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Photos taken by renowned photographer Howell Conant featuring Audrey Hepburn wearing some glamorous and fashionable hats

And the winner is ....

... Julianne Moore from "Still Elise"!


Celebrating the winning of my favorite actress, Julianne, and Cholo's winning on Doll Observers, here's miss Montaigne Market who I think kinda looks like Julianne too is wearing one of my all time favorite Cholo's Doll Couture's. Bravo to both of them!

Alison Brie arrives to the 2014 Vanity Fair Oscar Party on March 2, 2014 in West Hollywood, California. AFP PHOTO/ADRIAN SANCHEZ-GONZALEZ (Photo credit should read ADRIAN SANCHEZ-GONZALEZ/AFP/Getty Images)

◊ A Feud of Biblical Proportions ◊


You will always be young,

always be beautiful,

goddess of your time,

legends all...


Myself as, Bette Davis

Armand MenDoza as, Joan Crawford


My Haus


Sisters Under the Skin



Hello again, actors and actresses. As the world is still a stage, and all men and women are still merely players; in order not to get axed, we will need to keep on acting. There are quite a few different ways of acting; I am not a big fan of method acting, I prefer putting on a different persona as in the good old Greek tragedy.


How to act accordingly


1. Get to know the set and surroundings


2. Understand the scenes you are in, do not get turn up in the wrong scene, things may get awkward


3. Do not stay in the scene for too long, you may become a scene queen


4. Then get to know the acts


5. Acts are the overall pictures of the scenes, which means it's the bigger picture


6. Know the other players


7. Try and understand the sort of interaction you will have and practise with the players


8. Put on a Persona once you start to real deal


9. Hide yourself behind these personae


10. No one cares to see the real you, because the whole play revolve around personae


12. Read the other personae and their body languages


13. Avoid Italian body languages because it is closer to being in a ballet; avoid Japanese gestures too, it is rather stiff and formalised


14. Remember to change your persona really quickly once you are switching scenes


15. Read the lines/blurbs clearly, even when your voice is obscured by the persona



You will not be awarded an Oscar or a BAFTA, but at least you will remain on stage if you are a good actor and handle your personae well.



Remember: wearing a persona for too long will mould your face; you are advised to change your persona, or remove it once it a while - unless you wear a happy one all the time; but do be careful, tears still crack through and your persona will forever be ruined.


This theatrical tutorial is brought to you by Linus & The Feel Good Factory.

HOLLYWOOD, CA - FEBRUARY 22: Actress Chloe Grace Moretz poses in the press room during the 87th Annual Academy Awards at Loews Hollywood Hotel on February 22, 2015 in Hollywood, California. (Photo by Jason Merritt/Getty Images)

... Oh my! I discovered Anne Hathaway this evening. As I began to watch Rachel Getting Married, I didn't know a single performer in the movie. Kim was the leading lady and the heart of the whole narrative playing Rachel's sister who is just out of rehab for drug and alcohol dependency. At my age I'm not all that excited about "sexy" although it is still pleasant to the eye, but this girl carried the show. She is a superb actress, well within the class of Penelope Cruz, Eva Green and Lena Headey. Rachel Getting Married is a movie well worth seeing. Fortunately it's on Netflix, so I can go back and watch it over and over. Anne was nominated for an Oscar as Best Actress for her performance in Rachel Getting Married, so I'm far from being alone in my excitement. Here are the Links ....


Anne Hathaway ...


Rachel Getting Married ...

Il piccolissimo fiordo di Furore in inverno, Italia:

la casa appartenuta all'attrice italiana Anna Magnani (1908-1973), conosciuta in tutto il mondo soprattutto per i film "Roma città aperta", "Bellissima", "Mamma Roma", "La rosa tatuata". Quest'ultimo le valse l'Oscar alla miglior attrice protagonista.


The tiny Furore fjord in winter, Italy:

The house belonged to the Italian actress Anna Magnani (1908-1973), known all over the world especially for the films "Roma città aperta", "Bellissima", "Mamma Roma", "La rosa tatuata". The latter earned her the Oscar for the best actress protagonist.


Der winzige Fjord von Furore im Winter, Italien:

Die ehemalige Haus italienische Schauspielerin Anna Magnani (1908-1973), auf der ganzen Welt für den Film "Roma città aperta", "Bellissima", "Mamma Roma", "La rosa tatuata". Letzteres brachte ihr den Oscar für die beste Schauspielerin.


Le petit fjord de Furore en hiver, en Italie:

L'ancienne maison de l'actrice italienne Anna Magnani (1908-1973), connu dans le monde entier pour le film "Roma città aperta", "Bellissima", "Mamma Roma", "La rosa tatuata". Ce dernier lui a valu l'Oscar de la meilleure actrice.


El pequeño fiordo de Furore en el invierno, Italia:

La antigua casa de la actriz italiana Anna Magnani (1908-1973), conocido en todo el mundo para la película "Roma città aperta", "Bellissima", "Mamma Roma", "La rosa tatuata". Esta última le valió el Oscar a la Mejor Actriz.

1955, Rome, Italy.


photo: Philippe Halsman


Jack Cardiff: Oscar-winning cinematographer celebrated for his work with Powell and Pressburger


When I met Jack Cardiff on a film set at Elstree Studios, he was busy heaving spotlights around and nipping up a ladder to adjust them. The legendary cinematographer was then 84. Cardiff's career spanned the best part of film's first century; he worked with many of the art form's greatest practitioners and was famed for his pioneering mastery of Technicolor. But, whereas others might have been content to rest on their laurels, pottering around the occasional festival or sitting on the odd panel as emblems of nostalgia, he remained active and passionate about movies throughout his life. His last project was the television documentary mini-series The Other Side of the Screen (2007).


The set on which I met him was for a low-budget student short film The Dance Of Shiva (1998), which was, at the time, still awaiting completion finance. None the less, Cardiff was thoroughly in his element and eager to share his decades of experience. "I've been carrying the torch long enough," he told me. "You younger people should take it; you can run faster than I can. Whatever you know, don't waste it, pass it on."


Cardiff was the quintessential showbusiness babe. His parents were music hall comedians and hoofers (his father had played professionally for Watford football club): Jack was, metaphorically speaking, born in a trunk. He made his screen acting debut at the age of four, in a film called My Son, My Son, and went on to appear in other silent movies including Billy's Rose, The Loves of Mary, Queen of Scots and Tiptoes.


In the twilight days of music hall, the Cardiff family looked to the new, upcoming medium of cinema for employment. Aged 15, Jack landed a job as a production runner (essentially, a message boy) on The Informer (1929), where his principal task was to keep the German director, Dr Arthur Robison, supplied with Vichy water. He graduated to clapper boy or camera assistant on films including Alfred Hitchcock's The Skin Game (1931). By 1936, he had risen to the rank of camera operator at Denham Studios in London when the Technicolor Corporation arrived there seeking trainees to start using the process in Britain.


Cardiff had little expertise of Technicolor. But, in the course of his itinerant childhood, he had had the chance to visit art galleries in many cities and developed a deep love of painting (he became an accomplished painter in his own right). Consequently he finessed the job interview by praising the use of light in the work of Rembrandt, Vermeer and the other Old Masters and became the camera operator on the first Technicolor film made in Britain, the 1937 romantic drama Wings of the Morning, starring Henry Fonda.


When the Second World War began, Cardiff made public information films for the Crown Film Unit, at times under dangerous conditions. One of his most notable projects was Western Approaches (1944), a docu-drama about a Merchant Navy vessel struck by a German U-Boat torpedo which was shot, remarkably given the conditions, in full Technicolor.


The turning point in his career came while working on the second unit of Michael Powell and Emeric Pressburger's The Life and Death of Colonel Blimp (1943). They were impressed enough to hire him as their cinematographer on A Matter of Life and Death (1946). Cardiff's collaboration with this audacious directing-producing-writing team who revolutionised British cinema was a perfect marriage. As he was to recall, "I was always doing rather outrageous things. And that was Michael's entire way of working, so we got on famously."


