View allAll Photos Tagged CLASH
Overhead sign where a long pedestrian corridor takes a corner.
It's odd that this still comes across as Engrish. In context, it's a perfectly correct word to use. It just seems odd.
It's a shame about the sky, but this scene and the purple clash with the gorgeous brickwork really stood out for me as I dashed by St Pancras this morning
the dancing house (aka Fred and Ginger) by Frank Owen Gehry - Prague - 1992-1996
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80 shots @ 1 second interval
I reckon the colours of this Blue Tit against the blossoms behind it would give you a headache if you looked at it long enough. Looks better large - believe it or not!!
Action of UM's OL Nr. 66 SUNNY ODOGWU neutralizing FAMU's Nr. 16 HANS SUPRE during Miami Hurricanes v. Florida A&M Rattlers football game on September 3, 2016 at Hard Rock Stadium in Miami Gardens, Florida. The Miami Hurricanes crushed the Florida A&M 70-3.
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Mario Houben | Photography - The Website
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FILE: MHP1DX0194
Turquoise livered KTE WDM-3A #18857 greets ET WDM-3A Twins. KTE WDM-3A was hauling before time running 22104 Faizabad-LTT SF Express.
Green willow, blue sky and a red-coloured boat. Taken near along the river walk from the Jardin des Plantes. Paris
Italien / Belluno - Tofane
Hike around the Tofana di Rozes
Wanderung um die Tofana di Rozes
Tofane is a mountain group in the Dolomites of northern Italy, west of Cortina d'Ampezzo in the province of Belluno, Veneto. Most of the Tofane lies within Parco naturale delle Dolomiti d'Ampezzo, a nature park.
Peaks
The highest peaks of the Tofane group are Tofana di Mezzo (3,244 m (10,643 ft)), Tofana di Dentro (3,238 m (10,623 ft)), and Tofana di Rozes (3,225 m (10,581 ft)). Tofana di Mezzo is the third highest peak in the Dolomites, after Marmolada (3,343 m (10,968 ft)) and Antelao (3,262 m (10,702 ft)). All three peaks were first climbed by Paul Grohmann along with local mountain guides, in 1863 (Tofana di Mezzo - with Francesco Lacedelli), 1864 (Tofana di Rozes - with Francesco Lacedelli, Angelo Dimai and Santo Siorpaes) and 1865 (Tofana di Dentro - with Angelo Dimai).
Geology
The Dolomites were formed during the Cretaceous Period, approximately 60 million years ago, due to the collision of the African and European continents. The Tofane is largely formed from the Upper Triassic rock Dolomia principale. The strata are perceptibly folded, and the mountains are finally formed by wind, rain, glaciers and rivers.
Tourism
Access
A cable lift system (Freccia nel Cielo, "Arrow in the sky") goes from Cortina almost to the top of Tofane di Mezzo. There is only a short walk from the top cable car to the summit. Alternatively the via ferratas VF Punta Anna and VF Gianna Aglio can be used to reach Tofane di Mezzo.
Cabins (rifugi)
Some of the cabins in the Tofane are the Rifugio Angelo Dibona (2,083 m (6,834 ft)), the Rifugio Giussani (2,580 m (8,465 ft)), the Rifugio Duca d'Aosta (2,098 m (6,883 ft)), and the Rifugio Pomedes (2,303 m (7,556 ft)).
Via ferratas
The via ferratas of Tofane are VF Punta Anna and VF Gianna Aglio on Tofana di Mezzo, VF Lamon and VF Formenton on Tofana di Dentro, and VF Giovanni Lipella on Tofana di Rozes, where there also are tunnel systems from World War I.
History
During the First World War, the Tofane was a battlefield of the Italian Front for clashes between the Italian and Austro-Hungarian forces. The front lines went through the mountains.
At the 1956 Winter Olympics, Mount Tofane hosted five of the six alpine skiing events. It regularly hosts women's speed events on the World Cup circuit, and hosted the World Championships in 2021. The men's 1956 downhill and the current women's World Cup races are on the Olimpia delle Tofane ski race course (often referred to as “Tofana” for short); it is famous for the Tofana Schuss, where athletes can reach speeds over 130 kilometres per hour (81 mph).
(Wikipedia)
Tofana di Rozes (3,225 metres (10,581 ft)) is a mountain of the Dolomites in the Province of Belluno, Veneto, Italy. Located west of the resort of Cortina d'Ampezzo, the mountain's giant three-edged pyramid shape and its vertical south face, above the Falzarego Pass, makes it the most popular peak in the Tofane group, and one of the most popular in the Dolomites.
History
From May 1915 to July 1916, the mountain and its surroundings was the location of fierce fighting between Italian and German, later Austrio-Hungarian, troops, as part of the Italian front in World War I.
