#bennett visconti

[warm-lullabies]

Bennett and Lucy's character references 🪐✨

Lucy belongs to @candied-berry

[voices-in-the-fog]

WELCOME TO THE FOG

Who will You choose . . . ?

[ Voices in the Fog roster ]

SURVIVORS who remain . . .

Dwight Fairfield, the Nervous Leader

Meg Thomas, the Energetic Athlete

Claudette Morel, the Studious Botanist

Jake Park, the Solitary Survivalist

Nea Karlsson, the Urban Artist

Laurie Strode, the Determined Survivor

Ace Visconti, the Lucky Gambler

William "Bill" Overbeck, the Old Solider

Min Feng, the Focused Competitor

David King, the Rugged Scrapper

Quentin Smith, the Resolute Dreamwalker

David Tapp, the Obsessed Detective

Kate Denson, the Hopeful Songbird

Adam Francis, the Resourceful Teacher

Jeffrey "Jeff" Johansen, the Quiet Artist

Jane Romero, the Influential Celebrity

Ashley J. Williams, the Alone Wolf

Nancy Wheeler, the Aspiring Journalist

Steve Harrington, the Former Jock

> Jonathan Byers

Yui Kimura, the Hardened Streetracer

Zarina Kassir, the Plucky Documentarian

Heather “Cheryl” Mason, the Veteran of Terror

> Cybil Bennett

> James Sunderland

> Lisa Garland

> Alessa Gillespie

Felix Richter, the Visionary Architect

Élodie Rakoto, the Occult Investigator

Yun-Jin Lee, the Self-Interested Music Producer

Jill Valentine, the Founding Member of S.T.A.R.S.

> Claire Redfield

> Sheva Alomar

Leon Scott Kennedy, the Rookie Police Officer

> Carlos Oliveira

> Chris Redfield

Mikaela Reid, the Young Mystic

Jonah Vasquez, the Mathematical Mastermind

Yoichi Asakawa, the Brilliant Marine Biologist

Haddie Kaur, the Brave Podcaster

Ada Wong, the Mysterious Secret Agent

Rebecca Chambers, the Gifted Medic

Vittorio Toscano, the Endless Wanderer

Thalita Lyra, the Competitive Kite-Fighter

Renato Lyra, the Analytical Jack-of-all-Trades

Gabriel Soma, the Resourceful Engineer

Ellen Ripley, the Nostromo Warrant Officer

Alan Wake, the Bestselling Author

Sable Ward, the Gothic Occultist

Non-Canon

Luis Serra (Resident Evil)

KILLERS left to claim . . .

Evan MacMillan, The Trapper

Philip Ojomo, The Wraith

Max Thompson Jr., The Hillbilly

Sally Smithson, The Nurse

Michael Myers, The Shape

Lisa Sherwood, The Hag

Herman Carter, The Doctor

Anna, The Huntress

Bubba Sawyer, The Cannibal

Freddy Krueger, The Nightmare

Amanda Young, The Pig

Jeffrey Hawk, The Clown

Rin Yamaoka, The Spirit

The Legion

Frank Morrison

Julie Kostenko

Susie Lavoie

Joey

> HUNK

Adiris, The Plague

Danny Johnson, The Ghost Face

Demogorgon, The Demogorgon

Kazan Yamaoka, The Oni

Caleb Quinn, The Deathslinger

Pyramid Head, The Executioner

Talbot Grimes, The Blight

> William Birkin

Charlotte & Victor Deshayes, The Twins

Ji-Woon Hak, The Trickster

Nemesis T-Type, The Nemesis

Elliot Spencer, The Cenobite

> The Chatterer

Carmina Mora, The Artist

Sadako Yamamura, The Onryō

Druanee, The Dredge

Albert Wesker, The Mastermind

Tarhos Kovács, The Knight

Adriana Imai, The Skull Merchant

HUX-A7-13, The Singularity

Xeomorph, The Xenomorph

> The Xenomorph Queen

Charles Lee Ray, Chucky

Unknown, The Unknown

Non-Canon

[lavcndcrmoon]

🎰

inez windsor ( katherine mcnamara ) & alice carpenter ( sonequa martin green )

roman walsh-cameron ( alex fitzalan ) & bennett brolin ( richard madden )

kerem zileli ( serkay tutuncu ) & aboagye owusu ( kofi siriboe )

elaine rivas ( daniela nieves ) & rowan ojong ( brianne tju )

sawyer visconti ( finn cole ) & warren malcolm ( drew starkey )

[curseddbdpics]

[jesterkard]

which dbd main goes to heaven or hell?

I am an orthodox priest qualified to answer this ask, verily.

(SURVIVORS) DWIGHT FAIRFIELD: heaven. MEG THOMAS: heaven. CLAUDETTE MOREL: heaven. heaven. heaven. JAKE PARK: hell. NEA KARLSSON: see you in hell you stupid fruit LAURIE STRODE: heaven. ACE VISCONTI: hell. WILLIAM "BILL" OVERBECK: heaven but you get kicked out anyways so I guess hell. FENG MIN: hell. DAVID KING: hell and when your descendants try to buy a ticket for you to get to heaven the church sends them to hell for that too QUENTIN SMITH: heaven. DETECTIVE DAVID TAPP: hell. KATE DENSON: hell. and whoever stands by the gates to heaven laughs when u first try to enter there. ADAM FRANCIS: premium expensive luxury suite in heaven. JEFFREY "JEFF" JOHANSEN: heaven. JANE ROMERO: heaven. ASH J. WILLIAMS: heaven. NANCY WHEELER: hell. STEVE HARRINGTON: heaven. YUI KIMURA: dont matter what I say theyll go wherever they want to go. ZARINA KASSIR: heaven. CHERYL MASON: heaven. LISA GARLAND: heaven and they lay out some carpet for you to walk on there. ALESSA GILLESPIE: hell but ur used to it anyways. CYBIL BENNETT: hell. FELIX RICHTER: deepest level of hell. ÉLODIE RAKOTO: heaven. YUN-JIN LEE: heaven. JILL VALENTINE: heaven. LEON S KENNEDY: hell. have fun there you stupid twink. CLAIRE REDFIELD: heaven. CHRIS REDFIELD: heaven.

(KILLERS) THE TRAPPER: hell THE WRAITH: heaven. THE HILLBILLY: heaven :) THE NURSE: give felix my greetings while you pass him on ur way down THE SHAPE: heaven :) THE HAG: heaven. THE DOCTOR: depends on if you ever tried the impossible skillcheck build. you did? have fun being felix richter's hell-roommate. THE HUNTRESS: heaven. THE CANNIBAL: neither side wants you THE NIGHTMARE: youre used as a roommate punishment for whoever causes shit in hell. THE PIG: hell. THE CLOWN: hell. THE SPIRIT: hell and whoever defends you also goes to hell as well. THE LEGION: whatever made you main legion in the first place was probably worse than whatever hell has to offer. you get to go to heaven. THE PLAGUE: hell. THE GHOSTFACE: hell. DEMOGORGON: heaven. THE ONI: heaven and I hold the gates open for you. DEATHSLINGER: hell. EXECUTIONER: you end up in silent hill. BLIGHT: hell. THE TWINS: hell. TRICKSTER: hell but I'll visit you. NEMESIS: hell. CENOBITE: limbo bc you dont exist yet you are going back to where you came from. (hell. which is where cenobite is from. as told by meisa who had to correct me bc I have no knowledge on the movie. I never watched it.)

[writer-of-various]

DBD crew as A/B/O

So I had to kinda mull over my thoughts and this is purely just my opinion and hc of the characters. Let's get into it! Also, please let me know if I missed any characters.

The Trapper - Evan MacMillian Alpha

The Wraith - Phillip Omajo Beta

The Hillbilly - Max Thompson Jr. Beta

The Nurse - Sally Smithson Omega

The Shape - Michael Myers Alpha

The Hag - Lisa Sherwood Beta

The Doctor - Herman Carter Alpha

The Huntress - Anna Alpha

The Cannibal - Bubba Sawyer Beta

The Nightmare - Freddy Krueger Beta

The Pig - Amanda Young Alpha

The Clown - Jeffrey Hawk Beta

The Spirit - Rin Yamaoka Beta

The Legion - Frank Morrison Omega, Julie Kostenko Beta, Susie Omega, Joey Alpha

The Plague - Adiris Omega

The Ghost Face - Danny 'Jed Olsen' Johnson Alpha

The Oni - Kazan Yamaoka Alpha

The Deathslinger - Caleb Quinn Alpha

The Executioner - Pyramid Head Alpha

The Blight - Talbot Grimes Beta

The Twins - Victor Beta and Charlotte Deshayes Omega

The Trickster - Ji-Woon Hak Alpha

The Nemesis - Nemesis T-Type Alpha

The Cenobite - Pinhead Beta

The Artist - Carmina Mora

The Onryō - Sadako Yamamura

Dwight Fairfield Beta

Meg Thomas Omega (disguised as Beta)

Claduette Morel Omega

Jake Park Alpha

Nea Karlsson Alpha

Laurie Strode Alpha

Ace Visconti Beta

William 'Bill' Overbeck Alpha

Feng Min Beta

David King Alpha

Quentin Smith Beta

David Tapp Beta

Kate Denson Omega

Adam Francis Beta

Jeffrey 'Jeff' Johansen Alpha

Jane Romero Beta

Ashley 'Ash' Williams Alpha

Nancy Wheeler Omega

Steve Harrington Alpha

Jonathan Byers Beta

Yui Kimura Alpha

Zarina Kassir Beta

Cheryl Mason Alpha

Alessa Gillespie Omega

Lisa Garland Omega

Cybil Bennett Alpha

Felix Richter Omega (disguised as Beta)

