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#bride a brac
mrs-trophy-wife · 3 months
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theheadlessgroom · 4 months
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@beatingheart-bride
"So, what all are we looking for here, lass? What do you want to take home the most right now?"
In a way, Wilhelm was reminded of his own packing back in Ireland, his preparation for his travels to the States: He remembered walking around his room, his house, trying to think of what he wished to take with him the most. He tried to focus on the important things: Clothes, of course, a photo album, an Irish flag, his mother's tea set, but there were more personal, sentimental items he thought about taking-childhood toys, knickknacks and bric-a-brac, little things he still had an emotional investment in...he didn't have enough room in his suitcase to take it all with him, he knew, but it wasn't for a lack of trying.
"Are these any heirlooms in the house, anything very valuable you want to move out?" June asked, trying to see the situation a touch practically: Given how much time Emily had spent at their home, her own home must've looked quite dark and uninhabited, and so a part of her feared some hooligans might want to break in and try to steal the silverware, so valuables were at the top of the list.
At the mention of valuables, Randall immediately thought of the veil: If there was anything that fit under that descriptor, his masterpiece would be it, and that would be the first thing he'd make sure to grab for Emily.
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shopalexandriaco · 2 months
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Check out this listing I just added to my Poshmark closet: Hermes bride a brac bag.
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abellinthecupboard · 1 year
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“Matoaka” (Part 1)
for the tercentenary of the College of William and Mary 1. Place names, the names of streams— the Rappahannock, the Roanoke, the Potomac, and that commemoration of sometime   majesty, the James, its tributary the Chickahominy, the Pamunkey and the Mattaponi, each what a people called itself once, subsumed in   a gazetteer, the names half-overgrown by the long quasi- anonymity that is history: beyond the sunken garden, the crape-   myrtle symmetries, past the foundation-stone surnames (Blair, Wythe, Ewell, Brafferton, Crim Dell), the wooded hillsides,   in a rippling pause, the gathered lisp of watersheds, describe a lake, place-named— at random, a homage, half-absent-   minded, a penance even?— Matoaka. A woman's name, though not the one we know her by, or imagine we do. To Captain   John Smith, our own Odysseus—bright, contentious, crafty, forever on the move—she'd been Pocahuntus, well formed but   wanton, still a child. Nausicaä, only younger? A king's daughter as advocate: that was the story we told once, from which   we've since recoiled (we being history) in favor of the hidden, discreditable motive, the flagrant fib. Who was she?   As Paul De Man, for instance. Ask Nietzsche, Freud or Lévi-Strauss. Ask Parson Weems, while you're about it.   Ask any woman what she thinks, or thought she did. The stories we tell ourselves keep changing. Bronze-immobilized, demure in   deerskin, the heathen princess turns to bric-a-brac. As kings' names do. As words—the ritual twiddle of a once-abrasive contour—   have also done. Begin again. Go back to Majesty, the word personified, a woman: the dazzlement, the hankering after   gold, fame, danger, the smell, the pomandered stink of it, of her, ruffed, wigged, gemmed, powdered, breathing, to be adored.   Backto the courtier knighted at Greenwich, given leave to name the shore he claimed, the year fifteen hundred eighty-four of (mark this)   our redemption, Vir- ginia. Such were the forms and usages, now quaint, of royalty. Behind them, silences. Silence at Roanoke, on the Outer Banks, what little there ever was to remember long overgrown: the dunes' expanse, the alrgesse of it   past the unsullied line of breakers, overrun with grapevines, sassafras, the massive green of cedars;   the white birds, startled, flying up; an unclad, hospitable people bringing dressed skins, the shimmer of a glut of pearls.   named Virginia, a place without detriment or sleight of language. Households. Marriages. A girl-child   named Virginia. Five years later, footprints. Ruined walls. A half-carved word. What happened? by whose fault? Silence at Werewo- comoco, seat of Powhatan, who—as Captain Smith, his match in guile, did not forbear to say—   had his own majesty. Silence at henrico, the lands upriver, and at Varina, where John Rolfe planted the golden weed that one day   would amount to money— Varina, where after many inner wrestlings, after consultations, mumblings and catechizings,   he'd bring his bride, not as Matoaka or, any longer, Pocahuntus but, renamed in Christ, Rebecca. What she called herself   by then is not recorded.
— Amy Clampitt, A Silence Opens (1993)
Part 1 | Part 2 | Part 3
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go-scottishgal14 · 3 years
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from Taki’s magazine...
The End Game
Bruce Antonio Laue
March 09, 2021
The wedding was marvelous, the weather superb. Crowds ten deep along the mall to Windsor Castle. An American bride for the warrior-prince. The pubs rang out with cheers “To the Royal Couple”!
A breath of fresh air; the Brits are always up for a breath of fresh air. They gave us the Rolling Stones, the Beatles, and the miniskirt, for heaven’s sake. And here she was, young, beautiful, American, an actress, Catholic, divorced, and biracial. Perfect. What could possibly go wrong? Meghan Markle was about to enter a life of luxury, glamour, and deference the likes of which few people can imagine, let alone aspire to, a life she craved but did not understand. The latest fashions, the finest entertainments, the love of a besotted young man who, with a little encouragement, might mimic the career of his kinsman, Lord Louis Mountbatten of Burma. All this, and at so little cost to the bride.