Powell's first perverse idea for A Matter of Life and Death was to subvert audience expectations by shooting the sequences set on earth in colour and those set in heaven in black-and-white. But it was Cardiff who suggested shooting the heavenly scenes on Technicolor stock which, when processed as though it were black-and-white, gave them an eery, shimmering quality. For a celebrated early shot near the beginning, when the mist clears on a beach, Cardiff simply breathed on the camera lens, steaming it up for a couple of seconds.


Today, many of the guidelines of cinematography have been set in stone and – as Cardiff was often to bemoan – practitioners can rely on the lazy short cuts afforded by computer technology. He lived through a period when the thrilling possibilities of the technology were still being discovered. Many of his most memorable effects were achieved, not in post-production, but in-camera, through experiment, ingenuity and imagination.


Cardiff worked again with the team on Black Narcissus (1947), a torrid melodrama set in a convent in the high Himalayas but shot entirely at Pinewood studios in London. His ingenious use of painted glass backdrops and his fierily expressionistic deployment of colour won him an Oscar and a Golden Globe. His third and final film with Powell and Pressburger, the dance drama The Red Shoes (1948), experimented with optical effects, speeding up the camera to slow the action and make a ballerina seem to hover in mid-air; or doing the opposite in order to turn her into a blur of whirling pirouettes.


He was brilliant at transforming sets: his next projects, Scott of the Antarctic (1948) and Hitchcock's Under Capricorn (1949), were shot in the studio. But Cardiff had become a cameraman to travel and was just at home on location. John Huston's The African Queen (1951) took him up the jungle in Uganda and the then-Belgian Congo, where he fell ill from water poisoning (Huston and his star, Humphrey Bogart, were spared on account of the fact that they both drank only neat whisky). Bogie – as Cardiff related in his entertaining autobiography The Magic Hour, published by Faber and Faber in 1996 – sternly instructed him not to try to conceal the maze of wrinkles on his face.


The cinematographer was, on the other hand, prized by actresses who knew they could rely on him to enhance their beauty. Among the many great stars he worked with were Ava Gardner (who warned him to light her differently while she was having her period), Sophia Loren, Gina Lollobrigida, Ingrid Bergman, Deborah Kerr, Marlene Dietrich, Gloria Swanson, Myrna Loy, Marilyn Monroe, Katherine Hepburn, Julie Christie, Bette Davis, Faye Dunaway and Audrey Hepburn.


In fact the list of his collaborators, both as a cinematographer and, eventually, as a director, reads like a compendium of cinema: it also includes Fred Astaire, Kirk Douglas, Christopher Walken, Sylvester Stallone, Arnold Schwarzenegger, Joseph Mankiewicz, Laurence Olivier, King Vidor, René Clair and Jacques Feyder.


Cardiff turned to directing in 1953, but his first attempt, William Tell, starring Errol Flynn, was thwarted when the funding collapsed; only a few minutes of footage remain. Sons and Lovers (1960) fared better: an adaptation of the D.H. Lawrence novel starring Trevor Howard, Dean Stockwell and Wendy Hiller, it got six Academy Award nominations, including Best Picture and Best Director. Freddie Francis won an Oscar for his (black and white) cinematography.


In the same year, Cardiff made Scent of Mystery, a curiosity shot in Smell-O-Vision, a process which pumped odours into the cinema at appropriate moments in the story. Another of his intriguing films as director was The Girl on a Motorcycle (1968), an erotic drama starring Alain Delon and a leather-clad Marianne Faithfull as a married woman who zooms off on a motorbike odyssey to meet her lover.


Cardiff then abandoned directing, but remained a prolific cinematographer whose credits included Death on the Nile (1978), Michael Winner's remake of The Wicked Lady (1983), Conan the Destroyer (1984), Rambo: First Blood Part II (1985) and Million Dollar Mystery (1987). This period was hardly the cinema's finest hour, but he would later talk of these films with as much enthusiasm as he did when speaking of the authentic masterpieces he had worked on. After earning two further Academy Award nominations for his cinematography on War and Peace (1956) and Fanny (1961), he was made an OBE in 2000 and received an honorary Oscar in 2001, the first technician to be thus honoured and only the second Briton selected after Laurence Olivier.


In a sly post-modern moment in A Matter of Life and Death, a messenger who descends to earth from the monochrome celestial world, sniffs appreciatively at a bright red flower and muses, "One is starved for Technicolor up there." That shortage has been rectified this week. The earthly world, on the other hand, became a shade or two greyer.


Jack Cardiff, film director and cameraman: born Great Yarmouth, Norfolk 18 September 1914; Academy Award for photography, 'Black Narcissus', 1947; OBE, 2000; Academy Award for Lifetime Achievement, 2001; BAFTA Special Award, 2001; married three times (four sons, one stepson, one stepdaughter); died Ely, Cambridgeshire 22 April 2009.


Sheila Johnston The Independent 24 April 2009


The Roman holiday was in 1953, The United States Paramount company shooting romantic love movie, Actress Audrey Hepburn and male actor, Ride a motorcycle together, Motorcycle brand is Vespa. This film let Audrey Hepburn won the Oscar for Best Actress.


I was not yet born when the movie release, Audrey Hepburn's hair charm, Forming a topic in Taiwan, The media's hot news...

Roman Holiday Movie trailer:


羅馬假期 - 偉士牌機車






OMG, I suck so much neglecting my stream and you guys like this. And to make things worse, every time I am on a dryspell I present a shot of a bird silhouette. hahah


I was so dumb to only check my inbox occassionaly. I missed the chance to meet up with one of Flickr's finest- Jeff Eickhoff who was in town over the weekend for a shoot.


Guess what, I passed my driving the first time round so I'm taking Singapore roads by storm! HEHE.


And the OSCARS, oh wow. This piece is dedicated to my beloved actress of all time, Sandra Bullock! She's the real deal, this one!


Explored | March 8, 2010 #12


View On Black |

Textures courtesy of pareeerica


© Copyright Iskandar 2009 | All rights reserved.

Do not use, copy or edit any of my materials without my written permission.

Would appreciate not having large/animated multi invite codes


Actress Nicole Kidman attends the 89th Annual Academy Awards Nominee Luncheon at The Beverly Hilton Hotel on February 6, 2017 in Beverly Hills, California. (Photo by Kevin Winter/Getty Images)

On February 9, 1960, Joanne Woodward became the first actress to receive a star on the Hollywood Walk of Fame!


When looking through her film titles, I found The Three Faces of Eve, for which Ms. Woodward won the 1957 Best Actress Oscar.


I had never seen the film, but watched it last night on Netflix (you can watch it instantly). It's a true story about a young woman who is diagnosed with multiple personality disorder. It's a beautiful film, during which I got chills several times and cried once. :) I highly recommend it.


Here are three of the many faces of Hilary.


Become a fan of History with Hilary on Facebook!


What is History With Hilary?

Every day, I take a self-portrait based on that day in history! The plan is to eventually make a book and/or calendar!


Select prints from my History With Hilary are for sale. Proceeds help to support the project, which is getting a little pricey! View them at Etsy!


I'm also accepting donations, including costumes, wigs, fabric, and props! Please email me at


Alison Brie arrives to the 2014 Vanity Fair Oscar Party on March 2, 2014 in West Hollywood, California. AFP PHOTO/ADRIAN SANCHEZ-GONZALEZ (Photo credit should read ADRIAN SANCHEZ-GONZALEZ/AFP/Getty Images)

BEVERLY HILLS, CA - FEBRUARY 28: Actress Jennifer Lawrence attends the 2016 Vanity Fair Oscar Party Hosted By Graydon Carter at the Wallis Annenberg Center for the Performing Arts on February 28, 2016 in Beverly Hills, California. (Photo by Pascal Le Segretain/Getty Images)

Jordan wears a navy Ursula Rivero dress and jewellery by the stylist at the Oscars 2014 ceremony.She was winning actress for the "Seven months in the jungle".

Belgian postcard by P Magazine, no. 37 in the series 'De mooiste vrouwen van de eeuw' (the 100 most beautiful women of the century). Photo: Sante D'Orazio / Outline.


Vivacious Kate Winslet (1975) is often seen as the best English-speaking film actress of her generation. The English actress and singer was the youngest person to acquire six Academy Award nominations, and won the Oscar for The Reader (2008).