Élodie Rakoto Beta

Yun-Jin Lee Alpha (disguised as Beta)

Leon S. Kennedy Omega (disguised as Alpha)

Jill Valentine Alpha

Claire Redfield Beta

Chris Redfield Alpha

Mikaela Reid Beta

Jonah Vasquez Alpha

Yoichi Asakawa Beta

Haddie Kaur Alpha

[the-auris]

CHARACTER ROSTER

CANON

SURVIVORS:

☐ Dwight Fairfield

☐ Meg Thomas

☒ Claudette Morel

☒ Jake Park

☐ Nea Karlsson

☐ Laurie Strode

☒ Ace Visconti

☐ William "Bill" Overbeck

☒ Feng Min

☐ David King

☒ Quentin Smith

☐ David Tapp

☒ Kate Denson

☒ Adam Francis

☐ Jeffrey Johansen

☐ Jane Romero

☐ Ashley J. Williams

☐ Nancy Wheeler

☐ Steve Harrington

☐ Jonathan Byers

☐ Yui Kimura

☐ Zarina Kassir

☐ Cheryl Mason

☐ Lisa Garland

☐ Cybil Bennett

☐ James Sunderland

☐ Maria

☒ Felix Richter

☒ Élodie Rakoto

☐ Yun-Jin Lee

☒ Jill Valentine

☐ Claire Redfield

☐ Sheva Alomar

☒ Leon S. Kennedy

☒ Chris Redfield

☒ Carlos Oliveira

☐ Mikaela Reid

☐ Jonah Vasquez

☒ Yoichi Asakawa

☒ Haddie Kaur

☐ Ada Wong

☐ Rebecca Chambers

☐ Vittorio Toscano

☒ Thalita Lyra

☒ Renato Lyra

☒ Gabriel Soma

☐ Ellen Ripley

☐ Ripley 8

☐ Rain Carradine

☐ Alan Wake

☐ Saga Anderson

☒ Rose Marigold

☐ Sable Ward — RESERVED

☐ Aestri Yazar

☐ Baermar Uraz

☐ Lara Croft

☐ Trevor Belmont

☐ Alucard

- - -

KILLERS:

☒ Evan MacMillan, The Trapper

☒ Philip Ojomo, The Wraith

☐ Max Thompson Jr., The Hillbilly

☐ Sally Smithson, The Nurse

☐ Michael Myers, The Shape

☐ Lisa Sherwood, The Hag

☐ Herman Carter, The Doctor

☒ Anna, The Huntress

☐ Bubba Sawyer, The Cannibal

☒ Freddy Krueger, The Nightmare

☒ Amanda Young, The Pig

☒ Jeffrey Hawk, The Clown

☒ Rin Yamaoka, The Spirit

☒ Frank Morrison, The Legion

☒ Julie Kostenko, The Legion

☒ Susie Lavoie, The Legion

☒ Joey, The Legion

☐ Adiris, The Plague

☒ Danny Johnson, The Ghostface

☐ The Demogorgon

☐ Kazan Yamaoka, The Oni

☐ Caleb Quinn, The Deathslinger

☒ Pyramid Head, The Executioner

☐ Talbot Grimes, The Blight

☒ Charlotte & Victor Deshayes, The Twins

☐ Ji-Woon Hak, The Trickster

☐ The Nemesis

☐ Elliot Spencer, The Cenobite

☒ Carmina Mora, The Artist

☒ Sadako Yamamura, The Onryō

☒ Druanee, The Dredge

☒ Albert Wesker, The Mastermind

☒ Tarhos Kovács, The Knight

☐ Alejandro Santiago, The Jailer

☐ Durkos Malecek, The Assassin

☐ Sander Rault, The Carnifex

☐ Adriana Imai, The Skull Merchant

☐ HUX-A7-13, The Singularity

☐ The Xenomorphs (multiple allowed)

☐ Charles "Chucky" Lee Ray, The Good Guy

☐ Tiffany Valentine, The Good Guy

☒ The Unknown

☐ Vecna, The Lich

☒ Dracula, The Dark Lord

- - - - - -

FRANCHISE-CHANGING SKINS

SURVIVORS:

☐ Isaac Nunes Oliveira/Tubarão (Renato Lyra)

- - -

KILLERS:

☐ Birch Witch (Hag)

☐ Look-See (Doctor)

☐ Mordeo (Huntress)

☐ Hunk (Legion)

☒ William Birkin (Blight)

- - - - - -

CROSSOVERS

SURVIVORS:

☒ Sherry Birkin (Resident Evil)

☒ Pelle (Midsommar)

- - -

KILLERS:

☒ Jack Krauser (Resident Evil)

☐ Jason Voorhees (Friday the 13th) — RESERVED

☐ Ginger Fitzgerald (Ginger Snaps) — RESERVED

- - - - - -

NPCS

These characters exist within the RP and can thus be mentioned by characters who have encountered them, but cannot be submitted or written.

Vigo

ZZL Tryks

The Observer

Nicolas Cage

- - - - - -

last updated: 09. September 2024

[saycheesekid]

𝗧𝗵𝗲 𝗠𝗮𝘀𝘁𝗲𝗿𝗹𝗶𝘀𝘁 [𝗖𝗮𝗻𝗼𝗻𝘀 + 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹 𝗖𝗵𝗮𝗿𝗮𝗰𝘁𝗲𝗿𝘀]

Below, I shall list off my canon muses with links to a wiki or any other source of information; This is temporary however, as ALL of my muses are E X T R E M E L Y canon divergent. These are M Y personal portrayals of certain muses, and as such, there will be changes. *ADDITIONALLY* A L L muses below are V E R Y open to crossovers! EVEN MORE SO open to Crossover ships! Seriously. Just ask.

𝗛𝗼𝘂𝘀𝗲 𝗼𝗳 𝗪𝗮𝘅

Vincent Sinclair [DBD AU - "The Sculptor"]

Beaugard "Bo" Sinclair [DBD AU - "The Mechanic"]

𝙉𝙞𝙜𝙝𝙩𝙢𝙖𝙧𝙚 𝙤𝙣 𝙀𝙡𝙢 𝙎𝙩𝙧𝙚𝙚𝙩

NOTE - I *explicitly* write from the ORIGINAL NoES franchise with some changes I liked from the remake and vice versa.

Lt. Donald Thompson [DBD AU ; Father of Nancy Thompson.

Fredrick Charles Kruger [DBD Verse friendly; VERY flexible with crossovers!]

𝙎𝘼𝙒

Amanda Everett Young [DBD Verse friendly; V E R Y open to crossovers!]

Doctor Lawrence Gordon [Crossover friendly!]

John Kramer [DBD AU included!]

𝙏𝙝𝙚 𝙈𝙪𝙢𝙢𝙮 [1999]

Rick O'Connell

Ardeth Bay

Jonathan Carnahan

Imhotep [DBD Verse - "The Mummy"]

𝗗𝗲𝗮𝗱 𝗕𝘆 𝗗𝗮𝘆𝗹𝗶𝗴𝗵𝘁

Ace Visconti [SAW AU; Killer AU; Post Fog AU - V E R Y Canon Divergent. Damn near my own OC so yeah. Also I'm PROBABLY not gonna ship him? Dunno. Come back to me on that.]

Minerva A. D'Angelo/Visconti [SAW AU; Killer AU; Post Fog AU - Original Character. Why the "Visconti" surname? SOMETIMES she'll refer to Ace aka my Ace as her husband, obviously she's not shipped to any Ace writer unless they wanna ship. *U S U A L L Y* she'll refer to her husband in a post W I T H him - I do crack posts on occasion.]

Detective Cyndi Sprague [Original Character - VERY big work in progress!]

Jonah Vasquez [V E R Y Canon Divergent. Fuck his main bio, I'm changing him up a bit.]

Plague/Adiris [Survivor AU ; Crossover flexible 100%]

Deathslinger/Caleb Quinn [Survivor AU ; RDR AU ; Crossover friendly! ]

Doctor/Herman Carter [VERY Crossover friendly!]

The Twins/Charlotte and Victor [Crossovers Encouraged; RDR AU]

Clown/Jeffery Hawk [Crossovers encouraged!] [H I G H L Y CANON DIVERGENT.]

𝗦𝗶𝗹𝗲𝗻𝘁 𝗛𝗶𝗹𝗹

Cybil Bennett [DBD Verse Included]

Lisa Garland [DBD Verse Included]

Alessa Gillespie

Harry Mason

Maria

James Sunderland

Heather/Cheryl Mason

Vincent Smith

Walter Sullivan

Henry Townsend

Alex Shepherd

Murphy Pendleton

𝗥𝗲𝘀𝗶𝗱𝗲𝗻𝘁 𝗘𝘃𝗶𝗹

Billy Cohen

Albert Wesker

Chris Redfield [MOSTLY RE8 Chris]

Alex Wesker

Annette Birkin

William Birkin

Daniel Fabron

Oswell E. Spencer

Mr. X

Carlos Oliveria

Nicholai Ginovaef

Mikhail Viktor

Luis Sera

Osmond Saddler

Excella Gionne

Ivy Frost [OC - H E A V Y WORK IN PROGRESS.]

