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Anna May Wong, Warner Oland, Sessue Hayakawa
World-class Asian criminal genius Fu Manchu seeks retribution on the hated enemy he holds responsible for the murder of his wife and son, enlisting his equally sinister daughter until she's diverted by a crafty Scotland yard inspector. One of the numerous Sax Rohmer screen adaptations from the early sound era.
Princess Ling Moy, a young and beautiful Chinese aristocrat lives next door, unbeknownst to her, to Dr. Fu Manchu, a brilliant but twisted genius who is out to rule the world. She is involved with Ah Kee, a handsome young man, who also unbeknownst to her, is a secret agent out to thwart the heinous plots of Fu Manchu. As it turns out, Fu is not only her next-door neighbor, he is also, (unbeknownst to her), her father. When she finds out, will she take her father's part and fight the men out to get Fu, or will she become a brave heroine and save the world even if it is from the devious doings of her own Dad? Yes, it's dated, and there isn't nearly enough of Warner Oland in it; but it moves along well, has a lot of action, Wong and Hayakawa were fine actors, and if you're a Charley Chan fan, it's worth it to how much, if any, of Fu Oland used when creating Charley Chan.
FIRST ASIAN AMERICAN STAR!
Written by PHILIP LEIBFRIED
Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!
Excerpt from : That Old Feeling: Anna May Wong
Part II of Richard Corliss' tribute to the pioneer Chinese-American star.
Daughter of the Dragon. Paramount 1931.
Based on a Fu Manchu novel by Sax Rohmer.
Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."
The Personal Anna May Wong
This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."
The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she
had been Anna May White?
Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.
Filmography:
The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.
Shame. Fox 1921. Bits of Life. Assoc. First National 1921.
The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923
The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.
Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924
The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.
Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.
The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.
A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.
Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.
Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.
The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.
Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).
The City Butterfly. German 1929. Across to Singapore. MGM 1928.
The Crimson City. Warner Bros. 1928. Song. German 1928
Chinatown Charlie. First National 1928. Piccadilly, British International 1929.
Elstree Calling. British International 1930. The Flame of Love. British International 1930.
Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.
Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.
A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.
Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.
Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.
Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.
The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924
Shanghai Express 1932
This mug shot comes from a police identification book believed to be from the 1930s. It was originally found in a junk shop by a member of the public and subsequently donated to Tyne & Wear Archives & Museums. No information is available to confirm which police force compiled it but evidence suggests it's from the Newcastle upon Tyne area.
This image is part of the Tyne & Wear Archives & Museums set Newcastle upon Tyne criminals of the 1930’s.
Accession no. DX1190
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
Here is a side-by-side comparison between the Tonner 16 inch Rapunzel doll with straight hair (2011, LE 1000) and the Disney Store 17 inch Rapunzel doll with tinsel hair (2011, LE 5000). They both have outfits based on the same pink and purple dress from the movie Tangled, and both have long golden blonde straight hair, but they have many differences, which I detail below.
Their bodies: The Tonner doll is 15.5 inches tall, and 16 inches on the included doll stand. The Disney Store doll is 16 inches tall, and 16.5 inches on her doll stand. The Tonner doll has flat feet, and is wearing lavender slippers (which I left on her feet). Despite her flat feet, she cannot free stand stably. She has painted finger and toe nails. The DS doll has feet angled for high heels, but is actually barefoot. The Tonner doll has a darker complexion than the DS doll. They both have about the same level of articulation: ball jointed neck, shoulders, elbows, wrists and hips, and hinge jointed knees but fixed ankles. They both have chest joints but the Tonner doll can only tilt side to side from her chest, whereas the DS doll can move both back and forth and side to side from her chest. Besides the chest joint, the Tonner doll has more freedom of movement in her joints than the DS doll. The Tonner doll has more realistic looking hands, and thicker limbs and neck. Her head is also slightly larger than that of the DS doll.
Their hair: The Tonner doll has 19 inches of pale golden blonde hair that is made from very fine saran. It is on a permanently glued on wig, and is very straight and easy to maintain. It is very realistic looking hair. The Disney Store doll has 18 inches of shiny golden blonde hair that is embellished with gold tinsel. It is coarser than the Tonner doll's hair, but is more magical looking due to the tinsel. Two small sections of her hair are tied down with thread to her outfit, and one of those sections also wrapped around her hand. Those factory restraints I left alone. The bulk of her hair is loose and straight. There is hair product to keep her front bang in position, which makes that hair stiff, but still movable.