West of the main face, and separated from the mountain by a steep and rocky gully, is the Castelletto, a narrow, long rock 700 feet high. In 1915 it was occupied by a German platoon, which, armed with a machine gun and sniper rifles, wreaked havoc on the Italian troops in the valley. They were soon replaced by Austrian soldiers, and from their strategic position they prevented any Italian plans for a push north. For the Alpini, the Italian mountain infantry specialists, retaking the Castelletto became a prime objective. Two of their climbers, Ugo Vallepiana and Giuseppe Gaspard, climbed up the Tofana to a ledge a few hundred feet above the Castelletto, but their guns were not very successful. One summer night four Alpini climbed up the Castelletto but they were discovered and shot. An attack through the gully, taking advantage of the morning fog, was also unsuccessful (machine gunners shot the advancing soldiers when the fog thinned a little), as was a massive attack from three sides in the fall of 1915. So, in February 1916 the Italians, led by Lt. Luigi Malvezzi [it], started tunneling into the Castelletto, first with hammers and chisels and then, in March, with pneumatic drills, and with teams of over two dozen men, working four six-hour shifts, they tunneled up to 30 feet per day. The steep tunnel was 500 meters long, and 2,200 cubic meters of rubble were removed. Its adit was in a "sheltered position within a natural ravine", accessed by a long ladder and thus logistically very demanding. One part of the tunnel brought them under the Austrian position, where they filled a cavern, 16 by 16 feet and 7 feet high, with 77,000 pounds of gelignite. The other led to what was to be an attack position, to be opened with a smaller batch of explosives.
On July 11, at 3:30 AM, the gelignite was exploded, with King Victor Emmanuel III and the army's chief of staff, General Luigi Cadorna, looking on. The Austrian commander was Hans Schneeberger, an orphan from Brandberg, Tyrol, who at age 19 replaced a commander who had been killed by an Italian sniper. When the explosions happened, some two dozen Austrian soldiers were killed instantly, but Schneeberger and a few survivors had rifles and grenades, and were able to repel the Italians from the edge of the crater. The attack as a whole was a failure: soldiers were to lower themselves from the Tofana to attack the Castelletto, but the explosion destroyed their ropes. To make matters worse, the explosion used up so much oxygen that Malvezzi and his men, going through the attack tunnel, passed out because of toxic gases including carbon monoxide; some of the men died. Finally, the explosion damaged the rock face on the east, sending huge boulders down the gully and killing incoming Italian soldiers. The next day, Italians had hauled machine guns up the face of the Tofana; Schneeberger sent one of his men to ask for reinforcements, which arrived that night. A few hours later the Italians attacked the relief platoon, and the Austrians withdrew to the Castelletto's northern end, and pulled their troops away altogether after a few days.[2] Malvezzi received the Military Order of Savoy.
Climbing
Most climbs start from the north, where the mountain is a relatively easy hike, or the west face, where the summit can be reached by a via ferrata. The south face, however, is a much more difficult challenge, with many of the routes being either fifth or sixth graded climbs. The mountain was first climbed in 1864 by Paul Grohmann and local hunter Francesco Lacedelli. The south face was first climbed in 1901.
Via Ferrata
A via ferrata starts at the restored entrance to the mine tunnel at the Castelletto, and leads to the summit of the mountain; along the way one finds a memorial to Giovanni Lipella,[8] an Italian soldier who died on the mountain on 15 June 1918 and was posthumously awarded the Gold Medal of Military Valour.
Cave
The Grotta di Tofana is one of only a few natural caves in dolomite rather than regular limestone. It is accessible by way of a via ferrata that starts some 40 minutes from Rifugio Dibona. The cave is some 300 meters deep, and the roof is up to 10 meters high. The cave has been quite popular with tourists, and was listed by Baedeker as "a large cavern accessible by ladders" and as an interesting visit.
(Wikipedia)
Das Dreigestirn der Tofane (italienisch Tofane, deutsch auch Tofana) gehört zu den bekanntesten und markantesten Dolomitenmassiven. Die Tofane liegen westlich von Cortina d’Ampezzo und überragen das Valle del Boite (Boitetal). Eine gewisse Bekanntheit erlangte der Name durch die Skirennstrecke Olimpia delle Tofane, 1956 Austragungsort der olympischen Herrenabfahrt.
Lage und Umgebung
Das Tofane-Massiv liegt westlich von Cortina d’Ampezzo über dem oberen Valle del Boite und ist Teil des Parco Naturale delle Dolomiti d’Ampezzo. Während die beiden höheren Gipfel Tofana di Mezzo und Tofana di Dentro ein kompaktes Massiv bilden, wirkt die südliche Tofana di Rozes einigermaßen eigenständig. Zwischen diesen Felsgiganten schneidet sich die Forcella Fontananegra (2561 m) ein. Im Westen und Norden trennt das Val Travenanzes das Gebirgsmassiv von der Fanesgruppe, im Osten das obere Valle del Boite vom Pomagnonzug (und der Cristallogruppe) und im Süden das Falzaregotal von der Nuvolaugruppe. Von Cortina gesehen ist den beiden höheren Tofane eine Wandstufe vorgelagert, die mit dem Südostgrat der mittleren Tofana eine Art „Felsenring“ bildet.