Kevin Ryman

Alexia Ashford

Donna Beneviento [Angie included]

Karl Heisenberg

Nemesis

𝗝𝗼𝗝𝗼𝘀 𝗕𝗶𝘇𝗮𝗿𝗿𝗲 𝗔𝗱𝘃𝗲𝗻𝘁𝘂𝗿𝗲

Wammu

Santana

Rubber Soul

Steely Dan

Imposter Captain Tennellie

Hol Horse

Oingo

Boingo

N'Doul

Daniel J. D'Arby

Terence T. D'Arby

Vanilla Ice

Yoshikage Kira [HEAVILY Inspired by American Psycho]

Rohan Kishibe

Keicho Nijimura

Sale

Mario Zucchero

Risotto

Doppio/Diavolo

Megadeath [OC]

Stevie A. Nicks [OC]

Sophie B. Hawkins [OC]

MORE TO BE ADDED

[nanshe-of-nina]

History Articles Masterpost

I was going the files on my external hard drive today and found a bunch of journal articles and dissertations I downloaded and decided to upload them for people who are interested. They're mostly about the Middle Ages, women's history, troubadours, the Soviet Union, and/or historical figures I find interesting because ... that's just how I roll. MEDIEVAL HISTORY — GENERAL

The Armagnac Faction: New Patterns of Political Violence in Late Medieval France – Timur R. Pollack-Lagushenko

Exemplar King and Doting Parent: Examining the Role of Fatherhood in the Life of Edward III, c.  1320-1377 – Nicole Harding

Harold of England: The Romantic Revision of the Last Anglo-Saxon King – María José Gómez

Jews and Cathari in Medieval France – John M. O’Brien

King Henry III and Saint Edward the Confessor: The Origins of the Cult – D.A. Carpenter

Memory and Collective Identity in Occitanie: The Cathars in History and Popular Culture – Emily McCaffrey

Murder, Mayhem, and a Very Small Penis: Motives for Revenge in the 1375 Murder of William Cantilupe – Frederik Pedersen

The “Sale” of Carcassonne to the Counts of Barcelona (1067-1070) and the Rise of the Trencavels – Fredric L. Cheyette

Stephen of Blois, Count of Mortain and Boulogne – Edmund King

MEDIEVAL HISTORY — WOMEN

The Anglo-Norman Card of Adela of Blois – Kimberly A. LoPrete

The Campaigns of Matilda of Tuscany – Valerie Eads

“Désirant tout, envahissant tout, ne connaissant le prix de rien”: Materiality in the Queenship of Isabeau of Bavaria – Yen M. Duong

Gender and the Language of Politics in Thirteenth‐Century Queens’ Letters – Anaïs Waag

Heavy Is the Head That Wears the Crown: Contemporary Reputations and Historical Representations of Queens Regent – Jessica Donovan

Isabeau of Bavaria, Queen of France (1385-1422): The Creation of an Historical Villainess – Rachel Gibbons

Negotiating Princely Power in Late Medieval France: Jeanne de Penthièvre, Duchess of Brittany (c.1325-1384) – Erika Maëlan Graham-Goering

The Piety, Power, and Patronage of the Latin Kingdom of Jerusalem’s Queen Melisende – Helen A. Gaudette

The Politics of Queen Philippa’s Mottoes: Five English Words – Melissa Furrow

The Reputation of the Queen and Public Opinion: The Case of Isabeau of Bavaria – Tracy Adams and Glenn Rechtschaffen

Studies in the History of Queen Melisende of Jerusalem – Hans Eberhard Mayer

Valentina Visconti, Charles VI, and the Politics of Witchcraft – Tracy Adams

The War of the Two Jeannes: Rulership in the Fourteenth Century – Katrin Sjursen

MEDIEVAL CULTURE

The Autumn of the Middle Ages by Johan Huizinga (review) – Max Staples

The Avatars of Orable-Guibourc from French chanson de geste to Italian romanzo cavalleresco. A Persistent Multiple Alterity – Philip E. Bennett, Krupina Zarker Morgan

Critical Analysis of the Roles of Women in the Lais of Marie de France – Jeri S. Guthrie

A Distant Mirror: The Calamitous 14th Century by Barbara W. Tuchman (review) – Bernard S. Bachrach

Managing Medieval Misogyny – M. Wendy Hennequin

The Minor Trobairitz: An Edition with Translation and Commentary – Deborah Perkal-Balinsky

Poetry of Exclusion: A Feminist Reading of Some Troubadour Lyrics – Simon Gaunt

Private Desire and Public Identity in Trobairitz Poetry – Laurel Amtower

Writing Beneath the Shadow of Heresy: The Historia Albigensis of Brother Pierre des Vaux-de-Cernay – Christopher M. Kurpiewski

BYZANTINE HISTORY AND RUSSIAN HISTORY — MEDIEVAL AND TSARIST

Attacking the Empire’s Achilles Heels: Railroads and Terrorism in Tsarist Russia – Frithjof Benjamin Schenk

Kinship and the Distribution of Power in Komnenian Byzantium – Peter Frankopan

Lamentation, History, and Female Authorship in Anna Komnene’s Alexiad – Leonora Neville

Muscovy and the Mongols : What's What and What's Maybe – David M. Goldfrank

The Revolutionary, His Wife, the Party, and the Sympathizer: The Role of Family Members and Party Supporters in the Release of Revolutionary Prisoners – Katy Turton

RUSSIAN HISTORY — SOVIET

Agency and Terror: Evdokimov and Mass Killing in Stalin’s Great Terror – S. Wheatcroft

Between Right and Left: G. Ia. Sokolnikov and the Development of the Soviet State, 1921-1929 – Samuel A. Oppenheim

Bukharin and the Social Study of Science – Constantine D. Skordoulis

Did Stalin Kill Kirov and Does It Matter? – Matt Lenoe

First Russian Biographies of Trotsky: A Review Article – Ian D. Thatcher

“A Grand Bloodbath”: The Western Reaction to Joseph Stalin’s 1930s Show Trials as Foreign Policy – Jeffrey L. Achterhof

The Legacy of Lunacharsky and Artistic Freedom in the USSR – Howard R. Holter

Lunacharsky, the “Poet-Commissar” – A. L. Tait

Lunacharsky and the Rescue of Soviet Theatre – John J. Von Szeliski

Maria Spiridonova’s “Last Testament” – Alexander Rabinowitch

Marketing for Socialism: Soviet Cosmetics in the 1930s – Olga Kravets and Özlem Sandikçi

On the “Letter of an Old Bolshevik” as an Historical Document – Robert C. Tucker

Patronage and Betrayal in the Post-Stalin Succession: The Case of Kruglov and Serov – Timothy K. Blauvelt

“Socialism of Science” versus “Socialism of Feelings”: Bogdanov and Lunacharsky – Georgii D. Gloveli, John Biggart

Stalin and the Politics of Kinship: Practices of Collective Punishment, 1920s-1940s – Golfo Alexopoulos

Stalin’s Falsification of History: The Case of the Brest-Litovsk Treaty – Sydney D. Bailey

The Terrorist and the Master Spy: The Political Partnership of Boris Savinkov and Sidney Reilly, 1918-25 – Richard B. Spence

Trotsky’s Interpretation of Stalin – Robert H. McNeal

Tukhachevsky in Leningrad: Military Politics and Exile, 1928-31 – David R. Stone

Zinoviev: Populist Leninist – Lars T. Lih

Zinoviev’s Revolutionary Tactics in 1917 – Myron W. Hedlin

HISTORY — MISC.

Dark Religion? Aztec Perspectives on Human Sacrifice – Ray Kerkhove

The Empress Elisabeth of Austria and Her “Untidy” Collection – Beth Muellner

Isotta Nogarola: The Beginning of Gender Equality in Europe – Luka Borsic and Ivana Skuhala Karasman

Love (and Marriage) Between Women – Alan Cameron

Pari Khan Khanum: A Masterful Safavid Princess – Shohreh Gholsorkhi

[warm-lullabies]

I can't escape the monster inside me...

[fabioferreiraroc]

Desafio 100 grandes filmes pouco conhecidos: você assistiu no máximo 4 desta lista

Ainda que estejamos atentos às maiores premiações europeias e de Hollywood, alguns dos melhores filmes ainda escapam dos holofotes. A revista britânica “Empire”, especializada em cultura e entretenimento, reuniu 100 títulos que são fundamentais para o cinema, mas não são populares. Conte e nos diga quantos deles você já assistiu.

A história do cinema é marcada por ótimos filmes, clássicos que resistiram ao tempo e obras contemporâneas que mudaram a indústria cinematográfica. Ainda que estejamos atentos às maiores premiações europeias e de Hollywood, alguns dos melhores longas ainda escapam dos holofotes. A revista britânica “Empire”, especializada em cultura e entretenimento, reuniu 100 títulos que são fundamentais para o cinema, mas não são populares. Como o desafio da Empire só abrange longas lançados até 2007, adicionamos outros cinco mais recentes. Pela análise das obras, percebe-se que, provavelmente, pouquíssimas pessoas viram mais do que quatro entre os longas selecionados. Para participar do desafio, basta contabilizar e nos contar quantos destes você já assistiu.

1 — O Abraço da Serpente (2015), Ciro Guerra

2 — Sono de Inverno (2014), Nuri Bilge Ceylan

3 — Amantes Eternos (2013), Jim Jarmusch

4 — O Garoto de Bicicleta (2011), Irmãos Dardenne

5 — Biutiful (2010), Alejandro González Iñárritu

6 — A Proposta (2005), John Hillcoat

7 — Beijos e Tiros (2005), Shane Black

8 — Hard Candy (2005), David Slade

9 — Nascidos em Bordéis (2004), Zana Briski e Ross Kauffman

10 — Primer (2004), Shane Carruth

11 — O Agente da Estação (2003), Tom McCarthy

12 — Camelos Também Choram (2003), Byambasuren Davaa

13 — Easy Riders, Raging Bulls (2003), Kenneth Bowser, Jr.

