered into a property settlement agreement on November 10. Periodicals during this period record Tierney with Charles K. Feldman, including articles related to her "twosoming" with Feldman, her "current best beau". The divorce was to be finalized in March 1948, but they reconciled before then.

During their separation, Tierney met John F. Kennedy, a young World War II veteran, who was visiting the set of Dragonwyck in 1946. They began a romance that she ended the following year after Kennedy told her he could never marry her because of his political ambitions. In 1960, Tierney sent Kennedy a note of congratulations on his victory in the presidential election. During this time, newspapers documented Tierney's other romantic relationships, including Kirk Douglas.

While filming for Personal Affair in Europe, she began a romance with Prince Aly Khan. They became engaged in 1952, while Khan was going through a divorce from Rita Hayworth. Their marriage plans, however, met with fierce opposition from his father, Aga Khan III.

Cassini later bequeathed $500,000 in trust to Daria and $1,000,000 to Christina. Cassini and Tierney remained friends until her death in November 1991.

In 1958, Tierney met Texas oil baron W. Howard Lee, who had been married to actress Hedy Lamarr since 1953. Lee and Lamarr divorced in 1960 after a long battle over alimony, then Lee and Tierney married in Aspen, Colorado, on July 11, 1960. They lived quietly in Houston, Texas, and Delray Beach, Florida until his death in 1981.

Despite her self-imposed exile in Texas, Tierney received work offers from Hollywood, prompting her to a comeback. She appeared in a November 1960 broadcast of General Electric Theater, during which time she discovered that she was pregnant. Shortly after, 20th Century Fox announced Tierney would play the lead role in Return to Peyton Place, but she withdrew from the production after suffering a miscarriage.

Tierney's autobiography, Self-Portrait, in which she candidly discusses her life, career, and mental illness, was published in 1979.

Tierney's second husband, W. Howard Lee, died on February 17, 1981 after a long illness.[24]

In 1986, Tierney was honored alongside actor Gregory Peck with the first Donostia Lifetime Achievement Award at the San Sebastian Film Festival in Spain.

Tierney has a star on the Hollywood Walk of Fame at 6125 Hollywood Boulevard.

Tierney died of emphysema on November 6, 1991, in Houston, thirteen days before her 71st birthday. She is interred in Glenwood Cemetery in Houston.

Certain documents of Tierney's film-related material, personal papers, letters, etc., are held in the Wesleyan University Cinema Archives, though her papers are closed to the public.

#gene tierney #golden age of hollywood #classic hollywood #old hollywood #classic movie stars

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miguelmarias · 4 years

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Edmund Goulding

Un gran director de actores

La figura de Edmund Goulding está, para mí, rodeada de una cierta aureola de misterio: cualquiera de sus películas sugiere que su director es un hombre cultivado, inteligente y elegante... pero bastante poco más. De nada sirve ir conociendo mejor su obra, porque resulta igual de impenetrable cuando uno ha visto doce o trece que cuando apenas recordaba vagamente tres.

Esa hipótesis acerca de su carácter parece verse confirmada al buscar su nombre en un diccionario y descubrir que nació el año 1891 en Inglaterra —a cuyos nativos se suelen atribuir, acaso abusivamente, algunos de esos rasgos— e hizo y escribió teatro —Out of the Fog y God Save the King, y Ellen Young en colaboración—, por entonces considerado un «arte» mucho más respetable que el cine, incluso si se trataba más bien de revistas, de vaudeville o de music hall, que de hecho fueron las principales canteras escénicas de las que se reclutaron directores e intérpretes cinematográficos, sobre todo a partir de la irrupción del sonido.

Aunque hay que recordar que Goulding ya en 1921 estaba haciendo películas —como guionista y actor— en América, pues nunca trabajó en este medio en Europa; poco después, como tantos ingleses, escribió una novela de aventuras marítimas, Fury, que fue llevada al cine por Henry King. Entre los directores para los que escribió o actuó, junto al ya mencionado y entonces prestigioso King en más de una ocasión —por ejemplo, en la célebre Tol'able David (1921), que tanto admiró Pudovkin—, figuran nombres tan ilustres en esos años como hoy olvidados o desconocidos; por ejemplo, Herbert Brenon, George Fitzmaurice y Robert Z. Leonard.

Es muy posible que su «británica» flema, y una cierta discreción y modestia, hayan contribuido a desdibujar la personalidad de Goulding: sorprende que un hombre de carácter o con aspiraciones estéticas bien definidas fuera capaz de adoptar tan camaleónicamente los estilos de las sucesivas compañías de producción en que asiduamente trabajó: sus tres films con George Brent y Bette Davis, a finales de los años 30, son tan típicos de la First National - Warner Bros, como característicos de la Fox los de los años 40 y 50, pero el único de sus films mudos que conozco, para mí la mejor versión de la novela de Tolstoi Anna Karenina que ha dado el cine, Love (1927), es inequívocamente Metro, la primera productora que le contrató como director-guionista, y no sólo por la presencia de Greta Garbo. A pesar de la colaboración no claramente determinada del director teatral ruso Dimitri Buchowetzki, que parece haber ido más allá de supervisar la ambientación y los decorados para asegurar la autenticidad de la atmósfera rusa de la película, esta obra sería suficiente para justificar que se prestara atención a la filmografía de Goulding.

Cuanto acabo de decir sugiere que su estilo era maleable y poco personal: parece limitarse a un par de principios básicos muy generales, identificables con la tradición clásica del cine americano, que siempre pueden aplicarse, aunque se acepten las modas y el look particular de cada productora, y se pase del glamour brillante y un poco plano de la Metro a la imagen más seca y contrastada, con ritmo más rápido, de la Warner, para volver a la morosidad algo solemne —cuando no pomposa— de los productos de prestigio de la Fox, indisociada de un uso discreto pero sistemático de la profundidad de campo y de una extraordinaria nitidez fotográfica, es decir, de la asimilación estandarizada de algunos rasgos de los estilos personales, casi opuestos pero con una base común —no en vano compartieron a Gregg Toland como director de fotografía y suscitaron simultáneamente el interés de André Bazin—, y quizá complementarios, que sentaron William Wyler (desde finales de los años 30) y Orson Welles (a principios de los 40).

El rasgo que unifica todas las películas de Goulding que conozco es la inteligentísima y enérgica dirección de actores, sin duda su punto fuerte y el fundamento de su prestigio tanto en la industria —para productores, distribuidores y exhibidores, por aquellas fechas prácticamente los mismos, o al menos empleados del mismo patrón— como entre las estrellas más cotizadas: todos parecían dispuestos a trabajar con él, que debía ser un competente y educado guía, si no hacia el Oscar, sí, al menos, hacia las críticas elogiosas y el incremento de la popularidad.