Their faces: Neither doll is an accurate representation of the Tangled Rapunzel, but do have the large green eyes and freckles of the animated character. The Tonner doll has hand painted eyes, with painted black eyelashes both above and below her eyes. She has pale brown eyebrows a good distance from her eyes. She has a medium sized nose, and a small mouth with full pink lips in a closed slight smile. She has a faint blush on her cheeks. She has a very beautiful face, that might represent a young girl playing the Rapunzel character. The Disney Store doll has eyes that are larger and rounder than the Tonner doll, and is a darker green. She doesn't have any painted eyelashes, but has long thick curvy black rooted eyelashes. Her eyebrows are darker and closer to her eyes, and also more curved. Her freckles are more prominent, and cover a larger portion of her cheeks. Her rouge is also darker. Her lips are a purple pink, her mouth is slightly larger, and is also in a closed slight smile. Her face is not as a realistic as the Tonner doll, and is not as attractive.
Their outfits: Tonner Rapunzel has a lavender satin bodice with a lace up front and white lace trim. It has puffy satin upper sleeves with pink and purple stripes, and shear pink organza lower sleeves with lace trim. It has snap closures in the back. The bodice is a separate piece from the skirt. The Skirt is pink with a dark purple front panel, with printed decoration. It has a snap closure in the back. Attached to the skirt is an ivory satin petticoat or slip with lace trim. She white cloth panties. Finally she has lavender satin slippers with hard nonskid bottoms and an elastic band in the front. The Disney Store doll's outfit is more elaborate, especially the skirt. She has a pink bodice with a lace up front, pink lace trim, and velcro closure in the back. There are dark purple rhinestones as well as printed decorations on the bodice. It has a tall pink crepe collar, puffy satin upper sleeves with purple and pink stripes. It has a double layer oversized lower sleeves with a crepe pink outer layer, and sheer pink lower layer with pink lace trim. There is glitter in the trim of the collar and the lower sleeves. The skirt and petticoat have a full 360 degree width, which is not apparent unless the doll is deboxed. There is a two layered overskirt, the outer layer is shear dark purple with decoration of glitter and pink gems. There is a gap in the front to the overskirts. The main skirt is lighter purple with dark purple decoration that is a velvet like material, and pink gems. It has pink lace trim that is embellished with glitter.
Their Accessories: The Tonner doll has no accessories, unless you consider the slippers to be accessories. The Disney Store doll has a gold hair brush that is tied to her left hand.
This attractive young woman was working in a market near Radauti, Romania. her skin complexion matches her hair
wearandcheer.com/beauty-routine-makes-attractive-going-bed/
As you know every person is beautiful, and someone has beautiful eyes, someone has a nice nose, glowing skin, fair complexion, etc. being beautiful is not a big deal the main thing is that the beauty routine and care that you follow to enhance and maintain your vision. If someone care herself,...
by Sobia Bilal on Wear and Cheer - Fashion, Lifestyle, Cooking and Celebrities - Visit Now wearandcheer.com/beauty-routine-makes-attractive-going-bed/
You must like it and share it with your friends.
Stephen Gardiner (27 July 1483 – 12 November 1555)
Gardiner was a conservative and an opponent of Anne Boleyn, Cranmer, Cromwell and of any innovation in the Church, although he acquiesced grudgingly in the steadily increasing influence of the Reformation on the royal counsels. A description of his character from George Cavendish declared him "a swarthy complexion, hooked nose, deep-set eyes, a permanent frown, huge hands and a vengeful wit. He was ambitious, sure of himself, irascible, astute, and worldly."
In early August 1529 he was appointed the king's secretary. He had already been archdeacon of Taunton for several years. The archdeaconries of Worcester and of Norfolk were also added to a list of pluralities before November 1529 and in March 1530 respectively; in April 1531 he resigned all three for that of Leicester. In 1530 the King demanded a precedent from Cambridge to procure the decision of the university as to the unlawfulness of marriage with a deceased brother's wife: in accordance with the new plan devised for settling the question without the pope's intervention. In this Gardiner succeeded. In November 1531 the king rewarded him with the bishopric of Winchester, vacant since Wolsey's death.