In exchange for all this, the British people expected her to try to stay awake while visiting the gluten-free gumball factory as the plant manager explains how the little suckers are produced. At times a plaque must be unveiled on the side of a post office, hospital, college, railway station, or army barracks. Occasionally little school children need to be patted on the head, no problem; the Duchess likes children, or so she says. And then there are the trips, lots and lots of trips; to Fiji, Lesotho, Tonga, Tuvalu, and many more places that Her Highness has never heard of, and there will be gifts and dinners and more gifts and more little heads to be patted. And then there are men standing in straight lines all wearing the same funny suits, carrying rifles because they have sworn to defend you and your family with their lives, if need be. All you have to do is walk past them down the line and smile. When you have a child, people will cheer and artillery will sound and bells will ring and there will be happiness everywhere. That’s it, that’s all that’s expected.
“To refuse to do your duty is a selfish impulse the British cannot understand.”
And it was unsurvivable. Unsurvivable.
There were some early clues; the toothless smile at the Trooping of the Colour (it was almost a smirk). The reticence in allowing photos of her newborn son Archie to be published. The move to Canada—well, all right, grandmother’s profile is on every coin so we’re not really that far away. But then California, bumming off friends or business contacts. Then Megxit—an act so shocking that it was easily compared to the 1936 abdication crisis. To refuse to do your duty is a selfish impulse the British cannot understand. It goes against their basic concepts of personal identity; it is akin to cowardice. Your duty is something you knew was expected of you when you were born to a specific role in society or took an oath to uphold certain principles or values. To dishonor them is to dishonor yourself. It is a way of thinking Meghan Markle cannot grasp.
And then the interview, complete with background music. Oprah, to her credit, said it was “your truth,” not “the truth.” Markle’s ridiculous contention that her son would not receive security protection or that he would not be provided a princely title is for an American audience not familiar with the workings of royal etiquette. Harry could have bestowed his subsidiary title of Baron Dumbarton on his infant son immediately but refused in an act of petty narcissism rare in British society. His whining about money, as if fully expecting his countrymen to finance his lifestyle after he objected to carrying out his royal role. And he spouted a lie that he thought the public might consider—that his father and brother were “trapped” in their roles, that their duty was thrust upon them as it was on him, that some devious entity had hijacked their true life paths. What garbage. It was a disingenuous ploy to escape the contempt merited by his failure of character.
In its totality, the Duke and Duchess of Sussex engaged in an act of pure selfishness that bespoke a lack of respect for their family, their country, and the service they had pledged to perform.
One can envision the reaction of the millions of women living in tiny houses or “council housing” trying to lovingly make them into homes for their families, clipping the 99-cent coupon for the roast beast Sunday feast, their mouths agape at the sheer nerve. One can only imagine the murmured comments at the Cavalry and Guards Club or White’s or the Victory Service, as everyone stood around the television in the library sipping single malts; “Well, no more balcony time for them,” “I’ll be damned,” “I wouldn’t have believed it if you had told me.” The pubs must have been silent, pints quietly poured as the Duchess described her awful royal existence from the garden of a nameless estate in the warm sunshine of California as people in London, Cardiff, Aberdeen, and Belfast continue to die from a pandemic in the cold, damp air of a British spring.
Prince Henry Mountbatten-Windsor, Duke of Sussex, seems consigned by his wife or by choice to a life of poolside parties, discussing the finer points of child rearing with his good friends Kanye and Wendy Williams, sipping pinot grigio while passing the appetizers to Fergie (the rapper, not his aunt), discussing the plight of the Ndebele with Lily Cole, and “making shapes” on the dance floor with the rest of the Beverly Hills bric-a-brac. It makes the life of his great-great uncle, the Duke of Windsor, and his wife from Baltimore look absolutely disciplined by comparison.
In Henry V the Bard has the King proclaim outside the walls of Harfleur, “The game’s afoot!” But in Prince Harry’s case, one might be forgiven to suspect that the game has ended.
