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I've known this beauty and talented actor for about almost 2 years now. She knew it was time for her to update her headshot and called me to do them. She is a natural. We took a stroll with her assistant Jeremy (another actor) and his dog Richmond under the George Washington Bridge. This girl is funny and even pulled off some risky planks. I may post some
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
French postcard by Les Carbones Korès Carboplane. Photo: 20th Century Fox.
Richard Todd (1919–2009) was an Irish-born British stage and film actor and soldier. During the 1950s, he was one of Britain's biggest stars at the box office, and also achieved some success in Hollywood.
Nina in Rockstar | Rock and Roll | Nashville | Driver's Photography | Model | Actor | Headshot
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ABOUT DRIVER’S PHOTOGRAPHY:
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At Llancaiach Fawr Manor near Nelson in Caerphilly, South Wales.
A house set in the time period of 1645 during the English Civil War.
There was actors inside the house as servants, who know nothing of what happens after 1645 (was supposed to be before Charles I visited the house - time period wise).
You first enter via a visitor centre. After you pay, they give you a guide book, and a note that you have to get stamped when you enter the manor.
Outside the manor. There is a formal garden at the front, and an orchard at the back.
The manor is Grade I listed.
Location
Close to the W community boundary which follows Nant Caeach, a short distance NE of Nelson and reached by a short track from the main road. Fronts a re-created formal garden, the surrounding walls incorporating stone benches.
History
Built early C16 for the Prichard (ap Richard) family and mentioned in Leyland's Itinerary of 1537. First Lord of Manor and Under Sherriff in 1549 was David ap Richard. Alteration in 1628 by his grandson, David Prichard, provided the rear staircase wing, the panelling of the first floor chambers and alterations to some windows, involving the introduction of the rectangular transom and mullion windows. The family were involved in recurrent feuds between Glamorgan noblemen including the Lewis family with whom they had marriage connections. Colonel Edward Prichard (d 1655) played an important role in the Civil War, originally a Royalist - Charles I is reputed to have lunched at Llancaiach in 1645 - he subsequently became a supporter of the Parliamentarians, becoming Governor of Cardiff Castle and playing a significant role in the Battle of St Fagans. Lack of male descendants led to property passing out of family and functioning as a farmhouse when second floor was used for storage. Purchased by Rhymney Valley District Council in 1979 and restored as a visitor attraction which particularly interprets the Civil War. A resistivity survey established the plan for the formal walled gardens which have been recreated to front; to rear was an orchard shown on the Tithe Map of 1842 and the OS map of 1875. A water colour of the building as a farmhouse shows it rendered.
Interior
Interior is characterised by the multitude of staircases which, apart from the later large timber staircase to rear, are incorporated within the walls, thus providing a network of escape routes to an outwardly undefended building. Traditionally the number of staircases was said to equal the number of rooms - fourteen, of which nine staircases remain after periods of remodelling. Walls are mostly lime plastered and limewashed, mostly white though with some renewed colour and fragmentary traces of former colour. Ceiling beams are large and chamfered, some stopped, some supported by corbels, some heavily keyed, some limewashed. Most doorways have heavy double thickness doors comprised of vertical planks to front and horizontal to rear, some retaining their massive iron bolts; barricade holes in the walls behind show where they could be reinforced by bars; doorways are mainly Tudor-arched and chamfered, of stone or wood. Windows have deep splays and the main windows to each room incorporate stone seats; only one of the quarry glazed window panels opens, in Colonel Prichard's study, the westernmost room on second floor. Spiral metal fire escape installed in rear wing at time of modern restoration.
Ground floor is entered through porch with flag floor, stone benches, ceiling, door with vertical fillets and hinges across the whole width. Entrance hall has flag floor, a four-centred ceiling arch, two cupboard recesses in gable end wall, access to main timber staircase left and rear mural stairs to rear; partition opening and doorway to kitchen right. Kitchen has fireplace with wide wooden lintel and bake ovens; under rear window is a stone waste sluice. Servants' Hall access is through a lobby beside the chimney incorporating front mural stairs, the fireplaces back to back. Servants' Hall fireplace has timber lintel and chamfered jambs; wall recess, flag floor; windows to 2 elevations; steps up to store doorway in the rear wing, further mural steps and blocked steps adjacent. Stairs to vaulted cellar.