During the reign of Edward VI Lord Seymour, Jane Seymour’s brother, appointed himself Lord Protector to advise and to act for the King in his minority. At this time several prominent statesmen were incarcerated in the Tower of London.
At the accession of Queen Mary I, the Duke of Norfolk and other state prisoners of high rank were in the Tower along with Gardiner; but the Queen, on her first entry into London, set them all free. After recanting his work regarding her mother’s divorce and her bastardy and restoring the ‘Old Faith’, Mary restored Gardiner to his Bishopric and appointed him Lord Chancellor. It was he who placed the crown on the Queen's head at her coronation. He also opened her first parliament and for some time was her leading councillor. As chancellor he had the onerous task of negotiating the Queen's marriage treaty with Philip II of Spain, for which he shared a general repugnance. In executing it, he took care to make the terms as advantageous for England as possible, with express provision that the Spaniards should in nowise be allowed to interfere in the government of the country. He officiated at their wedding in Winchester Cathedral in 1554. After the appointment of Cardinal Pole, and the reconciliation of the realm to the see of Rome, he still remained in high favour. How far he was responsible for the persecutions which afterwards arose is open to debate. He no doubt approved of the act, which passed the House of Lords while he presided there as chancellor, for the revival of the heresy laws.
Bishop Gardiner died at Westminster on 12 November 1555. He was temporarily buried in a vault at the church of St Mary Overie, and in February 1556 his body was conveyed to Winchester Cathedral, where, after a number of ceremonies, a final funeral service was conducted on 28 February 1556, at which time it was recorded that he had not been buried and that no ground was broken, in the expectation that in due course his executors would build a chapel within the cathedral for his incarceration. Abridged from Wikipedia: en.wikipedia.org/wiki/Stephen_Gardiner His chantry chapel, built in 1556, is situated in the south presbytery aisle.
And then, this happened...
Something about their hair and complexion together made me fall in love. I love my HRC Barbie (Brooklyn Banks) but in my mind, I've always pictured her with High and Mighty Darius. I may never own him but I think I will hold out for an FR for Brooklyn.
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest:
So long as men can breathe or eyes can see,
So long lives this and this gives life to thee.
If a buttercup can throw a glowing reflection when it's cupped under a chin, just see what happens to a complexion when it's brushed with Spotlights.
Anna May Wong poses as her character Tiger Lily for this sensational original adaptation of J.M. Barrie's beloved story. Barrie was actually given final approval of the cast for the film.
When Paramount bought the rights to the delightful James M. Barrie story, every actress in Hollywood wanted the role of Peter Pan, made famous on the stage by Maude Adams. Mary Pickford, Lillian Gish, and even Gloria Swanson thought they were perfect for the role, but Barrie's own choice was Betty Bronson, a virtual unknown. The story is familiar to nearly everyone. When Mr. and Mrs. Darling (Cyril Chadwick and Esther Ralston) go to a party, they leave their children -- Wendy (Mary Brian), Michael (Philippe de Lacey), and John (Jack Murphy) -- in the care of their dog, Nana. But Peter (Bronson) shows up with the fairy, Tinker Bell (Virginia Brown Faire), and they take the children to Never Never Land. They have a series of adventures with the Lost Boys and defeat Captain Hook (Ernest Torrence) and his band of pirates. Finally, the children return home to Mrs. Darling, who is overjoyed to have them back. She adopts the Lost Boys and offers to take Peter in too, but he refuses to grow up and flies away after promising to visit Wendy every year. An interesting side note -- although she had no involvement in casting Brian as Wendy, Ralston had discovered her a couple of years earlier while judging a beauty contest.
Photo Entitled: “An Indian Princess and A Chinese Lady”,
who plays “Tiger Lily” an Indian Princess in
J.M. Barrie’s “Peter Pan” which Herbert Brenon produced for
Paramount, as she appears in the delicate costume of her own people.
FIRST ASIAN AMERICAN STAR!
Written by PHILIP LEIBFRIED
Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!
Excerpt from : That Old Feeling: Anna May Wong
Part II of Richard Corliss' tribute to the pioneer Chinese-American star.
Daughter of the Dragon. Paramount 1931.
Based on a Fu Manchu novel by Sax Rohmer.
Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."
The Personal Anna May Wong
This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."
The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she
had been Anna May White?
Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.
Filmography:
The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.
Shame. Fox 1921. Bits of Life. Assoc. First National 1921.
