ACTEURS OU PERSONNAGES DE CINEMA
Bertram Fortesque Winthrope Smith
George Fortescue Maximilien de Winter (Rebecca)
Kenneth Fortescue (actor)
Muriel (Mabel Normand) Fortescue
Paul Francis Fortescue (A Soldier's Daughter Never Cries)
|Adapté du roman de Daphné du Maurier|
|(il avait déjà adapté La Taverne de la Jamaïque en 39, en Angleterre)|
|Scénario de Philip MacDonald et Michael Hogan|
|Avec Laurence Olivier (George Fortescu Maxillian "Maxim" de Winter), Joan Fontaine (La deuxième Mme de Winter), George Sanders (Jack Favell), Judith Anderson, Gladys Cooper, Nigel Bruce...|
|Musique de Franz Waxman|
|Photo de George Barnes|
|Montage de W.Donn Hayes, Hal C.Kern|
|Distribué par United Artists|
|Produit par Selznick International Pictures|
Rebecca (1940) is the classic Hitchcock gothic thriller and a compelling romance-mystery. An expensively-produced film by David O. Selznick (following his recent success with Gone With The Wind (1939)), it was Hitchcock's first American film, although it retained distinctly British characteristics. This film won for the director his first and only Best Picture Academy Award Oscar, beating out strong competition in 1940 from The Grapes of Wrath, The Great Dictator, The Philadelphia Story, and Hitchcock's own Foreign Correspondent. The film also won an Academy Award for Cinematography, and was nominated in nine other categories, including Best Director. The film's screenplay is based on Daphne du Maurier's novel of the same name.
Laurence Olivier ...George Fortescu Maximillian 'Maxim' de Winter
1890's Actress Miss Fortescue Tobacco Card
Issued by Kinney Bros, Sweet Caporal cigarettes in the 1890's, these sepia tone photos were of famoust actresses of the time. all cards are in good condition, crease free, may have slightly rounded corners.
The Avengers Episode 1
"From Venus With Love" by Philip Levene
The Halfway House 1944
|Sally Ann Howes||....||Joanna French|
|Richard Bird (I)||....||Richard French|
|Valerie White (I)||....||Jill French|
|Françoise Rosay||....||Alice Meadows|
|Tom Walls (I)||....||Captain Harry Meadows|
|Guy Middleton||....||Captain Fortescue|
|Alfred Drayton||....||William Oakley|
|Esmond Knight||....||David Davies|
|Pat McGrath (II)||....||Terence|
|John Boxer (II)||....||John, Davies' doctor|
|Roland Pertwee||....||Prison governor|
|Eliot Makeham||....||George, Davies' valet|
Also Known As: Half-Way House, The (1944) (USA: alternative spelling) Halfway House (1944) Runtime: 95 min
(1933 b 68')
En: 7 Ed: 6
Eccentrics gather at a Chinese hotel to bid on newly invented television, resulting in entertainment for all except maybe the Legion of Decency.
At Shanghai Tommy Nash (Stuart Erwin) represents the American Electric company and is cajoled by Peggy Hopkins Joyce to give him a ride to Wu-Hu, where inventor Dr. Wong (Edmund Breese) is demonstrating his radioscope that shows pilot Henry Quail (W. C. Fields) drinking beer. In bizarre repartee nurse Allen (Gracie Allen) responds to questions by the hotel manager (Franklin Pangborn) and Dr. Burns (George Burns). Stuck in the desert with Nash, Peggy tries to fry eggs. At the hotel she requests a double bed and meets her ex-husband Nicholas Petronovich (Bela Lugosi), who hopes to make millions on the invention. Nash runs into his fiancée Carol Fortescue (Sari Maritza); two weddings had been canceled because he got sick. He says he is well and takes her to see Peggy in order to relieve her jealousy; but the seductive Peggy causes the reverse effect. Dr. Burns says Nash has measles and tells his nurse to undress him and put him to bed. Nash is put in quarantine.
The hotel presents fifty dancing girls in revealing costumes. Quail lands in his autogyro, thinking it is Kansas City. He puts his autograph on Allen's dress collar and then rips it off so she can see it. Wong invites Quail to stay in his room; but Quail hopes for an offer from Peggy. He disrupts the hotel registration and opens doors to various rooms. He shares Peggy's room and bath without either seeing the other until in twin beds he snores, and she screams. Inventor Wong shows on his screen Rudy Vallee singing "Thank Heaven for You." Quail disturbs the people stupefied by television. Petronovich, excluded by the quarantine, calls Peggy to say he saw her with Quail.
Quail wakes up with Wong and calls Peggy. Hearing he's a millionaire, she suggests they leave together. Quail does not bid on the invention, and Wong asks for sealed bids. Wong screens Baby Rose Marie singing "My Bluebirds Are Singing the Blues." Petronovich and his men plan to break into the hotel. Wong shows Nash Cab Calloway singing "Reefer Man." A general tells the manager to end the quarantine and open the doors; Petronovich and his men rush in with a battering ram. Quail takes Peggy in his car and drives down the hall and staircases. Quail feels around for the starter, and Peggy discovers she is sitting on a pussy (cat). When she gets out of the car with no skirt, Quail says he entertained her. Quail drives his car back into his autogyro and takes off with Peggy, who finds she is sitting on kittens. She asks about their parents, and Quail says they were careless.
This farce made before the censorship crackdown by the Hayes Commission gives some of the flavor of vaudeville and burlesque and yet looks ahead to the television revolution. Burns and Allen are scintillating.