Gipfel
Das Massiv besteht im Wesentlichen aus den drei Dreitausender-Gipfeln, die allesamt beliebte Tourenziele darstellen. Alle drei rangieren unter den zehn höchsten Gipfeln der Dolomiten.
Die in der Mitte gelegene Tofana di Mezzo (auch Tofana II) ist mit einer Höhe von 3244 m s.l.m. die höchste der drei Tofane und zugleich nach der Marmolata (3343 m) und dem Antelao (3264 m) der dritthöchste Dolomitenberg.
Die Tofana di Dentro (hintere Tofana, auch Tofana III) hat eine Gipfelhöhe von 3238 m s.l.m. und bildet den nördlichsten der drei Felsriesen.
Die Tofana di Rozes (vordere Tofana, auch Tofana I) ist 3225 m s.l.m. hoch und vor allem für ihre imposante Südwand (Tofana Sud) bekannt.
Geologie
Bereits 1873 setzte sich Hermann Loretz geologisch mit dem Gebiet um die Tofane auseinander. Edmund Mojsisovics von Mojsvár lieferte mit seiner Arbeit zu den Dolomit-Riffen (1879) weitere wichtige Aufschlüsse, die Leopold Kober 1908 vertiefte.
Die Tofane werden aus mächtigem triassischem Hauptdolomit (Dachsteindolomit) aufgebaut, der leicht Richtung Norden einfällt. In den Gipfelbereichen wird er von jurassischen Kalken (früher als Lias bezeichnet) überlagert. Der Grat zwischen Tofana II und III gewährt gute Einblicke in die Schichtfolge und lässt Neokom und Oberjura erkennen, während in den untersten Bereichen ältere Gesteine wie Sandsteine, Kalkmergel und Tuffe zu Tage treten, die ein auffälliges grünes Band formen. Der Komplex von Tofana II und III wird außerdem von einer nach Westen überschlagenen Falte geprägt, deren Mächtigkeit allerdings nur die obersten 200 Meter umfasst. Nach Süden hin setzt sich diese tektonische Störung fort. Am Südgrat der Tofana II befindet sich mit dem Bus de Tofana eines der größten Felsenfenster der Alpen.
Geschichte
Die Erstbegehungen der drei Gipfel erfolgten nacheinander in den Jahren 1863 bis 1865. Paul Grohmann bestieg mit verschiedenen Führern zuerst die Tofana di Mezzo (1863), dann die Tofana di Rozes (1864) und schließlich die Tofana di Fuori (1865), allesamt von Cortina aus. Alpinistisch war in der Folge vor allem die Südwand der Tofana di Rozes von Interesse, die 1901 durch Ilona und Rolanda von Eötvös mit Führern erstmals durchstiegen wurde.
Während des Ersten Weltkriegs bildeten die Tofane eines der Zentren der Ersten Dolomitenoffensive. Die italienischen Alpini besetzten im Juli 1915 die Gipfel von Tofana II und Tofana III und versuchten von dort aus die österreich-ungarische Sperre im Travenanzestal zu erobern. Die Tofana I wurde wiederum kurzzeitig von Jägern des Deutschen Alpenkorps eingenommen. Kriegsrelikte wie Stollen und verfallene Stellungen zeugen heute noch von den erbitterten Kämpfen.
Mit den Olympischen Winterspielen 1956 in Cortina d’Ampezzo hielt der Massentourismus erstmals Einzug in die Gegend. Während die Skigebiete mit der heute noch als Weltcupstrecke genutzten Olimpia delle Tofane am Osthang von Tofana di Mezzo/Dentro entstanden, blieb die Spitze bis zum Bau der Seilbahn Freccia nel cielo (deutsch: Himmelspfeil) 1971 verschont. Davor waren bereits mehrere Klettersteige angelegt worden, die sich heute großer Beliebtheit erfreuen, darunter die Via ferrata Giuseppe Olivieri auf die mittlere Tofana (1957), die Via ferrata Giovanni Lipella auf die Tofana di Rozes (1967) und die Via ferrata Formenton auf die Tofana di Dentro.
(Wikipedia)
Die Tofana di Rozes (auch Vordere Tofana oder Tofana I) ist ein 3225 m s.l.m. hoher Berg in den Dolomiten in der italienischen Provinz Belluno. Mit ihrer berühmten Südwand bildet sie die eindrucksvollste, wenn auch niedrigste Erhebung der dreigipfeligen Tofane westlich von Cortina d’Ampezzo.