The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923
The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.
Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924
The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.
Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.
The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.
A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.
Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.
Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.
The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.
Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).
The City Butterfly. German 1929. Across to Singapore. MGM 1928.
The Crimson City. Warner Bros. 1928. Song. German 1928
Chinatown Charlie. First National 1928. Piccadilly, British International 1929.
Elstree Calling. British International 1930. The Flame of Love. British International 1930.
Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.
Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.
A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.
Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.
Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.
Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.
The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924
Shanghai Express 1932
Anna May Wong-1938
FIRST ASIAN AMERICAN STAR!
Written by PHILIP LEIBFRIED
Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!
Excerpt from : That Old Feeling: Anna May Wong
Part II of Richard Corliss' tribute to the pioneer Chinese-American star.
Daughter of the Dragon. Paramount 1931.
Based on a Fu Manchu novel by Sax Rohmer.
Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."
The Personal Anna May Wong
This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."
The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she
had been Anna May White?
Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.
Filmography:
The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.
Shame. Fox 1921. Bits of Life. Assoc. First National 1921.
The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923
The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.
Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924
The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.
Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.
The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.
A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.
Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.
Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.
The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.
Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).
The City Butterfly. German 1929. Across to Singapore. MGM 1928.
The Crimson City. Warner Bros. 1928. Song. German 1928
Chinatown Charlie. First National 1928. Piccadilly, British International 1929.
Elstree Calling. British International 1930. The Flame of Love. British International 1930.
Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.
Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.
A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.
Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.
Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.
Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.
The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924
Shanghai Express 1932
Happy Wednesday! Here is Barbie wearing the second of the OOAK outfits from the Japanese sewing book. This one came out better because I learned from my mistakes. I love the oranges with her complexion and hair color!
Not sure the darker hair suits my complexion but do like the dress and it’s always fun to change things around every so often. What do you think?
Temples in Taiwan are like folk arts museums. They collect detailed stone sculptures and elaborate wood decorations. Lukang Mazu Temple (鹿港媽祖廟) is one of the best in Lukang. Beautiful stone carving from Qing Dynasty can be seen in the back hall. The woodcarvings are particularly fine in the front hall, and the high plafond is simply gorgeous. The Matsu statue in this temple is now called the Black-Faced Matsu, as centuries of incense smoke have discoloured her original complexion.
Mazu is the indigenous goddess of the sea who is said to protect fishermen and sailors, and is invoked as the patron deity of all Southern Chinese and East Asian persons. Most of Lukang residents’ living was replied on trading and fishing on the sea. Therefore, Mazu Temple became the most important place for locals.
Close up portrait of attractive young woman looking at camera. Head and shoulders view of female fashion model.
Created with ChatGPT
Prompt - Ultra-photorealistic 16:9 luxury tropical veranda at golden hour. A handsome dark-haired man (Adrian full facial lock) with an olive complexion sits barefoot in a woven rattan armchair wearing a relaxed white linen shirt with the top buttons open and loose white linen trousers, quietly gazing toward the woman. Opposite him, an elegant brunette woman (Charly2 full facial lock) with long flowing dark hair reclines barefoot in a matching rattan chair wearing a sophisticated ivory resort outfit consisting of a minimalist white bikini top with a sheer embroidered white lace wrap skirt draped gracefully over her legs. Between them sits a small rustic wooden table holding a blue-and-white ceramic vase overflowing with fresh wildflowers and a delicate porcelain coffee cup. The weathered white timber veranda features faded pale-blue shutters, climbing flowering vines, antique lanterns, terracotta pots overflowing with lush tropical plants, carved wooden beams and flowing semi-transparent lace curtains billowing gently in a warm ocean breeze. Beyond the veranda are swaying palm trees, dense tropical gardens and bright summer sunshine. Warm cinematic natural light, authentic skin texture, premium linen fabrics, rich botanical detail, shallow depth of field, soft shadows, subtle film grain, relaxed luxury holiday atmosphere, elegant editorial travel photography, National Geographic quality, HDR, ultra-sharp focus, masterpiece, true photographic realism.
Pic and Prompt by Adrian
Repository: California Historical Society
Creator: A. McBoyle & Co.
Date: Undated
Publication Note: [San Francisco : s.n.]
