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Greek actor George Roussakis. Part of a commissioned photo shoot for the actor's portfolio and promotion.
Strobist info: 1 speedlight 1 meter away right and a little above the model.
HAPPY 90TH BIRTHDAY, HAL!
I posted this on Feb 17, 2015, actor Hal Holbrook's 90th birthday.
Hal died on Jan 23, 2021 about a month short of his 96th birthday.
Photo taken at a book signing at Elmira College's
Mark Twain Conference, 2013
My husband took this photo of Hal signing his book for me. (Yes, that is me on the left.)
The book is a memoir: "Harold, The Boy Who Became Mark Twain."
As an amateur Mark Twain scholar, I usually attend the Twain conference, held every 4 years at Elmira College during the month of August. I missed the one in 2017. The next one will be in 2021.
_____
More about Hal and his career:
Para nada, soy un hombre de Casa.... escuchando música y degustando un buen Merlot, detrás tengo mi joyita, una Radio Original RCA Victor del año 65, eso si enchulada con parlantes más nuevos y un equipo Pioneer en su interior, jajaja, suena la raj........los que la ven creen que aún está sonando la Radio a tubos.
Actor head shots. Thanks for the inspiration from Shineylewis, Regina Pagles.
Lighting: AB800 in medium softbox CR, AB800 with grid, fill with 64" PLM with cover for fill.
President of the Berlinale Jury;
famous for Un amour de Swann • Mission • Die Hard 3 • Lolita • Kingdom of Heaven • Casanova • Elizabeth I • The Color of Magic • Beautiful Creatures • High-Rise • Race • Batman v Superman;
1991 Oscar and Golden Globe for Reversal of Fortune
Stepping more and more out of my comfort zone. Learn more about Matthew here:
City Park
New Orleans, Louisiana
Actor Richard Roy Sutton, of Kingston Ontario. These Headshot and profile photos were shot on the beautiful grounds of the old Psychiatric Hospital, on the Lake Ontario Waterfront.
Leslie Howard was an English stage and film actor, director and producer. Howard also wrote many stories and articles for The New York Times, The New Yorker and Vanity Fair. Wikipedia
Local call number: BM00325
Title: Model Sunny Bippus with actor George Hamilton in Florida
Date: ca. 1966
Physical descrip: 1 photonegative - b&w - 5 x 4 in.
Series Title: Bert Morgan Collection
Repository: State Library and Archives of Florida, 500 S. Bronough St., Tallahassee, FL 32399-0250 USA. Contact: 850.245.6700. Archives@dos.state.fl.us
Persistent URL: www.floridamemory.com/items/show/294480
Actor/creator Kenyon Phillips stopped by GFA on Wednesday, March 2, 2022, to talk with some theater students about his path into the creative arts.
German postcard by Ross Verlag, Berlin, no. 638/6, 1919-1924. Photo: Bruckmann. Publicity still of André Habay as Petronius in Quo Vadis? (1924-1925, Gabriellino D'Annunzio, Georg Jacoby). Collection: Didier Hanson.
André Habay aka Andrea Habay (and as Habaj or Kabaj) was an actor in Italian silent cinema, mainly in modern dramas and divafilms such as Sangue blu (1914) and Rapsodia satanica (1917), but also in epics such as Quo vadis? (1925).