Copyright © 1999 by Sanderson Beck
The Missionary - Region 2 NEW DVD -Free P&P
The Missionary - Region 2 PAL DVD (please ensure you can play/view this DVD on your DVD player and/or Television as refunds for non compatible DVDs will not be given). Fallen women? Does it mean they've hurt their knees? After a decade of soul-saving in Africa, Charles Fortescue is asked to minister to the ladies of the night in 1906 London. So Fortescue feeds them, shelters them and not infrequently provides them a bed: his! A naive man of the cloth becomes a man of the sheets in this playfully naughty yet always tasteful comedy that stars Monty Python's Michael Palin (who also wrote the script) as Fortescue and features a colourful array of cockeyed characters: a blissful airhead (Phoebe Nicholls), a lusty mission sponsor (Maggie Smith), a bewildered butler (Michael Hordern), an earthy bishop (Denholm Elliott), a cantankerous John Bull (Trevor Howard) and more. Jolly good fun! Stars: Michael Palin ; Maggie Smith ; Trevor Howard ; Denholm Elliot ; Michael Hordern ; Phoebe Nicholls ; Graham Crowden ; David Suchet
THE MISSIONARY Michael Palin Monty Python LD
Michael Palin of Monty Python’s Flying Circus wrote and starred in this satire of the clergy. He plays Reverend Fortescue, an unassuming missionary called back from Africa to England to take charge of a mission for ladies of the evening. He admits an ever-increasing number of them into his "private fold," and the mission succeeds so well that other sects become jealous. Filmed in London. FINE PRINT: Digital sound, color, closed captioned, 86 minutes, 1982
Gerald Fortescue Unsigned Movie Still
A 9 x 7 Original Black & White Unsigned Movie Still of Gerald Fortescue in CBS-TVs "Mr. Adams and Eve". Dated 10/30/57.
Full Blast - Eine tödliche Party
Caractéristiques de l'objet - DVD
Andrew Heckler (Travis), Brian Hoyt (Scooter), Channon Roe (Razor), Curt Ellis (Georgetown), Dan Sordell (Paul), Danny Jacobs (Curt), David Carradine (Maceo), Greg Fortescue (Noah), Jason Yates (Ridley), Jonathan Katz (Phil), Kyle McCullough (Jake), Luray Cooper (Rightous), Merle Kennedy (Janie), Michael Mattays (Pete), Michael Wyle (Mickey), Phil Durr (Bart), Scott Guy (Marvin), Suzi Regan (Kimmie), Todd Hawley (Thug), Traci Lords (Lindsay Lord)
|StarringGregory Fortescue, Stevie Lee, N Paul Silverman, Steve Dixon, N Paul Silverman|| |
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| ||Allegorical, Stephen King›inspired indie, shot in Michigan, about mysterious dissolving disease striking a small town. Unknown to all, disease is carried by a persecuted young man. Well-acted, inexpensive film is confident and aware of its own absurdities, though it falters at the very end.
(1988, Rated NR)|
Desert Mice (1959)
Rotten ENSA troupe get into trouble in the WWII desert campaign. A farce that was probably more fun for those who were there at the time than the rest of us. The jokes are mostly predictable and, despite the great cast, fall flat.
Script: David Climie
Director: Michael Relph
Players: Sidney James, Alfred Marks, Patricia Bredin, Kenneth Fortesque, Dick Bentley, Dora Bryan, Irene Handl, Reginald Beckwith, Joan Benham, Liz Fraser, Nigel Davenport, John Le Mesurier, Anthony Bushell
Lawrence of Arabia Peter O'Toole 2 VHS Mint
The Review : This sweeping, highly literate historical epic covers the Allies' mideastern campaign during World War I as seen through the eyes of the enigmatic T. E. Lawrence (Peter O'Toole, in the role that made him a star). After a prologue showing us Lawrence's ultimate fate, we flash back to Cairo in 1917. A bored general staffer, Lawrence talks his way into a transfer to Arabia. Once in the desert, he befriends Sherif Ali Ben El Kharish (Omar Sharif, making one of the most spectacular entrances in movie history) and draws up plans to aid the Arabs in their rebellion against the Turks. No one is ever able to discern Lawrence's motives in this matter: Sherif dismisses him as yet another "desert-loving Englishman," and his British superiors assume that he's either arrogant or mad. Using a combination of diplomacy and bribery, Lawrence unites the rival Arab factions of Prince Feisal (Alec Guinness) and Auda Abu Tayi (Anthony Quinn). After successfully completing his mission, Lawrence becomes an unwitting pawn of the Allies, as represented by Gen. Allenby (Jack Hawkins) and Dryden (Claude Rains), who decide to keep using Lawrence to secure Arab cooperation against the Imperial Powers. While on a spying mission to Deraa, Lawrence is captured and tortured by a sadistic Turkish Bey (Jose Ferrer), and the movie implies that the Bey's brutal treatment of him has aroused Lawrence's own repressed homosexuality: true or not, it is clear that he has undergone a radical personality change when he makes it back to his own lines. In the heat of the next battle, a wild-eyed Lawrence screams "No prisoners!" and fights more ruthlessly than ever. Screenwriter Robert Bolt used T. E. Lawrence's own self-published memoir The Seven Pillars of Wisdom as his principal source, although some of the characters are composites, and many of the "historical" incidents are of unconfirmed origin. Two years in the making (you can see O'Toole's weight fluctuate from scene to scene), the movie, lensed in Spain and Jordan, ended up costing a then-staggering $13 million and won seven Academy Awards, including Best Picture and Best Director. The 1962 Royal Premiere in London was virtually the last time that David Lean's director's cut was seen: 20 minutes was edited from the film's general release, and 15 more from the 1971 reissue. This abbreviated version was all that was available for public exhibition until a massive 1989 restoration, at 221 minutes, that returned several of Lean's favorite scenes while removing others with which he had never been satisfied ///