Si nos fijamos con cierta perspectiva en sus películas, su filmografía se presenta como un desfile de personajes, entre los que destacan, casi siempre, los femeninos, sin que ello le convierta en un women's director ni le impida en modo alguno —como se pretende, exageradamente, a propósito de Cukor— profundizar en los masculinos. De hecho, fue un cineasta con el que trabajaron más de una vez varios de los actores principales, más taquilleras y por ello más exigentes y conflictivos de la Fox, como Tyrone Power, Paul Douglas o Linda Darnell, lo mismo que Bette Davis, Miriam Hopkins, Humphrey Bogart o George Brent en la Warner o Greta Garbo en la Metro, o Gloria Swanson, Marion Davis, Burt Lancaster, Edmund Gwenn, Dorothy McGuire, Charles Boyer, Joan Fontaine, Alexis Smith... El reparto de Grand Hotel es uno de los más impresionantes y heterogéneos que cabe imaginar, sólo superado, quizás, por el de El filo de la navaja.

Se habrá adivinado que, en rigor, no hay temas que puedan considerarse, ni siquiera con mucha fantasía y una capacidad de abstracción digna de mejor causa, como propios de Goulding. Dejó de ser actor y de firmar guiones —aunque es de suponer que seguiría, desde el anonimato favorecido por el reglamento del Screen Writers Guild, interviniendo en ellos sin ser acreditado por este trabajo—, aunque es el autor del argumento del musical matriz Broadway Melody y no dejó de escribir letras de canciones ni de componer melodías, que silbaba o tarareaba y alguien técnicamente más preparado y competente trascribía al pentagrama y orquestaba, canciones que a menudo tuvieron un éxito notable («Love, Your Magic Spell Is Everywhere». «You Are A Song»).

Tampoco es seguro que sintiese predilección por algún género en particular, si bien es cierto que —en cualquiera de las productoras de las que fue un pilar durante unos años— la mayoría de sus películas pueden considerarse melodramas, por lo general «dignificados» por su condición de —más o menos fidedignas— adaptaciones de novelas, si no siempre prestigiosas, sí al menos «respetables», es decir, best-sellers tan populares como The Razor's Edge (El filo de la navaja), del laureado y entonces muy bien visto por la crítica literaria W. Somerset Maugham, y no exentas de cierta pretensión filosófica y moralizante, que servía de excusa o coartada para narrar con fría elegancia y minuciosidad desapasionada, muy «desde fuera» de los personajes, peripecias inverosímiles o febriles dramas pasionales, implícita, reprimida o sublimadamente cargados de sexualidad e impulsados, fundamentalmente, por la ambición y el deseo. Es decir, la fórmula que sigue haciendo hoy furor, en series de televisión como «Dallas» o «Falcon Crest», pero en bien: con educación y buen gusto, con seriedad, tomándose interés por los personajes y sus andanzas.

Pero también hizo comedias, más finas que dinámicas, más irónicas que enloquecidas, sobre todo en los anteúltimos años de su carrera: ahí puede decirse que le hubiera representado a la perfección la figura atildada y maniática, tan excéntrica y amanerada como educadamente impertinente y mordaz, de su compatriota Clifton Webb, que parece haber dedicado la mayor parte de su filmografía a dar vida a benévolas reencarnaciones, bajo nombres como Mr. Belvedere, de su irónico retrato de Waldo Lydecker en Laura (1944) de Otto Preminger.

Nunca, ni siquiera obligado por su contrato con la Warner, llegó Goulding a contagiarse de la tendencia a la concisión acelerada de Raoul Walsh, Michael Curtiz, William Keighley o incluso Lloyd Bacon, Mervyn LeRoy o David Butler, sino que se mantuvo siempre más cerca del tono pausado de Clarence Brown en la Metro, Henry King en la Fox o John Cromwell donde quiera que estuviese (RKO, Columbia, etc.).

De hecho, lo más definitorio que puede decirse de Goulding es que se tomaba las cosas con calma, sin alterarse, por abundantes y melodramáticos que fueron los hechos que narraba. De ahí que hasta las más turbulentas historias las contase con serenidad y orden, con claridad y discreción, sin contagiarse de la histeria de los personajes, y que supiese hacer pausas para retratarles, de modo que incluso los más episódicos, o los que hasta ese preciso momento habían parecido esquemáticos seres de ficción, de una pieza, revelan súbitamente su personalidad, una cierta humanidad, y dan ocasión de actuar verdaderamente a sus intérpretes, siquiera intensivamente, y compensando la escasa presencia en pantalla mediante una encomiable precisión de gestos y caracterización.

De este modo, que habría de perfeccionar precisamente Otto Preminger a comienzos de los 60 —Éxodo (1960), Tempestad sobre Washington (1962), El Cardenal (1963), Primera victoria (1965)—, Goulding acababa por conseguir que la peripecia de los personajes nos importase, y no tanto en sí misma, sino más bien por estos, porque algo —a menudo bastante, siempre suficiente— llegábamos a saber de ellos, y por tanto conseguíamos entenderlos, por lo menos en parte —parcialidad que atizaba nuestra curiosidad—, y comprender en qué medida se sentían afectados o responsables, heridos o culpables, dolidos o avergonzados, humillados u orgullosos, de cuanto les sucedía a ellos o a sus compañeros de ficción, a sus prójimos —concepto éste que, a pesar de las implicaciones místicas de El filo de la navaja, no debe entenderse en su sentido religioso, sino en el más pertinente aquí de los principios de dramaturgia—. Indirectamente, pues, la ostensible frialdad de Goulding —rasgos que también se le atribuyó en demasía al que llegó a calificarse de «el frío Preminger»— se nos puede antojar más bien aparente, y permite sospechar que quizá se tratase, en realidad, de una astucia de hábil dramaturgo para suscitar nuestra emoción, sin abusar de nuestros sentimientos ni estimular la tendencia a la identificación con los personajes que en aquella época estaba vigente entre los espectadores; es posible que, porque contaban con esa atención y esa propensión a la adhesión e implicación, los cineastas más responsables y conscientes considerasen anti-económico, por innecesario, y poco elegante reclamar con efectismos o excesiva insistencia la concentración o la conmoción del público, y que Goulding, hombre tan reservado y discreto que poco se sabe de él —lo que cuenta la guionista Frances Marion se limita a confirmar lo que he supuesto—, fuese uno de los más firmes partidarios de esta contención expresiva, incluso dentro de una productora como la Fox y en una época, como los años 40-50, donde esta postura era la norma (John Ford, Otto Preminger, King, Jean Negulesco, Henry Hathaway, Delmer Daves, Joseph L. Mankiewicz, Walter Lang, y hasta el primer Elia Kazan, sobre todo cuando trabajaban casi exclusivamente en blanco y negro).

