Genève, îlot 13

French postcard, no. 13. Photo: Studio Harcourt.

French actress Micheline Presle (1922) is well-known for films like Le diable au corps (Devil in the Flesh, Claude Autant-Lara 1947), in which she plays the Red Cross nurse Martha who has an adulterous love affair with a young man (Gérard Philippe) during the First World War.

Born Paris 1922 as Micheline Chassagne, Micheline Presle debuted in film in 1937 with the film La Fessée/The Buttock by Pierre Caron. In 1938 she was awarded with the Prix Suzanne Bianchetti for best promising actress. She took the nom of Presle after the nom of her character Jacqueline Presle in G.W. Pabst's film Jeune fille en détresse (Girls in Distress 1939). In the 1930s and the war years Presle often played the lively young and naive girl as in La nuit fantastique/Fantastic Night (Marcel L'Herbier 1942) and Falbalas/Paris Frills (Jacques Becker 1944) and became a 'vedette' of French cinema. After the war though Presle played more serious roles as streetwise young woman, such as the prostitute in Boule de suif/Angel and Sinner (1945) by Christian-Jaque, the adultress in Le diable au corps, and the ethereal woman coming back from the dead in Les jeux sont faits/Second Chance (Jean Delannoy's 1947). At the same time she also played the female lead of Helene/Jone in the major Franco-Italian epic Gli ultimi giorni di Pompei/The Last Days of Pompei/Sins of Pompeii (1950), directed by, again Marcel L'Herbier, in whose films she was often performing in the 1940s.

In the late 1940s, at the summit of her French career, she went to the US where she was offered a contract by Fox and where she worked under the name Prelle, first cast in Under my skin (Jean Negulesco 1950) with John Garfield and then in American Guerrilla in the Philipines (Fritz Lang) with Tyrone Power. She was married to actor and director William Marshall (1950-54), who directed her in The Adventures of Captian Fabian (1951), opposite Errol Flynn. The film flopped, Presle disliked Hollywood, divorced Marshall, and returned to France. There she played in many films,as in Si Versailles m'était conté/Royal Affairs in Versailles (Sacha Guitry 1953), Napoléon (Guitry 1955), La mariée est trop belle/Her Bridal Night (Pierre Gaspard-Huit 1956) opposite young Brigitte Bardot, and Christine (Gaspard-Huit 1958) with Alain Delon and Romy Schneider. At the same time Presle also performed in Italy in Carmine Gallone's Casa Ricordi/House Ricordi (1954), Beatrice Cenci/Castle of the Banned Lovers (Riccardo Freda 1956) and a smaller part in Villa Borghese/It Happened in the Park (Gianni Franciolini/Vittorio de Sica 1954). In 1959 she played opposite Hardy Kruger in Blind Date by Joseph Losey and in 1962 Presle returned to Hollywood to play in the Bobby Darin and Sandra Dee vehicle If a Man Answers (Henry Levin), and subsequently in The Prize (Mark Robson 1963) with Paul Newman.

In the 1960s Presle played in popular films such as Philippe de Broca's Le roi de coeur'The King of Hearts (1965), but also in L'Assassino/The Assassin (1961) by Elio Petri, La Religieuse/The Nun (1965) by Jacques Rivette, Peau d'ane by Jacques Demy (1970), I Want to Go Home (Alain Resnais 1989), and Mignon è partita/Mignon Has Come to Stay (Francesca Archibugi 1989). From the early 1960s on, Presle also played in several French tv series, such as the long running comedy Les saintes chéries (1965-1970). Since the 1990s Presle has performed less and less in film, but she has been very visible in the films of her daughter, film director Tonie Marshall, as in Pas très catholique (1994) and France boutique (2003).

Sources: French, English and Italian Wikipedia, IMDB, Allociné.