Lage und Umgebung
Die Tofana di Rozes ist der südlichste der drei Tofana-Gipfel und von der Tofana di Mezzo durch die Forcella Fontananegra (2561 m) getrennt. In diesem Bereich liegen das Rifugio Giussani und das nicht mehr bewirtschaftete Rifugio Cantore. Im Westen trennt die Forcella Bois (2331 m) den Felskoloss vom Lagazuoistock, im Westen und Norden bildet das Val Travenanzes die Grenze zur Fanesgruppe. Von Norden gesehen erscheint der Berg als dreikantige Felspyramide, nach Süden zeigt er eine der imposantesten Wände der Dolomiten, die meist als Tofana Sud bezeichnet wird. Trotz der niedrigsten Gipfelhöhe ist der Berg gerade aufgrund dieser 800 Meter hohen Südwand das bekannteste Motiv der Tofane. Im unteren Wandabschnitt liegt mit der Grotta della Tofana eine mehrere Meter tiefe Höhle, die bereits von Paul Grohmann besucht wurde.
Alpinismus
Die Erstbesteigung gelang am 29. August 1864 Paul Grohmann mit den Einheimischen Francesco Lacedelli, Angelo Dimai und Santo Siorpaes. Grohmann und Lacedelli hatten im Jahr zuvor bereits die Tofana di Mezzo erstbestiegen. Ähnlich wie bei deren Erschließung wählten sie den Anstieg aus der Forcella Fontananegra über die Nordostflanke, den heutigen Normalweg. Grohmann äußerte sich begeistert über die Aussicht vom Gipfel:
„Ich bin kein Freund davon zur Schilderung einer Aussicht zahllose Bergspitzen herzuzählen, und unterlasse dieses auch hier, unvergesslich aber bleibt mir ein Detailbild der Rundsicht: die furchtbaren Schrofen der beiden anderen Tofanaspitzen in nächster Nähe, und zwischen diesen blickt weiter hinten der Gaisl vor, die Croda rossa der Ampezzaner; nur der oberste Theil, aber dieser blutroth, ein seltsamer Contrast gegen die grauen Kalkwände der Tofana!“
Im August 1901 meisterten Ilona und Rolanda von Eötvös mit Antonio Dimai, Giovanni Siorpaes und Agostino Verzi erstmals die kolossale Südwand. Die Via Eötvös-Dimai (IV) gilt heute als eine der klassischen Routen in den Dolomiten. Die durch wuchtige Pfeiler auffällig gegliederte Wand wurde im Laufe des 20. Jahrhunderts auf fast 30 verschiedenen Routen durchstiegen. Zu den bedeutendsten gehören etwa der zweite Pfeiler (Secondo Pilastro, VI), der 1946 von Ettore Constantini und Luigi Ghedina erstmals bewältigt wurde, oder die 1952 durch Walter Bonatti und P. Contini erschlossene Via delle Tridentina (ebenfalls VI). Weitere wichtige Erstbegehungen gelangen Angelo Dibona, Walter Stößer und Attilio Tissi.
Im Ersten Weltkrieg galt die Tofana di Rozes als besonders umkämpfter Berg. Am 22. Juli 1915 nahm eine Patrouille des dritten Jäger-Regiments im Deutschen Alpenkorps im Zuge der Ersten Dolomitenoffensive den bis dahin unbesetzten Gipfel ein. Man konnte die Tofana I bis zum 18. September gegen die Italiener verteidigen.
Aufstieg
Trotz der imposanten Erscheinung ist die Tofana di Rozes – sieht man von der Seilbahn-Erschließung der Tofana di Mezzo ab – von den drei Tofana-Gipfeln am leichtesten zu ersteigen. Dem Nicht-Kletterer bieten sich für den Aufstieg zur Tofana di Rozes zwei Möglichkeiten.
Der Normalweg führt vom Rifugio Giussani (2580 m) unschwierig über geröllbedeckten Fels zum Nordwestgrat und über diesen schließlich zum Gipfel. Firnreste sind im oberen Bereich keine Seltenheit.
Eine zweite Variante bietet die 1967 eröffnete Via ferrata Giovanni Lipella (Schwierigkeit C/D). Diese wird zumeist vom Rifugio Angelo Dibona (2083 m) aus in Angriff genommen. Der Weg führt zunächst unter der mächtigen Südwand entlang zum Einstieg, wo gleich ein steiler Stollen durchquert werden muss. Danach verläuft der Steig an der Westseite des Berges Richtung Norden zu den Tre Dita (2694 m) und macht schließlich einen Knick nach Süden. Nach dem Ausstieg erreicht man den Normalweg und über diesen den Gipfel.
(Wikipedia)
"...Bukaera da.
Bukaera aurresentitzen da.
Arratsalde euritsua kamaleoientzat."
(Itoiz)
"... Es el final.
Se presiente el final.
Tarde lluviosa para los camaleones."
(Itoiz)
Banda sonora:
I was fortunate enough to witness this fierce battle between rival lion factions, competing for supreme domination over the land. Those were moments of intense mayhem it was epic !