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miguelmarias · 4 years
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TOP 2020
25/12/2020
 A)    Great movies made since 2015 seen for the first time in 2020: 
Buoyancy(Freedom;Rodd Rathjen, 2019)
Les choses qu’on dit, les choses qu’on fait(Emmanuel Mouret, 2020)
L’Île au trésor(Guillaume Brac, 2018)
Le Sel des larmes(Philippe Garrel, 2019/20)
Ghawre Bairey Aaj(Home and the World;Aparna Sen, 2019)
Undine(Christian Petzold, 2020)
Happī awā(Happy Hour;Hamaguchi Ryūsuke, 2015)
Netemo Sametemo(Asako I & II;Hamaguchi Ryūsuke, 2018)
Adolescentes(Sébastien Lifshitz, 2013-9/20)
Family Romance, LLC.(Werner Herzog, 2019)
Demain et tous les autres jours(Noémie Lvovsky, 2017)
Gamak Ghar(Achal Mishra, 2019)
Lunana:A Yak in the Classroom(Pawo Choyning Dorji, 2019)
Semina il vento(Sow the Wind;Danilo Caputo, 2020)
Objector(Molly Stuart, 2019)
La France contre les robots(Jean-Marie Straub, 2020)
Paris Calligrammes(Ulrike Ottinger, 2019/20)
Un film dramatique(Éric Baudelaire, 2019)
 B)    Great movies made before 2015 seen for the first time in 2020: 
Là-Haut, un Roi au-dessus des nuages(Pierre Schoendoerffer, 2003)
Pangarap ng Puso(Demons/Whispers of the Demon/Hope of the Heart;Mario O’Hara, 2000)
Les Films rêvés(Eric Pauwels, 2009)
La vida en rojo(Andrés Linares, 2007/8)
Come Next Spring(R.G. Springsteen, 1955/6)
Song of Surrender(Mitchell Leisen, 1948/9)
Adventure in Manhattan(Edward Ludwig, 1936)
Strannaia zhenshchina(A Strange Woman;Iuli Raízman, 1978)
Chastnaia zhízn(Private Life;Iuli Raízman, 1982)
Málva(Vladimir Braun, 1956/7)
Zhila-byla devochka(Once There Was a Girl;Viktor Eisimont, 1944)
The Unknown Man(Richard Thorpe, 1951)
Aisai Monogatari(Story of a Beloved Wife;Shindō Kaneto, 1951)
Practically Yours(Mitchell Leisen, 1944)
A Summer Storm(Robert Wise, 1999/2000)
Lettre d’un cinéaste à sa fille(Eric Pauwels, 2000)
Sombra verde(Untouched;Roberto Gavaldón, 1954)
Fantasma d’amore(Dino Risi, 1981)
Adieu, Mascotte(Das Modell vom Montparnasse;Wilhelm Thiele, 1929)
Mori no kajiya(The Blacksmith of the Forest;Shimizu Hiroshi, 1928/9;fragment)
Zwischen Gestern und Morgen(Between Yesterday and Tomorrow;Harald Braun, 1947)
Last Holiday(Henry Cass, 1950)
Dialogue d’ombres(Danièle Huillet & Jean-Marie Straub, 1954-2013)
Out-Takes from the Life of a Happy Man(Jonas Mekas, 2012)
Nice Time(Claude Goretta & Alain Tanner, 1957)
Aloma of the South Seas(Alfred Santell, 1941)
A Feather in Her Hat(Alfred Santell, 1935)
La Danseuse Orchidée(Léonce Perret, 1928)
Underground(Vincent Sherman, 1941)
Time Out(in Twilight Zone-The Movie)(John Landis, 1983)
Lackawanna Blues(George C. Wolfe, 2005)
Janie(Michael Curtiz, 1944)
Dernier Amour(Léonce Perret, 2016)
Jeunes Filles en détresse(Georg Wilhelm Pabst, 1939)
Kisapmata(Blink of an Eye;Mike De Leon, 1981)
La Dernière Lettre(Frederick Wiseman, 2002)
The Lady of the Dig-Out(W.S. Van Dyke II, 1918)
Their Own Desire(E.Mason Hopper, 1929)
 C)    Very good movies made since 2015 seen for the first time in 2020: 
Zumiriki(Oskar Alegria, 2019)
Atlantique(Mati Diop, 2019)
J’accuse(An Officier and A Spy;Roman Polanski, 2019)
Richard Jewell(Clint Eastwood, 2019)
Alice et le Maire(Nicolas Pariser, 2019)
Contes de Juillet(July Tales;Guillaume Brac, 2017)
Dark Waters(Todd Haynes, 2019)
Ofrenda a la tormenta(Fernando González Molina, 2020)
Nomad:In the Footsteps of Bruce Chatwin(Werner Herzog, 2019)
Into the Inferno(Werner Herzog, 2016)
The Zookeeper’s Wife(Niki Caro, 2017)
Journal de septembre(Eric Pauwels, 2019)
La Deuxième Nuit(Eric Pauwels, 2016)
Kaze no denwa(Voices in the Wind;Suwa Nobuhiro, 2019/20)
Da 5 Bloods(Spike Lee, 2020)
Izaokas(Isaac;Jurgis Matulevičius, 2019)
A Metamorfose dos Pássaros(Catarina Vasconcelos, 2020)
Tabi no Owari Sekai no Hajimari(To the Ends of the Earth;Kurosawa Kiyoshi, 2019)
La Nuit d’avant(Pablo García Canga, 2019)
My Mexican Bretzel(Nuria Giménez, 2018-9)
Domangchin yeoja(The Woman Who Ran;Hong Sang-soo, 2019/20)
Öndög(Wang Quanan, 2019)
Hatsukoi(First Love;Miike Takashi, 1959)
Million raz pogivaet odin Cheloviek(One man dies a million times;Jessica Oreck, 2018/9)
The Two Popes(Fernando Meirelles, 2019)
Félicité(Alain Gomis, 2016/7)
Salt and Fire(Werner Herzog, 2016)
Ni de lian(Your Face;Tsai Ming-liang, 2018)
Qi qiu(Balloon;Pema Tseden, 2019)
River Silence(Rogério Soares, 2019)
Charlie’s Angels(Elizabeth Banks, 2019)
La boda de Rosa(Iciar Bollain, 2020)