Kate Elizabeth Winslet was born Reading, England, in 1975. She is the second of four children of stage actors Sally Anne (née Bridges) and Roger John Winslet. Winslet began studying drama at the age of 11. The following year, Winslet appeared in a television commercial for Sugar Puffs cereal, in which she danced opposite the Honey Monster. Winslet's acting career began on television, with a co-starring role in the BBC children's science fiction serial Dark Season (Colin Cant, 1991). On the set, Winslet met Stephen Tredre, who was working as an assistant director. They would have a four-and-a-half-year relationship, and remained close after their separation in 1995. He died of bone cancer during the opening week of Titanic, causing her to miss the film's Los Angeles premiere to attend his funeral in London. Her role in Dark Season was followed by appearances in the made-for-TV film Anglo-Saxon Attitudes (Diarmuid Lawrence, 1992), the sitcom Get Back (Graeme Harper, 1992), and an episode of the medical drama Casualty (Tom Cotter, 1993). She made her film debut in the New Zealand drama film Heavenly Creatures (Peter Jackson, 1994) . Winslet auditioned for the part of Juliet Hulme, an obsessive teenager in 1950s New Zealand who assists in the murder of the mother of her best friend, Pauline Parker (played by Melanie Lynskey). Winslet won the role over 175 other girls. The film included Winslet's singing debut, and her a cappella version of Sono Andati, an aria from La Bohème, was featured on the film's soundtrack. The film opened to strong critical acclaim at the 51st Venice International Film Festival in 1994 and became one of the best-received films of the year. Winslet was awarded an Empire Award and a London Film Critics' Circle Award for British Actress of the Year. Subsequently she played the second leading role of Marianne Dashwood in the Jane Austen adaptation Sense and Sensibility (Ang Lee, 1995) featuring Emma Thompson, Hugh Grant and Alan Rickman. The film became a financial and critical success, resulting in a worldwide box office total of $135 million and various awards for Winslet. She won both a BAFTA and a Screen Actors' Guild Award, and was nominated for both an Academy Award and a Golden Globe. In 1996, Winslet starred in Michael Winterbottom's Jude, based on the Victorian novel Jude the Obscure by Thomas Hardy. She played Sue Bridehead, a young woman with suffragette leanings who falls in love with her cousin (Christopher Eccleston). She then played Ophelia, Hamlet's drowned lover, in Kenneth Branagh's all star-cast film version of William Shakespeare's Hamlet (1996). In mid-1996, Winslet began filming James Cameron's Titanic (1997), alongside Leonardo DiCaprio. She was cast as the passionate, rosy-cheeked aristocrat Rose DeWitt Bukater, who survives the 1912 sinking of the RMS Titanic. Against expectations, Titanic (1997) became the highest-grossing film in the world at the time and transformed Winslet into a commercial movie star. Young girls the world over both idolized and identified with Winslet. Despite the enormous success of Titanic, Winslet next starred in were two low-budget art-house films, Hideous Kinky (Gillies MacKinnon, 1998), and Holy Smoke! (Jane Campion, 1999). In 1997, on the set of Hideous Kinky, Winslet met film director Jim Threapleton, whom she married in 1998. They have a daughter, Mia Honey Threapleton (2000). Winslet and Threapleton divorced in 2001.


Since 2000, Kate Winslet's performances have continued to draw positive comments from film critics. She appeared in the period piece Quills (Philip Kaufman, 2000) with Geoffrey Rush and Joaquin Phoenix, and inspired by the life and work of the Marquis de Sade. The actress was the first big name to back the film project, accepting the role of a chambermaid in the asylum and the courier of the Marquis' manuscripts to the underground publishers. Well received by critics, the film garnered numerous accolades for Winslet. In Enigma (Michael Apted, 2001), she played a young woman who finds herself falling for a brilliant young World War II code breaker (Dougray Scott). She was five months pregnant at the time of the shoot, forcing some tricky camera work. In the same year she appeared in Iris (Richard Eyre, 2001), portraying novelist Iris Murdoch. Winslet shared her role with Judi Dench, with both actresses portraying Murdoch at different phases of her life. Subsequently, each of them was nominated for an Academy Award the following year, earning Winslet her third nomination. Also in 2001, she voiced the character Belle in the animation film Christmas Carol: The Movie, based on the Charles Dickens classic novel. For the film, Winslet recorded the song What If, which was a Europe-wide top ten hit. Winslet began a relationship with director Sam Mendes in 2001, and she married him in 2003 on the island of Anguilla. Their son, Joe Alfie Winslet Mendes, was born in 2003 in New York City. In 2010, Winslet and Mendes announced their separation and divorced in 2011. In the drama The Life of David Gale (Alan Parker, 2003), she played an ambitious journalist who interviews a death-sentenced professor (Kevin Spacey) in his final weeks before execution. Next, Winslet appeared with Jim Carrey in Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004). In this neo-surrealistic indie-drama, she played Clementine Kruczynski, a chatty, spontaneous and somewhat neurotic woman, who decides to have all memories of her ex-boyfriend erased from her mind. The film was a critical and financial success and Winslet received rave reviews and her fourth Academy Award-nomination. Finding Neverland (Marc Forster, 2004), is the story of Scottish writer J.M. Barrie (Johnny Depp) and his platonic relationship with Sylvia Llewelyn Davies (Winslet), whose sons inspired him to pen the classic play Peter Pan, or The Boy Who Wouldn't Grow Up. The film received favourable reviews and became Winslet's highest-grossing film since Titanic.


In 2005, Kate Winslet played a satirical version of herself in an episode of the comedy series Extras by Ricky Gervais and Stephen Merchant. While dressed as a nun, she was portrayed giving phone sex tips to the romantically challenged character of Maggie. Her performance in the episode led to her first nomination for an Emmy Award. In the musical romantic comedy Romance & Cigarettes (John Turturro, 2005), she played the slut Tula, and again Winslet was praised for her performance. In Todd Field's Little Children (2006), she played a bored housewife who has a torrid affair with a married neighbor (Patrick Wilson). Both her performance and the film received rave reviews. Again she was nominated for an Academy Award for Best Actress, and at 31, became the youngest actress to ever garner five Oscar nominations. Commercial successes were Nancy Meyers' romantic comedy The Holiday (2006), also starring Cameron Diaz, and the CG-animated Flushed Away (2006), in which she voiced Rita, a scavenging sewer rat who helps Roddy (Hugh Jackman) escape from the city of Ratropolis and return to his luxurious Kensington origins. In 2007, Winslet reunited with Leonardo DiCaprio to film Revolutionary Road (2008), directed by her husband at the time, Sam Mendes. Portraying a couple in a failing marriage in the 1950s, DiCaprio and Winslet watched period videos promoting life in the suburbs to prepare themselves for the film. Winslet was awarded a Golden Globe Award for Best Actress for her performance, her seventh nomination from the Golden Globes. Then she starred in the film adaptation of Bernhard Schlink's 1995 novel The Reader, (Stephen Daldry, 2008) featuring Ralph Fiennes and David Kross in supporting roles. Employing a German accent, Winslet portrayed a former Nazi concentration camp guard who has an affair with a teenager (Kross) who, as an adult, witnesses her war crimes trial. While the film garnered mixed reviews in general. The following year, she earned her sixth Academy Award nomination and went on to win the Best Actress award, the BAFTA Award for Best Actress, a Screen Actors' Guild Award for Outstanding Supporting Actress, and a Golden Globe for Best Supporting Actress.