The Sea Beast was one of the most revered and respected knights in the kingdom. He had fought in countless battles at Sea against Pirates and fleets of the Western Cities. For years, he commanded the Grey Channel and all feared to look upon his ship, the Black Serpent.
When Haytham charged at this great warrior, he knew that defeating him would be no easy task. The Sea Beast was a man of 47 years of age, but what he lacked in youth, he made up for in experience and toughness. His thick oak shield and the snake tattoo on his face were the symbols of his ancient house, and he bore them with such fervour, that it made even the young rebel second guess his choice.
Sir Haytham was faster, and his sword was stronger steel. Sir Belard had just battled the four knights who now fled on boats and hadn't suffered a scratch, but Haytham could tell that the Beast was heavy of breath. When they first clashed, Belard took control. His footwork and balance was impeccable, having done most of his fighting at sea. Soon, Haytham began to weigh the risk of a retreat when his luck turned. Sir Belard took an arrow to the back, and though you wouldn't notice from his expression, as the minutes drew on, his sword began to look heavy in his hand. Belard's breath turned to wheezes, and he fell to one knee. The Sea Beast looked into Haytham's eyes and growled, "let it not be said that I was slain by a traitor, but kill me anyways boy."
Haytham drove his sword through the knight's chest, and turned to run.
French postcard by Editions Mercuri, no. 634. Spanish poster for Another Country (Marek Kanievska, 1984).
British actor Rupert Everett (1959) grew up in privileged circumstances, but the wry, sometimes arrogant intellectual was a rebel from the very beginning. He had his breakthrough in Another Country (1984) as an openly gay student at an English public school in the 1930s. He has since appeared in many other films including The Comfort of Strangers (1990), My Best Friend's Wedding (1997) and An Ideal Husband (1999).
Rupert James Hector Everett was born in Burnham Deepdale, Great Britain to Major Anthony Michael Everett and his wife Sara née Maclean. He has a brother, Simon Anthony Cunningham Everett. Everett was brought up as a Roman Catholic. From the age of seven, Everett was educated at Farleigh School, Hampshire, and from the age of thirteen was educated by Benedictine monks at Ampleforth College, Yorkshire. At this prestigious Roman Catholic public school. he trained classically on the piano. He dropped out of school at 16 and ran away to London to become an actor. In order to support himself, he worked as a male prostitute for drugs and money. After being dismissed from the Central School of Speech and Drama ((University of London) for clashing with his teachers, he travelled to Scotland and got a job at the avant-garde Citizens' Theatre in Glasgow. Everett's break came in 1981 at the Greenwich Theatre and later West End production of 'Another Country', playing a gay schoolboy opposite Kenneth Branagh. His character, Guy Bennett, is based on the double agent Guy Burgess. The play was filmed, Another Country (Marek Kanievska, 1984) with Cary Elwes and Colin Firth. Brian J. Dillard at AllMovie: “Rupert Everett and Colin Firth give strong, economical performances as the homosexual dandy and the fervent Marxist who, for different reasons, chafe at the restrictions of their society. Both characters are callow and self-absorbed, but Firth's principled thinker and Everett's ambitious romantic undergo subtle transformations that make them ultimately sympathetic.” He followed on with Dance With a Stranger (Mike Newell, 1985), based on the true story of Ruth Ellis (Portrayed by Miranda Richardson), the last woman to be executed in England. In Italy, he starred in the Gabriel Garcia Marquez adaptation Cronaca di una morte annunciata/ Chronicle of a Death Foretold (Francesco Ros, 1987i) with Ornella Muti. Everett began to develop a promising film career until he co-starred with Bob Dylan in the huge flop Hearts of Fire (Richard Marquand, 1987). Around the same time, Everett recorded and released an album of pop songs entitled Generation of Loneliness. Despite being managed by the largely successful pop svengali Simon Napier-Bell (who steered Wham! to international fame), the public didn't take to his change in direction. The shift was short-lived, and he would only return to pop indirectly by providing backing vocals for his friend Madonna on her 1999 cover of 'American Pie' and on the track 'They Can't Take That Away from Me' on Robbie Williams' 'Swing When You're Winning' in 2001. Following this flop, Everett disappeared for a while, taking up residence in Paris and writing a semi-autobiographical novel, 'Hello, Darling, Are You Working?'. He also came out as gay.
