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Actor:
Anastasia Potapov ( Cruel Summer, The Evil Within )
There are reasons why only a professional should attempt an exorcism. It sometimes is not safe and they come after you, thru those you know.
Note: These photos are tools we use to explore different characters and emotions. No one was harmed...much.
An actor at Kentucky's Perryville Battlefield State Historical Park
"You think slavery is right and ought to be extended; while we think it is wrong and ought to be restricted. That I suppose is the rub."
[Letter to Alexander Stephens by Abraham Lincoln, Dec 22, 1860]
"Now we are told in advance the Government shall be broken up unless we surrender to those we [Republicans] have beaten, before we take the offices. In this they [Southern secessionist states] are either attempting to play upon us or they are in dead earnest. Either way, if we surrender, it is the end of us and of the [U.S.] Government. They will repeat the experiment upon us ad libitum. A year will not pass till we shall have to take Cuba as a condition upon which they will stay in the Union."
[President-elect Lincoln in January, 1861 about the vast majority of states being taken hostage by a minority of southern states.]
My photography teacher taught me that a lot of pictures become more interesting when a person/actor is present.
That was missing here :-)
HSS!
Fragment of the spectacle «Mom in the East»
Date: March 22, 2020
Arthur Mafenbayer - Russian actor of theater and cinema.
Actor Theater Che
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«In our time, there are heroes in any literary work, including modern ones. And they can't find it, probably because they don't look for it well?.. It's the same with the theater. In our, let's say, past productions, the hero was a Russian revolutionary.»
© Arthur Moffenbeier (actor of theater and cinema)
Check out Matt's web series here
www.youtube.com/channel/UC9dIu_g1Jo3nOiB3L3--fuQ
LaSalle Park
Metairie, Louisiana
Had a real creative shoot with the excellent Charles Michael Duke recently for his upcoming shows as Elton. Thoroughly nice bloke he is too!
I’ll be sharing more soon.
2x godox ad200’s with snoots, gelled, rear left and right. Was a happy accident; the key light didn’t fire, and I liked how it looked so just turned it off. You see enough detail to know who it’s meant to be…
Actor
Learn more about Bryan here
www.imdb.com/name/nm6882080/?ref_=nmmd_md_nm
Rivertown
Kenner, Louisiana
Vintage card. Photo: Metro-Goldwyn-Mayer (M.G.M.).
Gene Kelly (1912-1996) was an American actor, dancer, singer, filmmaker, and choreographer. He was known for his energetic and athletic dancing style, his good looks, and the likable characters that he played on screen. He starred in, choreographed, or co-directed some of the most well-regarded musical films of the 1940s and 1950s until they fell out of fashion in the late 1950s. Kelly is best known today for his performances in films such as Anchors Aweigh (1945), On the Town (1949), which was his directorial debut, An American in Paris (1951), Singin' in the Rain (1952), Brigadoon (1954), and It's Always Fair Weather (1955).
Eugene Curran Kelly was born in 1912 in the East Liberty neighborhood of Pittsburgh. He was the third son of James Patrick Joseph Kelly, a phonograph salesman, and his wife, Harriet Catherine Curran. By the time he decided to dance, he was an accomplished sportsman and able to defend himself. He attended St. Raphael Elementary School in the Morningside neighborhood of Pittsburgh and graduated from Peabody High School at age 16. He entered Pennsylvania State College as a journalism major, but after the 1929 crash, he left school and found work in order to help his family financially. He created dance routines with his younger brother Fred to earn prize money in local talent contests. They also performed in local nightclubs. In 1931, Kelly enrolled at the University of Pittsburgh to study economics. His family opened a dance studio in the Squirrel Hill neighborhood of Pittsburgh. In 1932, they renamed it the Gene Kelly Studio of the Dance and opened a second location in Johnstown, Pennsylvania, in 1933. Kelly served as a teacher at the studio during his undergraduate and law-student years at Pitt. Kelly eventually decided to pursue a career as a dance teacher and full-time entertainer, so he dropped out of law school after two months. In 1937, having successfully managed and developed the family's dance-school business, he finally did move to New York City in search of work as a choreographer. His first Broadway assignment, in 1938, was as a dancer in Cole Porter's 'Leave It to Me!' Kelly's first big breakthrough was in the Pulitzer Prize-winning 'The Time of Your Life' (1939), in which, for the first time on Broadway, he danced to his own choreography. In 1940, he got the lead role in Rodgers and Hart's 'Pal Joey', choreographed by Robert Alton. This role propelled him to stardom. Offers from Hollywood began to arrive.