Spanking

2018

ACRYLIQUE ET CRAYON NOIR SUR CARTON TOILÉ (Acrylic and black pencil on canva-paper)

23 X 30.5 cm. (9"X12 ")

$150.00

Vintage French postcard. Series Les artistes de la "Comédie Française" dans leur loge. Raphael Tuck et Fils, Editeurs, Paris, c. 1900. The photos, though, may have been a bit older, like the 1890s.

Marguerite Moreno (1871-1948) was a famous French stage and screen actress.

Marguerite Moreno was born in Paris at the 9th arrondissement, on 15 September 1871. She was the daughter of Pierre Monceau, teacher in mathematics, and Charlotte Lucie Moreno. Moreno studied in Paris and Bretagne, then entered the Paris Conservatoire, in the class of Gustave Worms. She was engaged by the Comédie-Française in 1890, and acted on stage with the famous names of the French stage: Charles Le Bargy, Mounet-Sully, Julia Bartet, Coquelin sr., Paul Mounet. She became the «muse of the Symbolists», and poet Stéphane Mallarmé’s close friend, but nevertheless she didn’t manage to convince him to stage his Hérodiade. It was Moreno who in 1898 organised his funeral , at he church and graveyard of Samoreau près la Seine where he had his country house. After being the mistress of poet Catulle Mendès (their son would die of meningitis), Moreno married in Britain writer Marcel Schwob, on 12 September 1900. Unfortunately Schwob fell ill and died in 1905, at the age of 37.

In 1903, Marguerite Moreno left the Comédie-Française and joined the Théâtre de Sarah Bernhardt, and afterwards the Théâtre Antoine. For seven years she ran in Buenos Aires the French section of the Conservatory. When the First World War broke out, she was active at the military hospital in Nice. In 1908 she had remarried actor Jean Daragon, but she lost her second husband in 1923. From 1915, she discovered cinema. In the silent era she played together with her husband (his last part) in Vingt ans après (1922) by Henri Diamant-Berger whe she impersonated Queen Anne of Austria “under a plaster-like make-up, with ringed eyes, and a rosebud mouth”, as Olivier Barrot and Raymond Chirat wrote in Noir & Blanc: 250 acteurs du cinéma français 1930-1960 (2000). She also acted in several other films by Diamant-Berger: Paris pendant la guerre (1916), Le Mauvais garçon (1923), opposite Maurice Chevalier in Gonzague (1923), L'Accordeur (1923) and L'Emprise (1924), starring Pierre de Guingand and Pierrette Madd. In the late 1920s she also acted in films like Le Capitaine Fracasse by Alberto Cavalcanti (1929), starring Pierre Blanchar and Lien Deijers.

When sound cinema arrived in France, Moreno had an enormous increase in film roles. In 1930-1932 she played at least one film part each month, a number which slowly went down in the course of the 1930s. On instigation of her friend and soulmate, the writer Colette, Moreno had started playing comedy, and in 1920, she had had a big success on stage with Le Sexe faible by Édouard Bourdet . Here she played “ an old Slavic countess who hires beautiful boys to pass boredom”, as Maurice Martin du Gard mentioned in his Carte rouge (1930). Moreno repeated the part in the adaptation filmed by Robert Siodmak in 1933 and starring Victor Boucher. Moreno often played countesses, duchesses and queens, though she included the lower classes as well. In the interbellum years Moreno installed herself in a an estate at the Lot province. It was renovated by her cousin Pierre Moreno, who lived with her and was her lover too. Pierre was himself an actor as well, often playing with her. Moreno spread her career between the stage and the screen, and according to Barrot and Chirat, “ she accepted all that was offered her. The average spectator’s laugh at each of her performances was enough for her.” She appeared e.g. in Un trou dans le mur (1930) by René Barberis, Tout va très bien madame la marquise (1936) by Henry Wulschleger, and La Fessée (1937) by Pierre Caron.