Rupert Everett returned to the screen opposite Christopher Walken and Helen Mirren in The Comfort of Strangers (Paul Schrader, 1990). He was successful as the fat and lazy Prince of Wales (the later George IV) in The Madness of King George (Nicholas Hytner, 1994), and appeared among the all star cast of Prêt-à-Porter (Robert Altman, 1994). The Italian comics character Dylan Dog, created by Tiziano Sclavi, is graphically inspired by him. Everett appeared in a film adaptation, Dellamorte Dellamore/Cemetery Man (Michele Soavi, 1994) as a killer of zombies. In 1995 he released a second novel, 'The Hairdressers of St. Tropez'. His film career was revitalized by his award-winning performance in the comedy My Best Friend's Wedding (P.J. Hogan, 1997), playing Julia Roberts's gay friend. Robert Firsching at AllMovie: “Rupert Everett is terrific as Roberts' gay confidant, and there are some surprising scenes, including a woman with her tongue stuck to an ice sculpture in a most untoward location. It was a huge hit at the box office, with enough genuine romance to satisfy purists and enough bite for those with a slightly different attitude.”Everett has since appeared in a number of high-profile film roles, including as Christopher Marlowe in Shakespeare in Love (John Madden, 1998), Lord Arthur Goring in An Ideal Husband (Oliver Parker, 1999) and Oberon in A Midsummer Night's Dream (Michael Hoffman, 1999). In 1999, he also played Madonna's best friend in The Next Best Thing (John Schlesinger. 1999), and the villainous Sanford Scolex/Dr. Claw in Disney's Inspector Gadget (David Kellogg, 1999) with Matthew Broderick.
Rupert Everett became a Vanity Fair contributing editor and wrote a film screenplay on playwright Oscar Wilde's final years. He also appeared in another film adaptation of a Wilde play, The Importance of Being Earnest (Oliver Parker, 2002) with Colin Firth. Later roles include his royal portrayals in To Kill a King (Mike Barker, 2003) and Stage Beauty (Richard Eyre, 2004), In 2006, he published a memoir, 'Red Carpets and Other Banana Skins', in which he revealed he had a six-year affair with British television presenter Paula Yates. Since then, Everett lead the 2007 Sydney Gay and Lesbian Mardi Gras, played a double role in the film St. Trinian's (Oliver Parker, Barnaby Thompson, 2007) and the sequel St Trinian's 2: The Legend of Fritton's Gold (Oliver Parker, Barnaby Thompson, 2009), and has appeared several times on TV, causing regularly some outrage. In recent years, Everett has returned to his acting roots appearing in several theatre productions; He made his Broadway debut in 2009 in the Noël Coward play 'Blithe Spirit', starring alongside Angela Lansbury. During the summer of 2010, he played in a revival of 'Pygmalion' as Professor Henry Higgins at the Chichester Festival Theatre and reprised this role in 2011, at the Garrick Theatre in London's West End, starring alongside Diana Rigg as Higgins's mother and Kara Tointon as Eliza.
Rupert Everett went on to play Oscar Wilde in 'The Judas Kiss' in 2013 and was about to play George on Broadway in 'Who's Afraid of Virginia Woolf?' when the play closed before it officially opened due to the COVID pandemic in 2020. On TV, he played the effortlessly suave Sherlock Holmes in Sherlock Holmes and the Case of the Silk Stocking (Simon Cellan Jones, 2004), the Marquis de Feron in the British series The Musketeers (2016) and Carroll Quinn in a second British series Adult Material (Dawn Shadforth, 2020). Known for his aloof handsomeness and often smug, piss-elegant characters, he engagingly portrayed a jet-setter in the contemporary film People (Fabien Onteniente, 2004); provided the voice of the unprincely Prince Charming in the animated features Shrek 2 (Andrew Adamson, Kelly Asbury, Conrad Vernon, 2004) and Shrek the Third (Chris Miller, Raman Hui, 2007); played a British defector opposite Sharon Stone in the romantic thriller A Different Loyalty (Marek Kanievska, 2004) and a millionaire playboy involved in a hit-and-run in Separate Lies (Julian Fellowes, 2005). He also has a part in the comedy film Wild Target (Jonathan Lynn, 2010), starring Bill Nighy, and the comedy Hysteria (Tanya Wexler, 2011) about the first vibrator. He appeared as King George VI (father of Queen Elizabeth) opposite Emily Watson's Queen Mum in the romantic dramedy A Royal Night Out (Julian Jarrold, 2015). He also played a monsignor in Altamira (Hugh Hudson, 2016) opposite Antonio Banderas. He wrote and directed The Happy Prince (Rupert Everett, 2018), in which he also starred as tortured gay playwright Oscar Wilde during his last days. His co-star was Colin Firth, the co-star of his film debut, Another Country. Although Rupert Everett urged in 2009 gay stars not to 'come out' and to keep their sexuality a secret as it could end their film career’, he himself is a living testament disproving the theory that a truly talented and successful romantic leading man cannot survive the career-killing stigma of being openly gay.
Sources: Brian J. Dillard (AllMovie), Gary Brumburgh (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Clash Of Kings.
Natural light, 3 different grad. filters across finished image
Week 3....52 week project
My new Integrity Toys Doll, Color Clash Alysa 3.0 from the Industry Collection. She's wearing Barbie Collector-50th Anniversary and my own creation earrings.