Guerra(War;José Oliveira & Marta Ramos, 2020)
My Thoughts Are Silent/Moyi dumky tykhi(Antonio Lukich, 2019)
Namo(The Alien;Nader Saeivar;co-script-Jafar Panahi, 2020)
Los silencios(The Silences;Beatriz Seigner, 2018)
Terminal Sud(Rabah Ameur-Zaïmeche, 2019)
Tu mérites un amour(You Deserve a Lover;Hafsia Herzi, 2019)
Les Misérables(Ladj Ly, 2019)
Padre no hay más que uno(Santiago Segura, 2019)
Honeyland(Tamara Kotovska & Ljubomir Stefanov, 2019)
Izbrisana(Erased;Miha Mazzini & Dusan Joksimovic, 2018)
This Is Not A Burial, It’s A Resurrection(Lemohang Jeremiah Mosese, 2019)
Primero Enero(Darío Mascambroni, 2016)
Lahi, Hayop(Pan, Genus/Genus Pan;Lav Diaz, 2020)
 D)    Very good movies made before 2015 seen for the first time in 2020: 
Topaze(Marcel Pagnol, 1936)
The SIGN OF THE RAM(John Sturges, 1947/8)
Abandoned(Joseph M. Newman, 1949)
Bewitched(Arch Oboler, 1944/5)
La Femme du Bout du Monde((Jean Epstein, 1937)
The Outcast(William Witney, 1954)
Saadia(Albert Lewin, 1953)
Un monde sans femmes(Guillaume Brac, 2011)
Dishonored Lady(Robert Stevenson, 1947)
Always Goodbye(Signey Lanfield, 1938)
A Blueprint for Murder(Andrew L. Stone, 1953)
Bedevilled(Mitchell Leisen, 1955)
That Forsyte Woman(Compton Bennett, 1949)
The Miracle(Irving Rapper, 1959)
The Madonna’s Secret(Wilhelm Thiele, 1946)
The Town That Dreaded Sundown(Charles B. Pierce, 1976)
Grayeagle(Charles B. Pierce, 1977)
Barricade(Peter Godfrey, 1949/50)
Tomorrow is Forever(Irving Pichel, 1945/6)
David Harum(James Cruze, 1934)
The Vanquished(Edward Ludwig, 1953)
Keisatsukan(Uchida Tomu, 1933)
...Enfants des courants d’air(Édouard Luntz, 1959, short)
The Winds of Autumn(Charles B. Pierce, 1976)
Suddenly It’s Spring(Mitchell Leisen, 1946)
Uchūjin Tōkyō ni arawaru(Warning from Space;Shima Kōji, 1956)
Swiss Family Robinson(Edward Ludwig, 1940)
Ludwig der Zweite, König von Bayern(Wilhelm Dieterle, 1930)
Faithless(Harry Beaumont, 1932)
Botan-dorō(Peony Lanterns;Yamamoto Satsuo, 1968)
Ginza 24 chou(Tales of Ginza;Kawashima Yūzō, 1955)
Goodbye Again(Michael Curtiz, 1933)
Lines of White on a Sullen Sea(D.W. Griffith, 1909)
You Gotta Stay Happy(H.C. Potter, 1948)
Cave of Forgotten Dreams(Werner Herzog, 2010)
Riff-Raff(Ted Tetzlaff, 1947)
The Moon is Down(Irving Pichel, 1943)
The Bride Wore Boots(Irving Pichel, 1946)
Adventures in Silverado(Phil Karlson, 1948)
The Stolen Ranch(William Wyler, 1926)
Congo Maisie(H.C. Potter, 1940)
Marcides(Mercedes;Yousry Nasrallah, 1993)
Hell’s Five Hours(Jack L. Copeland, 1958)
Daniel(in Stimulantia;Ingmar Bergman, 1967)
Diên Biên Phú(Pierre Schoendoerffer, 1992)
Canyon River(Cattle King;Harmon Jones, 1956)
Dos Basuras(Kurt Land, 1958)
Smart Girls Don’t Talk(Richard L. Bare, 1948)
The Big Shakedown(John Francis Dillon, 1933/4)
Corvette K-225(Richard Rosson;p.,collab.Howard Hawks, 1943)
The Gay Deception(William Wyler, 1935)
The Invisible Woman(A.Edward Sutherland, 1940)
Rage in Heaven(W.S. Van Dyke II;collab.Robert B. Sinclair,Richard Thorpe, 1941)
Wild Side(Sébastien Lifshitz, 2004)
I bambini e noi(Luigi Comencini, 1970//7)
The House Across The Street(Richard L. Bare, 1948/9)
The Doughgirls(James V. Kern, 1944)
The Love Trap(William Wyler, 1929)
Torch Song(Charles Walters, 1953)
The Meanest Man in the World(Sidney Lanfield, 1942/3)
Cole Younger, Gunfighter(R.G. Springsteen, 1958)
Ballerine(Gustav Machatý, 1936)
Via Mala(Josef von Báky, 1945//8)
Sky Giant(Lew Landers, 1938)
Les Invisibles(Sébastien Lifshitz, 2012)
Promène toi donc tout nu(Emmanuel Mouret, 1998)
A Story for the Modlins(Una historia para los Modlin;Sergio Oksman, 2012)
Something in the Wind(Irving Pichel, 1947)
Spoveď(Confession;Pavol Skýkova, 1968)
Guilty Hands(W.S. Van Dyke II;collab.Lionel Barrymore, 1931)
Atto di accusa(Giacomo Gentilomo, 1950)
Suspense(Frank Tuttle, 1956)
This Is The Night(Frank Tuttle, 1932)
Escape in the Fog(Oscar ‘Budd’ Boetticher,Jr., 1945)
The Price of Fear(Abner Biberman, 1956)
Happy People:A Year in the Taiga(Werner Herzog, 2010)
Urok(The Lesson;Kristina Grozeva & Petar Valchanov, 2014)
Le Naufragé(Guillaume Brac, 2009)
Lili Marlen(Peter Mihálik;script.Dušan Hanák, 1970;short)
Deseo(Antonio Zavala Kugler, 2013)
  E)     Great movies that improved by new watchings: 
Shanghai Express(Josef von Sternberg, 1932)
The Best Years of Our Lives(William Wyler, 1946)
Till We Meet Again(Frank Borzage, 1944)
Man’s Favorite Sport?(Howard Hawks, 1963/4)