Though born in Paris in 1883, nothing is known of André Habay’s French whereabouts. What we do know is that he had a rich career in Italian silent cinema, which started just before the First World War and continued until the mid-1920s. Probably his first part was in the Spanish-Italian film Carmen, directed by Giovanni Doria and Augusto Turqui, and released in Spain in April 1914, according to IMDB. Strangely enough, the film lacks in the otherwise excellent reference books of Il cinema muto italiano by Bernardini & Martinelli. French actress Suzy Prim played Carmen, while Habay was Don José. For both it meant the start of a career in Italian silent film, though for Habay this was a more intense and longer lasting one in Italy than for Prim. From the Spring of 1914 on, Habay worked on a regular basis for Cines or rather its affiliated company Celio, first of all as co-actor to Francesca Bertini. While their first film together, the tragic melodrama Onestà che uccide/Honesty That Kills (Maurizio Rava 1914) was well received, the spy story La principessa misteriosa/The Mysterious Princess (Rava 1914) –repeating the plot of Bertini’s previous Amazzone mascherata (1913) - did not stir much. It was, however, the subsequent film Sangue blu/Sangue bleu (Nino Oxilia 1914) that would effect, as it was explicitly built up to lift Bertini to the status of diva. In all of these films Angelo Gallina acted as the older man, opposed to the younger one, played by Habay. In Sangue Blu Bertini is a countess who divorces her unfaithful husband (Gallina). Acting in a philantropist stage play, she meets actor Jack Wilson (Habay). A compromising picture of the two makes the countess lose her child. Wilson proves to be a ruthless exploiter who robs her and forces her to act on stage. During a tango of death she desperately stabs herself, but doesn’t die. Her husband repents and the family is reunited. The film was an international success, and paved the way for Habay as well.
In the meantime Habay had already started to act in two films by Ivo llimunati with other actresses: La fanciulla di Capri (1914) with Leda Gys and La fiamma rossa (1914) with Mary Cléo Tarlarini, before joining Bertini again for her last film for Celio: Nella furnace, a not too convincing film by Oxilia, shot at the steel furnaces of Piombino. Habay’s next role with Oxilia’s Rapsodia satanica would have longer lasting echo, even of the film had serious problems with its release. Already in 1914 Cines devised a major project around a female version of Goethe’s Faust, starring theatre and film star Lyda Borelli, and with a special score written by maestro Pietro Mascagni. In the winter of 1914-1915 Nino Oxilia shot the film and during a private show in early 1915 the audience was wildly enthusiastic about it. For unclear reasons, though, the film was refused public release and only after heavy cuts Rapsodia satanica came out in the Summer of 1917 [so not 1920. as IMDB claims], neglected by most of the press while others considered it outdated already. In the 1980s a restored b&w copy of the film was performed again with Mascagni’s music and made a big impression. In the meantime a tinted and stencil-colored version has been found and restored as well, and parts of it were used for Peter Delpeut’s compilation film Diva dolorosa (1999). Habay plays Tristano, one of two brothers both in love with capricious, cruel Alba (Borelli). Tristano is even willing to betray his brother Sergio (Giovanni Cini), in order to get the love of Alba. Sergio commits suicide, Tristano freaks out but Alba tells him to leave. Her play is over.
During the First World War Habay played in countless films, including Il capestro degli Asburgo (Gustavo Serena 1915) with Bertini and La falena (Carmine Gallone 1916) with Borelli, plus many films with actress Matilde di Marzio. He played opposite Soava Gallone in Avatar (Gallone 1916), opposite Maria Jacobini in films like the Tolstoi adaptation Resurrezione/Resurrection (Mario Caserini 1917), La sfinge (Caserini 1918), L’articolo IV (Gennaro Righelli 1918), La regina del carbone (Righelli 1919) and La vergine folle (Righelli 1920), while he played with Hesperia in films like L’aigrette (Baldassarre Negroni 1917) and La principessa di Bagdad (Negroni 1918) and with Diana Karenne in films like La signora dalle rose (1919), directed by Karenne herself, and Zoya (1920) by Giulio Antamoro. In the early 1920s Habay tried his luck with film directing (Il mare, 1921; Il cielo, 1921; Colui che seppe amare, 1921-22), but that was a short-lived career. Following the advice of the press who wrote he’d better continue to be the love interest of the divas, he did so in the early 1920s, as in films with Italia Almirante Manzini: Il sogno d’amore (Righelli 1922), L’ombra (Mario Almirante 1923) and La grande passione (Almirante 1923), with Soava Gallone: La fiammata (Gallone 1923) and La signorina .. madre di famiglia (Gallone 1924), with Hesperia: Il velo della colpa (Negroni 1923), and with Carmen Boni: Il riscatto (Guglielmo Zorzi 1924).