In 2011, Kate Winslet headlined in the HBO miniseries Mildred Pierce, based on James M. Cain's 1941 novel and directed by Todd Haynes. She portrayed a self-sacrificing mother during the Great Depression who finds herself separated from her husband and falling in love with a new man (Guy Pearce), all the while trying to earn her narcissistic daughter's (Evan Rachel Wood) love and respect. This time, Winslet won an Emmy Award, a Golden Globe Award and a Screen Actors Guild Award. Roman Polanski's Carnage (2011) premiered at the 68th Venice Film Festival. The black comedy follows two sets of parents who meet up to talk after their children have been in a fight that day at school. Jodie Foster, John C. Reilly and Christoph Waltz co-starred in the film. In 2012, she was appointed a Commander of the Order of the British Empire (CBE). In Jason Reitman's big screen adaptation of Joyce Maynard's novel Labor Day (2013), she starred with Josh Brolin and Tobey Maguire. Winslet received favorable reviews for her portrayal of Adele, a mentally fragile, repressed single mom of a 13-year-old son who gives shelter to an escaped prisoner during a long summer week-end. For her performance, Winslet earned her tenth Golden Globe nomination. Next she appeared in the science fiction film Divergent (Neil Burger, 2014), as the bad antagonist Jeanine Matthews. It became one of the biggest commercial successes of her career. This year, Winslet also appeared alongside Matthias Schoenaerts in Alan Rickman's period drama A Little Chaos (2014) about rival landscape gardeners commissioned by Louis XIV to create a fountain at Versailles. Next she can be seen in the crime-thriller Triple Nine (John Hillcoat, 2015), the sequel in the Divergent series: Insurgent (Robert Schwentke, 2015) and in The Dressmaker (Jocelyn Moorhouse, 2015). Since 2012, Kate Winslet is married to Ned Rocknroll, a nephew of Richard Branson; The couple's son have a son, Bear Blaze Winslet. They live in West Sussex.


Sources: Tom Ryan (Encyclopedia of British Film), Sandra Brennan (AllMovie), Wikipedia, and IMDb.


BEVERLY HILLS, CA - FEBRUARY 22: Actress/singer Rita Ora attends the 2015 Vanity Fair Oscar Party hosted by Graydon Carter at Wallis Annenberg Center for the Performing Arts on February 22, 2015 in Beverly Hills, California. (Photo by Pascal Le Segretain/Getty Images)

British postcard.


Vivacious Kate Winslet (1975) is often seen as the best English-speaking film actress of her generation. The English actress and singer was the youngest person to acquire six Academy Award nominations, and won the Oscar for The Reader (2008).

Wholesome but sexy, forthright and vulnerable, honest and energetic, Ginger Rogers was one of Hollywood's biggest stars of the Thirties and Forties. Not a great actress, as she was always the first to admit, she could handle both comedy and drama capably as well as sing and dance, and if her range was not as great as some of her contemporaries, her appeal and glamour were more down-to-earth than other screen heroines and thus easier to identify with. She would be remembered with affection now even if she had never danced with Fred Astaire. It is because she did, though, that she will have a special place in film history, a place that elevates her above many other actresses of the period just as popular and possibly more talented. Astaire and Rogers were, and are, quite simply the most famous dance team of all time.

Ginger was born Virginia Katherine McMath on 16 July 1911 in Independence, Missouri, but she quickly became known as "Ginger" when one of her young cousins had difficulty pronouncing her first name. Rogers was the surname of her mother's second husband. Ginger's mother Lela had always been attracted to show business, and when Ginger was five she was left with her grandparents in Kansas City while Lela went to Hollywood to pursue a writing career providing scripts (as Lela Leibrand) for silent stars such as Theda Bara.

Ginger had already appeared in some advertising films, and when Lela returned to Kansas as reporter and theatre critic for the Kansas City Post, she made sure her offspring met performers who were appearing in the city. Lela has often been described as the archetypal show-business mother, and Ginger herself always credited her with a major share of responsibility for her later success. Friends of theirs in Texas, however, have always claimed that Lela did not seriously push Ginger until the girl herself became irreparably stage-struck. This happened when Ginger, having studied dance since childhood, entered a local Charleston contest and won, going on to become champion Charleston dancer of Texas.

The prize included a vaudeville tour and Lela, taking over management of Ginger, hired the two runners-up to support her in a group called "Ginger and Her Redheads", with Lela supplying costumes and linking material. Later Ginger toured as a single, incorporating her speciality of monologues in baby-talk, then suddenly married another dancer, Jack Culpepper (against her mother's wishes), and they formed an act called "Ginger and Pepper". They separated after only a few months, and Ginger took her single act to New York, where she was spotted by the owner of the Mocambo night club, who recommended the newcomer to composers Kalmar and Ruby for their Broadway show Top Speed. As second female lead, Ginger stole a lot of the notices with her peppy rendition of "Hot and Bothered".

She had already been making one- and two-reelers at the Astoria studios in New York, and now she was offered a Paramount contract and made her feature debut in Young Man of Manhattan, starring Claudette Colbert. As an easy-going flapper, she uttered a line, "Cigarette me, big boy!", which became a popular catchphrase of the day and helped establish her name. Her first major break came with her casting as the lead in the Gershwin musical Girl Crazy on Broadway (1930), in which she introduced "Embraceable You" and "But not for Me". Her singing voice, never strong, came in for some criticism and the show was stolen by another newcomer, Ethel Merman, whose voice was anything but small.

Lela and Ginger decided that Hollywood was the place to pursue her future, and accepted a contract from Pathe. None of her early roles was memorable, however, until Warners cast her in 42nd Street. Besides being a landmark musical, it gave Ginger, as Anytime Annie ("The only time she said no, she didn't hear the question"), a chance to display her comic skills. She was now close friends with one of the studio's top film-makers, Mervyn LeRoy (it was strongly believed they would marry), and he cast her in an even stronger role in Gold Diggers of 1933, in which Ginger represented one of the cinematic icons of the Depression era when she opened the film clothed in gold coins singing "We're in the Money".

She was on the way to being typecast as a wise-cracking chorine in the Glenda Farrell-Joan Blondell mould when Dorothy Jordan, scheduled to play a featured role in RKO's Flying Down to Rio, married the studio boss Merian C. Cooper instead. Ginger was now under contract to RKO, so she was rushed into the film three days into shooting and found herself playing opposite Fred Astaire.

Rogers had met Astaire earlier when he had been brought in by Girl Crazy's producers to help out with the choreography and they had even dated a few times. Neither of them expected great things from the film they were about to make but as Astaire told her, "It'll be fun." Dolores del Rio and Gene Raymond were the film's romantic leads, but audience response to Fred and Ginger and their dancing of "The Carioca" was immediate.

While Ginger went on to other pot-boilers, and Fred to England to do The Gay Divorce on the West End stage, RKO started to plan more films for the team. The Gay Divorcee (title changed to placate Hollywood's production code) confirmed the team's magical chemistry and included the first of their classic romantic duets, "Night and Day". In a deserted ballroom, as Ginger crosses Fred's path to leave, he blocks her. Tentatively resisting, she bends her body with his and they start to glide across the floor. The harmony and sensual tension of this sequence is due in no small part to Ginger and demonstrates why she was the greatest of all Astaire's partners. Not only do they dance as one ("She could follow Fred as if one brain was thinking" said Ben Lyon), but Ginger acts the dance perfectly, never appearing to be revelling in the display of technique or conscious of anything other than the emotions of attraction and seduction implicit in the choreography. Katharine Hepburn's famed remark "She gave him sex, he gave her class" is true, but conveys only part of their magical chemistry.

The team's next, Roberta, had them again billed below the romantic leads (Irene Dune and Randolph Scott) but they had no trouble stealing the film. Because dialogue in their earlier films had been drowned out by cinema audiences applauding their numbers, RKO were careful in Roberta to follow all their dances with applause or laughter so that there was time for audience response.

Both Astaire and Rogers had raised objections to carrying on their partnership - Fred had long been paired with his sister Adele on the stage and now wanted to consolidate a reputation as a solo star; Ginger, though grateful for the good the films were doing for her career, wanted to be accepted as a straight actress. Her talents as a comic were already being appreciated - in Roberta she adopted a hilarious Polish-Hungarian accent to mimic Lyda Roberti, who had played the same role in the stage production, while "I'll Be Hard to Handle" in the same film was the first of the team's playful "challenge" dances, in which Ginger displayed her mischievously impish sense of humour - combined with the effortless technique that was in fact the result of weeks of work, the result was perfection.