Along The Great Divide(Raoul Walsh, 1951)
Hondo(John V. Farrow, 1953)
Where The Sidewalk Ends(Otto Preminger, 1950)
Mrs. Miniver(William Wyler, 1942)
Driftwood(Allan Dwan, 1947)
‘Good-bye, My Lady’(William A. Wellman, 1956)
Touch of Evil(Preview version, 1975;not later ‘improvements’)(Orson Welles, 1958)
Le Crabe-Tambour(Pierre Schoendoerffer, 1977)
Unfinished Business(Gregory LaCava, 1941)
Madigan(Don Siegel, 1968)
Big Business(James Wesley Horne;s.Leo McCarey, 1929)
Putting Pants on Philip(Clyde A. Bruckman;s.Leo McCarey, 1927)
The Runner Stumbles(Stanley Kramer, 1979)
Yushima no Shiraume(Romance at Yushima;Kinugasa Teinosukē, 1955)
David Harum(Allan Dwan, 1915)
The Virginian(Cecil B. DeMille, 1914)
Island in the Sky(William A. Wellman, 1953)
All About Eve(Joseph L. Mankiewicz, 1950)
L’Eclisse(Michelangelo Antonioni, 1962)
The Roaring Twenties(Raoul Walsh, 1939)
The Plainsman(Cecil B. DeMille, 1936)
JLG/JLG-Autoportrait de décembre(Jean-Luc Godard, 1994)
‘Je vous salue, Marie’(Hail Mary;Jean-Luc Godard, 1984)
La Roue(Abel Gance, 1923)
They All Laughed(Peter Bogdanovich, 1981)
Innocent Blood(John Landis, 1992)
An American Werewolf in London(John Landis, 1981)
The Thing Called Love(Peter Bogdanovich, 1993)
Into the Night(John Landis, 1985)
The File On Thelma Jordon(Thelma Jordon;Robert Siodmak, 1949)
The Little American(Cecil B. DeMille, 1917)
In Our Time(Vincent Sherman, 1944)
The Hunters(Dick Powell, 1958)
Phase IV(Saul Bass, 1974)
L’Honneur d’un Capitaine(Pierre Schoendoerffer, 1982)
Backfire(Vincent Sherman, 1948//50)
Five(Arch Oboler, 1951)
Somewhere in the Night(Joseph L. Mankiewiz, 1946)
A Man Alone(Ray Milland, 1955)
Die Geiger von Florez(Paul Czinner, 1926)
Living on Velvet(Frank Borzage, 1934/5)
La Recta provincia(Raúl Ruiz, 2007//15)
La Noche de enfrente(Raúl Ruiz, 2012)
Carrie(Sister Carrie;William Wyler, 1951/2)
The Spiral Staircase(Robert Siodmak, 1945/6)
The Paradine Case(Alfred Hitchcock, 1947)
L’Amore(Una voce umana+Il Miracolo)(Roberto Rossellini, 1947/8)
The Heiress(William Wyler, 1949)
 F)     Very good movies watched again 
Bluebeard’s 10 Honeymoons(W.Lee Wilder, 1960)
The Five Pennies(Melville Shavelson, 1958)
Take a Letter, Darling(Mitchell Leisen, 1942)
Escape(Joseph L. Mankiewicz, 1948)
Appassionatamente(Giacomo Gentilomo, 1954)
Así como habían sido(Trío)(Andrés Linares, 1986/7)
San Antone(Joseph Kane, 1953)
The High and the Mighty(William A. Wellman, 1954)
Taki no Shiraito(The Water Magician;Mizoguchi Kenji, 1933)
The Web(Michael Gordon, 1947)
The Buccaneer(Anthony Quinn;s.Cecil B. DeMille, 1958)
The Buccaneer(Cecil B. DeMille, 1938)
Desire Me(uncredited:George Cukor/Jack Conway/Mervyn LeRoy/Victor Saville, 1946)
Flaxy Martin(Richard L. Bare, 1948/9)
Swing High, Swing Low(Mitchell Leien, 1937)
Death Takes A Holiday(Mitchell Leisen, 1934)
Irene(Herbert Wilcox, 1940)
Beloved Enemy(H.C. Potter, 1936)
The Cowboy and the Lady(H.C. Potter, 1938)
Der Golem, wie er in die Welt kam(Paul Wegener, 1920)
Mia madre(Nanni Moretti, 2015)
Hell On Frisco Bay(Frank Tuttle, 1955)
Stormy Weather(Andrew L. Stone, 1943)
The Milky Way(Leo McCarey;w.Harold Lloyd, 1936)
Pietà per chi cade(Mario Costa, 1954)
Repeat Performance(Alfred L. Werker, 1947)
Das indische Grabmal:1.Die Sendung des Yoghi,2.Der Tiger von Eschnapur(Joe May, 1921)
Julie(Andrew L. Stone, 1956)
The Member of the Wedding(Fred Zinnemann, 1953)
Winterset(Alfred Santell, 1936)
The Right to Romance(Alfred Santell, 1933)
As Young as You Feel(Harmon Jones, 1951)
You’ll Never Get Rich(Sidney Lanfield, 1941)
The Woman Accused(Paul Sloane, 1933)
Foma Gordeiev(Mark Donskoí, 1959)
The Parent Trap(David Swift, 1961)
High Wall(Curtis Bernhardt, 1947)
Mr. Lucky(H.C. Potter, 1943)
Un Marido de Ida y Vuelta(Luis Lucia, 1957)
The Safecracker(Ray Milland, 1957/8)
She’s Funny That Way(Peter Bogdanovich, 2014)
Oh...Rosalinda!!(Michael Powell & Emeric Pressburger, 1955)
Caribbean(Edward Ludwig, 1952)
Harper(The Moving Target;Jack Smight, 1966)
For You I Die(John Reinhardt, 1947)
Crashing Hollywood(Lew Landers, 1937/8)
Le Souvenir d’un avenir(Chris. Marker & Yannick Bellon, 2001)
Susan Slept Here(Frank Tashlin, 1954)
Bishkanyar Deshot(In the Land of Poison Women;Manju Borah, 2019)
Pollyanna(David Swift, 1960)
A Tale of Two Cities(Jack Conway;collab.Val Lewton & Jacques Tourneur, 1935)
Café Society(Woody Allen, 2016)
Shadow on the Wall(Patrick Jackson, 1949/50)
Tonnerre(Guillaume Brac, 2013)
