#Isa Miranda

[cinnamongirlsdiary]

[evercodine]

Marlene is so captivating.. goals honestly

[oldshowbiz]

Ray Milland’s OnlyFans is fire

[rwpohl]

summertime, david lean 1953

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[halloweenmoviewatchlist]

A Bay of Blood (1971)

[Bahía de Sangre]

[di-biancoenero]

Isa Miranda e Rossano Brazzi in una scena del film E' Caduta una Donna (1941) diretto da Alfredo Guarini

[bitter69uk]

The Bitter Tears of Isa Miranda. Born on this day: durable Italian screen diva Isa Miranda (née Ines Isabella Sampietro, 5 July 1905 – 8 July 1982). In the 1930s she worked with titans of European art cinema like Max Ophüls (La Signora di tutti (Everybody's Woman) (1934)). Later in the decade Miranda was fleetingly (and unsuccessfully) imported to Hollywood as a would-be rival to Marlene Dietrich. Her notable later films include Summertime (1955), Do You Know This Voice? (1963) and Liliana Cavani's notorious Il portiere di notte (The Night Porter (1974). She also diversified into television, with a wild guest appearance on a 1967 episode of The Avengers. But I have a soft spot for the bizarre low budget 1964 Euro-exploitation flick Dog Eat Dog starring Jayne Mansfield and Cameron Mitchell. Miranda must have wondered where the hell her career went wrong!

[thedabara]

ACTRESSES WHO DIED 1982

Grace Kelly at 52 from car crash

Ingrid Bergman at 67 from cancer

Romy Schneider at 43 from suicide

Estella Blain at 51 from suicide

Wini Shaw at 75 from natural causes

Isa Miranda at 77 from illness

Dolores Moran at 56 from cancer

Margot Grahame at 70 from bronchitis

Virginia Bruce at 72 from cancer

Eleanor Powell at 69 from cancer

[konstantya]

Hotel Imperial (1939): Not a particularly good film, but the two leads (Isa Miranda and Ray Milland) are both so attractive in it I almost don’t even care?

[twittercomfrnklin2001-blog]

Summertime

One of the prettiest sights in all of cinema is Katharine Hepburn standing in a gondola at dawn, waving goodbye to lover Rossano Brazzi in David Lean’s SUMMERTIME (1955, Max). Yet the shot is also problematic. Although it’s clear they’ve spent the night together, she’s wearing a different outfit than in their scenes the night before. Did he have a collection in various sizes in his apartment, or was this just a sop to the censors? And prettiness dominates the film, which works fine as a contrast to Hepburn’s early loneliness as a single woman on her first European vacation and as she and Brazzi grow closer. It’s just that it starts feeling a bit forced at the end. She’s caught Brazzi in two lies, one of which is a whopper (he tries to pass off his adult son as his nephew). And Brazzi can’t quite match Hepburn’s sincerity. She makes us believe she’s a virgin in the throes of first love. Her silent scenes on her first night in Venice are exquisite and should help you forgive the few moments in which her bumptiousness seems more an actress’ striving for effect than a character acting foolishly. In the play (Arthur Laurents’ THE TIME OF THE CUCKOO), his character has more ambiguity. Though it’s a blessing to have some of Laurents’ talkiness cut to make way for Hepburn’s exploration of Venice (this is one film you couldn’t shoot in a studio), I think the playwright came up with a better ending. Lean’s film ends picturesquely, but it’s more an old-movie trope about the redeeming power of love and all that bushwa. Hepburn’s Jane is going to spend the rest of her life living off the memory of her few days with Brazzi. Leona, the role Laurents wrote for Shirley Booth, has learned to get on with her life and put her Italian fling in its proper place. With Darren Gavin as a young artist and Isa Miranda as the realistic owner of the pensione where Hepburn stays — both parts were significantly cut for the film — and Jane Rose, the only member of the original stage cast, making her film debut with a very funny performance as a gauche yet strangely charming middle-class woman on post-retirement vacation with her husband. This was David Lean’s last intimate film, and his light touch with the comedy here would be sorely missed in his later epics.

[yetihideout]

Isa Miranda as Damita Syn (what a name!) in the amazing episode of The Avengers "Epic", 1967.

[fourorfivemovements]

Films Watched in 2022:

68. La Ronde (1950) - Dir. Max Ophüls

[erstwhile-punk-guerito]

[perfettamentechic]

8 luglio … ricordiamo …

8 … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Larry Storch, Lawrence Samuel Larry Storch, attore e doppiatore statunitense. È famoso soprattutto per le sue apparizioni in ruoli comici al cinema e in televisione. Suo fratello minore Jay Lawrence fu anch’egli attore e doppiatore. Storch sposò l’attrice Norma Catherine Greve nel 1961. Rimasero sposati fino alla sua morte all’età di 81 anni. Entrambi apparvero brevemente nel film per la…

[pinknachowitch]

#isamiranda

[whateverbringsyouthroughthenight]

Isa Miranda (1905–1982) was the only international film star produced by the Italian fascist cinema. In Hollywood she was billed as the ‘Italian Marlene Dietrich’, and played femme fatale roles. Later she became one of the most significant European film actresses during the 1940’s and early 1950’s.

(via Truus, Bob & Jan too!)