Metro-Goldwyn-Mayer was the largest and most powerful studio in Hollywood when Gene Kelly arrived in town in 1941. There he made his film debut with Judy Garland in For Me and My Gal (Busby Berkeley, 1942). The film was a production of the Arthur Freed unit at MGM and it was one of the big hits of the year. The talent pool at MGM was especially large during World War II, when Hollywood was a refuge for many musicians and others in the performing arts of Europe who were forced to flee the Nazis. Kelly's film debut was followed by Cole Porter's Du Barry Was a Lady (Roy Del Ruth, 1943) with Lucille Ball, the morale booster Thousands Cheer (George Sidney, 1943), Cover Girl (Charles Vidor, 1944) opposite Rita Harworth, and Anchors Aweigh (George Sidney, 1945) with Frank Sinatra. MGM gave him a free hand to devise a range of dance routines for the latter, including his duets with Sinatra and the celebrated animated dance with Jerry Mouse—the animation for which was supervised by William Hanna and Joseph Barbera. Anchors Aweigh became one of the most successful films of 1945 and Kelly was nominated for the Academy Award for Best Actor. In Ziegfeld Follies (1946), Kelly collaborated with Fred Astaire, for whom he had the greatest admiration, in 'The Babbitt and the Bromide' challenge dance routine. He co-starred with Judy Garland in The Pirate (1948) which gave full rein to Kelly's athleticism. It features Kelly's work with the Nicholas Brothers—the leading black dancers of their day—in a virtuoso dance routine. Now regarded as a classic, the film was ahead of its time but flopped at the box office. Kelly made his debut as a director with On the Town (1949), for Arthur Freed. Stanley Donen, brought to Hollywood by Kelly to be his assistant choreographer, received co-director credit for On the Town. A breakthrough in the musical film genre, it has been described as "the most inventive and effervescent musical thus far produced in Hollywood."
Two musicals secured Gene Kelly's reputation as a major figure in the American musical film. First, he directed and starred in An American in Paris (1951) with Leslie Caron. The highlight of the film is the seventeen-minute ballet sequence set to the title song written by George Gershwin and choreographed by Kelly. The sequence cost a half-million dollars (U.S.) to make in 1951 dollars. Kelly's many innovations transformed the Hollywood musical, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences. In 1952, he received an Academy Honorary Award for his career achievements, the same year An American in Paris won six Academy Awards, including Best Picture. Probably the most admired of all film musicals is his next film, Singin' in the Rain (1952). As co-director, lead star, and choreographer, Kelly was the central driving force and unforgettable is Kelly's celebrated and much-imitated solo dance routine to the title song. Kelly continued his string of classic Hollywood musicals with Brigadoon (1954) with Cyd Charisse, and It's Always Fair Weather (1955), co-directed with Donen. The latter was a musical satire on television and advertising and includes his roller-skate dance routine to I Like Myself, and a dance trio with Michael Kidd and Dan Dailey that Kelly used to experiment with the widescreen possibilities of Cinemascope. Next followed Kelly's last musical film for MGM, Les Girls (1957), in which he partnered a trio of leading ladies, Mitzi Gaynor, Kay Kendall, and Taina Elg. It, too, sold few movie tickets. Dale O'Connor at IMDb: "Kelly was in the same league as Fred Astaire, but instead of a top hat and tails Kelly wore work clothes that went with his masculine, athletic dance style." He finally made for MGM The Happy Road (1957), set in his beloved France, his first foray in a new role as producer-director-actor. After leaving MGM, Kelly returned to stage work.