However, Moreno was also directed by Raymond Bernard in Les Misérables (1934), where together with Charles Dullin she played the evil couple Thenardier opposite Harry Baur as Jean Valjean. She played again aristocrats in Jean Delannoy's Paris-Deauville (1933) and in La dame de pique (1937) by Fedor Ozep. She did various parts in films by Sacha Guitry: Faisons un rêve, Le Roman d'un tricheur and Le Mot de Cambronne in 1936, Les Perles de la couronne in 1937, Ils étaient neuf célibataires in 1939, and Donne-moi tes yeux in 1943. With Marcel Pagnol she played in Regain (1937) starring Fernandel, and the uncompleted film La Prière aux étoiles (1941), with Christian-Jaque in Carmen (1942) and Un revenant (1946) with Louis Jouvet, and with Claude Autant-Lara she acted in Douce (1943). In 1945, next to Jouvet, she was a giant success on stage as Aurélie in La Folle de Chaillot, written for her by Jean Giraudoux. Her last film L'assassin est à l'écoute by Raoul André was released a few weeks after her death. Marguerite Moreno died in Touzac (Lot) on 14 July 1948. Her house and estate La Source bleue (The Blue Source) in Touzac was transformed in an inn by her heirs.

Paul Valéry considered her the only one capable to recite poems, so he invited her to recite them during his courses at the Collège de France. Paul Léautaud wrote on her: “Tonight while listening to Moreno in Aricie, I was crying softly…” and “People say she is ugly, but you cannot be ugly if you have such a expressive face, and so delicate at the same time – her eyes, her nose, her mouth are so full of wit. Moreover, she has it in such a way as seldom to be found in a woman. She is female malice and satire embodied.” The Marguerite Moreno Papers were purchased by Yale University in 2009.

Sources: IMD, French Wikipedia.

By the early 1970s the canes that we were hit with, had to conform to set standards now that Social Services was taking more control of how the Children's Homes were run .

Each cane was stamped with the authorities name and date of manufacture. This was to stop certain workers in the homes and schools from using canes that were not to the regulation standard.

Social Services tended to provide the children's homes with official canes that came from the Council's education department. After each punishment a record had to be made in the punishment book.

From one of the official notices. "Caning of children aged over six in the County Council's Homes and other children’s homes in use by the council for the care of children."

"The only form of corporal punishment that will be allowed will be up to six strokes of the light cane on the buttocks, over normal daily clothes.

The permitted reasons for canings are to include: Stealing, bad language, bullying, general house disruptions, bedwetting, school truancy and other disruptive behaviour."

------------------

Had I been in care in the early 1970s my regular punishment of the slipper for wetting the bed, would have been increased to the cane. Going to bed thinking of a probable punishment for wetting the bed only increased my wet beds.

The canings for me that spring painfully to mind from home, School and in the Children's Home, and who gave out the punishment.

Naughtiness (grandmother) age 5,

Pushing desks in classroom (headmistress) age 7,

Allowing damage to property (mother) age 7

Striking matches indoors (mother) age 7,

Stepping in ink in classroom (teacher) age 7,

Accused of throwing mashed potato (teacher) age 7,

Flooding washroom (headmaster) age 8,

Throwing small bibles (deputy Gov. in Children's Home) age 8,

Jumping on a dead worm (Headmaster) age 8,

Accused of knocking gloves off a rail (deputy headmaster) age 9,

Fighting and bad behavoir (headmaster) age 9,

Argument with Houseparent (deputy Gov. in children's home) age 9,

Several canings by the class teacher at the age of 9 & 10, the two worst: three strokes on each hand for making a girl cry, and three on each leg for some other wrong doing.

Accused of pissing on Houseparent (Gov. of children's home) age 10. (she used that as the excuse after smashing my head through a glass window - the gov. of the children's home believed her - one caning that I was innocent over).

Fighting in Children's Home (Senior Sister in Children's Home) age 11.

Plus a few more that I've forgotten about

So I've possibly helped wear out a few canes during my childhood. The worst part was waiting for the punishment to be given, having to wait an endless time outside for the call to go in for the cane with the hope you were not going to wet your pants with the fear over how many strokes you might receive.