14 — Stander (2003), Bronwen Hughes

15 — Tarnation (2003), Jonathan Caouette

16 — O Americano Tranquilo (2002), Phillip Noyce

17 — The Eye: A Herança (2002), Oxide Pang Chun e Danny Pang Phat

18 — Minha Viagem à Itália (2001), Martin Scorsese

19 — American Movie (1999), Chris Smith

20 — O Estranho (1999), Steven Soderbergh

21 — Uma História Real (1999), David Lynch

22 — Carne Trêmula (1998), Pedro Almodóvar

23 — As Confissões de Henry Fool (1997), Hal Hartley

24 — Kiss or Kill (1987), Bill Bennett

25 — Na Companhia de Homens (1997), Neil LaBute

26 — Angel Baby (1995), Michael Rymer

27 — Cidadão X (1995), Chris Gerolmo

28 — Estranhos Prazeres (1995), Kathryn Bigelow

29 — Ricardo III (1995), Richard Loncraine

30 — Safe (1995), Todd Haynes

31 — Tempo de Decisão (1995), Noah Baumbach

32 — E a Vida Continua (1993), Roger Spottiswoode

33 — The Secret Adventures of Tom Thumb (1993), Dave Borthwick

34 — Fervura Máxima (1992), John Woo

35 — In the Soup (1992), Alexandre Rockwell

36 — Lanternas Vermelhas (1991), Zhang Yimou

37 — Alucinações do Passado (1990), Adrian Lyne

38 — Death in Brunswick (1990), John Ruane

39 — Jogo Perverso (1990), Kathryn Bigelow

40 — King of New York (1990), Abel Ferrara

41 — Um Tiro de Misericórdia (1990), Phil Joanou e Michael Lee Baron

42 — The Killer: O Matador (1989), John Woo

43 — Alice (1988), Jan Švankmajer

44 — As Aventuras do Barão de Münchausen (1988), Terry Gilliam

45 — Eles Vivem (1988), John Carpenter

46 — Miracle Mile (1988), Steve De Jarnatt

47 — O Soro do Mal (1988), Frank Henenlotter

48 — Coração Satânico (1987), Alan Parker

49 — Ground Zero (1987), Michael Pattinson e Bruce Myles

50 — Hidden: O Escondido (1987), Jack Sholder

51 — O Limite da Traição (1987), Walter Hill

52 — Travelling North (1987), Carl Schultz

53 — Apartamento Zero (1986), Martin Donovan

54 — When the Wind Blows (1986), Jimmy T. Murakami

55 — A Traição do Falcão (1985), John Schlesinger

56 — Depois de Horas (1985), Martin Scorsese

57 — Garota Sinal Verde (1985), Rob Reiner

58 — Minha Vida é um Desastre (1985), Savage Steve Holland

59 — Screamplay (1985), Rufus Butler Seder

60 — Terra Tranquila (1985), Geoff Murphy

61 — Viver e Morrer em Los Angeles (1985), William Friedkin

62 — Gosto de Sangue (1984), Ethan e Joel Cohen

63 — Repo Man: A Onda Punk (1984), Alex Cox

64 — Ruas de Fogo (1984), Walter Hill

65 — Na Hora da Zona Morta (1983), David Cronenberg

66 — O Selvagem da Motocicleta (1983), Francis Ford Coppola

67 — Strange Invaders (1983), Michael Laughlin

68 — Videodrome: A Síndrome do Vídeo (1983), David Cronenberg

69 — O Enigma de Outro Mundo (1982), John Carpenter

70 — Tron: Uma Odisseia Eletrônica (1982), Steven Lisberger

71 — Diva: Paixão Perigosa (1981), Jean-Jacques Beineix

72 — Enigma na Estrada (1981), Richard Franklin

73 — Falcões da Noite (1981), Bruce Malmuth

74 — Um Tiro na Noite (1981), Brian De Palma

75 — Colossus (Colossus: The Forbin Project) (1980), Joseph Sargent

76 — Uma Espécie em Extinção (1980), Art Linson

77 — Liberdade Condicional (1978), Dustin Hoffman e Ulu Grosbard

78 — Pumping Iron (1977), George Butler e Robert Fiore

79 — Assalto ao 13º DP (1976), John Carpenter

80 — Prelúdio Para Matar (1975), Dario Argento

81 — The Bullet Train (1975), Junya Sato

82 — Último Golpe (1974), Michael Cimino

83 — The Taking of Pelham One Two Three (1974), Joseph Sargent

84 — Westworld: Onde Ninguém Tem Alma (1973), Michael Crichton

85 — O Círculo Vermelho (1970), Jean-Pierre Melville

86 — O Topo (1970), Alejandro Jodorowsky

87 — Andrei Rublev (1969), Andrei Tarkovsky

88 — Week End (1967), Jean-Luc Godard

89 — Alphaville (1965), Jean-Luc Godard

90 — A Batalha de Argel (1965), Gillo Pontecorvo

91 — A Décima Vítima (1965), Elio Petri

92 — O Leopardo (1963), Luchino Visconti

93 — Vendedor de Ilusões (1962), Morton DaCosta

94 — Os Inocentes (1961), Jack Clayton

95 — O Incrível Homem que Encolheu (1957), Jack Arnold

96 — O Homem Errado (1956), Alfred Hitchcock

97 — Os Cinco Mil Dedos do Dr. T (1953), Roy Rowland

98 — A Rua sem Nome (1948), William Keighley

99 — Casei-Me com uma Feiticeira (1942), René Clair

100 — O Atalante (1934), Jean Vigo

Desafio 100 grandes filmes pouco conhecidos: você assistiu no máximo 4 desta lista Publicado primeiro em https://www.revistabula.com

[diceriadelluntore]

La leggenda vuole che la sua anisocoria sia dovuta ad una lite con George Underwood da adolescente, che gli infilò un compasso nell'occhio, forse per una questione di ragazze. Questo per dire che l’infanzia di David Robert Jones fu abbastanza movimentata. Nato nel 1947 a Brixton, nel 1963 fa già parte di un gruppo rock, i King Bees, fondati tra gli altri con Uderwwod, il cui rifiuto di tagliarsi i capelli gli impedisce di andare in TV. I primi singoli scimmiottano i classici del rock americano, spesso pubblicati con improbabili nomi d’arte, tipo Davy Jones. Nel 1966 l’incontro con il manager Ken Pitt è decisivo: cambia nome in David Bowie, per non confondersi con il David Jones dei Monkees (all’epoca strafomoso) e firma il primo contratto da solista con la Decca. Nel 1967 esce David Bowie per la Deram (del gruppo Decca), un album così insipido che nessuno avrebbe mai potuto presagire il divenire. Il successo è nullo, e Bowie è quasi sul punto di diventare attore: recita nel film Love You Till Tuesday (prodotto da Pitt) che lo vede protagonista, e per la colonna sonora di quel film scrive una canzone dal titolo Space Oddity, si dice ispirata al cantante dopo la visione di 2001 Odissea nello Spazio di Stanley Kubrick. Pitt offre il nastro alla Phillips, che intuito il talento, pubblica nel 1969 un altro David Bowie, che grazie alla storia magica e mistica del Maggiore Tom perso nello spazio infinito fa conoscere al mondo questo biondino androgino, dalla voce cupa e affilata, dai comportamenti ambigui, che sembra proprio un alieno. Nel 1970 sposa Angela Bennett, conosce Toni Visconti, che diventerà suo produttore di fiducia, e il chitarrista Mick Ronson. Nasce in questo momento un formidabile team che in breve sconvolge la storia del rock. Il primo tentativo è il cupo ed enigmatico The Man Who Sold The World (1970), che sin dalla copertina, Bowie disteso vestito da donna in omaggio a Laureen Bacall (censurata negli USA), immagina un futuro cupo ed enigmatico, un paio di canzoni pungenti (The Supermen, The Man Who Sold The World, le chitarre affilate di The Width Of A Circle) e un aura di bizzarria potentissima. Nel 1971 arriva il primo, grandioso capolavoro bowiano. Hunky Dory. Il titolo è uno slang di un ex generale della RAF che frequentava un club amato da Bowie, e sta per “eccellente”. Musicalmente è un rock pop in anticipo di decenni sulle future visioni, e che nei testi e nelle idee è davvero sconvolgente. Life On Mars? continua il discorso spaziale iniziato con Space Oddity (e che continuerà nel mitico Ziggy Stardust del 1972). Changes è il primo di una antologia di canzoni culto infinita. Oh! You Pretty Things è ricco di citazioni colte, da Nietzsche a scendere. Poi tre omaggi sentitissimi e meravigliosi: Song For Bob Dylan, anche leggermente sferzante, Andy Warhol e Queen Bitch, dedicata al suo mito personale Lou Reed che qualche anno dopo verrà resuscitato e portato alla gloria da Bowie e Ronson con Transformer. Dolce omaggio al figlioletto con Kooks mentre The Bewlay Brothers è un omaggio oscuro e vibrante a Terry Burns, fratellastro affetto da schizofrenia paranoide. In copertina, una languida foto di Bowie di Brian Ward ispirata ad una simile di Greta Garbo. Che non fece altro che aumentare le dicerie sulla sua presunta bisessualità del cantante. Che è solo una delle leggende che da questo disco inizieranno a circolare su uno dei più grandi artisti di tutti i tempi. Che ci manca moltissimo.

[myrecordcollections]

Ralph McTell

Eight Frames A Second, Paint The Soul Never Mind The Legs and Arms 

@ 1968 UK 1st Pressing

****

My first album was a triple first. It was Gus Dugeon’s first production, Tony Visconti’s first arrangements and my first professional recording. The sessions commenced at Pye recording studios and I vividly remember my first day although I am not sure if it was in 67 or 68. I arrived at the studio and all the musicians were there, including a guitarist.