After musicals got out of fashion, Gene Kelly starred in two films outside the musical genre: Inherit the Wind (Stanley Kramer, 1960) with Spencer Tracey and Fredric March, and What a Way to Go! (1964). In 1967, he appeared in French musical comedy Les Demoiselles de Rochefort/The Young Girls of Rochefort (Jacques Demy, 1967) opposite Catherine Deneuve. It was a box-office success in France and nominated for Academy Awards for Best Music and Score of a Musical Picture. Kelly directed films without a collaborator, including the bedroom-farce comedy A Guide for the Married Man (1967) starring Walter Matthau, and the musical Hello, Dolly! (1969) starring Barbra Streisand and Matthau. The latter was nominated for the Academy Award for Best Picture. He appeared as one of many special narrators in the surprise hit That's Entertainment! (Jack Haley Jr., 1974). The compilation film was released by Metro-Goldwyn-Mayer to celebrate the studio's 50th anniversary. The film turned the spotlight on MGM's legacy of musical films from the 1920s through the 1950s. Kelly subsequently directed and co-starred with his friend Fred Astaire in the sequel That's Entertainment, Part II (Gene Kelly, 1976). It was a measure of his powers of persuasion that he managed to coax the 77-year-old Astaire—who had insisted that his contract rule out any dancing, having long since retired—into performing a series of song-and-dance duets, evoking a powerful nostalgia for the glory days of the American musical film. It was later followed by That's Dancing! (Jack Haley Jr., 1985), and That's Entertainment, Part III (Bud Friedgen, Michael J. Sheridan, 1994). Kelly received lifetime achievement awards in the Kennedy Center Honors (1982) and from the Screen Actors Guild and American Film Institute. In 1999, the American Film Institute also ranked him as the 15th greatest male screen legend of Classic Hollywood Cinema. Gene Kelly passed away in 1996 at the age of 83 in Beverly Hills, California, U.S. His final film project was the animated film Cats Don't Dance, not released until 1997, on which Kelly acted as an uncredited choreographic consultant. It was dedicated to his memory. Gene Kelly was married three times: yo actress Betsy Blair (1941-1957), Jeanne Coyne (1960- her death in 1973) , and Patricia Ward (1990- his death in 1996).
Sources: Dale O'Connor (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard, no. 708. Steve Reeves' surname is misspelled as Reves
Handsome, musclebound Steve Reeves (1926-2000) was an American bodybuilder and actor, who was a huge success in Hercules (1958) and other Peplum films, the Italian sword-and-sandal epics. At the peak of his career, around 1960, he was reputedly the highest-paid actor in Europe.
Stephen L. Reeves was born on a cattle ranch in the small town of Glasgow, Montana, in 1926. At the age of six months, he won his first fitness title as Healthiest Baby of Valley County. When Steve was 10, his father, Lester Dell Reeves, died in a farming accident. With his mother Goldie Reeves, Steve moved to California. In high school in Oakland Reeves began to work out regularly with weights, and he eventually came to the attention of Ed Yarick, who ran a bodybuilding gym. After graduating from high school, he enlisted in the Army and served in the Philippines during World War II and in Japan afterward. After his military service, at the age of 20, he won Mr. Pacific Coast (1946) in Oregon, which led to his titles of Mr. Western America (1947), Mr. America (1947), Mr. World (1948), and, ultimately, Mr. Universe (1950). The very night after he won the Mr. Universe title, he announced his retirement from the bodybuilding competition at the age of 25. With all the body-worshipping publicity he garnered, Reeves had become interested in pursuing an acting career. He moved to New York and studied acting under Stella Adler but after arguments, was refunded his tuition. He was selected by Cecil B. DeMille for the lead role of Samson in the biblical costumer Samson and Delilah (1949) after Burt Lancaster proved unavailable. In order to look convincing on-camera, he was told to lose 15 pounds as the camera added weight. He would not be able to compete in bodybuilding with the diminished weight., so he turned the movie offer down. The part instead went to Victor Mature. In 1949 Steve did film a Tarzan-type television pilot called Kimbar of the Jungle. He was one of the Olympic Team members not interested in the charms of Jane Russell in Gentlemen Prefer Blondes (Howard Hawks, 1953). In 1954 he had a small role in the musical Athena (Richard Thorpe, 1954) playing Jane Powell's boyfriend. The same year Reeves had a small role as a detective in Ed Wood’s attempt to make a serious Film Noir, Jail Bait (Edward D. Wood Jr., 1954). On TV, Reeves guest-starred on The Ray Bolger Show (1954) and The George Burns and Gracie Allen Show (1957). These roles were mostly posing bits or walk-ons. To Hollywood, Reeves was just a body. But then his fortunes turned.