The Stellar Cast :
Lawrence of Arabia Peter O'Toole - T.E. Lawrence Alec Guinness - Prince Feisal Anthony Quinn - Auda abu Tayi Jack Hawkins - Gen.Allenby Omar Sharif - Sherif Ali ibn el Kharish Anthony Quayle - Col. Harry Brighton José Ferrer - Turkish Bey Donald Wolfit - Gen. Murray I.S. Johar - Gasim Gamil Ratib - Majid Michael Ray - Farraj John Dimech - Daud Hugh Miller - RAMC Colonel Howard Marion-Crawford - Medical Officer Jack Gwyllim - Club Secretary Stuart Saunders - Regimental Sergeant Major Arthur Kennedy - Jackson Bentley Fernando Sancho - Turkish Sergeant John Ruddock - Elder Harith Jack Hedley - Reporter Kenneth Fortescue - Allenby's Aide Henry Oscar - Reciter Norman Rossington - Corporal Jenkins Claude Rains - Mr. Dryden Zia Mohyeddin - Tafas Harry Fowler - Cpl. Potter
Desert Mice 1959 BWS Alfred Marks
Description: This original UK black and white still (8" x 10") is from the 1959 movie. Cast: Alfred Marks, Sid James, Dora Bryan, Dick Bentley, Reginald Beckwith, Irene Handl, Kenneth Fortescue, Patricia Bredin; Directed by: Michael Relph
THE BEST OF ENEMIES
(1961) Colour (RCA/Columbia) approx 100 mins (**PAL format)
Cast: David Niven, Michael Wilding, Harry Andrews, Noel Harrison, Ronald Fraser, Alberto Sordi, Bernard Cribbins, Duncan Macrae, Robert Desmond, Kenneth Fortescue, Michael Trubshawe and David Opatoshu.
In this military comedy, directed by the legendary Guy Hamilton who helmed some of the finest James Bond pictures, Maj. Richardson (Niven) and Lt. Burke (Wilding) are two British soldiers on a recognizance mission over Ethiopia in 1941 when their plane crashes in the desert. Capt. Blasi (Sordi), an Italian officer, finds the Englishmen and offers to help them: he'll let them go if they allow him and his men to take over an old fort nearby and stay there without being bothered. Richardson and Burke agree, and they return to their base of operations, only to discover that they've been ordered to attack the fort and capture Blasi and his men. Richardson considers himself a man of his word and doesn't care for this duty; in time, the two men become friends and exchange banter as they take turns capturing one another. Remarkably enough, Italian actor Sordi didn't speak English when he made this film, and he learned all his dialogue phonetically.
Ray Milland, Anthony Newley HIGH FLIGHT 1956
Terrific lobby card from air force film High Flight (1956). Directed by John Gilling. Starring (in alphabetical order) Grace Arnold, Frank Atkinson, Anne Aubrey, Richard Bennett, Jan Brooks, Alfred Burke, Helen Cherry, Charles Clay, Peter Dixon, John Downing, Ian Fleming, Kenneth Fortescue, Barry Foster, Douglas Gibbon, Kenneth Haigh, Jan Holden, Owen Holder, Noel Hood, Bernard Horsfall, Glyn Houston, Andrew Keir, Sean Kelly, Duncan Lamont, John Le Mesurier, Bernard Lee, William Lucas, Ray Milland, Nancy Nevinson, Anthony Newley, Hal Osmond, Alan Penn, Leslie Phillips, Kynaston Reeves, Bill Shine, Richard Wattis, Leslie Weston. 12.5"x16.5"
Ringo Starr in Magic Christian VHS !!
Magic Christian / VHS / Not Rated / 101 min / Color
Stars Peter Sellers, Ringo Starr, Roman Polanski, Richard Attenborough, Christopher Lee, Raquel Welch, Yul Brynner, and John Cleese. Great British comedy from the late 60's about how people will do anything for money. A MUST for any Beatle fan. "Magic Christian" / Director: JOSEPH MCGRATH / Republic Pictures Home Video / Release Date: 1969
Shot in Technicolor, and filmed at Twickenham Studios, Middlesex, England. Some prints of the film are only 88 minutes long, while original theatrical releases ran approximately 95 minutes. The video and laserdisc versions of "The Magic Christian," however, appear to be 101 minutes. Additional cast: Tom Boyle (My Man Jeff); Peter Bayliss (Pompous Toff), Clive Dunn (Sommelier), Freddie Earle (Sol), Kenneth Fortescue (Irate Snob), David Hutcheson (Lord Barry), Jeremy Lloyd (Lord Hampton), Peter Myers (Lord Kilgallon), Robert Raglan (Maltravers), and Leon Thau (Engine Room Toff). Appearing as themselves: TV commentators Michael Aspel, Michael Barratt, Harry Carpenter, W. Barrington Dalby, John Snagge, and Alan Whicker. There is a parody of Shakespeare's tragic play "Hamlet" within the film, with Laurence Harvey as the melancholy Dane doing a striptease during the "To be or not to be" soliloquy. Director McGrath also incorporated some b&w and color archival footage of riots and Vietnam into the film. Released theatrically in the USA February 12, 1970. Copyright 1969 Grand Films, Ltd.