“What’s he doing here?” I discretely asked Gus “He’s going to play guitar” Gus explained “Well what will I do then?” I asked “You can strum along as well,” said Gus

The session could have ended there, I nearly walked out right then because all my songs are born out of the guitar parts and my guitar style is integral to the song. I thought of myself as a guitar player who just happened to write and sing songs. Had no one noticed? I was crushed and depressed. It was only much later that I realised I had been signed as a singer songwriter and my guitar playing was a secondary consideration.

This was another bitter pill to swallow. I saw myself in the tradition of guitar singer songwriters a la Bert Jansch and here I was surrounded by session musicians about to record my first album and invited to “strum” along. I think Tony Visconti explained to Gus my sensitivities and a mic was set up for my guitar and I became an integral part of the arrangements. Among the famous names on that first session were Clem Cattini recently of “the Tornadoes” (Telstar) and Jack Emblow (piano Accordion)

This was another bitter pill to swallow. I saw myself in the tradition of guitar singer songwriters a la Bert Jansch and here I was surrounded by session musicians about to record my first album and invited to “strum” along. I think Tony Visconti explained to Gus my sensitivities and a mic was set up for my guitar and I became an integral part of the arrangements. Among the famous names on that first session were Clem Cattini recently of “the Tornadoes” (Telstar) and Jack Emblow (piano Accordion)

As Tony Visconti counted in the musicians for the first song, I was relieved to notice that his hands were shaking slightly just like mine, and no wonder. Only a few days before Gus had given him a book called “How to Arrange” (or some such) and told Tony he would be doing my sessions.

Tony Visconti

I guess like all those new to the job Tony may have tried too hard to impress and threw in the metaphorical kitchen sink in the form of a Cymbalum, (A kind of grand piano version of a hammer dulcimer) which stood out amongst all the regular instruments needed for the job. It was played by a Hungarian gentleman who had a very strong accent. He was very reverential to its national identity and a little bewildered by what Tony wanted him to do. He even proceeded to give us a recital of pieces to show us what the instrument should sound like. It was a special moment on the session. Tony had to explain that it was just the “sound” he was after. (Title track Eight frames a second) and we got it done in a couple of takes. I found it very difficult to work to a music chart as I could not and still do not, read music and the repeated takes were trying. However, most of the songs were recorded that day and my solo efforts on another. I was very happy with “The mermaid and the seagull” and even thought the addition of waves and seagulls was nice. I rattled off “Hesitation Blues” in one take and also the wrongly titled “Blind Blake’s Rag” This was an amalgam of tunes I had learned in Paris from my friend Gary Petersen. Probably the most exciting moment came for this young songwriter when the violins commenced to overdub their parts on the title track. I thought Tony was really cool to make my song sound so good. I was just amazed by the way the songs sounded with the other musicians but I had never worked like this before and although everyone was encouraging and supportive in the studio I thought I would have been happier and sung better had I been on my own, which after all is what I was used to.

Nat Joseph, the head of Transatlantic Records had never put money up for arrangements before and indeed Gus had only got the job of producer, because Gus’s wife Shelia, was Nat’s secretary. It was she that told Nat that her husband, who was a house engineer for Decca was dying to produce a new artist. Nat gave him me. I think Nat was horrified when Gus asked for more time to complete the album. There was no more money available so Gus, who was still working at Decca studios, smuggled me in on several Sunday mornings and we completed the overdubs in the empty building off West End Lane.

Part of my deal with both Essex Music and Nat’s publishing company. “Heathside Music” was that I should record two of their copyrights. I was not happy about this but I was scared it might be a deal breaker. I agreed to record “Morning Dew” as recorded by Tim Rose but written by Bonnie Dobson, and a tune called “Granny Takes a Trip” recorded by the Purple Gang. The latter was recorded with the session guys as opposed to my wonderful jug band featuring Henry Bartlett and Whispering Mick Bennett, and I thought it gimmicky and although a good song of its time, I would not have volunteered to do it. The other song, ”Morning Dew” however was another story entirely. It had already been superbly recorded by Mr. Rose and I was quite flattered to think the company thought I could do a number on it.

Gus Dudgeon

After several attempts at overdubbing the vocal and finding it very difficult to emote and stay in tune with the headphones on, Gus stopped me and said, “Come into the studio and have a listen”. In the control room it was obvious that I was a long way off a “take” and Gus offered to go out into the studio to show me how he wanted me to do it. I dutifully pressed play and record at his signal and Gus gave it his all. It might have been the pitch that was wrong for him as he certainly struggled to reach some notes. All the time he was hopping about like Mick Jagger and generally throwing himself into the performance. I was totally unprepared for this alter ego and found it absolutely hilarious. By verse two I was in tears of laughter and when he came in to listen to the playback he could not even see me as I had slipped to the floor and could not catch my breath for ages. “You bastard” laughed Gus and when we played back the tape he was soon in hysterics as well. By such incidents are friendships sealed and we were proper mates from that moment onwards.

I was also persuaded to record a song by a Canadian newcomer. I was to be honoured with the first cover version of a song all the publishers were raving about. It was arranged by Tony in a key too high for me. I could make no sense of the words and found the tune and the original singer rather mournful. I was very relieved when my version of “Suzanne” by Leonard Cohen was rejected. I cannot help wondering sometimes how different it all might have been if it head been included.

The entire LP had cost £350.00 and that included a £12.00 advance to me to buy a new jacket for the sleeve photograph, which in the end I did not wear. Incidentally, the photographic sleeve concept failed. The idea was to take three photos of me with three different filters over the lens, red green and blue. Provided I stayed still while they blew the bubbles, I would have emerged in natural colour whilst the soap bubbles would still be in their primary colours of red green and blue. Clever eh? Shame it didn’t work.

In spite of the two dodgy cover versions I was very pleased to have a record out. I was in the company of Bert Jansch and John Renbourne and soon to be joined by Billy Connolly and Jerry Rafferty. It was a very exciting time. For the life of me I do not know how the company broke the album as the only airplay I was aware of came from a solitary broadcast on the John Peel show one afternoon, whilst I just happened to be listening. Anyway, the album must have sold well enough for the company to look for a follow up.

My only trepidation about it remains that one day someone may dig up that dreadful mystified version of Suzanne and put it out on some compilation. Sadly, they will never find Gus’s version of “Morning Dew” because it was wiped when I recorded the existing vocal.

The whole album was recorded on four track and mixed to MONO! Later a version with a green cover was mixed to a basic stereo for USA and Canada.

Ralph McTell

[miguelmarias]

LA CARA OCULTA DE MAX OPHÜLS

Tras un período de olvido, de eclipsamiento, el cine de Max Ophüls ha empezado a recobrar, poco a poco, el interés de los cinéfilos y los críticos, probablemente gracias a sus incursiones en el melodrama, forma de expresión que en los últimos tiempos, y paradójicamente por su muy discutible —y, en todo caso, simplificadora— consideración como un género, ha atraído una desusada atención facial, sobre todo en los países de cultura anglosajona.

Que la curiosidad por Ophüls no haya sido suscitada directamente por la reposición o vuelta a la circulación de sus películas, sino que sea "de rebote", y se manifieste a través de "filtros" genéricos, ha limitado el alcance de los estudios recientes a él dedicados, pese a que abunden los imprescindibles: Framework núm. 4, Movie núms. 29-30, Positif números 232-233, un par de capítulos de Personal Views de Robin Wood, el folleto editado por el British Film Institute, los artículos de Molly Haskell y Peter Harcourt en el libro colectivo Favorite Movies son tan sólo algunas muestras de lo mucho que se ha avanzado en los últimos años hacia la comprensión y consiguiente revalorización del cine de Max Ophüls. Desgraciadamente, como todo este material es poco conocido, sobre todo en ámbitos como el nuestro, continúan repitiéndose acerca de este autor las mismas cantinelas de siempre, que dan de él una imagen parcial, sesgada, superficial y confusa. Por ejemplo, se le sigue colgando, tan irresponsablemente como a Josef von Sternberg, la etiqueta de "barroco", que también se le aplica a Orson Welles abusivamente, sin molestarse en aclarar qué se entiende por "barroquismo" en el cine, a pesar de que este estilo representa cosas bien divergentes en la arquitectura y en la música —por citar dos artes que tienen que ver con Ophüls—, y sin plantearse siquiera si la definición propuesta por Jorge Luis Borges es pertinente o no en su caso. Como el rasgo estilístico más celebrado de Ophüls es el plano largo en movimiento —que algunos aún confunden con el plano-secuencia,  sin distinguir entre los que han hecho Welles y Straub, Godard y Mizoguchi, Bertolucci y Rossellini, Wyler y Renoir, Preminger y Jancsó, Hitchcock y Rocha, Skolimowski y Dreyer, o casi cualquier primitivo, sea Louis Lumière o Edwin S. Porter—, se tiende a valorar exageradamente las películas en las que esta forma de captación tiene mayor relieve, y a juzgar la coherencia de este estilo en función de su grado de adecuación a la historia que narran, lo que conduciría a considerar como su obra maestra —o, al menos, paradigmática— La Ronde (1950), seguida de Madame de... (1953), y puede llevar a lamentar que no fuese Ophüls el encargado de dirigir Winchester’73 (1950), en lugar de Anthony Mann, o a menospreciar algunas de sus películas americanas como "poco características" —Caught y The Reckless Moment (Almas desnudas), ambas de 1949, por ejemplo— y otras como "ejercicios de estilo" —The Exile (La conquista de un reino, 1947) y Letter from an Unknown Woman (Carta de una desconocida, 1948)—, implícitamente "gratuitos".