From entrance hall quarter-turn stone steps with twisted wooden balusters, moulded rails and newel posts rise to first floor landing which extends across the W end of house; a 4-centred arch, part of the C17 remodelling, frames the staircase to next floor. Great Hall is entered through a wide doorway, with original door, studded, 2 boards wide and with long strap hinges terminating in fleur de lys; mural stairs to front and 2 to rear; dais for high table is lit by large windows to front and rear; it backs onto the central chimney breast but there are now no first floor openings to this and the stone Tudor-arched fireplace, with moulded jambs and shallow bracketed mantelpiece, and painted blue with woad, is against the rear wall. Narrow doorway at front to room over porch, used as Stewards' Room, with windows on 3 sides, garderobe, 2 mural staircases, small fireplace with large Tudor-arched stone lintel. Lobby adjacent to dais corresponding with that on ground floor, doors at each end, leads to parlour. This has small-square panelling with a linenfold-type frieze; depressed-arched chamfered stone fireplace in rear wall is flanked by staircases either side with matching panelled doors, one mural, one leading to rear bed chamber and one to former mural staircase. This is also panelled with fluted frieze and billet-moulded cornice; former access to privy.
Main stairs to second floor retain some original balusters, rail and newel post. Corridor runs along rear elevation with timber-framed lath and plaster partition to the main two interconnecting rooms to front; square headed wooden doorways with moulded surrounds. In rear wing is a further chamber with garderobe off lit by tiny windows. At top of stairs is a later partitioned windowless cheese room fronted by matching balusters with stone chute adjacent; over the porch is the steward's upper apartment, access to roof space which has arch-braced trusses and 2 rows of trenched purlins; end room, described as counting house, has stairs flanked by low walls rising in the centre of floor and fireplace in gable end wall with depressed Tudor arch and moulded jambs; at rear a small opening to roof and pigeon loft over stairs.
Exterior
Semi-fortified gentry house. Main range aligned roughly E/W with front porch wing and two rear wings, at W an added staircase wing, at E a contemporary wing with attached garderobe shaft. Three storeys and attic to main house and wings, with first floor hall; vaulted cellar beneath rear wing. Stone rubble walls mostly in narrow courses with ashlar dressings, quoins, rendered W and SW elevations. Windows are of one-, two-, three- or four-lights, some with 4-centred heads and moulded spandrels, some ornamented, some square headed, most with square low hoodmoulds, with chamfered surrounds and moulded mullions, and under wide relieving arches, no sills; transom and mullion windows represent the C17 remodelling; leaded glazing is a mid C20 replacement. C20 Cotswold tile roof; rectangular stone stacks to main roof with caps at centre right ridge and on either side of ridge of NE rear wing; smaller stack at gable end left. Gables have stone coping, moulded apex stones and kneelers. Main house and wings are battered.
S entrance elevation of five bays. Gabled full-height porch wing in second bay from SW has gable end and lateral stacks, small Tudor-arched apex light; 2-light first floor square-headed mullioned window; ground floor Tudor-arched doorway, chamfered and stopped; small side lights and larger rectangular window to first floor. Bay to left of porch is rendered, with small light to second floor and larger to first floor. To right of porch extends the main 2-window range over 3 floors separated by small lobby lights. At left the windows are square headed: 3-light second floor window close under eaves; large first floor window to hall of 4 transom and mullion lights; ground floor window of 2-lights. To right the lights are narrow with 4-centred heads: small 2-light window close under eaves; large first floor 4-light window to parlour; similar smaller 3-light ground floor window - some replaced masonry. W gable end elevation has small lights to the upper floor and a 2-light window to ground floor.
Rear elevation is asymmetrical. Cross wing to right has roof extending lower to right (W), and incorporates two groups of 3 dove nesting holes and ledges; two 3-light windows under shallow hoods, the higher under a relieving arch. Centre 3-storey bay is recessed though stepped out at each side, the left accommodating a gabled garderobe chute corbelled out at eaves and with small lights, the right the flue to the hall chimney. Centre single window range with 4-light square-headed window with arched lights close under eaves, larger 4-light window with arched heads under a hood and relieving arch to first floor with small light adjacent; ground floor has small rectangular chamfered light. Wide more deeply projecting 4-storey cross wing to left also has an asymmetrical gable, though less pronounced; kneelers and quoins; single window to each upper storey all with 4-centred arched lights: single light with hood to attic, paired lights with hood, flat relieving arch, moulded spandrels to second floor; similar triple light window to first floor; cellar access at ground floor with steps down.