In this adaptation of Terry Southern's offbeat novel, an eccentric millionaire adopts a down-and-out vagrant he stumbles upon in the park as his son. The pair embark on a series of practical jokes and elaborate stunts designed to expose the wanton greed that exists in everybody -- and prove that everyone has his price.
MAGIC CHRISTIAN - LASERDISC RARE
PETER SELERS & RINGO STARR
This is a previously viewed LASERDISC of the rare comedy classic THE MAGIC CHRISTIAN, staring:
Peter Sellers .... Sir Guy Grand KG, KC, CBE Ringo Starr .... Youngman Grand ESQ. Isabel Jeans .... Dame Agnes Grand Caroline Blakiston .... Hon. Esther Grand Wilfrid Hyde-White .... Captain Reginald K. Klaus Richard Attenborough .... Oxford Coach Leonard Frey .... Laurence Faggot Laurence Harvey .... Hamlet Christopher Lee .... Ship's vampire Spike Milligan .... Traffic Warden 27 Roman Polanski .... Solitary Drinker Raquel Welch .... Priestess of the Whip Tom Boyle .... My Man Jeff Victor Maddern .... Hot dog vendor Terence Alexander .... Mad Major Peter Bayliss .... Pompous Toff Joan Benham .... Socialite in Sotheby's Patrick Cargill .... Auctioneer at Sotheby's John Cleese .... Mr. Dougdale, Director in Southeby's Clive Dunn .... Sommelier Fred Emney .... Fitzgibbon Kenneth Fortescue .... Snob in Sotheby's Patrick Holt .... Duke in Sotheby's David Hutcheson .... Lord Barry Hattie Jacques .... Ginger Horton Jeremy Lloyd .... Lord Hampton David Lodge .... Ship's Guide Ferdy Mayne .... Edouard of Chez Edouard Restaurant Dennis Price .... Winthrop Robert Raglan .... Maltravers Graham Stark .... Waiter at Chez Edouard Restaurant Michael Aspel .... TV Commentator Michael Barratt .... TV Commentator Harry Carpenter .... TV Commentator Kenneth Connor Roland Culver .... Sir Herbert W. Barrington Dalby .... TV Commentator Freddie Earlle .... Sol Peter Graves .... Lord at ship's bar John Le Mesurier .... Sir John Peter Myers .... Lord Kilgallon John Snagge .... TV Commentator Leon Thau .... Engine Room Toff Frank Thornton .... Police Inspector Michael Trubshawe .... Sir Lionel Edward Underdown .... Prince Henry Alan Whicker .... TV Commentator Sean Barry-Weske .... John Lennon lookalike (uncredited) Yul Brynner .... Transvestite cabaret singer (uncredited) Graham Chapman .... Oxford Crew (uncredited) Kimberley Chung .... Yoko Ono lookalike (uncredited) Guy Middleton .... Duke of Mantisbriar (uncredited) Birthe Sector .... Slave girl (uncredited)
Sir Guy Grand adopts homeless bum Youngman to be heir to his obscene wealth, and immediately begins bringing him into the intricacies of the family business, which is to prey upon people's greed by use of the vast holdings of the Grand empire. They leave no stone unturned as sporting events, restaurants, art galleries, and traditional pheasant hunts turn into lurid displays of bad manners and profiteering. Things climax at the social event of the season, the inaugural voyage of the new pleasure cruiser The Magic Christian.
BRIDES OF FU MANCHU rare vhs christopher lee
Christopher Lee returns as Sax Rohmer's insidious Asian villain Fu Manchu for the second of his five vehicles. This time Fu Manchu and his army of henchmen are kidnaping the daughters of prominent scientists and taking them to his remote island headquarters. Instead of asking for ransom, Fu demands that the fathers help him to build a death ray, which he intends to use to take over the world. But Fu's archenemy, Nayland Smith of Scotland Yard, is determined not to let that happen...Cast overview, first billed only: Christopher Lee .... Fu Manchu Douglas Wilmer .... Nayland Smith Heinz Drache .... Franz Baumer Marie Versini .... Marie Lentz Howard Marion-Crawford .... Dr. Petrie Tsai Chin .... Lin Tang Rupert Davies .... Jules Merlin Kenneth Fortescue .... Sergeant Spicer Joseph Fürst .... Otto Lentz Roger Hanin .... Inspector Grimaldi Harald Leipnitz .... Nikki Sheldon Carole Gray .... Michel Merlin Burt Kwouk .... Feno ......
The beloved Miss Marple has her hands full when she tries to solve a murder case which occured on a film production set. This movie within a movie sparkles with it's own all-star cast.
Cast: Angela Lansbury, Edward Fox, Elizabeth Taylor, Geraldine Chaplin, Kim Novak, Rock Hudson, Tony Curtis
Anamorphic Widescreen - 1.85
Single Side - Dual Layer
Dolby Digital Mono
Additional Release Material:
Trailers - 1.Original Theatrical Trailer
Distributed by AFD in America and Canada.
Color by Technicolor.
Additional cast: Margaret Courtenay (Mrs. Bantry); Maureen Bennett (Heather Babcock); Carolyn Pickles (Miss Giles); Eric Dodson (The Major); Thick Wilson (Mayor); Pat Nye (Mayoress); Peter Woodthorpe (Scout Master); Oriana Grieve, Kenneth Fortescue, George Silver and John Bennett (Cast of film of within film).
Additional credit: John Roberts (art direction).