La habitual y llamativa belleza de sus imágenes, y el peso que en ellas cobran el vestuario, las escaleras interiores, las flores o la nieve —y la lista de "objetos privilegiados" podía ser mucho más larga—, no ayudan a disipar la sensación, a menudo insinuada y en ocasiones expresada con tono reprobatorio, de que Ophüls es —como Vincente Minnelli, George Cukor y hasta hace poco Douglas Sirk, pero curiosamente no Luchino Visconti— "un esteta", palabreja que sus usuarios blanden como un anatema descalificador, impresión a la que debe atribuirse el ostracismo a que fue condenado el cine de Ophüls durante una larga temporada, y que en ocasiones es, por simple cambio de modas, la equívoca base de ciertas reconsideraciones precipitadas y superficiales.

La máscara

Cualquiera que haya visto el episodio así titulado Le Masque de Le Plaisir (1951) y lo haya asociado con la estructura visual de Lola Montes (Lola Montes, 1955) sabe, o por lo menos intuye, la importancia de esta figura en el cine de Max Ophüls; en consecuencia, no debiera dejarse arrastrar por la mera apariencia de las propias películas, ni reducirlas a la selección de imágenes que hace nuestra memoria, porque —aunque sean las que dejan más huella— no es lícito proceder a un montaje "mentar" de las mismas, cuyo resultado puede ser un "trailer" o una antología, pero no una síntesis de su obra. Parece, sin embargo, que los travellings arrastran a los espectadores, y que la fascinación muchas veces tiene efectos hipnóticos, por lo cual es fácil que quienes sólo conocen una parte —la más famosa, la más asequible— de la filmografía de Ophüls tengan de su "mundo" una visión que, sin ser falsa, toma la parte por el todo —y hasta la excepción por la regla—, es decir, que se hagan de su cine una idea caricaturesca, cuando no paródica, reforzada en ocasiones por un conocimiento "de leídas" o por haber tomado contacto con ella después de ver —en Demy, por ejemplo— el resultado de su influencia en otros cineastas.

El caso es que se asocia a Ophüls con la belleza y la elegancia, con un tiempo pretérito al que no es ajena la desdicha —pero tampoco la dicha—, y que a veces —pero levemente, con suavidad y ligereza— bordea la tragedia, con lo que de sublimadora tiene ésta. El esplendor y la dinámica de sus imágenes refuerzan esa impresión dominante de propiedad, de limpieza, hasta el punto de hacer olvidar los aspectos sórdidos de la vida o del carácter de sus protagonistas, la corrupción o la represión de las sociedades en que les ha tocado vivir. De Madame de..., como de Liebelei (Amoríos, 1932) es más fácil recordar las joyas, los bailes y la nieve que los duelos que ponen punto final a ambas historias, tan semejantes a veintiún años de distancia que parecen encerrar entre las dos todo Ophüls. De Lola Montes se nos quedan el color, la fastuosidad de diversas cortes europeas, el teatro y el circo, y se nos olvidan los aspectos más grotescos y crueles, a pesar de que con ellos termina la película. De Carta de una desconocida se nos viene ante todo a la memoria la precaria armonía de una felicidad ilusoria, y se nos borra con facilidad asombrosa la patética mezquindad, la cobardía, la frustrada promesa.

Y, sin embargo, hay un par de películas americanas de Ophüls, no muy apreciadas precisamente porque no parecen responder al modelo de lo "típicamente ophulsiano" que se posa en nuestra memoria visual, en las que el lado sombrío siempre presente en su cine pasa a ocupar un primer plano inhabitual, y a convertirse en su tonalidad dominante. Se trata de las dos últimas que hizo en Hollywood, Caught y The Reckless Moment.

Tras la careta

¿Qué nos revelan estas dos películas? Un presente desprovisto de la elegancia del antiguo Viejo Mundo. No estamos ya en la Viena recreada en estudio de Carta de una desconocida, ni en la policromada corte de Luis II de Baviera, ni en el París de Guy de Maupassant. Entre los personajes no están Franz Liszt ni el emperador Francisco José, ni Werther, ni Carlos II de Inglaterra, aunque no falten románticos como Martin Donnelly (James Mason), al menos en la última de ellas. Pero son americanos actuales, extraídos del bajo mundo o de las altas finanzas, más o menos desequilibrados y desesperados, cuya elegancia es completamente inexistente o resulta una auténtica e inesperada sorpresa, con la que en ningún caso se podía contar.

En principio, tanto una como otra son películas que, al igual que casi todas las de Ophüls, dondequiera que las rodase, se podrían calificar de melodramas; más precisamente, puesto que, como también suele suceder en la obra de este cineasta, están centradas en personajes femeninos, sería lógico adscribirlas al subgénero —despreciado entre todos— de las women's pictures, sobre y para mujeres. Ninguna de ellas cuenta con una base literaria mínimamente ilustre o siquiera respetable, ni tiene el menor cariz historicista. Pese a ello, son dos películas extraordinariamente cultas y civilizadas, lo que prueba que —pese a la audiencia nominal de Ophüls como guionista, y a que la primera de ellas iba a ser dirigida por John Berry— son obras personales, en las que, quizá gracias a la intervención de James Mason, y en la segunda de Joan Bennett y su marido, el productor Walter Wanger, Ophüls pudo trabajar con relativa libertad de acción.

De los incontables cineastas europeos que emigraron a Hollywood, por causas muy variadas, desde los años veinte a la Segunda Guerra Mundial, la mayoría consiguieron —con mayor o menor facilidad y fortuna— integrarse en el sistema de producción y en la sociedad americana. Aunque tengan obra anterior y posterior a su período americano realizada en Europa, como Fritz Lang, Victor Sjöström o Robert Siodmak, y con mayor razón si no regresaron nunca a su país natal o ya no desarrollaron una actividad cinematográfica normal, como Ernst Lubitsch, Alfred Hitchcock, Edgar G. Ulmer, Otto Preminger, Douglas Sirk, Jacques Tourneur y tantos otros, se les puede considerar corno cineastas americanos, sin por ello olvidar que también en Alemania, Suecia, Inglaterra o Francia hicieron cosas importantes. Sólo Jean Renoir, Mauritz Stiller y Ophüls, con independencia de que filmasen en Estados Unidos algunas de sus más grandes películas, no llegaron nunca a ser "americanos", a hacerse un lugar dentro de Hollywood; ni siquiera en el caso de Renoir, que se quedó a vivir allí, pero que no volvió a hacer cine en Estados Unidos después de The Woman on the Beach (La mujer de la playa, 1946). En lo que concierne a Ophüls, que es aquí y ahora el que nos importa, no se trata de que la experiencia fuese totalmente desastrosa, puesto que si —como, por lo demás, le sucedió a varios otros— tuvo en los primeros años dificultades para trabajar, se puede defender que Carta de una desconocida es su película más lograda, perfecta y personal; pero es evidente que no llegó a sentirse a gusto en Hollywood, y que —aunque contase con los medios técnicos para dar forma a su concepción del cine— las reglas no escritas del cine americano le resultaban incómodas y limitadoras. Precisamente, buena parte del especialísimo interés de Caught y The Reckless Moment estriba en la tensión entre la visión del mundo de Ophüls y los requisitos que había de cumplir una película americana de la época. Y de ese combate con las convenciones procede la naturaleza híbrida de estos dos melodramas, contaminados deliberadamente de "cine negro", hasta el punto de que la última de ellas pueda considerarse una de las cumbres de ese "género" al que no pertenece del todo, ya que tanto una como otra se sitúan en la frontera del cine "negro" y el melodrama.

Visualmente, son sin duda las dos películas más "oscuras" y claustrofóbicas de toda la itinerante carrera de Max Ophüls; sus personajes son también los menos idealistas y los más peligrosos, según atendamos al carácter de sus protagonistas o al de sus antagonistas masculinos. En Caught, el desequilibrio y la violencia de Smith Ohlrig (Robert Ryan), junto con el espacio creado por la fotografía de Lee Garmes, nos hacen adentrarnos en el inquietante territorio del cine "negro" psicológico. En The Reckless Moment el chantaje, el homicidio y su ocultación, a pesar de la conducta final de Donnelly y de las relaciones que se establecen entre él y Lucia Harper (Joan Bennett), nos introducen en el género "negro" de una manera mucho más radical: no se trata de un "baño", con la consiguiente "impregnación" del género negro, como en Caught, sino de la materia y la dramaturgia mismas. Que luego no sean ni el misterio ni su esclarecimiento, ni primordialmente la crítica social, lo que a Ophüls le importa, es otra cuestión; en el fondo, a Ophüls siempre le han interesado más los personajes y sus sentimientos que la peripecia dramática o la narración, y por ello no puede extrañar que, pese a sus "negruras", tampoco se atengan a las normas del cine "negro". En Caught y The Reckless Moment, sin embargo, es cuando Ophüls ha estado más cerca de integrarse en la corriente principal del cine americano; que no lo haya logrado, o que haya conseguido salirse con la suya, y hacer una obra mucho más  personal, sólo indica hasta qué punto la coherencia y la tenacidad fueron siempre dos de sus máximas virtudes, y es muy posible que el lado "negro" de estas películas sea consecuencia de la idea de América que se hizo, no del afán de ganar dinero o de subirse a un género que por entonces, si no estaba de moda, por lo menos llegó a establecerse como tal.