Italian film director Pietro Francisci’daughter saw Steve Reeves in Athena (1954) and Francisi invited him to come to Cinecitta, the Roman film studios. In 1957, Reeves went to Italy and played the lead character in Le fatiche di Ercole/Hercules (Pietro Francisci, 1958), opposite gorgeous Sylva Koscina. Hercules was a relatively low-budget epic based loosely on the tales of Jason and the Argonauts, though inserting Hercules into the lead role. Gary Brumburgh at IMDb: “Though he did not possess a Herculean acting talent by any stretch, handsome bodybuilder Steve Reeves certainly had an enviable Herculean physique, and made plenty good use of it in Europe.” Independent film producer Joseph E. Levine took a big chance and bought the rights to the film's American release. He added a soundtrack dubbed in English and after a major US advertising campaign on television and in the newspapers, Hercules became one of the surprise hits of 1959. Reeves became ‘overnight’ a star. The film’s international success quickly led to the sequel Ercole e la regina di Lidia/Hercules Unchained (Pietro Francisci, 1959), again with Sylva Koscina. Hercules Unchained made even more money and became one of the year's biggest grossing films. Although he is now best known for his portrayal of Hercules, Reeves played the character only twice. Next, he played 19th-century Tatar hero Hadji Murad in Agi Murad il diavolo bianco/White Warrior (Riccardo Freda, 1959) with Giorgia Moll. This was followed by his role as Goliath (in Italy Emiliano) in Il terrore dei barbari/Goliath and the Barbarians (Carlo Campogalliani, 1959) with Chelo Alonso. While filming Gli ultimi giorni di Pompei/The Last Days of Pompeii (Mario Bonnard, Sergio Leone (uncredited), 1959), the chariot Reeves was driving struck a tree and he dislocated his shoulder. This put an end to his more intense exercise routines and caused problems in the following years.
By 1960, Steve Reeves was ranked as the number-one, box-office draw in twenty-five countries around the world. From then on through 1964, Reeves went on to appear in a string of Peplum (sword & sandal films) shot on relatively small budgets, He played a number of characters on-screen, including Welsh pirate and self-proclaimed governor of Jamaica, Captain Henry Morgan in Morgan il pirata/Morgan the Pirate (André De Toth, Primo Zeglio, 1960), Karim, the fabled Thief of Baghdad in Il ladro di Bagdad/The Thief of Baghdad (Arthur Lubin, Bruno Vailati, 1961), and Randus, the son of Spartacus in Il figlio di Spartacus/The Slave: The Son of Spartacus (Sergio Corbucci, 1962). He also played Romulus, the legendary founder of Rome in Romolo e Remo/Duel of the Titans (Sergio Corbucci, 1961) opposite Gordon Scott as his twin brother Remus. Reeves reportedly turned down two roles that became international sensations. He was offered the role of James Bond by Cubby Broccoli in Dr. No (1962) but refused it because of the low salary the producer offered. Reeves also turned down the role of ‘The Man with No name’ that finally went to Clint Eastwood in A Fistful of Dollars (Sergio Leone, 1964) because he could not believe that "Italians could make a western". He played Aeneas of Troy in La leggenda di Enea/The Avenger (Giorgio Venturini, 1962) and twice he played Emilio Salgari's Malaysian hero, Sandokan in Sandokan, la tigre di Mompracem/Sandokan the Great (Umberto Lenzi, 1963) with Geneviève Grad, and I pirati della Malesia/The Pirates of Malaysia (Umberto Lenzi, 1964) with Jacqueline Sassard as the romantic interest. Reeves’ injury of The Last Days of Pompeii, would be aggravated by his stunt work in each successive film, ultimately leading to his retirement from film making. In 1968 he appeared in his final film, Vivo per la tua morte/I Live For Your Death!/A Long Ride From Hell (Camillo Bazzoni,1968), a Spaghetti Western he co-wrote. His first wife had been Sandra Smith (1955-1956). In 1963, he married Aline Czarzawicz and the couple moved in 1969 to Valley Center, California, northeast of San Diego. He had bought a ranch there with savings from his film career. The next two decades Reeves bred horses and promoted drug-free bodybuilding, and stayed with Aline, until her death in 1989. In 1994, Reeves and business partner George Helmer started the Steve Reeves International Society, which became through its Internet site, a leading proponent of drug-free bodybuilding. In 1996, it incorporated to become Steve Reeves International Inc. Reeves also wrote the book Powerwalking, and two self-published books, Building the Classic Physique - The Natural Way, and Dynamic Muscle Building. His last screen appearance was in 2000 when he appeared as himself in the made-for-television A&E Biography: Arnold Schwarzenegger — Flex Appeal. In 2000, Reeves died in a hospital in Escondido, California, from a blood clot after having surgery two days earlier. He passed away on the very day that Ridley Scott's Gladiator (2000) premiered, the first sword-and-sandal epic to be produced by Hollywood in many years. Steve Reeves was 74.