About Lawrence of Arabia (Restored Version)
Based on the real-life exploits of the legendary British scholar and soldier, T. E. Lawrence. Stationed in Cairo in 1916, Lawrence languished in the map-making department of British Intelligence until he was asked to find and gather information on Prince Feisal, leader of the Arab Allied forces in World War I. His desert journey inspired his first military success, when he lead a small contingent of Arabs against the Turkish stronghold of Aqaba. Lawrence's military career flourished and he attempted to forge a new, united Arab nation out of squabbling tribes.
Additional cast members: Howard Marion Crawford (Medical Officer); Jack Gwillin (Club Secretary); Hugh Miller (R.A.M.C. Colonel); John Ruddock (Elder Martin); Kenneth Fortescue (Allenby's Aide); Stuart Sanders (Regimental Sergeant-Major); Fernando Sancho (Turk Sergeant); Emilio Noriega (Train Wreck Stunt); and Cher Kaoui, Mohammed Habachi and members of the Jordanian Desert Patrol and the Royal Moroccan Army Camel Corps.
Kipling On TV
A scene from the first episode of the Kipling stories, being recorded by the BBC for television. The actors, Barry Letts, Joss Ackland, Kenneth Fortescue star in the production.
Actors Kenneth Fortesque and Joss Ackland, 1964
Actors Kenneth Fortesque (left) and Joss Ackland (right) in a sc :ene from a television dramatisation of a Rudyard Kipling story, 1964.
Buy this photo here :
(William Claude Dukenfield)
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A W.C. Fields Roster
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|Mabel Normand:The Beautiful Knockabout A Silents Majority Featured Star|| || || || |
| ||Mabel Normand was a contemporary of Mary Pickford, the Gish sisters (Lillian and Dorothy), Blanche Sweet, Florence Lawrence and the Talmadge sisters (Norma and Constance). She made her film debut in either The Indiscretions of Betty (Vitagraph, 1910) or Over the Garden Wall (Vitagraph, 1910) as a serious, dramatic actress (it is unclear which film was first). Before that, Mabel was already popular as a model for fashions and illustrations. Throughout parts of 1910 and 1911, Mabel worked for the Vitagraph studio. By the end of 1911, she had moved on to American Biograph under the direction of D.W. Griffith. She worked very hard to hone her craft by cranking out a number of melodramas, one of which, The Mender of Nets (1912), starred Mary Pickford. Fortunately, Mabel was proud of the Normand name and was determined to keep it. If she hadn't been, she may have become known to her fans as "Muriel Fortesque," the generic marquee name assigned to her to enforce the anonymity that was required of early screen performers. Mabel Normand never could and never would remain anonymous.|
Mabel was strikingly beautiful, but that wasn't unusual for actresses. During this early period in their careers, Mary, Lillian, Dorothy and the rest were considered heartbreakingly beautiful. What made Mabel different is that, when she fell down, she was as funny as she was fetching. It didn't take long for Griffith to realize that Mabel had great comic talent, and he started assigning her to comical plots. Griffith, a drama director, employed a young actor-turned-director named Mack Sennett to guide Mabel's comic hijinks. [Sennett's movie-making career, like those of many of the Greats, began with Griffith. His intense desire to learn at the feet of the master and fully realize his ambitions, catapulted him up the ladder to the director's chair at Biograph.]
Mabel took her first shot at comedy in The Diving Girl (Biograph, 1911), in a charming and memorable role as a funny (and not a little sexy) bathing beauty. As men remember the first time they saw Marilyn Monroe in a bathing suit, the men and boys of the early 1910s never forget the first time the adorable Mabel donned a bathing costume. So, historically, the first Sennett bathing beauty was our Beautiful Knockabout, Mabel. (Master director King Vidor saw Mabel in that clinging suit when he was a young pup in Galveston, Texas - and claims that her image stayed with him and initially spurred his dream to make movies.)
What? A beautiful slapstick comedienne? Audiences were used to seeing screen comediennes who looked as funny as their antics. These included such funny girls as Flora Finch, who was built like a bean pole; Louise Fazenda, a kooky clown with the fashion sense of a country bumpkin; Polly Moran, a wild-haired, man-chasing harridan; and Marie Dressler, hefty and hilarious, but who declared, "I born without a pretty face, and thank the Lord I do not have to live up to such a burden." Beautiful Mabel could take a hearty pratfall with the best of the Keystone Kops, but one could also fall in love with her as a custard pie was thrust into that angelic face. Like a gambler with a sure bet, Mack could see that his future with Mabel was in the cards.
As vivacious and charismatic as Mabel was, one can't think of her without thinking of Mack. As soon as he spotted her captivating beauty adorned with her comic gifts (and it didn't take long), he turned on the old Sennett charm and skillfully won her over - plucking her heartstrings in the process. By September 1912, most of her films were being directed by Sennett, still at the eastern Biograph studio. Between February and September, that same year, the two cranked out no less than 22 one- and two-reelers. Then, in late September, Mack took his comic protégée (and by now the love of his life) out West and formed his own studio in Hollywood - Keystone.
Our knockout-knockabout made dozens of bright and lively farces in the Sennett style at Keystone between 1912 and 1916 with early Keystone stalwarts like Fred Mace, Hank Mann, Ford Sterling, Al St. John, Harry Gribbon, Mack Swain, Roscoe Arbuckle, Charlie Chaplin, Minta Durfee (one of her closest friends) and Luke the dog. However, Mabel wanted more. Beginning in early 1914, Mabel took over completely as her own director, beginning with the one-reeler Mabel's Stormy Love Affair (Keystone/Mutual, 1914). Mabel could claim the rare and unique distinction of directing the great Charlie Chaplin early in his Keystone Kontract. Charlie liked Mabel. He even had a crush on her at one point (who didn't?), but being directed by a woman, or anyone for that matter, put his little mustache out of kilter. He could barely tolerate being directed by her in two films, Caught in a Cabaret (1914) and Mabel's Busy Day (1914).