Miguel Marías

Libro “Max Ophuls” – Ediciones JC. Colección Directores de Cine. Número 28 (1987)

[grupoempresarialpublibolivar]

  CORREDOR EQUIPO TIEMPO SEGUNDO DE BONIFICACIÓN DIFERENCIA 1 CARAPAZ Richard MOVISTAR TEAM 5h 11’ 35” 0’ 10” 0’ 00” 2 FORMOLO Davide BORA – HANSGROHE 5h 11’ 42” 0’ 06” 0’ 07” 3 PINOT Thibaut GROUPAMA – FDJ 5h 11’ 42” 0’ 04” 0’ 07” 4 BATTAGLIN Enrico TEAM LOTTO NL – JUMBO 5h 11’ 42” 0’ 07” 5 YATES Simon Philip MITCHELTON – SCOTT 5h 11’ 42” 0’ 07” 6 POZZOVIVO Domenico BAHRAIN – MERIDA 5h 11’ 42” 0’ 07” 7 CHAVES Jhoan Esteban MITCHELTON – SCOTT 5h 11’ 42” 0’ 07” 8 KONRAD Patrick BORA – HANSGROHE 5h 11’ 42” 0’ 07” 9 WOODS Michael EF EDUCATION FIRST-DRAPAC p/b CANNONDALE 5h 11’ 42” 0’ 07” 10 BILBAO LOPEZ DE ARMENTIA P. ASTANA PRO TEAM 5h 11’ 42” 0’ 07” 11 DUMOULIN Tom TEAM SUNWEB 5h 11’ 42” 0’ 07” 12 SCHACHMANN Maximilian QUICK-STEP FLOORS 5h 11’ 42” 0’ 07” 13 DENNIS Rohan BMC RACING TEAM 5h 11’ 42” 0’ 07” 14 LOPEZ MORENO Miguel Angel ASTANA PRO TEAM 5h 11’ 42” 0’ 07” 15 BENNETT George TEAM LOTTO NL – JUMBO 5h 11’ 42” 0’ 07” 16 ULISSI Diego UAE TEAM EMIRATES 5h 11’ 42” 0’ 07” 17 REICHENBACH Sébastien GROUPAMA – FDJ 5h 11’ 42” 0’ 07” 18 BETANCUR Carlos MOVISTAR TEAM 5h 11’ 42” 0’ 07” 19 OOMEN Sam TEAM SUNWEB 5h 11’ 42” 0’ 07” 20 ARU Fabio UAE TEAM EMIRATES 5h 11’ 42” 0’ 07” 21 HENAO MONTOYA Sergio Luis TEAM SKY 5h 11’ 42” 0’ 07” 22 FROOME Chris TEAM SKY 5h 11’ 42” 0’ 07” 23 BRAMBILLA Gianluca TREK – SEGAFREDO 5h 11’ 42” 0’ 07” 24 GENIEZ Alexandre AG2R LA MONDIALE 5h 11’ 42” 0’ 07” 25 POELS Wout TEAM SKY 5h 11’ 42” 0’ 07” 26 KANGERT Tanel ASTANA PRO TEAM 5h 11’ 42” 0’ 07” 27 ARMEE Sander LOTTO SOUDAL 5h 11’ 42” 0’ 07” 28 NIEVE ITURRALDE Mikel MITCHELTON – SCOTT 5h 11’ 42” 0’ 07” 29 MEINTJES Louis TEAM DIMENSION DATA 5h 11’ 42” 0’ 07” 30 VALLS FERRI Rafael MOVISTAR TEAM 5h 11’ 54” 0’ 19” 31 SANCHEZ Luis Leon ASTANA PRO TEAM 5h 11’ 54” 0’ 19” 32 GONÇALVES José TEAM KATUSHA ALPECIN 5h 11’ 54” 0’ 19” 33 PREIDLER Georg GROUPAMA – FDJ 5h 11’ 54” 0’ 19” 34 CHEREL Mikael AG2R LA MONDIALE 5h 12’ 01” 0’ 26” 35 MASNADA Fausto ANDRONI GIOCATTOLI-SIDERMEC 5h 12’ 03” 0’ 28” 36 O’CONNOR Ben TEAM DIMENSION DATA 5h 12’ 03” 0’ 28” 37 DUPONT Hubert AG2R LA MONDIALE 5h 12’ 11” 0’ 36” 38 CONTI Valerio UAE TEAM EMIRATES 5h 12’ 11” 0’ 36” 39 ELISSONDE Kenny TEAM SKY 5h 12’ 13” 0’ 38” 40 HIRT Jan ASTANA PRO TEAM 5h 12’ 13” 0’ 38” 41 PLAZA Ruben ISRAEL CYCLING ACADEMY 5h 12’ 13” 0’ 38” 42 POLANC Jan UAE TEAM EMIRATES 5h 12’ 13” 0’ 38” 43 ZEITS Andrey ASTANA PRO TEAM 5h 12’ 27” 0’ 52” 44 BOUWMAN Koen TEAM LOTTO NL – JUMBO 5h 12’ 30” 0’ 55” 45 VERVAEKE Louis TEAM SUNWEB 5h 12’ 42” 01’ 07” 46 PANTANO GOMEZ Jarlinson TREK – SEGAFREDO 5h 12’ 42” 01’ 07” 47 LAMMERTINK Maurits TEAM KATUSHA ALPECIN 5h 12’ 52” 01’ 17” 48 MONTAGUTI Matteo AG2R LA MONDIALE 5h 13’ 16” 01’ 41” 49 JAUREGUI Quentin AG2R LA MONDIALE 5h 13’ 16” 01’ 41” 50 HAIG Jack MITCHELTON – SCOTT 5h 13’ 24” 01’ 49” 51 HERMANS Ben ISRAEL CYCLING ACADEMY 5h 13’ 38” 02’ 03” 52 ROCHE Nicolas BMC RACING TEAM 5h 13’ 38” 02’ 03” 53 CAVAGNA Rémi QUICK-STEP FLOORS 5h 13’ 41” 02’ 06” 54 GESINK Robert TEAM LOTTO NL – JUMBO 5h 13’ 46” 02’ 11” 55 BROWN Nathan EF EDUCATION FIRST-DRAPAC p/b CANNONDALE 5h 13’ 46” 02’ 11” 56 KREUZIGER Roman MITCHELTON – SCOTT 5h 13’ 46” 02’ 11” 57 TONELLI Alessandro BARDIANI CSF 5h 13’ 46” 02’ 11” 58 DE LA CRUZ MELGAREJO David TEAM SKY 5h 13’ 51” 02’ 16” 59 VISCONTI Giovanni BAHRAIN – MERIDA 5h 13’ 54” 02’ 19” 60 BERHANE Natnael TEAM DIMENSION DATA 5h 14’ 29” 02’ 54” 61 ROUX Anthony GROUPAMA – FDJ 5h 14’ 29” 02’ 54” 62 BIDARD François AG2R LA MONDIALE 5h 14’ 29” 02’ 54” 63 MOHORIC Matej BAHRAIN – MERIDA 5h 14’ 51” 0’ 01” 03’ 16” 64 KING Benjamin TEAM DIMENSION DATA 5h 15’ 04” 03’ 29” 65 PFINGSTEN Christoph BORA – HANSGROHE 5h 15’ 04” 03’ 29” 66 TEN DAM Laurens TEAM SUNWEB 5h 15’ 11” 03’ 36” 67 DENZ Nico AG2R LA MONDIALE 5h 15’ 57” 04’ 22” 68 VAN DER SANDE Tosh LOTTO SOUDAL 5h 16’ 55” 0’ 03” 05’ 20” 69 JANSE VAN RENSBURG Jacques W TEAM DIMENSION DATA 5h 17’ 01” 05’ 26” 70 NOVAK Domen BAHRAIN – MERIDA 5h 17’ 08” 05’ 33” 71 CAPECCHI Eros QUICK-STEP FLOORS 5h 19’ 30” 07’ 55” 72 VILLELLA Davide ASTANA PRO TEAM 5h 19’ 30” 07’ 55” 73 TORRES AGUDELO Rodolfo Andre ANDRONI GIOCATTOLI-SIDERMEC 5h 19’ 30” 0’ 02” 07’ 55” 74 VENDRAME Andrea ANDRONI GIOCATTOLI-SIDERMEC 5h 19’ 30” 07’ 55” 75 SCHMIDT Mads Würtz TEAM KATUSHA ALPECIN 5h 22’ 17” 10’ 42” 76 BAK YTTING Lars LOTTO SOUDAL 5h 22’ 17” 10’ 42” 77 BOARO Manuele BAHRAIN – MERIDA 5h 22’ 21” 10’ 46” 78 LADAGNOUS Matthieu GROUPAMA – FDJ 5h 22’ 21” 10’ 46” 79 GROSSSCHARTNER Felix BORA – HANSGROHE 5h 22’ 36” 11’ 01” 80 NIBALI Antonio BAHRAIN – MERIDA 5h 22’ 36” 11’ 01” 81 DIDIER Laurent TREK – SEGAFREDO 5h 25’ 02” 13’ 27” 82 HAMILTON Christopher TEAM SUNWEB 5h 25’ 42” 14’ 07” 83 HAGA Chad TEAM SUNWEB 5h 25’ 42” 14’ 07” 84 VAN HOECKE Gijs TEAM LOTTO NL – JUMBO 5h 25’ 42” 14’ 07” 85 VENTURINI Clement AG2R LA MONDIALE 5h 25’ 42” 14’ 07” 86 MARCATO Marco UAE TEAM EMIRATES 5h 26’ 47” 15’ 12” 87 MORI Manuele UAE TEAM EMIRATES 5h 26’ 47” 15’ 12” 88 IRIZAR ARAMBURU Markel TREK – SEGAFREDO 5h 26’ 47” 15’ 12” 89 