Sources: Gary Brumburgh (IMDb), Rick Lyman (The New York Times), Wikipedia, and IMDb.
Russian actor of theater and cinema
Actor Theater Che
Fragment of the spectacle «Mom in the East»
Date: March 22, 2020
Владимир Братков - актер театра и кино.
актер театра ЧЁ'
Кадр из спектакля-квартирника Театра Чё «Мама на Востоке».
Дата: 22 марта 2020 года
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Владимир Братков: Свобода во все времена не возможна без осознания, что свобода — это не вседозволенность. Необходим внутренний самоконтроль на основе простой общечеловеческой морали. Иначе начнутся внешние ограничения. Самая главная человеческая свобода — это возможность выбора. Этого никто не отнимет, но именно здесь необходима особая концентрация внимания на ответственности.
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---- the "living float" of city of Randazzo (Sicily), that evokes the mystery of the Assumption of Mary into Heaven ----
---- la “vara vivente” della città di Randazzo (Sicilia), che rievoca il mistero dell’Assunzione di Maria in Cielo ----
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in the Sicilian city of Randazzo, is Celebrated in mid-August day, hits principal feast of the "living float" that evokes the mystery of the faith of the Assumption of Mary into Heaven with soul and body, for this reference She is call Mary Assumption; the feast may be originated around the sixteenth century; the "vara" (Sicilian name Refers to "float"), it's a "votive machine" about 20 meters high, made of a structure in iron and wood, decorated with gilding, mirrors, colored coatings, Whose allegorical meaning Seems To have inspirations from the figures reproduced in a painting by John Caniglia of 1548 (you can admire it inside the Crucifix chapel of the Basilica of St. Mary in Randazzo), machine consisting about several plans and rotating, with hand-operated mechanisms, and making reference to the rotation of the heavens of the medieval conception. The first low part of the "machine-float" is the Tomb of Mary, full of flowers, but as She got to the Sky also with Her Body, it's an empty tomb, a bit higher up we find St. Thomas in prayer, still more on we find St. Michael the Archangel with a sword, surrounded by singing Angels; on the highest level it finally takes place the Virgin Mary. Various "young actors", present on float are children of various age, which intone chants turned to Virgin Mary, each with its own role, each surrounded by a iron structures for own security. Up to 1960 different "human figures" were all male, included Maria Assunta; in ancient times the fast of the children was strictly Observed (even now, more for practical reasons to stay on the float, Which for devotional Reasons); in ancient times the float at the end of the procession was always assaulted from the faithful, taking with them the precious souvenirs of the event, considering That like relics; to the end of the 18th century the traditional feast He had a decline, abolished in 1795, then restored in the Second Half of 1800, again suppressed the first in 1911 for the raging cholera, then to the events linked to the First and Second World War, than the feast started again in 1952, at first once every 5 years, then every three years finally annually since 1973. During the trip the children receive from Inhabitants leaning out of windows and balconies, candies, biscuits, sweets of various genre, so this "rain of sweets" shows a more happy and picturesque manifestation, but so the children "are distracted" being from "hanging" in several meters from the soil (likeably who is finding down, he may be "bombarded" by a shower of candies and chocolates).