By the time I reached senior school at the age of 11, I knew how to act and avoided the cane simply by luck for the following 5 years.

As to did it work - the simple answer - Yes, it kept me in order.

French postcard. Editions Cinémagazine No. 52. Pathé Consortium Cinema. Marguerite Moreno as Anne d'Autriche in the Dumas adaptation Vingt ans après (Henri Diamant-Berger 1922).

Marguerite Moreno (1871-1948) was a famous French stage and screen actress.

Marguerite Moreno was born in Paris at the 9th arrondissement, on 15 September 1871. She was the daughter of Pierre Monceau, teacher in mathematics, and Charlotte Lucie Moreno. Moreno studied in Paris and Bretagne, then entered the Paris Conservatoire, in the class of Gustave Worms. She was engaged by the Comédie-Française in 1890, and acted on stage with the famous names of the French stage: Charles Le Bargy, Mounet-Sully, Julia Bartet, Coquelin sr., Paul Mounet. She became the «muse of the Symbolists», and poet Stéphane Mallarmé’s close friend, but nevertheless she didn’t manage to convince him to stage his Hérodiade. It was Moreno who in 1898 organised his funeral , at he church and graveyard of Samoreau près la Seine where he had his country house. After being the mistress of poet Catulle Mendès (their son would die of meningitis), Moreno married in Britain writer Marcel Schwob, on 12 September 1900. Unfortunately Schwob fell ill and died in 1905, at the age of 37.

In 1903, Marguerite Moreno left the Comédie-Française and joined the Théâtre de Sarah Bernhardt, and afterwards the Théâtre Antoine. For seven years she ran in Buenos Aires the French section of the Conservatory. When the First World War broke out, she was active at the military hospital in Nice. In 1908 she had remarried actor Jean Daragon, but she lost her second husband in 1923. From 1915, she discovered cinema. In the silent era she played together with her husband (his last part) in Vingt ans après (1922) by Henri Diamant-Berger whe she impersonated Queen Anne of Austria “under a plaster-like make-up, with ringed eyes, and a rosebud mouth”, as Olivier Barrot and Raymond Chirat wrote in Noir & Blanc: 250 acteurs du cinéma français 1930-1960 (2000). She also acted in several other films by Diamant-Berger: Paris pendant la guerre (1916), Le Mauvais garçon (1923), opposite Maurice Chevalier in Gonzague (1923), L'Accordeur (1923) and L'Emprise (1924), starring Pierre de Guingand and Pierrette Madd. In the late 1920s she also acted in films like Le Capitaine Fracasse by Alberto Cavalcanti (1929), starring Pierre Blanchar and Lien Deijers.

When sound cinema arrived in France, Moreno had an enormous increase in film roles. In 1930-1932 she played at least one film part each month, a number which slowly went down in the course of the 1930s. On instigation of her friend and soulmate, the writer Colette, Moreno had started playing comedy, and in 1920, she had had a big success on stage with Le Sexe faible by Édouard Bourdet . Here she played “ an old Slavic countess who hires beautiful boys to pass boredom”, as Maurice Martin du Gard mentioned in his Carte rouge (1930). Moreno repeated the part in the adaptation filmed by Robert Siodmak in 1933 and starring Victor Boucher. Moreno often played countesses, duchesses and queens, though she included the lower classes as well. In the interbellum years Moreno installed herself in a an estate at the Lot province. It was renovated by her cousin Pierre Moreno, who lived with her and was her lover too. Pierre was himself an actor as well, often playing with her. Moreno spread her career between the stage and the screen, and according to Barrot and Chirat, “ she accepted all that was offered her. The average spectator’s laugh at each of her performances was enough for her.” She appeared e.g. in Un trou dans le mur (1930) by René Barberis, Tout va très bien madame la marquise (1936) by Henry Wulschleger, and La Fessée (1937) by Pierre Caron.