Their next film was the first to be written directly for them (by Dwight Taylor) with new songs by Irving Berlin. Top Hat was the greatest film of their partnership, an enchanting combination of witty script, superb production values, hand-picked supporting cast and wonderful songs and dances. Their great romantic duet, "Cheek to Cheek", caused the one major rift between the two stars when Ginger insisted on wearing an ostrich-feather gown which "moulted" all over the set, besides creating some problems of manoeuvrability for Fred. Ginger had to enlist her mother, along with RKO's top brass, to persuade Fred to accept this, but when he was how well the number had photographed, he conceded its effect and thereafter would often refer to Ginger as "Feathers". Despite rumours to the contrary, both Ginger and Fred always insisted that their relationship was generally one of respect and friendship, though they were never close. "We had our differences," said Ginger later, "what good artistic marriage doesn't? - but they were unimportant."

Follow the Fleet (music also by Berlin) included Ginger's only solo tap routine in the series and she acquitted herself well. Swing Time (music by Jerome Kern), Shall We Dance? (Gershwin) and Carefree (Berlin) followed, though in between Ginger was making her mark in straight roles, notably as the caustic rival to Katharine Hepburn in Stage Door. In this witty and touching story of stage-struck hopefuls, Ginger was Hepburn's room- mate and whose brittle exterior conceals the fear of rejection, and she won particular praise for a deftly handled drunk scene. She also sparkled in Vivacious Lady as a cabaret singer who marries a professor and disrupts academia.

The films with Astaire had been full of treasurable musical sequences, such as Follow the Fleet's dramatic finale when the team enacted a shipboard romance between two suicidal strangers who meet and fell in love to the strains of "Let's Face the Music and Dance", ending with one of the most daring moments in screen choreography as the pair go into what many believe to be their finest and certainly their most emotionally powerful duet on an enormous art-deco set. Carefree's climactic number had Ginger literally under a hypnotic spell as she succumbed to Astaire's charms for "Change Partners".

Their scripts, though, had been getting weaker, and audiences were falling off, so The Story of Vernon and Irene Castle (1939) was planned as the last Astaire-Rogers movie. A departure for the team in that it was both a period story and a true one (about the couple who pioneered ballroom dancing in America) with a tragic ending, it disappointed some at the time with its in-built restriction on the scope for the team's routines, but it is one of their finest all-round films and their dancing, though limited for the most part to displays of the Waltz, Tango, Mexixe, etc, is as exquisite as ever, their "Robert E. Lee" routine one of their most exhilarating. For Ginger, the final scene, in which while waiting for Vernon to join her in celebration she learns of his death, then reminisces about their years together as the orchestra reminds her of key melodies in their lives, was proof if needed that she could handle such tricky dramatic material without descending to bathos or banality.

One of Ginger's most fondly remembered comedies followed, Garson Kanin's Bachelor Mother, which included a brief "Charleston" but otherwise concentrated on Ginger's comic skills. The following year she made the film which firmly established her as a leading Hollywood actress and won her an Oscar, Kitty Foyle. Audiences had always found that they could identify with Ginger more easily than with many other actresses, and as the office girl who falls for a socialite but finally settles for an idealistic doctor from the same social background as herself, she induced so much empathy that stenographers all over America bought replicas of the white collar Ginger wore as Kitty.

Sent by her studio to meet stenographer fans in New York she arrived at Grand Central station wearing the simple white-collar outfit from the film, but by then every inch a star she was also wearing a diamond brooch, gold earrings and a mink coat. An enormous hit at the time, neither the film (directed by Sam Wood) nor Ginger's performance seem as impressive today, particularly considering that her rival nominees included Bette Davis and Katharine Hepburn.

For Garson Kanin, Ginger did another good comedy, Tom, Dick or Harry, which Dilys Powell called "pure enchantment", adding that "one day we will be remembering Ginger as we now remember Mary Pickford and the Gish sisters." In Roxie Hart she had a bubble-cut and chewed gum in an amusing satire on justice in which, as a murder suspect, she had the jailers dancing the "Black Bottom" with her. Her best comedy of all is The Major and the Minor, Billy Wilder's first film as a director and pure joy as Ginger masquerades as a 12-year-old to travel half-fare, then has to sustain the impersonation at a military academy. Lela, still very prominent in Ginger's life and career, played her mother in this.

Ginger was now at the peak of her career but from the mid-Forties both her material and performances became inconsistent. Lady in the Dark (1944), adapted from the Broadway musical satirising the then fashionable craze for psychoanalysis, was Ginger's first film in colour and a huge success, not least for the publicity surrounding a stunning gown of mink and jewels in which the star performed "The Saga of Jenny", but most of the Kurt Weill- Ira Gerswhin score was cut from the film and Ginger, possibly trying to duplicate Gertrude Lawrence's stage portrayal of the confused heroine, seemed too confused for comfort. Ginger was also alienating a lot of Hollywood with her demands - she closed down the production of Lady in the Dark for three weeks in order to get married.

I'll Be Seeing You, a superior wartime weepie, and Weekend at the Waldorf, a glossy remake of Grand Hotel with Ginger in a more humorous reworking of the Garbo role, were big successes, but films such as Heartbeat, Magnificent Doll and It Had to be You had virtually ended her film career - when she was asked to partner Astaire once more. Judy Garland had withdrawn from The Barkleys of Broadway and Ginger happily stepped in to enact a story (a dance team breaks up when the female partner wants to be a dramatic actress) which bore a mild resemblance to hers and Fred's. In the rehearsal tap routine "Bouncin' the Blues" Ginger demonstrated that she could still keep up with the master even if some of the old spontaneity was missing. Their romantic duet to "They Can't Take That Away From Me", first sung by Fred in Shall We Dance?, recaptured the old magic as they swept languorously into and out of each other's arms. Ginger worked hard to make sure the public weren't disappointed in this reunion - she always believed in giving 100 per cent, and had tremendous energy.

"I detest idling," she once said, and both Astaire and Hermes Pan, dance director of the Astaire-Rogers films, attested to her professionalism and dedication.

Ginger Rogers's political views perhaps earned her more adverse criticism than any other aspect of her life. Like her mother, firmly right-wing, she campaigned for Richard Nixon when he ran for Governor of California in 1962, and during the McCarthy hearings Lela testified that Ginger had loathed making the 1944 film Tender Comrade about four war wives who set up house together, alleging that Ginger had insisted that the line "Share and share alike, that's democracy" be given to another actress. The director Joseph Losey, himself blacklisted, declared "Ginger Rogers was one of the worst, red-baiting, terrifying reactionaries in Hollywood," while her supporters argued that she merely followed her mother's lead and, according to one RKO employee, "I doubt that she could have told you the difference between the Republican and Democratic parties."


The Independent 26 April 1995


What would Sandra Bullock say? The celebrated star, 50, took home the Oscar for Best Actress at the 2010 Academy Awards for her role in The Blind Side, but the movie’s inspiration Michael Oher has less than positive feelings about the flick.

The NFL star, who was depicted in The Blind ...


FRANCE. Paris. 1956. Dutch actress Audrey HEPBURN during ballet rehearsal for the film "Funny Face."

photo: David Seymour


HOLLYWOOD, CA - FEBRUARY 27: Actress Scarlett Johansson arrives at the 83rd Annual Academy Awards held at the Kodak Theatre on February 27, 2011 in Hollywood, California. (Photo by Kevin Mazur/WireImage) *** Local Caption *** Scarlett Johansson

Sing, sing a song, well, don't.


Cinderella stepsisters Holliday Grainger as Anastasia alongside Sophie McShera as Drisella and Cate Blanchett as Lady Tremaine by artist Noel Cruz.


The 2015 Live Action Cinderella with Cate Blanchett as Lady Tremaine, Helena Bonham Carter as The Fairy Godmother and Lily James as Cinderella.


All repainted and restyled for by Noel Cruz of Photos by Noel Cruz photographed in the Regent Miniatures ( Mansion by Ken Haseltine.


Farrah is on facebook On Tumblr at; Join Farrah on Instagram at On pinterest at


Photo/Graphic Layout & web sites & by

Audrey Hepburn - Photograph by Jack Cardiff, 1956.


“Audrey had a perfect face and her ballet training made her walk with sleek grace. She radiated elegance. It was a joy to work with her on War and Peace.” - Jack Cardiff


In this paticular series of photographs, featuring Audrey Hepburn, Cardiff used a method called chiaroscuro meaning “light-dark”.