E elevation of 4 storeys has again an asymmetrical gable with single window range to left though flush with single window range to right; ridge stacks. Similar arched lights under hoods: single light to attic left; second floor has paired lights to left and right and small adjacent stair light; first floor has similar 4- and 3-light windows with adjacent stair light, the former matching that on the front S elevation which both light the main parlour; ground floor has similar 3-light window to left, and small rectangular window to right without a relieving arch.
Frontage gives onto a walled garden, parts of the E and S walls and the wall adjacent to the front path dating from before the C20 refurbishment, though with substantial sections rebuilt or raised.
Reason for Listing
Listed grade I as an outstanding manor house, especially interesting for its internal defensive arrangements, well repaired, conserved and presented.
References
Newman J, Glamorgan, Buildings of Wales series, 1995, pp 353-8;
RCAHMW, Glamorgan, The Greater Houses, 1981, pp115-126;
Llancaiach Fawr Manor, guidebook, nd;
Gelligaer Tithe Map 1842;
Ordnance Survey, First edition,scale 1:2500, 1875.
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Notes:
Close to the W community boundary which follows Nant Caeach, a short distance NE of Nelson and reached by a short track from the main road. Fronts a re-created formal garden, the surrounding walls inc
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
The orchard behind the Manor contains old varieties of fruit trees and separates the privy garden from the kitchen and herb garden.
Ross Kemp (born 21 July 1964) is a BAFTA award-winning British actor, author and journalist, who rose to prominence in the role of Grant Mitchell in the BBC soap opera, EastEnders. Since 2006, Kemp has received international recognition as an investigative journalist for his critically acclaimed and award-winning documentary series Ross Kemp on Gangs
Actor and model, Back to the old Photography, its a lot easier with digital than with 5x4 Ektachrome film, or even the mamiya 67 for fashion, model and actor photos
.... James Garner (born James Scott Bumgarner; April 7, 1928 – July 19, 2014) was an American actor, producer, and voice artist. He starred in several television series over more than five decades, including such popular roles as Bret Maverick in the 1950s western comedy series 'Maverick' and Jim Rockford in 'The Rockford Files' and played leading roles in more than 50 theatrical films, including 'The Great Escape' (1963) with Steve McQueen, Paddy Chayefsky's 'The Americanization of Emily' (1964), 'Grand Prix' (1966), Blake Edwards' 'Victor/Victoria' (1982), 'Murphy's Romance' (1985), for which he received an Academy Award nomination, 'Space Cowboys' (2000) with Clint Eastwood, and 'The Notebook' (2004) ....
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
French postcard. Photo: Pathé Natan.
Beloved, down-to-earth character actor Raimu (1883-1946) was one of the major stars of the French cinema in the 1930s. He started his career as a comedian at the Folies Bergère and other major Paris venues, and in 1929 he had his breakthrough as a serious actor with his part as César in the Marseille trilogy Marius-Fanny-César by Marcel Pagnol.
Raimu was born as Jules Auguste Cesar Muraire in the harbour town of Toulon, France in 1883. His father was an upholsterer. At the age of 16, he made his stage debut by imitating his comic idols, Félix Mayol and Polin. He went on to perform in dance halls, cafe concerts, and bars in the Provence. His stage name was Rallum, but later he changed it into Raimu. He was sometimes credited as Jules Raimu. He came to the attention of the singer and music hall director Félix Mayol who was also from Toulon. In 1908 Mayol gave him a chance to work as a secondary act in the Paris theaters. Raimu made his film debut in Le fumiste/The Humbug (1912, Gérard Bourgeois). The following years he appeared in more short silent films but nothing much came of them. After this disappointment, Raimu would not appear on screen for more than a decade. Primarily a comedian, in 1916 writer/director Sacha Guitry gave him significant parts in productions at the Folies Bergère and other major venues. He starred in the premiere of Messager's operetta Coups de roulis in 1928. In 1929, he gained wide acclaim for his serious role as César Olivier in Marcel Pagnol’s play Marius. César is the father of the young sailor Marius. Marius works in his father’s waterfront bar in Marseille, but longs to travel to exotic places with the ship crews that part from the docks. Only his love for the vendor Fanny keeps him on shore. César, with his generous, comic spirit, tries to guide his son. The play was an astonishing success and was soon followed by the plays Fanny and César.