However, Moreno was also directed by Raymond Bernard in Les Misérables (1934), where together with Charles Dullin she played the evil couple Thenardier opposite Harry Baur as Jean Valjean. She played again aristocrats in Jean Delannoy's Paris-Deauville (1933) and in La dame de pique (1937) by Fedor Ozep. She did various parts in films by Sacha Guitry: Faisons un rêve, Le Roman d'un tricheur and Le Mot de Cambronne in 1936, Les Perles de la couronne in 1937, Ils étaient neuf célibataires in 1939, and Donne-moi tes yeux in 1943. With Marcel Pagnol she played in Regain (1937) starring Fernandel, and the uncompleted film La Prière aux étoiles (1941), with Christian-Jaque in Carmen (1942) and Un revenant (1946) with Louis Jouvet, and with Claude Autant-Lara she acted in Douce (1943). In 1945, next to Jouvet, she was a giant success on stage as Aurélie in La Folle de Chaillot, written for her by Jean Giraudoux. Her last film L'assassin est à l'écoute by Raoul André was released a few weeks after her death. Marguerite Moreno died in Touzac (Lot) on 14 July 1948. Her house and estate La Source bleue (The Blue Source) in Touzac was transformed in an inn by her heirs.

Paul Valéry considered her the only one capable to recite poems, so he invited her to recite them during his courses at the Collège de France. Paul Léautaud wrote on her: “Tonight while listening to Moreno in Aricie, I was crying softly…” and “People say she is ugly, but you cannot be ugly if you have such a expressive face, and so delicate at the same time – her eyes, her nose, her mouth are so full of wit. Moreover, she has it in such a way as seldom to be found in a woman. She is female malice and satire embodied.” The Marguerite Moreno Papers were purchased by Yale University in 2009.

Sources: IMD, French Wikipedia.

David Lachapelle : "Gisele Bündchen" & Gerard Malanga : "Iggy Pop nude", 1971.

"Collection très privée" de peintures, sculptures, photographies, dessins et céramiques avec les œuvres de : Carlos Aires, Hans Arp, Atelier Blink, Charley Case, Daphne Corregan, Jimi Dams, Fabien de Cugnac, kristof Everart, Robert Gligorov, Piotr Klemensiewicz, David Kramer, David Lachapelle, Gerard Malanga, Frédéric Nakache, Pierre Radisic, Terry Rodgers, Félicien Rops, Pépé Smit, Annie Sprinkle, Gilles Suffren, Cédric Tanguy, Elizabeth Young…

Le Baron, Tokyo

"Collection très privée" de peintures, sculptures, photographies, dessins et céramiques avec les œuvres de : Carlos Aires, Hans Arp, Atelier Blink, Charley Case, Daphne Corregan, Jimi Dams, Fabien de Cugnac, kristof Everart, Robert Gligorov, Piotr Klemensiewicz, David Kramer, David Lachapelle, Gerard Malanga, Frédéric Nakache, Pierre Radisic, Terry Rodgers, Félicien Rops, Pépé Smit, Annie Sprinkle, Gilles Suffren, Cédric Tanguy, Elizabeth Young…

Annie Sprinkle : Bosom Ballet

"Collection très privée" de peintures, sculptures, photographies, dessins et céramiques avec les œuvres de : Carlos Aires, Hans Arp, Atelier Blink, Charley Case, Daphne Corregan, Jimi Dams, Fabien de Cugnac, kristof Everart, Robert Gligorov, Piotr Klemensiewicz, David Kramer, David Lachapelle, Gerard Malanga, Frédéric Nakache, Pierre Radisic, Terry Rodgers, Félicien Rops, Pépé Smit, Annie Sprinkle, Gilles Suffren, Cédric Tanguy, Elizabeth Young…

Since the start of the project i remarks sometimes the difficulty to find the english correspondence for french terms or expression.

The french is in my point of view richer than english in vocabulary.

Here is a true example with a french expression "avoir la pêche" which means "be on form", here the peach appears in my spirit for being a good idea for my fruit week

but translated it loose the "funny" spirit of what i want to express.