I have gone beyond dipping my toe in the Integrity/FR pool and taken a step in. I ordered this doll from a dealer. She's my fourth Integrity doll and the first blond.
And in her first Flickr appearance she wears a thrift store dress ;)
Swiss-German-British postcard by News Productions, Baulmes / Filmwelt Berlin, Bakede / News Productions, Stroud, no. 56501. Photo: Collection Cinémathèque Suisse, Lausanne.Brigitte Bardot and Yves Robert in Les Grandes Manoeuvres/Summer Manoeuvres (René Clair, 1955), produced by Filmsonor and Rizzoli Films.
Beautiful French actress Brigitte Bardot (1934) was the sex kitten of the European film industry. BB starred in 48 films, performed in numerous musical shows, and recorded 80 songs. After her retirement in 1973, she established herself as an animal rights activist and made vegetarianism sexy.
Brigitte Bardot was born in Paris in 1934. Her father, Louis Bardot, had an engineering degree and worked with his father in the family business. Her mother, Ann-Marie Mucel, was 14 years younger than Brigitte's father and they married in 1933. Brigitte's mother encouraged her daughter to take up music and dance. At the age of 13, she entered the Conservatoire Nationale de Danse to study ballet. By the time she was 15, Brigitte was trying a modeling career and found herself in May 1949 on the cover of the French magazine Elle. Her incredible beauty was readily apparent, Brigitte was noticed by Roger Vadim, then an assistant to the film director Marc Allegrét. Vadim was infatuated with Bardot and encouraged her to start working as a film actress. BB was 18 when she debuted in the comedy Le Trou Normand/Crazy for Love (Jean Boyer, 1952). In the same year, she married Vadim. Brigitte wanted to marry him when she was 17, but her parents quashed any marriage plans until she turned 18. In April 1953 she attended the Cannes Film Festival where she received massive media attention. She soon was every man's idea of the girl he'd like to meet in Paris. From 1952 to 1956 she appeared in seventeen films. Her films were generally lightweight romantic dramas in which she was cast as ingénue or siren, often with an element of undress. She made her first US production in 1953 in Un acte d'amour/Act of Love (Anatole Litvak, 1953) with Kirk Douglas, but she continued to make films in France.
Roger Vadim was not content with the light fare his wife was offered. He felt Brigitte Bardot was being undersold. Looking for something more like an art film to push her as a serious actress, he showcased her in Et Dieu créa la femme/...And God Created Woman (Roger Vadim, 1956). This film, about an immoral teenager in a respectable small-town setting, was a smashing success on both sides of the Atlantic. Craig Butler at AllMovie: "It's easy enough to say that ...And God Created Woman is much more important for its historical significance than for its actual quality as a film, and that's true to an extent. Woman's immense popularity, due to its willingness to directly embrace an exploration of sex as well as its willingness to show a degree of nudity that was remarkably daring for its day, demonstrated that audiences were willing to view subject matter that was considered too racy for the average moviegoer. This had both positive (freedom to explore, especially for the French filmmakers of the time) and negative (freedom to exploit) consequences, but its impact is undeniable. It's also true that Woman is not a great work of art, not with a story that is ultimately rather thin, some painful dialogue, and an attitude toward its characters and their sexuality that is unclear and inconsistent. Yet Woman is still fascinating, due in no small part to the presence of Brigitte Bardot in the role that made her an international star and sex symbol. She's not demonstrating great acting here, although her performance is actually good and much better than necessary, and her legendary mambo scene at the climax is nothing short of sensational." During the shooting of Et Dieu créa la femme/And God Created Woman (1956), directed by her husband Roger Vadim, Brigitte Bardot had an affair with her co-star Jean-Louis Trintignant, who at that time was married to French actress Stéphane Audran. Her divorce from Vadim followed, but they remained friends and collaborated in later work.
Et Dieu créa la femme/...And God Created Woman (Roger Vadim, 1956) helped her international status. The film took the USA by storm, her explosive sexuality being unlike anything seen in the States since the days of the 'flapper' in the 1920s. It gave rise to the phrase 'sex kitten' and fascination of her in America consisted of magazine photographs and dubbed over French films - good, bad, or indifferent, her films drew audiences - mainly men - into theaters like lemmings.BB appeared in light comedies like Doctor at Large (1957) - the third of the British 'Doctor' series starring Dirk Bogarde - and Une Parisienne/La Parisienne (Michel Boisrond, 1957) which suited her acting skills best. However, she was a sensation in the crime drama En cas de malheur/Love is my profession (Claude Autant-Lara, 1958). Hal Erickson at AllMovie: "this Brigitte Bardot vehicle ran into stiff opposition from the Catholic Legion of Decency, severely limiting its U.S. distribution. Bardot plays a nubile small-time thief named Yvette, who becomes the mistress of influential defense attorney Andre (Jean Gabin). Though Andre is able to shower Yvette with jewels and furs, he cannot "buy" her heart, and thus it is that it belongs to handsome young student Mazzetti (Franco Interlenghi). Alas, Yvette is no judge of human nature: attractive though Mazzetti can be, he has a dangerous and deadly side. En Cas de Malheur contains a nude scene that has since been reprinted in freeze-frame form innumerable times by both film-history books and girlie magazines." Photographer Sam Lévin's photos contributed considerably to her image of sensuality and slight immorality. One of Lévin's pictures shows Brigitte, dressed in a white corset. It is said that around 1960 postcards with this photograph outsold in Paris those of the Eiffel Tower.