Although he was reluctant about the cinema, Raimu agreed to act in the early sound film Le Blanc et le Noir/Black and White (Marc Allégret, Robert Florey, 1930) written by Sacha Guitry. It was a success. A year later he reprised his role as the grubby, iron-willed César in the film adaptation of Marius (Alexander Korda, 1931), featuring Pierre Fresnay as Marius and co-produced by author Marcel Pagnol. Gary Brumburgh writes at IMDb: “Raimu transferred the role of Cesar brilliantly to film in 1931 and the rest is history. So Marius was soon followed by the sequels Fanny (Marc Allégret, 1932) featuring Orane Demazis, and César (Marcel Pagnol, 1936). According to Brumburgh the three films have been ‘arguably celebrated as the greatest series ever put together’. By his late forties, Raimu had become one of France’s most noted actors, both on stage and in the cinema. His best films include Un carnet de bal/Dance Program (Julien Duvivier, 1937) with Marie Bell, the comedy Gribouille/Heart of Paris (Marc Allégret, 1937) with Michèle Morgan in her first major film role, La Femme du boulanger/The Baker's Wife (Marcel Pagnol, 1938), and L’Arlesienne (Marc Allégret, 1942) with a young Louis Jourdan. In these films, he swayed effectively from humor to great pathos. In 1943, Raimu took a three-year sabbatical from filmmaking when he was invited to join La Comédie Francaise, where he excelled in the plays of Molière. Shortly after making the Fyodor Dostoyevsky adaptation L'homme au chapeau rond/The Eternal Road (Pierre Billon, 1946), Raimu died of a heart attack in Neuilly-sur-Seine. He was interred in the cemetery of his birthplace Toulon-sur-Mer where there is also the Cinéma Raimu Toulon named in his honor. In 1961, the French government honored him with a postage stamp. Raimy was married to Esther Metayer and they had a daughter, Paulette. His grand-daughter Isabelle Nohain created a small museum, le Musée-Espace Raimu in Cogolin, France.
Sources: Gary Brumburgh (IMDb), Hal Erickson (AllMovie), Films de France, Musée Raimu (French), Wikipedia (French and English), and IMDb.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
"Whitewashing Roy", by Hsix (2016).
Mural of actor Roy Dupuis, 230 Sainte-Catherine E., Montréal, 04-04-2017.
The "whitewashing" part refers to Dupuis' comments about the movie The Revenant, for which he turned down a role:
The Revenant's depiction of French Canadians 'disappointing:' Roy Dupuis
Actor Roy Dupuis slams 'The Revenant' for portrayal of French-Canadians
According to wall2wallmtl, "it fit the anti-colonialist theme of that edition of Under Pressure".
There's another mural of Roy Dupuis by Hsix in Montreal, see it here.
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
This was uploaded for a comment I made on this UIE blog post.
www.uie.com/brainsparks/2007/11/15/personas-vs-user-descr...
Emma watson at the world premiere screening of 'harry potter and the prisoner of azkaban' held at radio city music hall. New york city. 23 may 2004. Pictures dennis van tine/Lfi
telugu south sexy hot beautiful handsome nice tollywood tamil kollywood bollywood spicy cute young girl girls women woman lady guys guy boys boy actors actresses pradesh ap movie cinema hero heroine actress actor hyderabad andhra india indian film star heros heroines smart stills new gallery photos cleverage naval navel superb wallpapers telugu hot
DAY #1
Actor Kevin McKidd visits Mozambique with the nonprofit Partners for Pediatric Progress (P3), June 25-30, 2011. P3 seeks to improve the health and care of children in some of the poorest regions of the world, by providing focused training for the physicians and healthcare workers in partner countries. Pediatricians, residents, and medical students from U.S. medical schools train local health care workers and medical faculty, who can in turn train the next generation of local physicians. All partner sites are strictly vetted, based on need and safety. P3 is an established program under the umbrella of the Program in Global Health at UCLA.
All faculty members involved are volunteering their services.
DONATE & SUPPORT P3 and Kevin's efforts to improve children healthcare:
www.kevinmckiddonline.com/partners-for-pediatric-progress...
Also visit:
www.facebook.com/PartnersForPediatricProgress
PHOTO COURTESY OF KEVIN McKIDD
German postcard by Ross Verlag, no. 3796/1, 1928-1929. Photo: Paramount.