Aunque plásticamente sus películas fueran muy contrastadas, entre el blanco y el negro parece que le gustaba explorar toda la gama intermedia de los incontables matices del gris; de ahí que, sin necesidad de proponérselo, rehuyese el maniqueísmo presumible de los guiones e introdujese una fuerte dosis de ambigüedad en cuanto tocaba, imprecisión a la que no es ajeno, sin duda, el pudor que podían inspirarle algunas de las intimidades, ficticias o no, que le tocaba contarnos, y no precisamente por curiosidad o predisposición a la cotillería y la propagación de rumores, sino por encargo expreso de sus sucesivos patrones.

Todo hace pensar que, puesto a elegir, antepondría siempre la claridad al torbellino impetuoso de las novelas-río que tan a menudo encomendaban a sus buenos oficios, y que no perdería la compostura ni olvidaría la etiqueta en medio de un terremoto ni de una cacería en plena jungla africana.

De ahí que, en la superficie, sus películas puedan parecer, si no sosas e insípidas, cuando menos frías, y hasta cortantes como un diamante, pero que al contado diesen la sensación de que «quemaban» como el hielo. En realidad, cosa rara para aquellas épocas, eran más centrífugas que centrípetas, y dejaban al espectador en libertad de tomarse más o menos interés por las vidas alocadas cuya trepidación incesante, en manos menos firmes y pulcras, haría agobiantes las películas de Goulding en bastantes ocasiones, y no sólo los melodramas: quizá se note aun más en las comedias, que suelen escenificar ante la cámara verdaderas pesadillas familiares, exasperantes aprietos, engorrosos malentendidos que tienden a crecer como una bola de nieve que rueda ladera abajo. De hecho, su tratamiento de las comedias es directamente inverso al que aplica a sus melodramas: en aquéllas, un material tenue y ligero se va «espesando» hasta el «punto» óptimo (el de arenas movedizas), mientras que, desde una perspectiva sensacionalista, se le podría reprochar su incapacidad para sacar todo el partido posible de las turbias historias que narraba y de sus perdidísimos e irredentos protagonistas.

Entre las películas de Goulding que conozco, tres me parecen realmente excelentes: la extrañísima Nightmare Alley (El callejón de las almas perdidas, 1947), la fascinante The Razor's Edge (El filo de la navaja, 1946) y Love (Ana Karenina, 1927); solo un poco inferiores encuentro la fundacional y arquetípica, pero ejemplar, Grand Hotel (Grand Hotel, 1932), su versión de The Dawn Patrol (1937), que en nada desmerece de la de Howard Hawks, su drama We Are Not Alone (No estamos solos, 1939) y el díptico (¡también de ese mismo año!) formado por los melodramas Dark Victory (Amarga victoria) y The Old Maid (La solterona). Algo inferiores, pero interesantes también, son las otras tres películas que tengo suficientemente recientes como para fiarme de mi memoria, Mister 880 (El caso 880, 1950), las comedias We're not Married (No estamos casados) y Everybody Does It (Si ella lo supiera, 1949), y el fallido pero curioso melodrama The Great Lie (La gran mentira, 1941). De lo que no recuerdo más que vagamente o simplemente desconozco, sospecho que tienen especial interés o se me antojan prometedoras su primera película como director, Sally, Irene and Mary (1925, con Joan Crawford y Constante Bennett), Paris (1926), Women Love Diamonds (1927), The Trespasser (1929, primer film sonoro de Gloria Swanson), The Night Angel (1931), Riptide (1934) y 'Til We Meet Again (1941); estoy deseando una oportunidad de volver a ver The Constant Nymph y Claudia (1943) y, sobre todo, su versión de otro Maugham, Of Human Bondage (1946), porque guardo de ellas la vaga impresión de que eran excelentes las tres, y me gustaría confirmarlo, antes de llegar a una valoración más precisa de la obra de este singular director, que —pese a que los últimos años, hasta su muerte en 1959, no hiciera nada memorable— quizá no sea simplemente uno de tantos artesanos modestos y competentes que, más todavía que las grandes personalidades y los innovadores marginales, hicieron grande el cine americano de la época de oro de los estudios.

Miguel Marías

Dirigido por… nº 204; julio-agosto 1992

#miguel marías #edmund goulding #dirigido por

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tabloidtoc · 5 years

Text

Closer, March 16

Cover: Lana Turner -- love, heartbreak and scandal

Page 1: Contents

Page 2: The Big Picture -- Mae West along her Perfect 36 dress dummy and Kate Smith’s Large and Miriam Hopkins’ Boyish in 1932

Page 4: Harrison Ford opens up about his home life

Page 5: Baby Peggy -- farewell to the final surviving child star of the Silent Era, Rick Springfield auctions guitars to help Australia

Page 6: Hellos & Goodbyes

Page 8: Picture Perfect -- Debra Messing with her dog Henry, Amy Robach and her dog Metro, Sherri Shepherd and her dog Lexi

Page 10: Jim Carrey on his show Kidding, John Legend and his daughter Luna, Amy Poehler and Kelly Clarkson

Page 12: Mardi Gras -- Bryan Cranston

Page 13: Jennifer Coolidge, Robin Thicke and his son Julian, Charlie Day and Mary Elizabeth Ellis

Page 16: Jeff Bridges -- Hollywood hasn’t changed me -- he grew up surrounded by stardom but the beloved actor has always stayed grounded

Page 18: Cover Story -- Lana Turner -- inside her scandalous world -- the screen icon’s glamorous existence was riddled with heartbreak and pain

Page 22: Celine Dion rebuilding her life -- she has put aside her sadness to embark on a new journey

Page 27: Spot the Difference -- Joel McKinnon Miller on Brooklyn Nine-Nine

Page 29: Horoscopes -- Pisces Eva Longoria

Page 30: Entertainment -- Rufus Sewell on The Pale Horse, Michael O’Neill of Council of Dads, In the Spotlight -- Catherine McCormack

Page 32: Movies -- Ben Affleck on The Way Back, DVDs

Page 33: Books, Music -- Mandy Moore on Silver Landings

Page 34: Television

Page 36: Great Escape -- Donnie Wahlberg and Jenny McCarthy on Turks & Caicos

Page 40: 5 foods to help you live longer, Ellen Pompeo

Page 42: Whatver Happened to the Waitresses From Alice -- Polly Holiday, Linda Lavin, Beth Howland, Diane Ladd, Celia Weston