Habay’s last parts were not in diva films anymore – the genre had become outdated by now – but in one epic film and two strong men films. First he played the lucid Petronius, ‘arbiter elegantiarum’ of Emperor Nero, in the 1924-1925 version of Quo vadis?, directed by Gabriellino D’Annunzio and Georg Jacoby, and adapted from the famous novel by Henryk Sienkiewicz. The lavish production by the UCI (Unione Cinematografica Italiana) had a mixed German-Italian cast with Emil Jannings playing Nero, surrounded by 'baddies' such as Elena Sangro as his wife Poppea, Raimondo van Riel as the ruthless general Tigellinus, and Gino Viotti as the perfidious Chilo Chilonides. On the good side were Alphons Fryland as Vinicius, Lilian Hall-Davis as Lygia, Rina de Liguoro as Eunice and Elga Brink as Domitilla. Strong man Bruto Castellani, who had played the protector of Lygia in the 1913 Cines version, played the same role again in this version. The production was haunted by trouble: various parties claimed rights and UCI had to pay them all. Moreover, during shooting an extra was assaulted and killed by a lion. Despite the cast and despite the enormous sets and numerous extras, the film was not the big success the Italians had hoped for. Though the press praised Jannings’ performance, they thought the reconstruction of ancient Rome they knew by now. Were they in for a shocker, as one year after, MGM’s Ben Hur appeared… André Habay last parts were minor roles in two late Maciste-films: Maciste nella gabbia dei leoni (Guido Brignone 1926) and Il gigante dei Dolmiti (Brignone 1926). In the latter film Habay played for the last time the romantic love interest (this time of Dolly Grey), while at the same time the plot contained a spy story, as Habay plays an engineer whose plans for a new airplane are almost stolen. In a way, this makes this full circle with Habay’s earliest films with Bertini, also combinations of spy stories and romantic dramas. This time, however, it is not Bertini’s pluck but Maciste’s strong arms which set things straight. In 1941 André Habay died in Rome at the age of 57.
Sources: IMDB, Bernardini/Martineli, Il cinema muto italiano.
Romanian postcard by Casa Filmului Acin, no. 9. Sylva Koscina and Jean Sorel in I Protagonisti/The Protagonists (Marcello Fondato, 1968).
Italian actress Sylva Koscina (1933-1994) may be best remembered as Iole, the bride of Steve Reeves in the original version of Hercules (1958). She also starred in several Italian and Hollywood comedies of the 1950s and 1960s.
With his dreamy features and glossy, immovable hair, French actor Jean Sorel (1934) was one of the most handsome leading men of European cinema in the 1960s and 1970s. He worked in the French, Italian and later in the Spanish cinema with such directors as Luis Buñuel and Luchino Visconti. Since 1980 he appeared mostly on television.
And, please check out our blog European Film Star Postcards.
Tony Award-winning actor Annaleigh Ashford joined fellow Broadway Coloradans Beth Malone ("Fun Home") and Mara Davi ("Dames at Sea" for "United in Love," a special concert event benefiting the Denver Actors Fund on April 30 at the Lone Tree Arts Center. The three were "back to give back," joined by powerhouse singer, actor and First Lady of Denver Mary Louise; Broadway’s Jodie Langel ("Les Misérables"); composer Denise Gentilini ("I Am Alive") and Denver performers Jimmy Bruenger, Eugene Ebner, Becca Fletcher, Clarissa Fugazzotto, Robert Johnson, Daniel Langhoff, Susannah McLeod, Chloe McLeod, Sarah Rex, Jeremy Rill, Kristen Samu, Willow Samu, Thaddeus Valdez, and the casts of both "The Jerseys" (Klint Rudolph, Brian Smith, Paul Dwyer and Randy St. Pierre), and the all-student cast of the upcoming "13 the Musical" (Rylee Vogel, Josh Cellar, Hannah Meg Weinraub, Hannah Katz, Lorenzo Giovannetti, Maddie Kee, Kaden Hinkle, Darrow Klein, Evan Gibley, Conrad Eck and Macy Friday). The purpose of the evening was to spread a message of love and hope while raising funds for the Denver Actors Fund, which has made $90,000 available to local theatre artists facing situational medical need. The concert was presented by presented by Ebner-Page Productions. Photos by RDG Photography, Gary Duff and DCPA Senior Arts Journalist John Moore, also the founder of the Denver Actors Fund. For more information, go to www.denveractorsfund.org
Hampton Court - Is that Henry VIII?