Le Jouet criminel(Adolfo G. Arrieta, 1969)
‘Once more, with feeling!’(Stanley Donen, 1959)
The Shopworn Angel(H.C. Potter, 1938)
The Absent Minded Professor(Robert Stevenson, 1961)
Gavaznha(The Deer;Masud Kimiai, 1974)
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helloindia24 · 3 years
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Tanya Arora Making a Difference by her 'Wrapping Studio'
Three years back Tanya Arora had no iota of an idea that she would be an entrepreneur. It was a happy coincidence that in a marriage ceremony where her inert creativity got expression in the packaging of the gifts.
Today she is carving her name in the elite circles of leading metros and she is the driving force behind *"Wrapping Studio"*; a storehouse of scintillating gifts for all occasions, catering to all age groups starting from an infant/ toddler to an elderly citizen.
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“Wrapping Studio fully understands that gifts are an integral part and parcel; The very essence of expressing special feelings towards our loved ones. Wrapping Studio excels in offering everyone a remarkable range of products to express our most romantic moves,” said Tanya Arora.
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“Long growing list of satisfied Customers avail Wrapping Studio services during occasions like Deepawali, Bhaidooj & Valentine's as also for Baby Shower, Kids Birthday etc. On special request, Wrapping Studio offers gifts for various occasions like Mother’s Day, Father’s Day, Holi, Karwa Chauth Christmas etc.” added Tanya.
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Tanya's customer-friendly www. wrappingstudio.in the website is fully geared up for providing seamless and easy online product choosing and placing orders which get delivered promptly. Her forte are -creating and conceptualising design with a complete repertoire of mesmerising trousseau, gift hampers, hand-made bric a bracs including scented candles and fragrant soaps collection to name a few.
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Tanya Arora comes as a confident and customer-friendly businesswoman and reiterates her unique offerings along with its major features being;
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For Further Information Contact: Mob-919871167412, [email protected], www.wrappingstudio.in
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historybizarre · 5 years
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As we shop for presents this holiday season, most of us would probably agree that a good gift should be something useful to the receiver. But, the historian Ellen Litwicki writes, a little over a century ago, that was a new assumption. Litwicki notes that a typical late-nineteenth-century etiquette manual recommended that wedding gifts should consist of “objets d’art and delightful bric-a-brac.” The only exception was for people very close to the bride and groom “who have a right to comprehend the needs of the newly wedded” and could therefore give them something that they actually needed
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Litwick writes that a Progressive-Era coalition of wealthy and working class women formed an organization to address the issue, the Society for the Prevention of Useless Giving (SPUG). The working-class members complained that they felt coerced to contribute to funds to buy presents for their bosses. They pledged to tell those taking up such collections to tell them “I am a Spug. I don’t believe in giving useless Christmas gifts.”
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roohfully · 6 years
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hindi film recs? preferably romance but any films at all that u love💖
sure. i’ll focus specifically on rom-coms, even though it’s more specific than what you asked. romance is what hindi cinema does best, so it’s honestly too broad for me to fit in and if i expanded to ones that i’m fond of, the list would get too long. if you’d like historical romances, tragic romances, dramatic romances, send another question, please!! ♡ ~ denotes it being on netflix. this is also by no means comprehensive, i know for a fact that i am missing many lovely and worthwhile films, but i decided to focus on only contemporary ones, meaning after 2000 (bar one). this is also not in any specific order. 