Page 43: It Happened This Week

Page 44: Tiffany opens up about music, motherhood and why she’s happier than ever

Page 48: The Robert Young nobody knew -- the Father Knows Best dad’s real life daughter remembers him as a complicated caring man

Page 50: Susan Sarandon -- fame, family and 50 years in showbiz

Page 52: Inside Prince Harry and Meghan Markle’s new life -- bucolic Vancouver Island offers the couple everything they need for a fresh start

Page 54: The style of Julia Louis-Dreyfus

Page 58: My Life in 10 Pictures -- Joanne Woodward

Page 60: Flashback

#tabloid #tabloid toc #lana turner #frank sinatra #clark gable #johnny stompanato #robert young #meghan markle #harry #prince harry #harry and meghan #jeff bridges #celine dion #susan sarandon #mae west #harrison ford #Joanne Woodward

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nyfacurrent · 5 years

Text

Announcing | Artists Supporting Artists: A NYFA Benefit Show

Samira Abbassy, Polly Apfelbaum, Amy Hill, LoVid, Barbara Nessim, Joan Semmel, Daniel Rich, Miriam Schapiro, and Sandy Skoglund are among the participating artists.

New York Foundation for the Arts (NYFA) is pleased to present Artists Supporting Artists: A NYFA Benefit Show from Tuesday, March 17 - Friday, April 3, 2020 at ChaShaMa’s Space to Present at 340 East 64th Street.* All works, created by more than 50 established and emerging artists, will be up for bidding on Tuesday, March 17; proceeds will support NYFA programs and resources that serve artists throughout the United States and internationally.

*As of March 16, all ChaShaMa spaces are closed due to the threat of COVID-19. All works can be viewed via the online auction catalog.

The pieces on display will range from colorful abstract and figurative paintings to textile art, drawings, artist books, collage works, photography, and sculptures.

Featured artists include:

Samira Abbassy, Leslie Alfin, Fanny Allié, David Ambrose, Polly Apfelbaum, Tomie Arai, Andrea Arroyo, Katie Bell, Judith Brodsky, Deric Carner, Bill Carroll, Darlene Charneco, Cecile Chong, Ellen Colcord, Maria de los Angeles, Marylyn Dintenfass, Sally Egbert, Patricia Fabricant, Jim Gaylord, Janet Goleas, Michael Haggiag, Amir Hariri, Amy Hill, Jean Holabird, Barry Holden, Brian Hopkins, Anna Kott, Eleanora Kupencow, Donald Lipski, Nicola López, LoVid, Sangram Majumdar, Jeanette May, Andy Mister, Aya Miyatake, Ryan Sarah Murphy, Natalia Nakazawa, Barbara Nessim, Lee O’Connor, Paul Pagk, Dorothy Paolo, Joel Perlman, Armita Raafat, Daniel Rich, Jessica Rohrer, Michael Rosch, Carol Ross, Toni Ross, Nadia Sablin, Miriam Schaer, Joan Semmel, Miriam Schapiro, Sandy Skoglund, Arlene Slavin, Claire Watson, Edwina White, Shihori Yamamoto, and Nina Yankowitz.

Image: Sandy Skoglund (Fellow in Sculpture ’88) Homepage Image Detail: Maria de los Angeles, Virgin de Guadalupe y El Indio, 2019

#nyfahof #nyfa hall of fame #hall of fame #benefit auction #benefitauction #exhibition #exhibit #chashama #nyfa #new york foundation for the arts #newyorkfoundationforthearts #announcement

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theimpossiblescheme · 7 years

Photo

Eh, why not--these composites are really fun to make. So here are more characters from “Phantom” based on mine and @meggiry-khaleesi‘s headcanon appearances!

Top left: Carlotta Giudicelli, based on a mix of Adelina Patti, Marcella Albani, Kristen Chenowith, Rachel Anne Moore, Trista Moldovan, Minnie Driver, Gabriella Zanchi, Jean Harlow, Virginia Pearson, Catherine Tate, Ekaterina Lekhina, Kim Stengel, Audra McDonald, Irina Samoylova, Eartha Kitt, Rosemary Ashe, Magda Olivero, Miriam Hopkins, Madeline Kahn, Paola Barale, and Hazel Court.

Top right: Cecile Jammes, based on a mix of Kara Klein, Melanie Thierry, Aissa Maiga, Lily James, and Sharon Millerchip.

Bottom left: La Sorelli, based on a mix of Bianca Balti, Sophia Loren, Natalie Dormer, Rachelle Ann Go, Asmeret Ghebremichael, Janelle Monae, Ciara Renee, Elizabeth Taylor, and Anna Pavlova.

Bottom right: Madame Giry, based on a mix of the Oslo Norway dance teacher, Liz Robertson, Paula Capovillia, Ellen Harvey, Mary Millar, Anne Kanengeiser, Miranda Richardson, Elena Obraztsova, Marilyn Caskey, Heather Jackson, Nancy Hess, Katharine Alexander, Diana Rigg, Michelle Fairley, Bernadette Peters, and Donna Murphy.

#can't stop won't stop XD #the phantom of the opera #my edits #la carlotta #cecile jammes #la sorelli #madame giry