Call Number: Vault B-065
Digital object ID: Vault_B-065.jpg
Preferred citation: Bon Ton for the complexion!, Vault B-065, courtesy, California Historical Society, Vault_B-065.jpg
For more CHS digital collections: digitallibrary.californiahistoricalsociety.org
Snow White and her Prince have now been fully deboxed. They are posed standing, supported by the built-in doll stands in the base of the display case.
This regular version of the Snow White and the Prince Disney Fairytale Designer Collection Doll Set has the same two base dolls as the D23 special edition dolls that I reviewed earlier. That is the dolls themselves are identical in every way (except for the serial numbers on the back of the Prince dolls). They also have outfits of almost identical designs, but made of different materials and with differing colors. So the dolls have different looks, especially the Snow Whites.
Snow White has the body of a 2012 Disney Store Classic Princess doll. That is, she has hard plastic legs, with hinged knee joints and ball jointed ankles. She is missing the usual manufacturer's marks printed on Disney limited edition dolls, including the part number and her edition size and serial number. She is also missing the twist waist joint of the previous Designer Princess and Designer Villain dolls. She has a pale complexion, the same as the 2012 Snow White, with whom she shares the same body. However, her neck joint has more freedom of movement, especially downward, and her painted on panties are deep golden yellow, much darker than the 2012 Snow White.
Her face mold appears to be the same as the 2012 and 2013 Classic Snow White, but with a considerably different face paint than either of them. She has large dark brown eyes that are glancing to her left, with four short thick lashes over each eye and four very short and thin lashes under each eye. Over her eyes is gold eyeshadow, and thin black eyebrows gently following the curve of her eyes. She also had short rooted eyelashes that are just barely curving upwards, and are even in length. She has a small button nose, a small mouth with blood red lips forming a charming open mouth smile. She has light pink rouge over most of her cheeks, and a round face with small chin. She is a very beautiful and faithful representation of the sweet and charming movie character.
Her hair is a considerable departure from the traditional short flip hairdo. Her jet black hair is parted to the left of her head, and pulled tightly over her head into a medium length braided ponytail that tapers down to a point and is secured by black rubberband, and is sewn to her collar on her right side. There is a small amount of hair product applied just above her forehead, to a thin strip of her hair. In my doll, that strip keeps on separating from the rest of her hair. I haven't been able to integrate it with the rest of her hair; perhaps I will have to apply more hair product to keep it place. There is a thin bright red satin ribbon around the top of her head that ends in a small bow at left side of her head.
Her outfit is a take on her traditional Princess gown. Her bodice and skirt are separate pieces. The bodice is dark blue velvet with gold piping and elaborate gold embroidery, and decorated with a bow made of metallic gold thread. The floral design is similar to the D23 doll, but differs in its details. She has puffy sleeves of the same dark blue velvet, with separate ribbons of bright red satin that float over the velvet. The sleeves have black lace cuffs decorated with gold hearts, and the oversized collar is pure white lace folded in a fan-like manner behind her neck and head. Her skirt is dark golden taffeta with gold embroidering incorporating fleur-de-lis, flowers and hearts. The embroidery in the skirt is identical to that of the D23 doll. The taffeta gives the skirt has a wrinkled, antique appearance. It has a thin pale tan satin lining. There are golden rhinestones scattered throughout the bodice and skirt of her dress. Under her dress is a floor length white satin slip with the lacey pattern at the hem showing below her skirt. It is sewn to her skirt at two spots at the hem, which I chose to leave alone for now. It is also sewn to the waist band of the skirt, so it is a permanent part of the skirt. She is wearing golden tan flat shoes (or slippers), the same as the D23 doll. It is a beautifully designed and beautifully made outfit that is a darker and more ornated version of the Princess outfit of the movie character.
The Prince appears to have the standard Disney Store Prince body, with articulation at the neck, shoulders, hinge jointed elbows, ball jointed hips, and internal knee joints with limited movement. His hands and feet are large, but his head is disproportionately small compared to Snow White. His face has a neutral expression, with small, narrow deep blue eyes, wide mouth and a straight nose. His molded dark brown hair looks okay. His face doesn't look that movie accurate to me; I actually prefer the playline Classic Prince. As with all Disney Prince dolls, he is sturdily built, and can free stand fairly stably. But for safe keeping, it is best to put him up in the included doll stand, which has a wide C-clamp that goes around his waist very snuggly.