As Mabel's fame and fortune grew, so did her intense relationship with Mack. Those two "Wild Irish Roses" alternately courted and clobbered each other in their dizzy affair. Mack was forever trying to tame his "I-don't-care" girl, as she came to be known. Mabel was trying to elevate Mack to a classier stature. However, the strapping Irishman was set in his ways. A good gag and a good cigar was the creed he lived by. They were together so long that marriage seemed inevitable - but it never happened. Mack ultimately betrayed Mabel by his dalliance with another beautiful actress just before the wedding was to take place. There was a change in Mabel after that. She began her attempt to walk out of Mack's life He would not let her go easily and dangled an enticing carrot that included her own studio and production company, plus a film that he knew she could not resist.
At that point, Mabel desperately wanted to get out of knockabout and into "classier productions." She fell in love with the concept of Mickey because it was the desired departure from her slapstick past. Mack showcased Mabel as he promised. In an ad for the film it states, "No rough comedy, no flying pies, no innocent heroine seduced, no buckets of blood and no padding." However, among other stunts, Mabel as "Mickey" does slide down banisters, has a squirrel run up her pants leg, pound her fist on a layer cake (no tossing, though!) and, oh yes, jockey a race horse. But none of the disclaimers made in the ad. Nevertheless, the tension between Mack and Mabel came to a head before filming was over. During the production she signed a contract with Samuel Goldwyn, sealing her departure from Mack and Keystone - no matter what. By 1917, Mabel had slipped through Mack's fingers, privately and professionally.
Life had escalated into one long, endless pain-killing party for Mabel. She suppressed her enormous disillusionment mostly through alcohol. Adela Rogers St. Johns, famous Hearst columnist and longtime, great friend of Mabel's said simply, "I adored Mabel. She was my best friend - but Irish women can't drink" - and Mabel couldn't. After she left Mack, an innocence left her. Her pictures finally became classier, full-length features, but her freshness and drive dwindled. Even by the time Mabel realized her downward spiral and tried to stop it, the scandals descended. She began to decline alarmingly, bit by miserable bit.
Mabel was a dear friend and successful comedy partner (between 1913 and 1916) of Roscoe "Fatty" Arbuckle. Arbuckle, tainted by allegations of assault and murder, and subsequent trials in 1921, negatively affected many in the Hollywood community, including Mabel. A woman of integrity where her friends were concerned, Mabel loved and cared enough about Roscoe to defend him publicly. Unfortunately, it did not help him, and it only hurt her. Director William Desmond Taylor was also a dear friend. Mabel had the unfortunate bad timing to be the last person to see him alive before his mysterious murder. Bad timing is fatal to any comedienne. The press kept after her, and her health continued to deteriorate. She went back to Mack Sennett to revive her sagging career and life. She returned to knockabout and attempted to reclaim her youthful energy. Mack even sweetened the deal by giving Mabel her own small studio lot to play on. They made Molly O' (Sennett/First National, 1921), Oh, Mabel Behave (Triangle Film Corporation - Photocraft Productions, 1922), Suzanna (Mack Sennett Productions/Allied Productions, 1923) and The Extra Girl (Mack Sennett Productions/Associated Exhibitors 1923). In 1926, she married her longtime friend, Lew Cody. At that point, it was safer and healthier for her to live a quieter, more domestic life. This positive change boosted her spirits, but perhaps that was all what was left of her brilliant spark. That same year she made her last film, the two-reeler One Hour Married (Roach/Pathe) that was released in 1927.
Mabel's heart was too open and generous to withstand the attacks against her past behavior. The "I-don't-care" girl took it on the chin. All the hard living and hard grieving prematurely aged Mabel and made her susceptible to the tuberculosis - which claimed her life in 1930 at the age of 37. The world might never have known her voice, but it would never forget her face. Mabel was so beloved by the Hollywood community that her funeral was packed to the rafters, as King Vidor related in his memoirs, A Tree Is A Tree (Samuel French, 1953): a stellar company that turned out for her,
There was Marie Dressler, of the large, expressive visage. She was never one for subtlety in comedy, nor was she subtle in grief. Ben Turpin was weeping unashamedly. The big face of gigantic Mack Swain, of The Gold Rush fame, was marked with tears. Charlie Chaplin, Mack Sennett, Chester Conklin, Hank Mann, Buster Keaton, Harry Langdon - all fellow workers of hers - were crying. I was fascinated by their faces. These funny faces had made people roar with laughter the world over. Now they were distorted with grief.
Mabel Normand, in her knockabout prime, was unsurpassable in the "beautiful, slapstick comedienne" niche. Many of her films have been lost, including all of her Goldwyn productions save one, What Happened to Rosa? (Goldwyn, 1921). However, luckily for us, a fair sample still survive, including many of her Keystone shorts. Her funniest comedies not only show us frisky and physically demanding performances, but also the subtler fact that she was lovingly photographed. One normally does not associate Sennett's slapstick with stunning cinematography, but I've seen some of Mabel's films and was struck by the glow of the silver nitrate image of Mabel, in a sunset, beckoning us to come and play.
For a more in-depth look at Mabel Normand, Mabel: Hollywood's First I-Don't-Care Girl, by Betty Harper Fussell (First Limelight Edition, 1992) is highly recommended and the best bio on her to date.