love per square foot: a slice-of-life about a hindu boy and christian girl who enter a marriage of convenience so that they can buy a home. it’s very sweet and heartfelt, the family relationships in it are also extremely endearing. it’s also not very glam as usual, cinematographically i found that it focuses nicely on the little bric-à-brac common to middle-class/poorer indian family homes. ~
khoobsoorat: lit. lovely. a bubbly physical therapist is sent to work with a paralyzed king for his recuperation, but falls in love with the prince, his son, while she’s there. it’s exactly what it seems like. it’s very sugary, very light, and it’s a very good film for a rainy day or when you’re feeling down. ~
qarib qarib singlle: lit. almost single. a woman decides to embark on a trip with a poet through india to meet his past three girlfriends, the great loves of his life. of course, on this trip, they fall for each other. this one wasn’t a very big hit, but i found it very lovely. india is portrayed beautifully and very genuinely. the plot is very lowkey, i think this one mostly hinges on the poetry and scenes. ~
two states: a south indian girl and north indian boy are friends-with-benefits in college but quickly fall in love, however, upon deciding to get married, they face a culture clash that might separate them forever. writing that out felt so cheesy, lol. anyways, this is one of my favorite films in the world, after i write this out i’m going to go watch this. it’s a really fresh and pleasant movie, i just adore it. i don’t want to spoil much, so i’ll just say that it’s wonderful. ~
jab we met: lit. when we met. oh, the classic. this one also stars a bubbly woman, but she instead encounters a melancholy man on a train. unfortunately, the train leaves without them at a station. the story goes on from there. this is seriously a classic, made in the 2000s. i can’t tell you how many times i sat enraptured in front of the TV with this film on as a kid. the toy train scene is iconic and so funny, you’ll know what i’m talking about when you see it. ~
i hate luv storys: a hopeless romantic meets a complete pessimist. this is one is super fun and definitely romantic in a chick-lit, reminiscent-of-hollywood sort of way. very nice and might be the one you’re looking for if you’re very into romance. ~
aisha: a hindi remake of emma. sonam kapoor is brilliant and beautiful in it. that’s really all you need to know. very relatable and very funny. ugh, i want to rewatch this one too now, lol.
wake up sid!: a good-for-nothing rich kid falls for an older woman who writes, starring konkona sen sharma and ranbir kapoor. this one is seriously good. it’s mature, brisk, contemplative, but still very, very ‘bollywood.’ this is one of kapoor’s earlier movies and i believe (?) it’s one of the ones that really cemented him as a talented actor. loved it when i was younger too. ~
mere brother ki dulhan: lit. my brother’s bride. yeah, just as horrifically hilarious as the title suggests. katrina kaif is radiant as a sweet, confident girl who really doesn’t need anybody to confirm her self-worth. role-model-worthy when i was little, tbh. the reason for my soft spot for her as an actress. imran is good too, but then, he’s usually good. i’d recommend checking his filmography outside this list as well, because he really only does rom-coms.
band baaja baarat: two college kids start a wedding planning business, but matters become messy when one falls in love with the other. cute. fun. is exactly as advertised. the debut of anushka sharma and ranveer kapoor, the latter married deepika padukone recently, if that matters at all.
yeh jaawani hai deewani: lit. this youth is crazy. i realized i didn’t have deepika’s big rom-com on here, lol. anyways, a bookish girl goes on a trip to the himalayas and falls in love with an old collegemate, time skips forward, and we see how their love pans out. all tinsel shots and the perfect amount of angst make it very good. the leads were also dating at the time i think, so you can see if that chemistry is apparent in the film.
dilwale dulhania le jayenge: lit. the big-hearted one will take away the bride. another classic, 1998-made, starring the iconic pairing of SRK and kajol. two young non-resident indians fall in love during a trip around europe, but the girl has already been promised in marriage to another, moving the plot back to india. seriously, if you’re going to watch any film, watch this one, because in my opinion, it changed cinema. the songs are perfect, the couple is adorable. it’s just good.
josh: lit. ebullience. two gangs war in goa, and star-crossed lovers begin to question the senseless violence. it has aishwarya rai in it, which is all the reason you need, honestly. it’s enchanting atmospherically as well, and rather easy-to-watch. fair warning, though: the second half is extremely weak plot-wise, so be aware of that. still, aishwarya rai.
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mrs-trophy-wife · 6 months
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theheadlessgroom · 4 months
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^One day a mortal guest entered the Mansion with them they carried a special jar meant for capturing and sealing ghosts boarding their buggy they waited till they reached the attic where the famous spirit was and quickly took the lid off pointing the jar a whirlwind of magic came out and surrounded the ghost^.
Randall weathered the sudden whirlwind taking over his attic, bracing himself against the wild winds as anything not nailed down began to be lifted off the ground-paintings, portraits, boxes, pillows, and other bric-a-brac began to swirl around in the air...
...up to and including the Black Widow Bride, who screeched in fury as she was dragged kicking and screaming into the jar, which promptly stopped the whirlwind as soon as she was captured.
"Ha! You can have her!" Randall cackled, as the Buggy continued on its way out of the attic and into the graveyard below.
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sfgooglebooks · 6 years
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My Sainted Aunts by Bulbul Sharma
A date was fixed for the boy to come and see Neelima, though he had not expressed any wish to do so. Neelima's father insisted, once again trying to prove his modern views, which were constantly being thwarted by his difficult daughter. The household now began to prepare for the visit in a grand way and Neelima, till now happy about the arrangements, suddenly got cold feet and the collector's wife began appearing in her dreams once more. She took to walking about the house dusting the countless bric-a-brac in an agitated manner, followed by an even more nervous band of servants, in case she broke some precious ornament. The meeting or the viewing was to take place in a large, gloomy hall called the baithak ghar - the formal sitting-room in which no one from the family was ever allowed to sit. As a result, the room had a strong odor of mothballs, which, mingled with a faint but unmistakable smell of dead mice, produced a heady, musty aroma. The servants had tried to disguise the smell by lighting incense sticks behind all the heavy picture frames and sofas.