Obviously most observers and teasing can catch me at my own game (when i "claim" to be attached to precision) by remarking that it was not a peach but a nectarine.

I only could answer that after many kilometers in different shops looking for peaches in winter it was simply impossible to find them, but after all nobody like hairs :P

Whatever ! I choose voluntary to make a mistake on my title.

I reassure you, the peach has not been hurt during this session and moreover i think it took some pleasure.... :$

Version FR :

Depuis le début du projet je remarque une propension assez significative à ne pas trouver toutes les correspondances en anglais de termes français (j'essaierais d'ailleurs d'utiliser cette remarque dans le projet). À mon sens le français est vraiment plus fournis que l'anglais en terme de vocabulaire.

Cette photo en est l'exemple typique, en français l'expression "avoir la pêche" ne trouve comme correspondance que "être en forme", ce qui ne colle plus à la réflexion que j'ai eu sur cette photo.

Bien sûr les plus observateurs et les plus taquins d'entre vous me prendront à mon propre jeu de la précision en faisant remarquer que ce n'est pas une pêche mais une nectarine.

Je ne peux que leur répondre qu'après beaucoup de recherche dans tous les primeurs du coin, je n'ai tout simplement pas trouvé de pêches en hiver (et que j'ai aussi eu beaucoup de mal à trouver des nectarines...) et qu'après tout, personne n'aime les poils et c'est mieux comme cela :P

Je vous rassure, la pêche n'a pas été blessée et je pense même qu'elle y a pris un certain plaisir :P

www.huisvanalijn.be/sites/default/files/Museumflyer2008!.pdf

Le Musée de la vie populaire (néerl. Museum voor Volkskunde, ou depuis 2000 Huis van Alijn), l’un des plus importants de ce type en Belgique, est hébergé dans un ancien Hôtel-Dieu du XIVe siècle. Celui-ci, désigné par Kinderen Alijnshospitaal ('Hospice des Enfants Alijn') ou encore par Sint-Catharinahospitaal, joyau du quartier Patershol, se compose de 18 maisonnettes (maisons-Dieu) rangées autour d’un patio. Il fut construit dans la deuxième moitié du XIVe siècle par la famille Rijm pour se racheter, auprès du comte Louis de Male, du meurtre, perpétré en raison d’une querelle familiale, des deux fils Alijn (prononcer ‘alêne’) dans la cathédrale quelques années auparavant; la condition de la grâce comtale en effet portait que devait être construit un Hôtel-Dieu pour 18 femmes vieilles et indigentes. Au XVIe siècle, alors que l’hospice se trouvait fort délabré, deux autres familles patriciennes entreprirent de le restaurer, firent construire huit maisons-Dieu supplémentaires, et ajoutèrent, en 1543, une chapelle (de style renaissance, mais avec baies gothiques). Après le départ des derniers pensionnaires en 1863, l’hospice fut vendu en 1883 et changé en cour d’habitation, et la chapelle en atelier de menuiserie.

Racheté par la municipalité en 1941, et restauré avec bonheur en 1962, l’hospice Alijn accueille depuis cette date le Musée de la vie populaire, successeur de l’ancien Musée de folklore, fondé en 1932. Le musée entend donner un aperçu de la vie quotidienne du petit peuple en milieu urbain aux alentours de 1900 ; depuis peu cependant, le musée tend aussi à étendre son propos à des périodes plus récentes. Le circuit conduit le visiteur de maisonnette en maisonnette, et lui fait découvrir tour à tour les quatre départements dont se compose le musée; ce sont:

Pillegift en Engelenbrood, ‘Cadeau de baptême et Pain des Anges’ : les principales étapes de la vie, les rites de passage de la naissance jusqu’à la mort sont illustrées.

Fanfares en ander Feestgedreun, ‘Fanfares et autre tintamarre festif’ : sont passées en revues ici les divertissements et festivités populaires (fanfares, cirque, spectacles de sport, colombophilie, etc.).