Brigitte Bardot divorced Vadim in 1957 and in 1959 she married actor Jacques Charrier, with whom she starred in Babette s'en va-t-en guerre/Babette Goes to War (Christian-Jaque, 1959). The paparazzi preyed upon her marriage, while she and her husband clashed over the direction of her career. Her films became more substantial, but this brought a heavy pressure of dual celebrity as she sought critical acclaim while remaining a glamour model for most of the world. Vie privée/Private Life (1962), directed by Louis Malle has more than an element of autobiography in it. James Travers at Films de France: "Brigitte Bardot hadn’t quite reached the highpoint of her career when she agreed to make this film with high profile New Wave film director Louis Malle. Even so, the pressure of being a living icon was obviously beginning to get to France’s sex goddess and Vie privée is as much an attempt by Bardot to come to terms with her celebrity as anything else. Malle is clearly fascinated by Bardot and the documentary approach he adopts for this film reinforces the impression that it is more a biography of the actress than a work of fiction. Of course, it’s not entirely biographical, but the story is remarkably close to Bardot’s own life and comes pretty close to predicting how her career would end." The scene in which, returning to her apartment, Bardot's character is harangued in the elevator by a middle-aged cleaning lady calling her offensive names, was based on an actual incident and is a resonant image of a celebrity in the mid-20th century. Soon afterward Bardot withdrew to the seclusion of Southern France.
Brigitte Bardot's other husbands were German millionaire playboy Gunter Sachs and right-wing politician Bernard d'Ormale. She is reputed to have had relationships with many other men including Sami Frey, her co-star in La Vérité/The Truth (Henri-Georges Clouzot, 1960), and musicians Serge Gainsbourg and Sacha Distel. In 1963, Brigitte Bardot starred in Godard's critically acclaimed film Le Mépris/Contempt (Jean-Luc Godard, 1963). She was also featured along with such notable actors as Alain Delon in Amours célèbres/Famous Love Affairs (Michel Boisrond, 1961) and Histoires extraordinaires/Tales of Mystery (Louis Malle, 1968), Jeanne Moreau in Viva Maria! (Louis Malle, 1965), Sean Connery in Shalako (Edward Dmytryk, 1968), and Claudia Cardinale in Les Pétroleuses/Petroleum Girls (Christian-Jaque, 1971). She participated in various musical shows and recorded many popular songs in the 1960s and 1970s, mostly in collaboration with Serge Gainsbourg, Bob Zagury, and Sacha Distel, including 'Harley Davidson', 'Le Soleil De Ma Vie' (the cover of Stevie Wonder's 'You Are the Sunshine of My Life') and the notorious 'Je t'aime... moi non plus'.
Brigitte Bardot’s film career showed a steady decline in the late 1960s and early 1970s. In 1973 just before her fortieth birthday, she announced her retirement. She chose to use her fame to promote animal rights. In 1976 she established the Brigitte Bardot Foundation for the Welfare and Protection of Animals. She became a vegetarian and raised three million French francs to fund the foundation by auctioning off jewelry and many personal belongings. For this work, she was awarded the Légion d’honneur in 1984. During the 1990's she became also outspoken in her criticism of immigration, interracial relationships, Islam in France, and homosexuality. Her husband Bernard d'Ormal is a former adviser of the far-right Front National party. Bardot has been convicted five times for 'inciting racial hatred'. More fun is that Bardot is recognised for popularizing bikini swimwear, in early films such as Manina/Woman without a Veil (1952), in her appearances at Cannes and in many photoshoots. Bardot also brought into fashion the 'choucroute' ('Sauerkraut') hairstyle (a sort of beehive hairstyle) and gingham clothes after wearing a checkered pink dress, designed by Jacques Esterel, at her wedding to Charrier. The fashions of the 1960s looked effortlessly right and spontaneous on her. Time Magazine: "She is the princess of pout, the countess of come hither. Brigitte Bardot exuded a carefree, naïve sexuality that brought a whole new audience to French films."
Sources: Denny Jackson (IMDb), Hal Erickson (AllMovie), Craig Butler (AllMovie), James Travers (Films de France), Films de France, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
PLEASE dont take my wedding pictures and use them for anything but enjoying...i work very hard on this stuff...