When the boy and his uncles came into the room in a neat, orderly line, each one of them was assailed by this strange smell, but Debashish was struck so badly that he broke into a fit of sneezing. The parties waited at each end of the large room and watched him with bated breath. They could not make their formal greetings to each other till the boy had finished. But there seemed to be no end to Debashish's sneezes and the more he inhaled the musty air of the room, the more powerful his sneezes became. Neelima's father, despite all his modern thinking, now began to get worried that the evil eye had fallen on the perfect, tall, dark, poor and highly educated boy he had found after such a long and tedious search. He quickly began the ceremonies and welcomed the boy's family with a flowery speech he had memorized for the occasion. The other party, relieved that the silence had at last been broken by something else besides the boy's sneezes, lobbed back their replies with equal grace and flourish, as Debashish continued in the background with his gunshot sneezes. They smiled at each other and gushed on, ignoring the boy totally.
Bit by bit, Neelima's various cousins tripped into the room to examine the boy, and despite the red, watery eyes, a sniffling and twitching nose, they liked him immediately and carried good reports back to Neelima. But Debashish's heart sank when he saw those diminutive girls standing half-hidden behind the sofa. Am I marrying into a family of dwarfs? Maybe my future bride will be wheeled into the room in a pram, he thought panic-stricken. But when Neelima walked into the dark, gloomy room at last, like a ray of sunshine after a cloudy day, Debashish heaved a sigh of relief and his sneezing stopped miraculously. Neelima too, when she strained her neck, looked up high and gazed into the kind, red-rimmed eyes, now no longer felt as if she was at the prize-giving ceremony.
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looking for fancy fondant figurines or a more rustic feel with fresh flowers princess flower girl dresses!$%&**
Known for a sweet and pretty style, Little House of Dreams creates bespoke cakes, cupcakes, and styled wedding dessert tables in Singapore black and red wedding dresses. With a pastry team has more than 20 years of baking experience altogether, and a fondant artist team as well, Little House of Dreams is more than able to create the wedding cake of your dreams whether you're looking for fancy fondant figurines or a more rustic feel with fresh flowers princess flower girl dresses. For your bespoke wedding cake, you can choose to mix and match cake and frosting flavours, or go with a signature flavour such as earl grey or chocolate salted caramel. There's rainbow cake as well! For brides and grooms who want to style their own weddings, Little House of Dreams also provides prop rentals such as cake stands, fabric backdrops, and other pretty bric-a-brac. Elizabeth Taylor got married a lot, and some of her dresses were perfect. One of her better choices was this bright yellow chiffon babydoll dress from 1964. Brides these days tend to be shy of colorful dresses, especially when paired with a dramatic hairstyle like Elizabeth's here. However, this look is completely underrated. Elizabeth evokes purity and style with this look. Choosing to weave hyacinths and lilies of the valley into a complex braided hairstyle, Elizabeth appeared to be a springtime goddess in this ensemble. The round neckline and bow across the waist only adds to the sweetness of this wedding dress. It also echoed her character in Cleopatra, as it was designed by the film's costume designer, Irene Sharaff'who apparently loved her in yellow and flowers. It's that time of the year. Newly signed gym memberships. New resolutions to lose weight before the wedding. They last as long as the hangover from the New Year Weekend. We want a sustainable weight loss system and we want it last year! But instead of searching the Web for a new-fangled diet fad or some high tech machine to dump our weak will upon, why not look inside ourselves? Are we just lazy to exercise? Do we have bad habits that we should quit in 2018 instead? Are these reasons why our gym sessions and diets don't work? What if we took these three extremely simple steps to adjust our lifestyle lace wedding dress, in time for the wedding?
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lamarieehu · 7 years
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edwina333-blog · 4 years
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Out of the game before the game starts
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emma-victoria-arts · 4 years
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“I’ve been dreaming about my wedding day since I was born. I’ve always wanted an off-white dress, kind of Victorian-style, with meadow flowers…”
Vicky’s greatest desire is to be the perfect hostess. Mother. Bride. Everything is set: the canapes, the cake and the dress. There’s only one problem. No one’s sure where the groom is… but we’re sure he’ll turn up.
You are invited to this riotous wreckage of marriage in the 21st century. This deliciously provocative solo show asks if traditional perfection can really make us happy, or if we should wave goodbye to our great expectations…
  I wrote Havisham in 2018 for Mountview’s Catalyst Festival at Theatre503, teaming up with director Anna Marshall and performer Lisa Maria Berg from Bric à Brac Theatre and producer Joanne Blunt. The year after, the show was a part of Perception Festival: Nasty Women at Omnibus Theatre in Clapham, with Alice Devlin as Assistant Director and Alex Hinson as Movement Director. Lisa is a wonderful clown who brought so much life and mess to the show, the whole creative team pulled it off beautifully.
Another version of the show went across the pond in 2019 for a performance in the Spring Season at Columbus State University’s Riverside Theater in Georgia, directed by Tessa Brooks.
Read my writer’s interview for the Omnibus run by following the link: http://www.omnibus-clapham.org/2019/10/07/in-conversation-with-havisham-writer-emma-white/
Theatre503 Poster
Lisa Maria Berg
Omnibus Theatre
Columbus State University
HAVISHAM “I’ve been dreaming about my wedding day since I was born. I’ve always wanted an off-white dress, kind of Victorian-style, with meadow flowers…”
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