Passie en Godsvrucht, ‘Passion et Piété’ : ce département donne à voir les coutumes et traditions de la culture religieuse populaire (statuettes de saints, ex-voto, imagerie religieuse, etc.).

Meesterschap en Handelsgeest, ‘Maîtrise et Esprit de négoce’ : ont été reconstitués ici un certain nombre d’intérieurs de maisons de commerce et d’ateliers d’artisanat gantois (pharmacie, bonbonnerie, salon de barbier, atelier de cordonnier, d’imprimeur, de dinandier, de tourneur sur bois, etc.).

Source : fr.wikipedia.org/wiki/Mus%C3%A9e_de_la_vie_populaire

Fête de la soupe de Wazemmes - Lille

1er Mai 2010.

snoosh.fr

Pépé Smit : "Hit", "Hot" & "Cooldown".

"Collection très privée" de peintures, sculptures, photographies, dessins et céramiques avec les œuvres de : Carlos Aires, Hans Arp, Atelier Blink, Charley Case, Daphne Corregan, Jimi Dams, Fabien de Cugnac, kristof Everart, Robert Gligorov, Piotr Klemensiewicz, David Kramer, David Lachapelle, Gerard Malanga, Frédéric Nakache, Pierre Radisic, Terry Rodgers, Félicien Rops, Pépé Smit, Annie Sprinkle, Gilles Suffren, Cédric Tanguy, Elizabeth Young…

Vernissage de l'exposition Ménerbes de Piotr KLEMENSIEWICZ ( Galerie Mons - Loft ).

Série « Evetemada », 2005/2007.

Vernissage attendees get first crack at purchasing key new pieces, and are very apt to enjoy champagne and crab puffs... but sometimes they even prefer their Nintendo DS... :-)

Dans les vernissages, les invités ont tendance à préférer le champagne et les canapés mais parfois c'est plutôt leur Nintendo DS qui a leur faveur ;-).

Anonyme florentin (Oxford, Ashmoleum Museum)

Giuly Makelele Thuram .... Piantoni Fontaine Kopa Platini

I'm not gonna move ...

Décor pour le tournage du clip d'High Tone pour Spank, par le sens 2k

Set for the shooting of the High TOne next music video (Spank)

More behind the scene on sens2k.blogspot.com

UPDATE : the video is on air ! and it's really good !

sens2k.blogspot.com/2010/03/la-fessee-du-mercredi.html

Soirée du samedi aux Trans Musicales 2011 - Rennes

alter1fo.com/trans-musicales-2011-la-fessee-du-samedi-soi...

alter1fo.com/trans-musicales-2011-la-fessee-du-samedi-soi...

French postcard by Ministère de la Culture / AFDPP. Photo: Studio Harcourt. Caption: Micheline Presle, 1945.

On 21 February, French actress Micheline Presle (1922-2024) passed away at 101. In the 1940s and 1950s, she formed the queen trio of French cinema with Michèle Morgan and Danielle Darrieux. The chic and elegant star gained worldwide attention for Le diable au corps/Devil in the Flesh (Claude Autant-Lara, 1947). The success of this film also earned Presle three roles in a Hollywood production, under the name Micheline Prelle. Over nine decades, La Presle made more than one hundred and fifty films.