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thedsp-blog1 · 7 years

Text

Dr. Death’s victim list

Acton, Lily Adams, Lizzie Adkinson, Sarah Adshead, Norman Adshead, Rose Ann Aitken, Irene Andrew, Dorothy Mary Andrew, Joseph Andrew, Mary Emma Arrandale, Albert Arrowsmith, Winifred Ashcroft, Netta Ashton, Dora Elizabeth Ashton, Ellen Ashworth, Ada Ashworth, Brenda Ashworth, Elizabeth Ashworth, James Ashworth, Sarah Aveyard, Clara Ethel Baddeley, Elizabeth Mary Baddeley, John Bagshaw, Bertha Barber, Squire Bardsley, Joseph Bardsley, Lily Bardsley, Nellie Barker, Elsie Barlow, Charles Henry Barnes, James Edward Battersby, Elizabeth Baxter, William Beech, Joseph Bell, Norman John Bennett, Ethel Bennett, Frances Bennett, Nellie Bennison, Charlotte Bent, Arthur Berry, Irene Bill, Edith Annie Birchall, Mary Ivy Bird, Violet May Black, Alice Boardman, Kathleen May Boardman, Mary Louisa Bogle, Geoffrey Bolland, Alice Bowers, Mary Elizabeth Bradshaw, Miriam Brady, Edith Bramwell, Harold Bramwell, Vera Brassington, Charles Geoffrey Brassington, Nancy Anne Bridge, Doris Bridge, Jane Brierley, Albert Brierley, Edith Broadbent, Lily Brock, Edith Brocklehurst, Charles Edward Brocklehurst, Vera Brooder, Irene Brookes, Lily Brookes, May Brown, Alice Brown, Mary Alice Brown, William Henry Buckland, Edward Buckley, Ethel Burke, Elizabeth Mary Butcher, Lydia Edith Cains, Ida Callaghan, Sean Stuart Calverley, Edith Campbell, Annie Carradice, Marion Carrington, Alice Carroll, Josephine May Cartwright, Hannah Chadwick, Wilfred Challinor, Ivy Elizabeth Challoner, Genevieve Chapman, Irene Chappell, Alice Chappell, Wilfred Charlton, John Charnock, George Cheetham, Albert Cheetham, Alfred Cheetham, Elsie Cheetham, Hena Cheetham, Norah Cheetham, Thomas Chidlow, Amy Clarke, Fanny Clayton, Elsie Clayton, Frances Clee, Beatrice Helen Clough, James Condon, Thomas Connaughton, Alice Hilda Connors, Michael Conway, Margaret Ann Coomber, Frederick Cooper, Ann Copeland, Erla Copeland, Sydney Hoskins Couldwell, Constance Anne Coulthard, Ann Coutts, Mary Couzens, Hilda Mary Cox, Eileen Theresa Crompton, Eileen Daphne Crompton, Frank Crompton, John Crossley, Lily Cullen, Lilian Cuthbert, Valerie Davies, Cissie Davies, Eric Davies, Fred Davies, Miriam Dawson, Fanny Dean, Elsie Lorna Dean, Joan Edwina Delaney, Bessie Denham, Christopher Dentith, Frederick Devenport, Ronnie Dixon, Alice Dobb, Edgar Dolan, Ethel Drinkwater, Alice Drummond, Joseph Dudley, Mary Rose Dutton, Elaine Earls, Doris Earnshaw, William Eddleston, Harold Eddleston, Monica Edge, Agnes Evans, Bethel Anne Everall, Hannah Everall, Joseph Vincent Farrell, Phyllis Fernley, Marie Antoinette Firman, Mary Elizabeth Fish, Hilda Fitton, Hilda Fletcher, Dorothy Fletcher, Elizabeth Floyd, Arthur Fogg, Leah Foulkes, Edwin Fowden, Thomas Fox, Moira Ashton France, John Freeman, Harold Freeman, Winifred Frith, Hannah Galpin, Minnie Doris Irene Garlick, Rose Garlick, Violet Garratt, Mary Alice Garside, Millicent Gaskell, Marion Gaunt, Mary Gee, Nellie Gess, Clifford Givens, William Goddard, Edith Godfrey, Elsie Golds, Annie Elizabeth Gorton, Alice Maude Graham, Edith Gray, Rebecca Greenhalgh, John Sheard Grimshaw, Annie Grimshaw, Muriel Grundy, Donald Anthony Grundy, Kathleen Grundy, Nora Hackney, Clara Hackney, Clara Hadfield, Violet Hague, William Hall, Josephine Halliday, Frank Hallsworth, Janet Hamblett, Leonora Hamer, Mary Emma Hammond, Caroline Veronica Hampson, Jesse Hancock, Christine Hannible, Elsie Harding, Joan Milray Harris, Charles Harris, Harriet Harrison, Christina Harrison, David Alan Harrison, Marion Harrison, Muriel Eveline Harrison, Samuel Harrop, Elsie Haslam, Mary Elizabeth Hawkins, Sarah Healey, Winifred Heapey, Clifford Barnes Heapey, Gladys Heathcote, Irene Heginbotham, Olive Hennefer, Ellen Hett, Mary Jane Heywood, Ada Heywood, Florence Hibbert, Hilda Mary Hickson, Robert Higginbottom, George Eric Higginbottom, Peter Higgins, Barry Higgins, Lily Higham, Marion Elizabeth Highley, Ruth Higson, Ellen Hill, Sarah Ann Hillier, Pamela Marguerite Hilton, Ada Matley Hilton, John Hirst, Emma Holgate, Ethel Doris Holland, Alline Devolle Holt, Alice Hopkins, Dorothy Doretta Howcroft, John Hulme, Hilda Hurd, May Iwanina, Jozef Jackman, Harold Edward Jackson, Maureen Lamonnier Jackson, Nancy Jameson, Ronald Jeffries, Beatrice Johnson, Norah Johnson, Richard Johnston, Leah Jones, Alice Mary Jones, David Jones, Hannah Jones, Ivy Jones, Jane Jones, Robert Edward Jordan, Mary Ellen Keating, Mary Kellett, Ethel May Kellett, Fred Kelly, Ellen Kelly, Moira Kennedy, Alice Killan, Charles Henry King, Elsie King, James Joseph Kingsley, Mary Kitchen, Alice Christine Lacey, Renee Leach, Florence Leech, Edith Leech, William Henry Lees, Olive Leigh, Carrie Leigh, Joseph Leigh, Wilfred Lewis, Elsie Lewis, Florence Lewis, Peter Lilley, Jean Lingard, Robert Henry Linn, Laura Frances Livesey, John Louden Llewellyn, Edna May Lomas, Harry Lomas, Ivy Long, Dorothy Longmate, Thomas Alfred Lord, Jane Ellen Lowe, Beatrice Lowe, Esther Lowe, May Lyons, Eva MacConnell, Charles Mackenzie, Selina Mackie, Christina McCulloch Mansfield, Mary Ann Mansfield, Walter Marley, Martha Marsland, Sarah Hannah Matley, Maud McDonald, Kathleen McLaren, William James McLoughlin, Gertrude Melia, Joan May Mellor, Elizabeth Ellen Mellor, Samuel Mellor, Winifred Meredith, Oscar Metcalfe, Margaret Middleton, Deborah Middleton, Mary Mills, Samuel Mitchell, Cyril Mitchell, Wilbert Molesdale, John Bennett Morgan, Emily Moss, Bertha Moss, Hannah Mottram, George Henry Mottram, Hannah Helena Mottram, Pamela Grace Moult, Thomas Mullen, Nellie Mycock, Miriam Rose Emily Needham, Nora Nicholls, Violet Nichols, Fanny Nichols, Lily Nuttall, Hervey Nuttall, Norah O'Sullivan, Thomas Ogden, Mary Oldham, Agnes Oldham, Samuel Oswald, Frances Elaine Otter, Enid Ousey, Margaret Ovcar-Robinson, Konrad Peter Overton, Renate Eldtraude Oxley, Phyllis Parker, Marjorie Parkes, Annie Parkin, Laura Victoria Parr, Bertha Pearce, Elizabeth Pedley, Rosetta Penney, Vara Pickering, Leah Pickup, Kenneth Pickup, Mavis Mary Pitman, Edith Platt, Elsie Platt, Marion Pomfret, Bianka Potts, Frances Potts, Reginald Powers, Annie Alexandra Preston, Ada Marjorie Prestwich, Alice Proud, Ethel May Quinn, Marie Ralphs, Anne Lilian Ralphs, Ernest Colin Rawling, Alice Reade, Audrey Redfern, Tom Renwick, Dorothea Hill Richards, Jose Kathleen Diana Richardson, Alice Riley, Stanley Roberts, Edith Roberts, Esther Hannah Roberts, Gladys Robinson, Eileen Robinson, Eveline Robinson, Lavinia Robinson, Mildred Rogers, Elizabeth Ann Rostron, Jane Frances Rowarth, Dorothy Rowbottom, Annie Rowland, Jane Isabella Royles, Elsie Royston, Betty Rudol, Ernest Russell, Tom Balfour Sankey, Margaret Saunders, Albert Edward Saunders, Gladys Scott, Edith Scott, Elsie Sellors, Kate Maud Sharples, Cicely Shaw, Joseph Shaw, Leonard Shaw, Lilian Shaw, Neville Shaw, Susan Eveline Shawcross, Edna Shawcross, Ernest Shawcross, Mabel Shelmerdine, Jack Leslie Shelmerdine, Jane Elizabeth Shore, Lily Sidebotham, Florence Sigley, Elizabeth Teresa Simpson, Kenneth Harry Slater, Albert Slater, Florence Slater, Lena Norah Slater, May Smith, Alice Smith, Dora Elizabeth Smith, Emma Smith, Kenneth Ernest Smith, Margaret Smith, Mary Alice Smith, Sidney Arthur Smith, Winifred Isabel Sparkes, Monica Rene Squirrell, Alice Stafford, Harry Stafford, Kate Elizabeth Stansfield, Joe Ainscow Stocks, Louisa Stone, John Stopford, Arthur Henderson Stopford, Harriet Strickland, Ruth Sumner, Grace Swann, Bessie Swann, Robert Swindells, Emmeline Taylor, Caroline Mary Taylor, Edna Mary Taylor, Florence Taylor, Lily Newby Taylor, Mary Tempest, Mary Ann Thomas, Alice Thomas, Sarah Ann Thornton, Maria Tideswell, Sarah Tierney, Angela Philomena Tingle, Walter Toft, Beatrice Tomlin, Mary Townsend, Margaret Tucker, Dorothy Tuff, Mary Tuffin, Winifred Amy Turner, Frances Elizabeth Turner, Irene Uttley, Stanley Vickers, Frederick Vickers, Margaret Mary Virgin, Lucy Vizor, George Edgar Vizor, May Wagstaff, George Lawton Wagstaff, Jessie Irene Wagstaff, Laura Kathleen Waldron, Margaret Anne Walker, Edward Walker, Ellen Walker, Henrietta Walker, Winifred Mary Waller, Harry Waller, Marjorie Hope Walls, Mary Walton, Sydney Warburton, Ada Ward, Maureen Alice Ward, Minnie Ward, Muriel Margaret Ward, Percy Wardle, Eric Wareing, William Hill Warren, May Wass, Kathleen May Watkins, Annie West, Maria Wharam, Ellen Frances Wharmby, Lavinia White, Mona Ashton Whitehead, Amy Whitham, Colin Whittaker, Maureen Whittaker, Violet Mary Whittingslow, Vera Whittle, Edith Wibberley, Edith Wilcockson, Joseph Frank Wilkinson, Annie Wilkinson, Maud Williams, Albert Redvers Williams, Emily Williamson, Sarah Jane Wills, Jack Wilmore, Margaret Wilson, Muriel Elsie Wimpeney, Mark Winston, George Winston, Olive Winterbottom, Mary Wood, Annie Wood, Charles Henry Wood, Fanny Wood, James Woodhead, Joyce Woodhead, Kenneth Wharmby