The Prince's outfit is very well made and fitted to his body. It consists of a dark blue faux leather vest, a bright red velvet and satin cape with gold piping permanently attached at the shoulders of the vest, a dark blue faux leather belt with a gold metal buckle and a short black faux leather scabbard attached, white satin shirt, black pants and black boots with a worn look and creases. In the scabbard is a steel gray sword with a brown handle. The sword is thin and very flexible. It was slightly bent out of the box, but was easily bent back into shape. The D23 Prince's vest is much thicker, and feels much more like real leather than this Prince doll. But this Prince has an outfit that is much closer in color to the movie character. He looks great in his outfit, and very dashing, but I wish his expression had more emotion, and was more cheerful.
Snow White and the Prince - Limited Edition Doll Set
Disney Fairytale Designer Collection
US Disney Store
Released and purchased in store on August 20, 2013.
Released online August 21, 2013.
$129.95 US
#558 of 6000
First Look
I will photograph the set boxed, during the deboxing, and fully deboxed. I will also pose the dolls next to comparable dolls, for instance the Gold D23 Snow White doll set.
Product information from the US Disney Store website:
Snow White and the Prince Doll Set - Disney Fairytale Designer Collection
$129.95
Item No. 6070040900883P
Fairest two of all
With lips red as the rose and skin as white as snow, the Princess has never looked fairer. Paired with her handsome Prince, this stunning set of Disney Fairytale Designer Collection dolls will be cherished happily ever after.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
As part of the Disney Fairytale Designer Collection this pair of Snow White and Prince dolls were carefully crafted by artists inspired by Walt Disney's 1937 classic, Snow White and the Seven Dwarfs. The original Disney Princess and her Prince have been reimagined in exquisite detail with these limited edition dolls. Brought to life with thoughtful attention, they uniquely capture the essence of the fairytale couple, creating a one of a kind set that will be a treasured keepsake of collectors, Disney fans and every princess at heart.
•Global Limited Editon of 6000
•Includes Certificate of Authenticity
•Romantic side-swept hair
•Dramatic lace collar
•Elaborately embroidered velvet bodice with puff sleeves with red satin detailing
•Layered gown ornately decorated with golden gemstones, taffeta, lace, and embroidered foliage
•Dramatic make-up and rooted eyelashes
•Red bow headband
•Prince features velvet cape
•Satin shirt with faux leather waistcoat and belt
•Boots and sword
•Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the name of Snow White and the Prince
•Includes special Disney Fairytale Designer Collection Gift Bag
•Part of the Disney Fairytale Designer Collection
* Intended for adult collectors -- Not a child's toy.
The bare necessities
•Plastic / polyester
•Snow White: 11 1/2''
•Prince: 12'' H
•Imported
Snow White and her Prince have now been fully deboxed. They are posed standing, supported by the built-in doll stands in the base of the display case.
This regular version of the Snow White and the Prince Disney Fairytale Designer Collection Doll Set has the same two base dolls as the D23 special edition dolls that I reviewed earlier. That is the dolls themselves are identical in every way (except for the serial numbers on the back of the Prince dolls). They also have outfits of almost identical designs, but made of different materials and with differing colors. So the dolls have different looks, especially the Snow Whites.
Snow White has the body of a 2012 Disney Store Classic Princess doll. That is, she has hard plastic legs, with hinged knee joints and ball jointed ankles. She is missing the usual manufacturer's marks printed on Disney limited edition dolls, including the part number and her edition size and serial number. She is also missing the twist waist joint of the previous Designer Princess and Designer Villain dolls. She has a pale complexion, the same as the 2012 Snow White, with whom she shares the same body. However, her neck joint has more freedom of movement, especially downward, and her painted on panties are deep golden yellow, much darker than the 2012 Snow White.
Her face mold appears to be the same as the 2012 and 2013 Classic Snow White, but with a considerably different face paint than either of them. She has large dark brown eyes that are glancing to her left, with four short thick lashes over each eye and four very short and thin lashes under each eye. Over her eyes is gold eyeshadow, and thin black eyebrows gently following the curve of her eyes. She also had short rooted eyelashes that are just barely curving upwards, and are even in length. She has a small button nose, a small mouth with blood red lips forming a charming open mouth smile. She has light pink rouge over most of her cheeks, and a round face with small chin. She is a very beautiful and faithful representation of the sweet and charming movie character.