Cardinal Thomas Wolsey acquired the 14th Century manor at Hampton Court in 1514. Construction on a new palace began in 1515, and the resulting 1,000-room country house was finer than King Henry VIII's own palaces--a problem that Henry solved by appropriating the estate in the 1520s. Henry expanded the palace, which remained largely unchanged until the reign of William and Mary, when the Tudor structure was modernized under the direction of Christopher Wren. The last monarch to live in the palace was George II, who died in 1760.
A large group of plastic artists, actors, chefs or athletes give life to these 1.80-meter-tall meninas.
The fun is going to be in running into dozens of sculptures in the middle of the street. Walking, for example, through the Puerta de Alcalá, through the Plaza de Cibeles, through the Gran Vía. Each one decorated in a different way, with different colors, with personal visions and individual messages.
All the figures incorporate a QR code that will be scanned with a mobile device. This will serve to access the information of each menina, her presentation and the approach that the artist has wanted to give her. Some figures will be auctioned and the benefits will go to the NGOs selected by the artists or sponsors.
Reinterpreting Velázquez
Of course, the initiative proposes to reinterpret the work of Velázquez known as Las Meninas. Actually, the painting was not originally called that, but The Family of Felipe IV, which is the one portrayed. But since the 19th century, the name that referred to the companions of the Infanta Margarita of Austria became popular.
La Meninas Madrid Gallery intends to pay homage to this paradigmatic painting of the Spanish Golden Age. Or rather take art to the streets of Madrid, using the iconic claim of the meninas.
It is also a tribute to diversity, to freedom of expression. To everything that Madrid represents as a melting pot of cultures and artistic manifestations. As its organizer, Antonio Azzato, says, if you stay at home you always miss something.
Azzato has studied Velázquez's painting in depth. Aware of the numerous interpretations that have been made of this canvas throughout history, he now dares to reinterpret it in his own way.
To do this, Azzato has brought together a wide group of artists from various disciplines. From designers, sculptors and painters to actors, some established, others emerging. All willing to contribute their personal vision.
In the first edition we saw meninas signed by Marta Hazas, Jordi Molla, Vicky Martín Berrocal or Ágatha Ruiz de la Prada. In the second we saw those of Dani Rovira and Ouka Leele among many others. The third brought us those of Antonia Dell'Ate, Jaime Martínez Alonso, Marta Sánchez, Modesto Lomba or Asier Etxeandía. And the fourth to Ana Obregón, Boris Izaguirre, Chef José Andrés or DJ Nano.
This fifth edition of Meninas Madrid Gallery has the participation of Los Morancos, Paulo Coelho, Carmen Lomana, Pablo Motos and Saúl Cravioto among many others. In addition, this year the organization has invited students from design schools and universities, such as the European Institute of Design or the Francisco de Vitoria University, to participate.
Every year we find some menina that triumphs for some reason. For example, last year there was a pilgrim menina, on the occasion of the celebration of the Xacobeo Year, next to the church of Santiago. It is also one decorated by the designer Lorenzo Caprile next to the Puerta de Alcalá.
There are more than 40 sculptures that will decorate the streets of Madrid. The City Council has ceded the main spaces of the capital so that the figures can be freely admired by the widest possible public.
The sculptures are made of fiberglass and are life size of a person. That is why they do not attract the citizen's attention too much from a distance, but rather when he comes across them. A height of 1.80 by a depth of 1.60 and a weight of 30 kilos are appreciable dimensions on the ground, once located.
Each sculpture has a QR code that can be scanned with any mobile device and explains the concept of the work as well as presenting the menina virtually.
The event is charitable. At the end of the exhibition, some works will be auctioned and the proceeds will go to organizations selected by the artists themselves or sponsors. As they will bear the signature of their authors, it will be a unique occasion for collectors.
Las Meninas are located in open and central spaces, common places of passage. The idea is that many people see them. But those who want to see them need to orient themselves around the city to find them.