VENTOSO ALBERDI Francisco Jo BMC RACING TEAM 5h 26’ 47” 15’ 12” 90 BENEDETTI Cesare BORA – HANSGROHE 5h 26’ 47” 15’ 12” 91 CURVERS Roy TEAM SUNWEB 5h 26’ 47” 15’ 12” 92 PLANCKAERT Baptiste TEAM KATUSHA ALPECIN 5h 26’ 47” 15’ 12” 93 DOMBROWSKI Joseph Lloyd EF EDUCATION FIRST-DRAPAC p/b CANNONDALE 5h 26’ 47” 15’ 12” 94 ANTON HERNANDEZ Igor TEAM DIMENSION DATA 5h 26’ 47” 15’ 12” 95 HANSEN Adam James LOTTO SOUDAL 5h 26’ 47” 15’ 12” 96 SCHILLINGER Andreas BORA – HANSGROHE 5h 26’ 47” 15’ 12” 97 TURRIN Alex WILIER TRIESTINA – SELLE ITALIA 5h 26’ 47” 15’ 12” 98 GIBBONS Ryan TEAM DIMENSION DATA 5h 26’ 47” 15’ 12” 99 VENTER Jaco TEAM DIMENSION DATA 5h 26’ 47” 15’ 12” 100 ATAPUMA Jhon Darwin UAE TEAM EMIRATES 5h 26’ 47” 15’ 12” 101 KUZNETSOV Viacheslav TEAM KATUSHA ALPECIN 5h 26’ 47” 15’ 12” 102 STYBAR Zdenek QUICK-STEP FLOORS 5h 26’ 47” 15’ 12” 103 JUUL JENSEN Christopher MITCHELTON – SCOTT 5h 26’ 47” 15’ 12” 104 MODOLO Sacha EF EDUCATION FIRST-DRAPAC p/b CANNONDALE 5h 26’ 52” 15’ 17” 105 BELLETTI Manuel ANDRONI GIOCATTOLI-SIDERMEC 5h 26’ 52” 15’ 17” 106 SEPULVEDA Eduardo MOVISTAR TEAM 5h 26’ 55” 15’ 20” 107 DRUCKER Jean-Pierre BMC RACING TEAM 5h 27’ 09” 15’ 34” 108 QUINTANA Dayer MOVISTAR TEAM 5h 27’ 13” 15’ 38” 109 FERNANDEZ Ruben MOVISTAR TEAM 5h 27’ 59” 16’ 24” 110 GAVAZZI Francesco ANDRONI GIOCATTOLI-SIDERMEC 5h 28’ 03” 16’ 28” 111 SABATINI Fabio QUICK-STEP FLOORS 5h 28’ 03” 16’ 28” 112 VLIEGEN Loïc BMC RACING TEAM 5h 28’ 03” 16’ 28” 113 COLEDAN Marco WILIER TRIESTINA – SELLE ITALIA 5h 28’ 03” 16’ 28” 114 SBARAGLI Kristian ISRAEL CYCLING ACADEMY 5h 28’ 03” 16’ 28” 115 MARTIN Tony TEAM KATUSHA ALPECIN 5h 28’ 03” 16’ 28” 116 DE LA PARTE Victor MOVISTAR TEAM 5h 28’ 03” 16’ 28” 117 DOWSETT Alex TEAM KATUSHA ALPECIN 5h 28’ 03” 16’ 28” 118 SENECHAL Florian QUICK-STEP FLOORS 5h 28’ 03” 16’ 28” 119 VAN EMDEN Jos TEAM LOTTO NL – JUMBO 5h 28’ 03” 16’ 28” 120 LINDEMAN Bert-Jan TEAM LOTTO NL – JUMBO 5h 28’ 03” 16’ 28” 121 VAN POPPEL Danny TEAM LOTTO NL – JUMBO 5h 28’ 03” 16’ 28” 122 BOIVIN Guillaume ISRAEL CYCLING ACADEMY 5h 28’ 03” 16’ 28” 123 LAT NEILANDS Krists ISRAEL CYCLING ACADEMY 5h 28’ 03” 16’ 28” 124 WELLENS Tim LOTTO SOUDAL 5h 28’ 03” 16’ 28” 125 SCULLY Tom EF EDUCATION FIRST-DRAPAC p/b CANNONDALE 5h 28’ 03” 16’ 28” 126 DOCKER Mitchell EF EDUCATION FIRST-DRAPAC p/b CANNONDALE 5h 28’ 03” 16’ 28” 127 EG Niklas TREK – SEGAFREDO 5h 28’ 03” 16’ 28” 128 FRANKINY Kilian BMC RACING TEAM 5h 28’ 03” 16’ 28” 129 PUCCIO Salvatore TEAM SKY 5h 28’ 03” 16’ 28” 130 MAESTRI Mirco BARDIANI CSF 5h 28’ 03” 16’ 28” 131 BERTAZZO Liam WILIER TRIESTINA – SELLE ITALIA 5h 28’ 03” 16’ 28” 132 KNEES Christian TEAM SKY 5h 28’ 03” 16’ 28” 133 ROELANDTS Jurgen BMC RACING TEAM 5h 28’ 03” 16’ 28” 134 KIRYIENKA Vasil TEAM SKY 5h 28’ 03” 16’ 28” 135 MORABITO Steve GROUPAMA – FDJ 5h 28’ 03” 16’ 28” 136 LUTSENKO Alexey ASTANA PRO TEAM 5h 28’ 03” 16’ 28” 137 DEMPSTER Zakkari ISRAEL CYCLING ACADEMY 5h 28’ 03” 16’ 28” 138 DE MARCHI Alessandro BMC RACING TEAM 5h 28’ 15” 16’ 40” 139 BONNET William GROUPAMA – FDJ 5h 28’ 18” 16’ 43” 140 CATTANEO Mattia ANDRONI GIOCATTOLI-SIDERMEC 5h 28’ 47” 17’ 12” 141 FRAPPORTI Marco ANDRONI GIOCATTOLI-SIDERMEC 5h 28’ 47” 17’ 12” 142 BALLERINI Davide ANDRONI GIOCATTOLI-SIDERMEC 5h 28’ 47” 17’ 12” 143 BARBIN Enrico BARDIANI CSF 5h 28’ 47” 17’ 12” 144 CICCONE Giulio BARDIANI CSF 5h 28’ 47” 17’ 12” 145 SENNI Manuel BARDIANI CSF 5h 28’ 47” 17’ 12” 146 ROY Jérémy GROUPAMA – FDJ 5h 28’ 47” 17’ 12” 147 DEBUSSCHERE Jens LOTTO SOUDAL 5h 28’ 47” 17’ 12” 148 CARTHY Hugh John EF EDUCATION FIRST-DRAPAC p/b CANNONDALE 5h 28’ 47” 17’ 12” 149 FRISON Frederik LOTTO SOUDAL 5h 28’ 47” 17’ 12” 150 VAN ASBROECK Tom EF EDUCATION FIRST-DRAPAC p/b CANNONDALE 5h 28’ 47” 17’ 12” 151 ZHUPA Eugert WILIER TRIESTINA – SELLE ITALIA 5h 28’ 47” 17’ 12” 152 SAGIV Guy ISRAEL CYCLING ACADEMY 5h 28’ 47” 17’ 12” 153 CAMPENAERTS Victor LOTTO SOUDAL 5h 28’ 47” 17’ 12” 154 LAENGEN Vegard Stake UAE TEAM EMIRATES 5h 28’ 47” 17’ 12” 155 PEDRERO Antonio MOVISTAR TEAM 5h 28’ 47” 17’ 12” 156 BELKOV Maxim TEAM KATUSHA ALPECIN 5h 28’ 47” 17’ 12” 157 ANDREETTA Simone BARDIANI CSF 5h 28’ 47” 17’ 12” 158 MULLEN Ryan TREK – SEGAFREDO 5h 29’ 46” 18’ 11” 159 BONIFAZIO Niccolò BAHRAIN – MERIDA 5h 29’ 50” 18’ 15” 160 SIMION Paolo BARDIANI CSF 5h 29’ 50” 18’ 15” 161 MOSCA Jacopo WILIER TRIESTINA – SELLE ITALIA 5h 30’ 01” 18’ 26” 162 MARECZKO Jakub WILIER TRIESTINA – SELLE ITALIA 5h 30’ 01” 18’ 26” 163 PEDERSEN Mads TREK – SEGAFREDO 5h 30’ 15” 18’ 40” 164 VAN POPPEL Boy TREK – SEGAFREDO 5h 30’ 15” 18’ 40” 165 MØRKØV Michael QUICK-STEP FLOORS 5h 30’ 15” 18’ 40” 166 VIVIANI Elia QUICK-STEP FLOORS 5h 30’ 15” 18’ 40” 167 BENNETT Sam BORA – HANSGROHE 5h 30’ 15” 18’ 40” 168 FONZI Giuseppe WILIER TRIESTINA – SELLE ITALIA 5h 30’ 15” 18’ 40” 169 HOFSTEDE Lennard TEAM SUNWEB 5h 30’ 15” 18’ 40” 170 BEWLEY Sam MITCHELTON – SCOTT 5h 35’ 35” 24’ 00” 171 TUFT Svein MITCHELTON – SCOTT 5h 35’ 35” 24’ 00”

ECUADOR GANA CON CARAPAZ ETAPA GIRO

[warm-lullabies]

⋆⭒˚.⋆ The protagonists of my web series in pony version ⋆⭒˚.⋆

Lucy belongs to @candied-berry

Used pony bases by zinmistery & Mortris in DA