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travsd · 6 years

Text

On the Literary and Libidinous Miriam Hopkins

An appreciation today for histrionic Hollywood hotsy-totsy Miriam Hopkins (Ellen Miriam Hopkins, 1902-1972).

Don’t read too much into that description, I just like alliteration. On the other hand, yeah, she was one of the sexiest of all Pre-Code actresses. She had much in common with Tallulah Bankhead— more than I realized. For, like Tallulah, Hopkins was a wayward Southern belle, from Georgia…

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#actress #Broadway #Hollywood #leading lady #Miriam Hopkins #pre-code #stage #star #theatre

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secretlymysti · 6 years

Text

Rosamund Pike Biography, age, weight, height, movies, husband, scandal, body measurement, net worth

Rosamund Pike Biography, age, weight, height, movies, husband, scandal, body measurement, net worth. Rosamund Pike is an English actress. She was born in Hammersmith, London, England on 27 January 1979. She started her career by

appearing in stage productions such as Skylight and Romeo and Juliet. She appeared in television film A Rather English Marriage (1998) and television roles in Wives and Daughters (1999) and Love in a Cold Climate (2001).

Rosamund Pike Biography, age, weight, height, movies, husband, scandal, body measurement, net worth

Date of Birth: 1979 , January-27 Age: 39 years old Birth Nation: England Height: 5 Feet 8 Inch Name Rosamund Pike Birth Name Rosamund Mary Ellen Pike Father Julian Pike Mother Caroline Friend Nationality British Birth Place/City Hammersmith, London, England Religion Christian Ethnicity Caucasian Profession Actress Eye Color Blue Hair Color Blonde Face Color white

Rosamund Pike Scandal, Affair, husband, boyfriend

Affair with Simon Woods, Joe Wright Boyfriend Robie Uniacke Married NO Children Solo Uniacke and Atom Uniacke Siblings None

Rosamund Pike Body Measurement

Body Measurements 32-24-33 in (81-61-84 cm) Breast Size 32B Waist size 24 inches Hip Size 33 inches Shoe Size 8 (US)