P.S. This last 2018 edition was not held on August 15th due to bad weather; the event was postponed to 25 August 2018, started regularly, was subsequently interrupted, as one of the four wheels of the vara was blocked right at the end of the path, causing a considerable effort by the devotees, to be able to bring it back. The photographs were organized and posted without taking into account the temporal chronology of what happened during the event.
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nella città siciliana di Randazzo, si celebra il 15 agosto, la sua principale festa, della "vara vivente" che rievoca il mistero di fede dell'Assunzione di Maria in Cielo sia in anima che in corpo, per questo riferimento viene chiamata Maria Assunta, festa che sembra abbia avuto origine attorno al XVI secolo; la "vara" (nome siciliano riferito al fercolo), è una “macchina votiva” alta circa 20 metri (in passato era ancora più alta) composta da una struttura in ferro e legno, abbellita da dorature, specchi, rivestimenti colorati, il cui significato allegorico sembra ricalcare i motivi ascensionali riprodotti in un quadro di Giovanni Caniglia del 1548 (dipinto che si può ammirare nella cappella del Crocifisso della basilica di Santa Maria, in Randazzo), macchina costituita da diversi piani sovrapposti ruotanti, con meccanismi azionati a mano, che fanno riferimento alla rotazione dei cieli di concezione medioevale. Alla base della “macchina-vara” c’è il sepolcro di Maria, pieno di fiori ma, poiché Ella è salita in cielo anche col suo corpo, tale sepolcro è vuoto; un po’ più in alto troviamo S.Tommaso in preghiera, ancora più su troviamo S.Michele Arcangelo con in pugno la sua spada, attorniato da Angeli, sul livello più alto infine prende posto la Vergine Maria. Le varie figure, presenti sulla vara sono bimbi di varie età, dai più piccoli ai più grandicelli, che intonano canti rivolti alla Madonna, ognuno col proprio ruolo di figurante, ognuno cinto da una struttura in ferro che lo assicura alla macchina votiva: fino agli anni ’60 i vari personaggi erano tutti di sesso maschile, inclusa Maria Assunta, il digiuno dei bimbi era rigorosamente osservato (anche adesso, più per motivi pratici di permanenza sulla vara, che per motivi devozionali); in passato la vara alla fine della processione veniva presa d’assalto dai fedeli, che letteralmente la spogliavano, portando con se un prezioso ricordo della manifestazione, considerandola al pari di una reliquia; alla fine del 18° secolo la tradizionale festa ebbe un declino, soppressa nel 1795, poi ripristinata nella seconda metà del 1800, nuovamente soppressa prima nel 1911 per l’imperversare del colera, successivamente per le vicende legate alla prima ed alla seconda Guerra Mondiale, la festa riprese vita solamente nel 1952, dapprima una volta ogni 5 anni, poi ogni tre anni, infine annualmente dal 1973. Durante il tragitto i bimbi ricevono dagli abitanti affacciati alle finestre ed ai balconi, caramelle, biscotti, dolciumi di vario genere, che ripongono a mò di bottino dentro delle sacche di tela, delle quali ognuno è fornito: questo da un lato rende ancora più gaia e pittoresca la manifestazione, dall’altro lato i bimbi “vengono distratti” dal trovarsi “appesi” a svariati metri dal suolo (simpaticamente chi si trova sotto, può venire “bombardato” da una pioggia di caramelle e cioccolatini, e parlo per esperienza personale :o)) …).
P.S. Questa ultima edizione 2018, non si è svolta il 15 di Agosto a causa del maltempo; la manifestazione è stata così rinviata al 25 Agosto 2018, iniziata regolarmente, è stata successivamente interrotta, poichè una delle quattro ruote della vara si è bloccata proprio sul finire del percorso, causando un notevole impegno da parte dei devoti, per poterla riportare-trascinare indietro. Le fotografie sono state organizzate e postate senza tenere conto della cronologia temporale di quanto avvenuto durante la manifestazione.
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