Janet in clothes designed for her by Omar Kiam

Melhor filme: A NATUREZA

Melhor criação/diretor/roteirista: DEUS

Melhor ator/atriz: A MÃE TERRA

Melhor ator/atriz coadjuvante: O SEGUNDO PLANO

Melhor fotografia: (????????)


Best picture: NATURE

Best creation / director / writer: GOD

Best Actor / Actress: MOTHER EARTH

Best actor / actress: THE SECOND PLAN

Best Cinematography: (????????)


-Just for fun guys!-


Mayonga has sneaking backstage and look what founded: A delicious cupcake for calming the nominees' stress!


What a great way to be stressed, uhh??




Have a great magic winning evening my dear friends!


:cake: Bambina & Mayonga :cake:

HOLLYWOOD, CA - FEBRUARY 26: Actress Sarah Hyland arrives at the 84th Annual Academy Awards held at the Hollywood & Highland Center on February 26, 2012 in Hollywood, California. (Photo by Jason Merritt/Getty Images)

Actress Loretta Young takes your breath away standing covered from chin to toes in ravishing green taffeta by Adrian. It's the dress she wore to receive the 1947 Oscar. Photo # TAFFETA-368 shows it with the capelet removed. Would that it were I.

Image by © CORBIS

Dutch postcard. Photo: publicity still for Bonnie and Clyde (Arthur Penn, 1967).


American film actress Faye Dunaway (1941) is a classic beauty with high cheekbones and a husky resonant voice. She had her breakthrough as Bonnie Parker in Bonnie and Clyde (1967) and became one of Hollywood's biggest stars of the 1970s with Chinatown (1974), Three Days of the Condor (1975) and Network (1976), for which she won the Oscar.


Dorothy Faye Dunaway was born on a farm in Bascom, Florida in 1941, the daughter of Grace April (Smith), a housewife, and John MacDowell Dunaway, Jr., an army officer. After high school she majored in education at the University of Florida, but switched to theatre arts and transferred to Boston University, earning her degree in 1962. In 1962, at the age of 21, she took acting classes at the American National Theater and Academy. She did four plays on Broadway over the next three years. Her first screen appearance was on the short-lived TV drama series Seaway (1965). Dunaway's first screen role was in The Happening (Elliot Silverstein, 1967), which starred Anthony Quinn. That role was followed by a supporting role in the drama Hurry Sundown (Otto Preminger, 1967), co-starring Michael Caine and Jane Fonda. While she had difficulties with Preminger, her performance was well-received and she was nominated for a Golden Globe Award for Best New Star of the Year. Then she skyrocketed to fame as the bank robber Bonnie Parker in the pop culture juggernaut Bonnie and Clyde (Arthur Penn, 1967), with Warren Beatty. The film, though controversial, was a smash hit, and elevated Dunaway to stardom. For her part Dunaway earned her first Academy Award nomination. She lost to Katherine Hepburn, but won the BAFTA Award for Best Newcomer. From then on she was in demand everywhere, holding her own against Steve McQueen in the caper film The Thomas Crown Affair (Norman Jewison, 1968). The film was immensely popular, and was famed for a scene where Dunaway and McQueen play a chess game and silently engage in heavy seduction of each other across the board. She then took on a role in the Italian film, Amanti/A Place for Lovers (Vittorio De Sica, 1968). Dunaway played a terminally ill fashion designer who has a doomed romance with an Italian race car driver (Marcello Mastroianni). Dunaway and Mastroianni fell in love in reality too and had a two-year-affair.


Faye Dunaway had another success with the villainous role of Milady de Winter in an all-star adaptation of Alexandre Dumas' The Three Musketeers, starring Michael York, Oliver Reed, Richard Chamberlain, Raquel Welch, and Dunaway. After filming, the makers decided to split the film into two parts: The Three Musketeers (Richard Lester, 1973) and The Four Musketeers (Richard Lester, 1974). Critics and audiences alike praised the film for its action and its comic tone, and it was the first in a line of successful projects for Dunaway. Roman Polanski offered Dunaway the lead role of Evelyn Mulwray in his mystery neo-noir Chinatown (1974). Mulwray is a shadowy femme fatale who knows more than she is willing to let Detective J.J. Gittes (played by Jack Nicholson) know. The film made back its budget almost five times, and received 11 Academy Award nominations. Dunaway received a second Best Actress nomination, and also received a Golden Globe nomination and a BAFTA nomination. Dunaway's next project was the all-star disaster epic The Towering Inferno (John Guillermin, 1974). She played the role of Paul Newman's girlfriend, who is trapped in a burning skyscraper along with several other hundred people. The film became the highest grossing film of the year, furthering cementing Dunaway as a top actress in Hollywood. It was also in 1974 that Dunaway married Peter Wolf, who was the lead singer of the rock group The J. Geils Band. In 1975, Dunaway joined Robert Redford in the political thriller Three Days of the Condor (Sydney Pollack, 1975). A significant critical and commercial success, the film continues to be praised. Dunaway's performance was very well regarded.

In 1976 she finally won the Oscar for the satire Network (Sidney Lumet, 1976) as the scheming TV executive Diana Christensen, a ruthless woman who will do anything for higher ratings. She returned to the screen in Eyes of Laura Mars (John Carpenter, 1978), a thriller about a fashion photographer who sees visions of a killer murdering people.


Faye Dunaway's tour de force as Joan Crawford in Mommie Dearest (Frank Perry, 1981) marked her last chapter as a top tier actress. The film is an adaptation of Christina Crawford's controversial memoirs, Mommie Dearest. Christina Crawford's book had depicted her adopted mother as an abusive tyrant, who only adopted her four children to promote her career, and it made quite a stir as the first celebrity tell-all book. Though the film was poorly received by the critics at the time, Dunaway's performance received mixed reviews. The film was later seen as a camp classic. the American Film Institute named Dunaways' interpretation to be one of the greatest villainous characters in cinema history and the infamous line, "No wire hangers, ever!" to be one of the most memorable film quotes of all time. After a remake of The Wicked Lady (Michael Winner, 1983), Dunaway played another villain in the superhero film, Supergirl (Jeannot Szwarc, 1984). Both films flopped. A late career highlight came with the critically acclaimed drama Barfly (Barbet Schroeder, 1987), a semi-autobiography of poet/author Charles Bukowski (played by Mickey Rourke) during the time he spent drinking heavily in Los Angeles. From then on she appeared in several independent films. She appeared with Ornella Muti in Wait Until Spring, Bandini (Dominique Deruddere, ) and with Robert Duvall and Natasha Richardson in The Handmaid's Tale (Volker Schlöndorff, 1990). Then followed the sequel to Chinatown (1974), he Two Jakes (1990), directed by and starring Jack Nicholson. The film was not a box office or critical success. She starred alongside Johnny Depp and Jerry Lewis in Serbian director Emir Kusturica's surreal comedy-drama Arizona Dream (1993). Dunaway appeared with Depp and Marlon Brando in the romantic comedy Don Juan DeMarco (Jeremy Leven, 1995). A hit at the box office, the film was praised for its romance and the performances of the three main characters. She returned to the stage in 1996, playing famed opera singer Maria Callas in the Tony Award winning play Master Class by Terrence McNally. Dunaway toured the play through the United States. Dunaway was nominated for a Golden Raspberry Award as Worst Supporting Actress for her part in the crime thriller Albino Alligator (Kevin Spacey, 1997) with Matt Dillon. In 1998, she starred with Angelina Jolie in Gia (Michael Christofer, 1998), about the tragic life of model Gia Marie Carangi, which would win Dunaway a third Golden Globe and win Jolie both a Golden Globe and an Emmy. She played a small part in the remake of The Thomas Crown Affair (John McTiernan, 1999) with Pierce Brosnan. In 2002, she played Ian Somerhalder's mother in The Rules of Attraction (Roger Avary, 2002), based on the novel by Bret Easton Ellis. Faye Dunaway continues to act, mostly in B-films and European films like the campy British horror film Flick (David Howard, 2008) and the Polish thriller Balladyna/The Bait (Dariusz Zawiślak, 2009). After her divorce from Peter Wolf in 1979, Faye Dunaway was married from 1983 till 1987 to British photographer Terry O'Neill. She and O'Neill have one child, Liam O'Neill (1980). In 2003, despite Dunaway's earlier claims that she had given birth to Liam, Terry claimed that Liam was adopted.