Rosamund Pike Net Worth

Net Worth $9 million

Rosamund Pike Movies

Year Title Role Notes 2002 Die Another Day Miranda Frost 2004 Promised Land Rose The Libertine Elizabeth Malet 2005 Pride & Prejudice Jane Bennet Doom Dr. Samantha Grimm 2007 Fracture Nikki Gardner Fugitive Pieces Alex 2009 An Education Helen Surrogates Maggie Greer Yesterday We Were in America Narrator Documentary 2010 Burning Palms Dedra Davenport Jackboots on Whitehall Daisy Voice Barney's Version Miriam Grant-Panofsky Made in Dagenham Lisa Hopkins 2011 The Organ Grinder's Monkey Rochelle Short film Johnny English Reborn Kate Sumner The Big Year Jessica 2012 Wrath of the Titans Queen Andromeda Jack Reacher Helen Rodin 2013 The Devil You Know Zoe Hughes The World's End Sam Chamberlain 2014 A Long Way Down Penny Hector and the Search for Happiness Clara What We Did on Our Holiday Abi Gone Girl Amy Elliott Dunne 2015 Return to Sender Miranda Wells 2016 A United Kingdom Ruth Williams Khama 2017 The Man with the Iron Heart Lina Heydrich Hostiles Rosalie Quaid 2018 Beirut Sandy Crowder Entebbe Brigitte Kuhlmann Three Seconds Wilcox In post-production A Private War Marie Colvin In post-production 2019 Radioactive Marie Curie In post-production

Rosamund Pike Televisions

Year Title Role Notes 1998 Seven Days CIA Agent Pilot A Rather English Marriage Celia Television film 1999 Wives and Daughters Lady Harriet Cumnor 3 episodes 2000 Trial & Retribution Lucy Episode: "Trial & Retribution IV Part 1" 2001 Love in a Cold Climate Fanny 2 episodes 2002 Bond Girls Are Forever Herself Documentary Foyle's War Sarah Beaumont Episode: "The German Woman" 2008 The Tower Olivia Wynn Pilot 2009 Freefall Anna Television film 2011 Women in Love Gudrun Brangwen 2 episodes 2015–present Thunderbirds Are Go Lady Penelope Creighton-Ward / Captain Ridley O'Bannon Voice 2019 Moominvalley Moominmamma Voice Read the full article

#RosamundPikeaffair #RosamundPikeage #RosamundPikebio #RosamundPikeBiography #RosamundPikebodymeasurement #RosamundPikebodystats #RosamundPikeboyfriend #RosamundPikefamily #RosamundPikefigure #RosamundPikeheight #RosamundPikehusband #RosamundPikemovies #RosamundPikenetworth #RosamundPikephysicaldetails #RosamundPikescandal #RosamundPiketelevisions #RosamundPikeweight #RosamundPikewiki

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perfettamentechic · 3 years

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9 ottobre … ricordiamo …

9 ottobre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic #felicementechic #lynda

2018: Venantino Venantini, all’anagrafe Enrico Venantino Venantini, attore italiano. Padre dell’attore Luca Venantini. (n. 1930) 2017: Jean Rochefort, Jean Raoul Robert Rochefort, attore francese. (n. 1930) 2013: Norma Bengell, all’anagrafe Norma Aparecida Almeida Pinto Guimarães D’Áurea Bengell e conosciuta anche come Norma Benguel, attrice, cantante e regista brasiliana. Dal 1963 al 1967 era…

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bookclub4m · 7 years

Audio

This episode we talk about Experimental Fiction and stumble all over our words and can’t pronounce anything right. We explore experimental comics, wonder at what point experimental fiction stops being experimental, and are amazed at how a book with no plot at all can break through a reading slump.

You can download the podcast directly, find it on Libsyn, or get it through iTunes, Stitcher, Google Play or your favourite podcast delivery system.

In this episode

Anna Ferri | Meghan Whyte | Matthew Murray | Jessi

Books (and things) We Read (or tried to)

The Story of My Teeth by Valeria Luiselli

Dictionary of the Khazars by Milorad Pavić

17776: What football will look like in the future by Jon Bois

Jimmy Corrigan: The Smartest Kid on Earth by Chris Ware

Wittgenstein's Mistress by David Markson (and yes, Anna hasn’t a clue how to pronounce this)

Multiple Choice by Alejandro Zambra

How to be Both by Ali Smith

Books We Mentioned

Captain Underpants by Dav Pilkey

Frankenstein by Mary Shelley or…

Ulysses by James Joyce (the obvious example Anna should have used of experimental fiction just becoming a “classic” of literature”

Gertrude Stein

To The Lighthouse by Virginia Woolf

Greyshirt: How Things Work Out (from Tomorrow Stories) by Alan Moore and Rick Veitch (Matthew wasn’t totally right in how he described it, but it’s been years since he read it).

Here by Richard McGuire

The Sot-Weed Factor by John Barth

Mason and Dixon by Thomas Pynchon

Suicide Forest by Dave Baker and Nicole Goux

Promethea by Alan Moore and J. H. Williams III

Longshot Comics: The Long and Unlearned Life of Roland Gethers by Shane Simmons

Dinosaur Comics by Ryan North

Trainspotting by Irvine Welsh

Clockwork Orange by Anthony Burgess

Riddley Walker by Russell Hoban

Abahn, Sabana, David by Marguerite Duras, translated by Kazim Ali

Hopscotch by Julio Cortázar

2666 by Roberto Bolaño

Breaking the Sequence: Women's Experimental Fiction edited by Ellen G. Friedman and Miriam Fuchs (the book of literary essays about women writing experimental fiction)

S. by J.J. Abrams, Doug Dorst

Building Stories by Chris Ware (collected ephemera comic)

Blindness by José Saramago

A Void by Georges Perec (Book without the letter E)

Ella Minnow Pea by Mark Dunn

There Once Lived a Woman Who Tried to Kill Her Neighbor’s Baby by by Ludmilla Petrushevskaya

Pale Fire by Vladimir Nabokov

The Mezzanine by Nicholson Baker

Mary Roach

Links, Articles, and Things

Our Episode on Metafiction

Experimental literature (Wikipedia)

Ellen Hopkins (writes YA novels in verse)

Jessi made a booklist once long ago for those who are into experimental fiction

Experimental Fiction article from mapliteracy.org (The definition that Meghan quotes)

David Foster Wallace calls Wittgenstein’s MIstress “pretty much the pinnacle of modern experimental fiction” and also calls out a few other “underappreciated” novels

There are so many amusing reviews of Wittgenstein's Mistress on Goodreads:

Like this one

And this one

Or even this one

Questions

What counts as experimental fiction?

What’s your favourite experimental fiction?

Contest

Winners, please contact us with your addresses!

Check out our Pinterest board and Tumblr posts for all the Experimental Fiction books we read, follow us on Twitter, join our Facebook Group, or send us an email!

Join us again on Tuesday, October 3rd, for our Halloween episode when we’ll be talking about our favourite spoooOOOOooooky books.

Then come back on Tuesday, October 17th, when we’ll be discussing non-fiction Travel books!.