Micheline Presle (sometimes Presles or Prelle) was born Micheline Nicole Julia Émilienne Chassagne in Paris in 1922. She was the daughter of a businessman and took acting classes as a teen. Her film debut was La Fessée/The Buttock (Pierre Caron, 1937) with Albert Préjean. In 1938 she was awarded the Prix Suzanne Bianchetti for the most promising actress. She took the name of Presle after her character's name Jacqueline Presle in Jeune fille en détresse/Girls in Distress (Georg Wilhelm Pabst, 1939). In the 1930s and the war years, Presle often played the lively young and naïve girl. Examples are La nuit fantastique/Fantastic Night (Marcel L'Herbier, 1942) and Falbalas/Paris Frills (Jacques Becker, 1944) with Raymond Rouleau. Presle became a 'vedette' of French cinema. After the war she played more serious roles as the streetwise young woman, such as the prostitute in Boule de suif/Angel and Sinner (Christian-Jaque, 1946), the adulteress in Le diable au corps/Devil in the Flesh (Claude Autant-Lara, 1947), and the ethereal woman coming back from the dead in Les jeux sont faits/Second Chance (Jean Delannoy, 1947). At the same time, she also played the female lead of Helene/Jone in the major Franco-Italian epic Gli ultimi giorni di Pompei/Sins of Pompeii (1950) by Paolo Moffa and Marcel L'Herbier, in whose films she was often performing during the 1940s. At the summit of her French career, Presle went to the US. She was offered a contract by 20th Century Fox and she worked in Hollywood under the name Prelle. She was first cast in Under My Skin (Jean Negulesco, 1950) with John Garfield, and then in American Guerrilla in the Philippines (Fritz Lang, 1950) with Tyrone Power. She was married to actor-turned-producer William Marshall (1950-54), who directed her in The Adventures of Captain Fabian (William Marshall, 1951), opposite Errol Flynn. The film flopped, Presle disliked Hollywood, divorced Marshall, and returned to France.

Back in France, Micheline Presle played in many films, such as Si Versailles m'était conté/Royal Affairs in Versailles (Sacha Guitry, 1953), Napoléon (Sacha Guitry, 1955), La mariée est trop belle/Her Bridal Night (Pierre Gaspard-Huit, 1956) opposite young Brigitte Bardot, and Christine (Pierre Gaspard-Huit, 1958) with Alain Delon and Romy Schneider. Presle also performed in Italy in Casa Ricordi/House Ricordi (Carmine Gallone, 1954), Beatrice Cenci/Castle of the Banned Lovers (Riccardo Freda, 1956) and she had a smaller part in Villa Borghese/It Happened in the Park (Gianni Franciolini, Vittorio de Sica, 1953). In 1959 she played opposite Hardy Kruger in Blind Date (Joseph Losey, 1959) and in 1962 Presle returned to Hollywood to play in the Bobby Darin and Sandra Dee vehicle If a Man Answers (Henry Levin, 1962), and subsequently in The Prize (Mark Robson, 1963) with Paul Newman. During the 1960s, she played in such popular films as Philippe de Broca's Le roi de coeur/The King of Hearts (1965), but also in the art films L'Assassino/The Assassin (Elio Petri, 1961), La Religieuse/The Nun (Jacques Rivette, 1965), Peau d'ane (Jacques Demy, 1970), and Mignon è partita/Mignon Has Come to Stay (Francesca Archibugi, 1989). From the early 1960s on, Presle also played in several French TV series, such as the long-running comedy Les saintes chéries (1965-1970). She has appeared frequently on the stage as well. Presle was nominated for a César as the best supporting actress in I Want to Go Home (Alain Resnais, 1989). Since then, Presle performed regularly in film again. She was very visible in the films of her daughter, Tonie Marshall, such as in Pas très catholique/Something Fishy (Tonie Marshall, 1994) and France boutique (Tonie Marshall, 2003). In 2004, she received a special César for her entire oeuvre. At a very high age, Micheline Presle appeared in Thelma, Louise et Chantal (Benoît Pétré, 2010) starring Jane Birkin, and in the short family drama Je montrerai mes seins/I Show My Tits (Eduardo Sosa Soria, 2013). Her last cameo was in the film Tu veux... ou tu veux pas? (Tonie Marshall, 2014).Micheline Presle died of natural causes in 2024 in Nogent-sur-Marne (Val-de-Marne). She was 101. Her daughter Tonie Marshall passed away four years earlier.

Sources: Hans Beerekamp (Het Schimmenrijk - Ducth), Gary Brumburgh (IMDb), Allociné, Wikipedia, and IMDb.

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