Sources: Wikipedia and IMDb.

HOLLYWOOD, CA - FEBRUARY 26: Actress Sarah Hyland arrives at the 84th Annual Academy Awards held at the Hollywood & Highland Center on February 26, 2012 in Hollywood, California. (Photo by Jason Merritt/Getty Images)

Actress Nora-Jane Noone attends the 12th Annual US-Ireland Aliiance's Oscar Wilde Awards event at Bad Robot on February 23, 2017 in Santa Monica, California. (Photo by Alberto E. Rodriguez/Getty Images for US-Ireland Alliance )


until 4 January 2015

Due to popular demand Paleis Het Loo is extending the exhibition ‘Grace Kelly, Princess and Style Icon’ to 4 January 2015. More than 150,000 visitors have visited the palace since the exhibition opened in early June.


Paleis Het Loo is mounting a magnificent show in 2014 with the ‘Grace Kelly, Princess and Style Icon’ exhibition presenting the unique story of the fascinating and eventful life of Princess Grace of Monaco. Clothes, accessories, film clips and photographs bring to life again the tale of the princess from one of Europe’s oldest royal houses. The image of Princess Grace, born Grace Patricia Kelly (1929-1982) in the United States, is indelibly imprinted in our collective memory.





Grace Kelly


Occupation: Actress

Birth Name: Grace Patricia Kelly

AKA: Grace Grimaldi


Born: November 12, 1928,

Philadelphia, PA

Died: 1982


Education: AADA, New York (acting); Neighborhood Playhouse, New York


Grace Patricia Kelly (November 12, 1929 – September 14, 1982) was an Oscar-winning American film actress who, as a result of marriage to Prince Rainier III of Monaco on April 19, 1956, became Her Serene Highness Princess Grace of Monaco. She was the mother of the principality's current reigning Sovereign Prince, Albert II of Monaco. Princess Grace was required to renounce her American citizenship upon her marriage.


Though her family had opposed her becoming an actress, Kelly became a fashion model and appeared in her first film, Fourteen Hours (1951), when she was 22. The following year she "starred" (with a supporting role) in High Noon (1952), a generally praised but somewhat controversial western starring Gary Cooper.


Her next film, Mogambo (1953), was a drama set in the Kenyan jungle which centers on the love triangle portrayed by Kelly, Clark Gable, and Ava Gardner. Whilst filming this movie she had an affair with Gable later memorably commenting "What else is there to do if you're alone in a tent in Africa with Clark Gable?" The movie earned Kelly an Oscar nomination for Best Supporting Actress, but the award went to Donna Reed for her role in From Here to Eternity. Kelly made three films with Alfred Hitchcock: Dial M for Murder, Rear Window, and To Catch a Thief.


Life as Princess

The musical comedy High Society (1956) was her last film, as her marriage to Prince Rainier III of Monaco marked her retirement from acting.



Dedicated to one of my favourite actress, Kate Winslet. <3


Explored |May 24, 2009 #97


& Also to Elodie , my dear contact. Not forgetting,the rest of my lovely contacts.

You guys light up my life:D


© Copyright Iskandar 2009| All rights reserved.

Do not use, copy or edit any of my materials without my written permission.

Would appreciate not having large/animated multi invite codes


French postcard by Humour a a la Carte, Paris, nr. ST-150.


Beautiful Italian actress Ornella Muti (1955) often appeared in sexy Italian comedies and dramas, but she also worked for such major European directors as Marco Ferreri, Francesco Rosi and Volker Schlondorff. English language audiences probably know her best as the sensuous Princess Aura in Flash Gordon (1980).


Ornella Muti was born in Rome in 1955 as Francesca Romana Rivelli, to a Neapolitan father and Estonian mother. She has an older sister, Claudia Rivera, who was a soap actress in the 1970’s. As a teenager, the Latin beauty modelled and she posed for illustrated novels. At 15, she made her film debut in the romantic melodrama La moglie più bella/The Most Beautiful Wife (1970, Damiano Damiani). In the following years she starred in such giallos (erotic thrillers) as Un posto ideale per uccidere/Oasis of Fear (1971, Umberto Lenzi) with Irene Papas, and erotic dramas as Appasionata/Passionate (1974, Gian Luigi Calderone) with Valentina Cortese. In Romanzo popolare/Come Home and Meet My Wife (1974, Mario Monicelli) she married her 33-year older godfather (Ugo Tognazi). Her international breakthrough was as the girlfriend of Gerard Depardieu in Ferreri’s shocking psychological drama La dernière femme/The Last Woman (1976, Marco Ferreri) about a man who mutilates himself drastically when the custody of his nine-month old son is threatened. It lead to more interesting films with well known directors including La Stanza Del Vescovo/ The Bishop's Bedroom (1977, Dino Risi) opposite Ugo Tognazzi, Ritratto di Borghesia in Nero/Nest of Vipers (1977, Tonino Cervi) with Senta berger, and I Nuovi Mostri/Viva Italia (1979, Mario Monicelli, Dino Risi, Ettore Scola) with Vittorio Gassman. The latter was a black comedy, comprised of nine short stories all related to the theme that most men are selfish cads. The film was nominated for the Oscar for Best Foreign film. In America the film was promoted by a poster with Muti in swimsuit and a critic’s quote: “Ornella Muti is the best filled thing from Italy since ravioli”. In France, Muti starred with Alain Delon in the crime thriller Mort d'un Pourri/Death of a Corrupt Man (1977, George Lautner).


Ornella Muti made her British film debut as Princess Aura in Flash Gordon (1980, Mike Hodges), based on the classic sci-fi strip. In the 1930’s, this strip had been the basis for a more straight-faced adventure serial. In this Dino De Laurentiis production Flash's story was mined for exaggerated, cartoon humor by screenwriter Lorenzo Semple Jr., who had been a central figure in the similarly campy '60s Batman TV series. The sets are spectacular and the rock score by Queen is appropriately over-the-top. Although Flash Gordon is not a film to turn to for fine performances, Muti shines as the luscious princess of the planet Mongo who tries to lure the blonde hero (Sam J. Jones). IMDb reviewer colleran-2 writes: “Ornella Muti is simply unbelievable as Ming's gorgeous but deadly daughter. Replying to Flash's query as to whether he can use the telepathy machine to contact Dale with a perfectly candid, ‘If I showed you how. But I'm not going to.’” Back in Italy, she appeared with Adriano Celentano in the comedy Il bisbetico domato/The Taming of the Scoundrel (1980, Franco Castellano, Giuseppe Moccia), and with Giancarlo Giannini in the Russian-Italian drama La vita è bella/Life is Beautiful (1981, Grigori Chukhrai). Then followed one of Muti’s greatest successes, Storie di ordinaria follia/Tales of Ordinary Madness (1981, Marco Ferreri), an adaptation of Charles Bukowski's roman à clef Erections, Ejaculations, Exhibitions and General Tales of Ordinary Madness. Nathan Southern writes at AllRovi: “Ben Gazzara delivers a gutsy, four-barreled performance as skid-row poet and storyteller Charles Bukowski (rechristened Charles Serking onscreen) (...); he eventually falls for a prostitute (Muti) who can express her affection only via self-mutilation. Ferreri lets Bukowski's ribald humor flow throughout and exposes the dark erotic currents at the heart of the author's narratives. Laced with perverse, shocking imagery, this unbridled celebration of life's dark underbelly has been praised by critics such as The New Yorker's Pauline Kael and Playboy's Bruce Williamson for its ‘genuine audacity and risktaking’.” It lead to the belated release of the Hollywood production Love and Money (1982, James Toback) with a nude Muti prominent on the poster. The film had already been completed in 1980, but was shelved. She co-starred in Un amour de Swann/Swann in Love (1984, Volker Schlöndorf), an ambitious attempt to film a portion of Marcel Proust's epic novel Remembrance of Things Past with Jeremy Irons as Charles Swann. Television fans were treated to her formidable presence in the TV movie Casanova (1987, Simon Langton) featuring Richard Chamberlain. That year she also starred in the Gabriel García Márquez adaptation Cronaca di una morte annunciate/ Chronicle of a Death Foretold (1987, Francesco Rosi) opposite Rupert Everett.