#Experimental #podcast

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nofomoartworld · 8 years

Text

Hyperallergic: Art Movements

Henry Stanier, “Karnak” (1868), watercolor and bodycolor, 665 x 476 mm, British Museum 1994 (© The Trustees of the British Museum)

Art Movements is a weekly collection of news, developments, and stirrings in the art world.

Archaeologists discovered a 26-foot statue submerged in groundwater in east Cairo. The sculpture is thought to depict Pharaoh Ramses II, also known as Ramses the Great or Ozymandias.

Authorities on the Indonesian island of Bali refused to cover up nude statues and figures of Hindu deities ahead of a visit by the king of Saudi Arabia, Salman bin Abdulaziz Al Saud.

A watercolor by little-known artist Henry Stanier went on display alongside works by James Whistler and John Singer Sargent as part of the British museum’s Places of the Mind: British watercolour landscapes 1850–1950 exhibition. The watercolor, which depicts the Temple of Karnak in Egypt, was one of three paintings by the artist found at the museum by curator Kim Sloan over ten years ago. It’s still not known how the works entered the museum’s collection.

Jeff Koons was convicted of plagiarism by a French court over his 1988 ceramic sculpture “Naked.”

Iraqi archaeologists claim to have unearthed an Assyrian period palace underneath the Nebi Yunus shrine in Iraq. The site was discovered during a search of tunnels dug by ISIS. Archaeologists and reporters confirmed that much of the Mosul antiquities museum‘s collection has been completely destroyed after Iraqi forces retook the museum from ISIS earlier this week.

Art adviser Lisa Jacobs was ordered to pay back the $1 million she made from the sale of Jean-Michel Basquiat’s painting “Future Sciences Versus the Man” (1983) by the New York Supreme Court. Jacobs sold the painting on behalf of Michael Schulhof — the former president of Sony Pictures — but did not disclose the painting’s true sale price, pocketing $1 million in the process. Judge Charles Ramo ruled that Jacobs had committed fraud and breached a contract that set her fee for the sale at $50,000.

Art storage company ARCIS was granted permission to open a tax-free warehouse (known popularly as a “freeport“) in New York. The 100,000-square-foot facility will open in Harlem later this year.

The Art Handlers Alliance of New York relaunched its foundational Bill of Rights as an online petition. The organization is calling for a citywide adoption of the bill.

Police identified and arrested a man who attacked a security guard at the Metropolitan Museum of Art last week. Brandon Aebersold struck the guard with a glass bottle shortly after complaining that a painting was crookedly displayed.

Grayson Perry took to Twitter to crowdsource models for a pair of vases inspired by the UK’s EU Referendum. The two vases, dubbed “Leave” and “Remain,” will be unveiled as part of a new program on Channel 4.

Adrián Villar Rojas was selected to create the fifth site-specific installation for the Metropolitan Museum of Art’s Iris and B. Gerald Cantor Roof Garden.

The New York City Landmarks Preservation Commission unanimously voted to grand landmark status to several of the Waldorf-Astoria‘s interiors.

The United States Copyright Office is soliciting feedback on current copyright laws from artists and photographers as part of a public study on moral rights for authors.

Transactions

Salvador Dalí, “Figura de perfil” (1925), oil on board, 29 3/16 x 19 11/16 in (courtesy Gala-Salvador Dalí Foundation)

The Gala-Salvador Dalí Foundation acquired the artist’s 1925 painting, “Figure in profile.” The work was purchased at Bonhams for just over $2,196,000.

Harvard Art Museums received a $250,000 grant from the Terra Foundation for American Art.

Transitions

Hong Ra-hee resigned from her posts as director general of Seoul’s Leeum, Samsung Museum of Art and director of the Ho-Am Art Museum. Ra-hee’s son, Lee Jae-yong — the acting head of Samsung Group — has been charged with embezzlement and bribery as part of the wider corruption investigation of South Korea’s impeached president, Park Geun-Hye.

Cooper Union laid off 14 members of its staff [via email announcement].

Christie’s announced that it will close down its London salesroom in South Kensington and scale back its operations in Amsterdam. According to the New York Times, the proposed changes may result in 250 layoffs.

Sonny Kalsi and Ellen Susman were appointed to the Hirshhorn Museum and Sculpture Garden’s board of trustees. Jarrett Gregory joined the museum’s curatorial team.

Stephanie Rosenthal was appointed director of Martin-Gropius-Bau.

Susanne Gaensheimer will succeed Marion Ackermann as artistic director of the Kunstsammlung NRW (NRW Art Collection) in Düsseldorf.

Jennifer M. Williams was appointed deputy director of Prospect New Orleans.

Chus Martínez was appointed to curate Sculpture Park Cologne’s ninth exhibition program.

Tonya McCain was appointed program manager at the Cummer Museum of Art & Gardens.

Sheetal Prajapati was appointed director of public engagement at Pioneer Works.

Margaret Doyle will leave her post as director of communications at the Museum of Modern Art to join the public relations firm Polskin Arts & Communications.

Popular Photography will cease publication after its next issue.

Accolades

Rineke Dijkstra received the 2017 Hasselblad Award.

Kellie Romany received the Forward Arts Foundation’s 2016–2017 Emerging Artist Award.

Josh Mannis was awarded the 2017 NADA Artadia Award.

Opportunities

The Queens Museum launched an open call in conjunction with its upcoming exhibition, Marinella Senatore: La Piazza Universale/Social Stages. The museum is currently accepting song and sound submissions that will be used as inspiration for a new Queens anthem.

The National Gallery of Canada’s Canadian Photography Institute launched its first Research Fellowship Program.

Obituaries

Miriam Colón (1936–2017), actress. Founder of the Puerto Rican Traveling Theater in New York.

Paula Fox (1923–2017), novelist.

Spencer Hays (1936–2017), businessman and art collector.

Howard Hodgkin (1932–2017), artist.

Marian Javits (1925–2017), arts patron.

Ben Martin (1930–2017), photographer.

Misha Mengelberg (1935–2017), pianist and composer.

Robert Osborne (1932–2017), film historian and actor.

David Rubinger (1924–2017), photographer.

Irvine Sellar (1934–2017), property developer. Partnered with Renzo Piano on the construction of the Shard.

Louise Hopkins Underwood (1919–2017), co-founder of the Louise Hopkins Underwood Center for the Arts.

Boaz Vaadia (1951–2017), sculptor.

Dave Valentin (1952–2017), jazz flutist.

Leon Ware (1940–2017), music producer and writer.

Fred Weintraub (1928–2017), producer. Owner of The Bitter End coffeehouse.

Nancy Willard (1936-2017), children’s author and poet.

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