More on : http://fr.wikipedia.org/wiki/Mabel_Normand
This advertisement originally appeared in July of 1916.
(Mabel ad courtesy of Bruce Long.)
This advertisement originally appeared in September of 1916.
(Mabel ad courtesy of Bruce Long.)
This advertisement originally appeared in September of 1916.
(Mabel ad courtesy of Bruce Long.)
This advertisement originally appeared in October of 1916.
(Mabel ad courtesy of Bruce Long.)
This advertisement originally appeared in August of 1918.
(Mabel ad courtesy of Bruce Long.)
This advertisement originally appeared in June of 1919.
(Mabel ad courtesy of Bruce Long.)
This advertisement originally appeared in July of 1919.
(Mabel ad courtesy of Bruce Long.)
This advertisement originally appeared in October of 1919.
(Mabel ad courtesy of Bruce Long.)
This is actress Mabel Normand with Lee Dougherty, Jr. on the set of a Biograph film.
She was born on Nov. 16, 1894 and was slightly over 16 when she went to work for the Biograph Studio on East 14th Street in New York City.
Mabel was known as Muriel Fortescue in the early days of her acting career. She left Biograph for a short time to work for Vitagraph, but returned in the winter of 1911. Her star continued to rise at Biograph where she became an important star for the studio, working mostly under the direction of Mack Sennett.
Mabel left Biograph with Sennett when he formed Keystone in 1912. He was deeply in love with Mabel and described her "as beautiful as a spring morning." Wedding plans were made several times, but a marriage between the two was never to be.
Starring in several Chaplin films for Sennett, Mabel proved to be the most talented comedienne of the silent era. As her popularity rose, she began to press for more complex roles.
Sennett and his backers, Bauman and Kessel, formed the Mabel Normand Feature Film Company and produced Mickey. The film was not released until 1918 and in the meantime, the disappointed Mabel had signed a five-year contract with Goldwyn.
Without Sennett's guidance, Mabel became part of the social whirl of Hollywood. All-night parties and rumors of drug use began circulating as Mabel began showing up late for work - or disappearing for days at a time.
Mabel's career was dealt a crushing blow in 1922 with the mysterious death of director William Desmond Taylor. She was linked romantically with Taylor and was dragged into the case because she was the last person to see him alive. She was proved innocent, but the ghastly press coverage permanently ruined her image as a star.
Just as she was recovering from the Taylor scandal, her chauffeur was found, gun in hand, standing over the body of millionaire, Cortland Dines. Reportedly, the gun belonged to Mabel. Her popularity rapidly began a downward spiral. Her last feature was The Extra Girl in 1923.
She married Lew Cody, the villain in Mickey. Her happiness was doomed from the beginning as both she and Cody were suffering from terminal illnesses. Cody had a fatal heart condition and Mabel succumbed to tuberculosis and pneumonia. She died in 1930.
In 1974, she was portrayed in the Broadway musical, "Mack and Mabel" by Bernadette Peters.
Destin tragique que celui de Mabel Normand.
Née en 1892 à Staten Island (New York), Mabel Normand était d'une grande beauté ; elle savait également jouer la comédie, possédait un sens de l'humour merveilleux et, plutôt acrobatique, elle avait cette facilité de pouvoir recevoir autant de coups qu'elle pouvait en donner au cours de tournages souvent improvisés.
D'abord chez Vitagraph (de 1910 à 1912), elle fut dirigée quelque temps par D. W. Griffith puis suivit Mack Sennett à Hollywood.
De 1912 à 1916, elle tourna plus de 125 films pour la compagnie de Sennett, souvent ayant dans leur titre son propre nom : Mabel’s Bear Escape, Mabel Lost and Won, etc.
En 1915, elle était devenue la comédienne la plus connue dans l'industrie du cinéma mais comparativement à Mary Pickford ou Charles Chaplin, son salaire était une maigre pitance.
Quittant Sennett, elle passa chez Samuel Goldwyn, revint chez Sennett pour finalement obtenir le contrat qu'elle désirait auprès de Hal Roach.
De toutes les fêtes, menant une vie mouvementée, elle fut malheureusement mêlée aux deux grands scandales hollywoodiens des années vingt (Fatty Arbuckle, son compagnon dans de nombreux film, accusé de meurtre, et l'assassinat de William Desmond Taylor). Le tollé de protestations des ligues moralisantes qui suivit ces deux affaires détruisit sa popularité comme celles de plusieurs autres comédiens.
Elle tourna son dernier film en 1927 et mourut, alcoolique et de tuberculose, en 1932.
1918 publicity photo, Courtesy MPTV.net
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All Saints (TV)
Home & Away (TV)
Dr Jekyll & Mr Hyde (US) (TV (Asst))
Green Sails (US) (TV (Pay/Man))
Feeling Sexy (F)
I Am The Earth (D)
Joey (F (Asst))
Love In Ambush (F (Asst))
The Thorn Birds - The Missing Years (US) (TV (Asst))
Under The Lighthouse Dancing (F (Asst) )
Murder on the Campus (VHS)
* Leading Role: Charles Starrett, Diane Clare, Ronald Fortescue
* Director: Michael Winner
* Genre: Horror
* Rating: NR
* Region Code: Region 1: US, CA
A killer is loose on a college campus in this chilling British murder mystery. When a reporter, Robertson Hare (Ronald Fortescue), learns that his academic brother has committed suicide, he travels to the Cambridge campus to investigate. Enlisting the help of Mary Johnson (Diane Clare) a professor's daughter whose father is missing and suspected dead, the two slowly unearth clues which indicate that the death was made to look like a suicide. Things grow truly chilling, however, when Hare and Johnson get caught in a lethal game of cat and mouse with the killer. MURDER ON THE CAMPUS showcases Michael Winner's transformation from pulp B-movie director to blockbuster action filmmaker. The quick cuts, the story build-up and release, and the loveable victim, are all present here. When viewing DEATH WISH and comparing, MURDER ON THE CAMPUS is a clear harbinger of Michael Winner's soon-to-emerge fame.