If Weimar cinema had one film star, then it was Emil Jannings (1884-1950) for sure. He was a great actor in the silent era and won the first Oscar for Best Actor. Too bad that during his later years he worked as a board member for the Ufa propaganda machine during the Third Reich.
Jannings was born Theodor Friedrich Emil Janenz in Rorschach (Switzerland), and grew up in Leipzig and Görlitz. He left gymnasium prematurely and worked as ship's mate. In 1900 he started to work at the Görlitz Stadttheater, after which he played in several provincial theaters and with travelling companies. Occasionally he directed plays too. In 1914 he reached Berlin where he was engaged in 1915-1916 at Max Reinhardt's Theater. In between he played on stage elsewhere and had his first film role in the war propagandafilm Im Schützengraben [In the Trenches] Until 1920 Jannings continued to play on stage, getting ever bigger roles.
From 1916 on, Emil Jannings played more and more in film, mostly in quickly staged melodramas and crime stories. In 1919 he had his big breakthrough as Louis XV in the lavish period piece Madame Dubarry, directed by his former theater colleague Ernst Lubitsch. The film was such an international hit that former war adversaries such as the United States embraced German cinema. Jannings and his co-actress Pola Negri (Dubarry) became instant stars. For a while he continued to play debauched rulers such as Henry V in Lubitsch' Anna Boleyn (1920), Amenes in Lubitsch' Weib des Pharao (1921) and czar Peter the Great in Peter der Grosse (Dimitri Buchowetzki 1922). Other strong historical characters were the title roles in Otello (1921-22) and Danton (1921) both by Buchowetzki. After the Italo-German co-production Quo Vadis? (1923-24), in which he incorporated emperor Nero, Jannings managed to get away from his historical characters with two major films. In F.W. Murnau's Der letzte Mann/The Last Laugh (1924) he was a proud hotel doorman who looses his self-esteem and that of others when he is reduced to a toilet man, working in the basement of the hotel. In Varieté/Variety (1925) by E.A. Dupont he is the strong acrobat, who kills his rival out of jealousy. Jannings magnificently expressed the fears and doubts of big, proud and big-hearted men, who are cheated by their surroundings.
The success of these films earned Jannings a 3-year contract with Paramount. Here he played again men who had a social position and then end in misery such as The Way of All Flesh (1927) and The Last Command (1928). They earned him the first Oscar ever distributed to an actor. Together with Lubitsch he tried to repeat their German successes in The Patriot (1928). When sound came in, Jannings left Hollywood and returned to Berlin, where he was launched in his first sound film Der blaue Engel/The Blue Angel (1929), directed by Ernst Lubitsch and based on a novel by Heinrich Mann, Professor Unrat. Jannings is the local university professor Von Rath who falls in love with cabaret singer Lola-Lola (Marlene Dietrich). Married to him she shamelessly exploits and humiliates him. When the film came out, Dietrich's populariy overshadowed Jannings. The film was her ticket to Hollywood. Jannings returned to play on stage, until 1936.
With his sound films of the early 1930s, Jannings could not compete with his earlier successes. Only after the nazi's came to power, his star rose again, while playing rulers, just like in the early 1920s but this time not the decadent versions anymore. He performed historical characters such as Friedrich Wilhelm I in Der alte und der junge König (1934-35), Geheimrat Clausen in der Herrscher (1936-37), the title roles in Robert Koch (1939) and Ohm Kruger (1941) and Bismarck in Die Entlassung (1942). All predecessors to Hitler, to be understood. In 1936 he became board member of Ufa and in 1938 he was chairman there. He was allowed to direct his own films, and thus was the main responsable for Ohm Kruger, one of the most expensive flms of the nazi era. His historical films contributed to the legitimization of the modern politics. In January 1945 he broke up work to the film Wo ist Herr Belling?, because of an illness. The film, never ended, was his last film. In 1946 Jannings was denazified and in 1950 he died in Austria.
Too bad about Jannings' last years, because he was a great actor in the silent era, one of the biggest (in every which way).
(Source: www.filmportal.de/df/7d/Uebersicht,,,,,,,,3377E94609D3412...
Ross Verlag nr. 3796/1.
Ty was a pretty good smoker himself. And what better way to promote his upcoming Fox film, "Rawhide" than this? (Ad copy courtesy PopKulture)
Bain News Service,, publisher.
Actors
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.28569
Call Number: LC-B2- 4885-4