One of Ornella Muti’s most beautiful films is the Francis Coppola’s Zoetrope production Wait Until Spring Bandini (1990, Dominique Deruddere), based on a novel by John Fante. This film follows the trials of the Bandini family as they try to struggle through hard times in 1920’s Colorado. Muti plays the anxious mother, wife of Joe Mantegna. Her other English language films include the Sylvester Stallone comedy Oscar (1991, John Landis) and another comedy flop Once Upon a Crime (1992, Eugene Levy) with John Candy. In Italy, she appeared in the historical comedy Il viaggio di Capitan Fracassa/Captain Fracassa's Journey (1990, Ettore Scola) with Vincent Perez, and loads of forgettable films. In France she appeared in the thriller L'Inconnu de Strasbourg (1998, Valeria Sarmiento), director Lucas Belvaux's trilogy: Cavale/Trilogy: One (2002) - Un couple épatant/Trilogy: Two (2002) - Après la vie/Trilogy: Three (2002), and the comedy Les Bronzes 3: Amis Pour La Vie/Les Bronzes 3: Friends Forever (2006, Patrice Leconte), but is probably best known for a TV commercial of Giovanni Panzani pasta. Ornella Muti has been married twice, to Alessio Orano, her fellow actor in moglie più bella/The Most Beautiful Wife (1975–1981), and Federico Facchinetti (1988–1996). Muti has three children. She has a daughter by Spanish film producer José Luis Bermúdez de Castro, Acaso Naike Rivelli (1974). She is also a model and actress and has a close resemblance to her mother. Muti has also a son, actor Andrea Facchinetti, and a second daughter, Carolina Facchinetti , both from her second marriage. In 1996 her grandchild Akash was born, daughter of Naike Rivelli. From 1998 till 2008, Muti lived with Stefano Piccolo, a plastic surgeon. Her latest fiancé is Fabrice Kerhervé. In 2008, Ornella Muti introduced her own line of jewellery. She opened new shops in Paris, Milan, Rome, Riga, Moscow and Almaty. She is also still active in the cinema. She appeared in Peter Greenaway’s The Tulse Luper Suitcases, Part 3: From Sark to the Finish (2003) with Roger Rees, The Tulse Luper Suitcases, Part 2: Vaux to the Sea (2004), and Peopling the Palaces at Venaria Reale (2007). Her latest release was the spaghetti western Doc West/Triggerman (2009, Terence Hill, Giulio Base) starring western icon Terence Hill and Paul Sorvino.


Sources: AllRovi, Wikipedia, and IMDb.

Dutch postcard. Photo: Warner Bros.


American actress and dancer Virginia Mayo (1920-2005) is best known for her series of film comedies with Danny Kaye, including Wonder Man (H. Bruce Humberstone, 1945), The Kid from Brooklyn (Norman Z. McLeod, 1946), and The Secret Life of Walter Mitty (Norman Z. McLeod, 1947). The popular actress personified the dream girl or girl-next-door and audiences—particularly males—flocked to theatres just to see her blonde hair and classic looks on-screen in Technicolor. It made Mayo Warner Brothers biggest box office money maker in the late 1940s. Going against stereotype, Mayo accepted the supporting role of unsympathetic gold-digger Marie Derry in the Oscar winning drama The Best Years of Our Lives (William Wyler, 1946). Her performance drew favourable reviews from critics as the film also became the highest-grossing film in the US since Gone with the Wind. Later she appeared opposite James Cagney in White Heat (Raoul Walsh, 1949), Burt Lancaster in The Flame and the Arrow (Jacques Tourneur, 1950), and Gregory Peck in Captain Horatio Hornblower (Raoul Walsh, 1951). At the zenith of her career, Mayo was seen as the quintessential voluptuous Hollywood beauty: she "looked like a pinup painting come to life".


Sources: Wikipedia and IMDb.

Spanish postcard by Editorial Filkasol.


German-born Austrian Susan Denberg (1944) was a Bluebell dancer and Playboy Playmate who had a brief acting career in the 1960s. One of her few roles was as Peter Cushing’s beautiful new creation in the Hammer horror Frankenstein Created Woman (1967).


Susan Denberg was born Dietlinde Ortrun Zechner in Bad Polzin, Germany (now Polczyn-Zdrój, Poland) in 1944. She was the eldest of three children of Austrian-German parents, and grew up with her two brothers, Reinhard and Ulrich, in Klagenfurt in Austria. Her father operated several electrical shops there. At 18, she travelled to England to work as an au-pair. In 1963 she met a dancer of the Bluebell Girls and did an audition in Paris. She was hired for the chorus line and in 1964 and 1965, she performed in the Stardust Hotel in Las Vegas. There she met and married Latino singer Tony Scotti in 1965. She deserted the Bluebells for a movie career in Hollywood, and landed a co-starring role as a German girl on the TV series 12 O'Clock High (1964-1967). This ABC drama set during World War II was the television version of the Oscar winning classic Twelve O'Clock High (1949, Henry King) starring Gregory Peck. The following year, Zechner made her feature film debut with a supporting role in An American Dream (1966, Robert Gist). This trashy film drama, based on a Norman Mailer novel, starred Stuart Whitman and Janet Leigh. While working on this film, Warner Bros. held a nationwide contest to find Dietlinde a new screen name. They offered a $500 award to whoever came up with the best one. There were 5,000 entries, including ‘Norma Mailer’, but all were ultimately rejected. She herself came up with Susan Denberg. She was featured Playmate of the Month for Playboy magazine's August 1966 issue. In her profile, Denberg stated that she had ambitions to become an actress. Denberg was later one of the finalists for the title of 1967's Playmate of the Year, though the title ultimately went to Lisa Baker. Denberg's best known screen appearance was in the Star Trek episode Mudd’Women (1966, Harvey Hart). She played one of the three mysterious and stunningly beautiful women of the title, who have an odd effect on all the male crew of the Starship Enterprise (except Spock, who looks on bemused), causing involuntary arousal.


Susan Denberg moved to England to play in Hammer Film's cult science fiction/horror film Frankenstein Created Woman (1967, Terence Fisher). It is the fourth film in Hammer's Frankenstein series with Peter Cushing as Baron Frankenstein and Denberg as his new creation. Where Hammer's previous Frankenstein films were concerned with the physical aspects of the Baron's work, the interest here is in the metaphysical dimensions of life, such as the question of the soul, and its relationship to the body. Frankenstein Created Woman is one of the most critically acclaimed Hammer films. Nick Faust at IMDb: “Within the confines of a Hammer movie's melodrama, Fisher, a classical stylist and at times a superb artist, often created magic. This is one of those times. The performances are all equally compelling. Cushing gives the Baron more texture here than in any of the other films, I think. Thorley Walters is a good foil, and his befuddled affection and respect for the Baron makes some of this really rather touching. Arthur Grant's photography has never been better. I urge viewers to watch the film with an open mind. This is not the usual horror film; it's more a fantasy, a fairy tale.” Martin Scorsese picked the film as part of a 1987 National Film Theatre season of his favourite films, saying "If I single this one out it's because here they actually isolate the soul... The implied metaphysics are close to something sublime." However, Denberg's voice in the film was dubbed as her Austrian accent was considered too strong. Denberg had become immersed in the drugs and sex life style of the 1960s. She divorced Tony Scotti in 1968. She left show business and returned to Austria. Newspapers reported at the time that Denberg was suicidal and stayed in mental homes. During the 1970s she also performed in Viennese nightclubs. Nowadays, Susan Denberg lives in Klagenfurt, Austria, under her real name, Dietlinde Zechner.


Sources: Ted Newsom (IMDb), Memory Alpha (IMDb), Nick Faust (IMDb), Glamour Girls of the Silver Screen,, Wikipedia (English and German) and IMDb.

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