A madman is killing students with poison gas in this forgotten horror film.
A Soldier's daughter never cries
Voor het tweede deel, Francis, nemen we een klein sprongetje en zijn de kinderen ondertussen als 15 jaar. Billy is nog steeds zwijgzaam en blijkt zich niet echt te kunnen aanpassen aan zijn omgeving. Channe daarentegen gaat een hechte vriendschap aan met Francis Fortesque. Francis is anders als de andere jongens. Hij geeft zich helemaal over aan de opera en is stiekem verliefd op Channe.
A Soldiers Daughter Never Cries
|MOVIE REVIEW FROM THE NEWS JOURNAL|
|A Soldier's Daughter Never Cries|
| ||Drama1998|| |
| ||Though the title reeks of melodrama, don't go into A Soldier's Daughter Never Cries expecting a three-hankie tearjerker. After all, this is the world of Merchant Ivory, the producer-director team who gave us A Room With A View, Howard's End, and The Remains of the Day—you know, meticulous period detail and complex, nuanced characters. Their latest literary adaptation is based on the 1990 novel of the same name by Kaylie Jones (daughter of World War II novelist James Jones who wrote From Here to Eternity and The Thin Red Line), which is based in part on her own childhood in the '60s and '70s. There's not a corset in sight; A Soldier's Daughter is filled with halter tops and bellbottoms.|
The film charts the childhood of young Channe Willis (Leelee Sobieski), who grows up with her expatriate family in Paris and experiences major cultural upheaval when they return to Long Island, N.Y., just as she's reaching puberty. Richly textured and subtly played, the film has the melodic complexity of a Serge Gainsbourg album (in fact, the French jazz composer's presence is keenly felt in the casting of his former collaborator, singer-actress Jane Birkin, as a flaky free-spirit).
In Paris, Channe lives in a bubble of half-assimilation. By night, her parents—gruff, but tender Bill (Kris Kristofferson) and effervescent Marcella (Barbara Hershey)—hold chic Yankee cocktail parties in their spacious apartment; and by day, Channe attends an English-speaking lycee. Even her adopted brother, Benoit (Jesse Bradford), prefers to be called Billy. Channe's closest friends are Candida (Dominique Blanc), the family's fiercely loyal Portuguese maid, and Francis Fortescue (played by teen opera star Anthony Roth Costanzo), her gloriously foppish classmate who's ostracized by the rest of the school. Once back in the States, Channe finds herself an outsider, sexing boys in the backseats of their cars because she can't make real friends. As lost in America as the rest of her family, she must come to terms with both her cultural and her personal identity as her beloved father becomes seriously ill.
In her first lead role, Leelee Sobieski (who appeared in Deep Impact and co-stars in Stanley Kubrick's upcoming Eyes Wide Shut) is a total natural—she looks like a young Helen Hunt and has a similar knack for underplaying. She's affecting because she's as truthful as the film, which never telegraphs its big emotional moments. Kris Kristofferson is all bluster and heart as the proud papa; his Bill Willis is kind of a cussing Atticus Finch. Similarly, Barbara Hershey projects warmth and vitality as Channe's fun-loving mother. And though he's only in the film's first half, Anthony Roth Costanzo is divine as a flamboyant adolescent too ahead of his time to overcome his self-hatred.
A Soldier's Daughter Never Cries is destined to appeal largely to art-house crowds. Its elliptical narrative structure eludes the sappy but popular cliches that plague most coming-of-age flicks and period family epics. (It's considerably less heavy-handed and kitschy than Ang Lee's The Ice Storm, but just as rarefied in its appeal.) The film does have its flaws. Some subplots are left dangling and audiences may find it too austere for its own good. But to the credit of Merchant and Ivory, their latest, more contemporary endeavor is also their best picture in a long time (remember Jefferson In Paris or Surviving Picasso?). A Soldier's Daughter is one of the best mosaics of family life on-screen we're likely to see because it's populated by kind, good-hearted characters who are somehow never less than thoroughly intriguing.
'Daughter' a Sensitive Look at Love, Acceptance KENNETH TURAN TIMES FILM CRITIC Friday September 18, 1998
The first of those is called "Francis," after Paul Francis Fortescue (beautifully played by Anthony Roth Costanza), a flamboyant young man whose close teenage friendship with Channe is threatened when she starts to take a romantic interest in other boys. Again, the awkwardness and entanglements of those years is tricky material to handle well, but Ivory, who's said that in creating this character "I sometimes drew on myself," knows how to make it valid.
The story begins by portraying Willis and his wife Marcella (Barbara Hershey, as always without vanity), as boozy American expatriates in 1960s Paris. The family's life is shown mostly from the perspective of young Channe (Leelee Sobieski), who is becoming a writer herself. She is befriended by a schoolmate in Paris, a stranger who opens a magnificent, exotic, different world, the self-dramatizing and sexually ambiguous Francis Fortescue (the frighteningly poised Anthony Roth Costanzo), whom Ivory has said he let take over the narrative, identifying with "the clever sissy who knew from the first grade he would take up a 'life of art.'"