Her hair is a considerable departure from the traditional short flip hairdo. Her jet black hair is parted to the left of her head, and pulled tightly over her head into a medium length braided ponytail that tapers down to a point and is secured by black rubberband, and is sewn to her collar on her right side. There is a small amount of hair product applied just above her forehead, to a thin strip of her hair. In my doll, that strip keeps on separating from the rest of her hair. I haven't been able to integrate it with the rest of her hair; perhaps I will have to apply more hair product to keep it place. There is a thin bright red satin ribbon around the top of her head that ends in a small bow at left side of her head.
Her outfit is a take on her traditional Princess gown. Her bodice and skirt are separate pieces. The bodice is dark blue velvet with gold piping and elaborate gold embroidery, and decorated with a bow made of metallic gold thread. The floral design is similar to the D23 doll, but differs in its details. She has puffy sleeves of the same dark blue velvet, with separate ribbons of bright red satin that float over the velvet. The sleeves have black lace cuffs decorated with gold hearts, and the oversized collar is pure white lace folded in a fan-like manner behind her neck and head. Her skirt is dark golden taffeta with gold embroidering incorporating fleur-de-lis, flowers and hearts. The embroidery in the skirt is identical to that of the D23 doll. The taffeta gives the skirt has a wrinkled, antique appearance. It has a thin pale tan satin lining. There are golden rhinestones scattered throughout the bodice and skirt of her dress. Under her dress is a floor length white satin slip with the lacey pattern at the hem showing below her skirt. It is sewn to her skirt at two spots at the hem, which I chose to leave alone for now. It is also sewn to the waist band of the skirt, so it is a permanent part of the skirt. She is wearing golden tan flat shoes (or slippers), the same as the D23 doll. It is a beautifully designed and beautifully made outfit that is a darker and more ornated version of the Princess outfit of the movie character.
The Prince appears to have the standard Disney Store Prince body, with articulation at the neck, shoulders, hinge jointed elbows, ball jointed hips, and internal knee joints with limited movement. His hands and feet are large, but his head is disproportionately small compared to Snow White. His face has a neutral expression, with small, narrow deep blue eyes, wide mouth and a straight nose. His molded dark brown hair looks okay. His face doesn't look that movie accurate to me; I actually prefer the playline Classic Prince. As with all Disney Prince dolls, he is sturdily built, and can free stand fairly stably. But for safe keeping, it is best to put him up in the included doll stand, which has a wide C-clamp that goes around his waist very snuggly.
The Prince's outfit is very well made and fitted to his body. It consists of a dark blue faux leather vest, a bright red velvet and satin cape with gold piping permanently attached at the shoulders of the vest, a dark blue faux leather belt with a gold metal buckle and a short black faux leather scabbard attached, white satin shirt, black pants and black boots with a worn look and creases. In the scabbard is a steel gray sword with a brown handle. The sword is thin and very flexible. It was slightly bent out of the box, but was easily bent back into shape. The D23 Prince's vest is much thicker, and feels much more like real leather than this Prince doll. But this Prince has an outfit that is much closer in color to the movie character. He looks great in his outfit, and very dashing, but I wish his expression had more emotion, and was more cheerful.
Snow White and the Prince - Limited Edition Doll Set
Disney Fairytale Designer Collection
US Disney Store
Released and purchased in store on August 20, 2013.
Released online August 21, 2013.
$129.95 US
#558 of 6000
First Look
I will photograph the set boxed, during the deboxing, and fully deboxed. I will also pose the dolls next to comparable dolls, for instance the Gold D23 Snow White doll set.
Product information from the US Disney Store website:
Snow White and the Prince Doll Set - Disney Fairytale Designer Collection
$129.95
Item No. 6070040900883P
Fairest two of all
With lips red as the rose and skin as white as snow, the Princess has never looked fairer. Paired with her handsome Prince, this stunning set of Disney Fairytale Designer Collection dolls will be cherished happily ever after.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
As part of the Disney Fairytale Designer Collection this pair of Snow White and Prince dolls were carefully crafted by artists inspired by Walt Disney's 1937 classic, Snow White and the Seven Dwarfs. The original Disney Princess and her Prince have been reimagined in exquisite detail with these limited edition dolls. Brought to life with thoughtful attention, they uniquely capture the essence of the fairytale couple, creating a one of a kind set that will be a treasured keepsake of collectors, Disney fans and every princess at heart.
•Global Limited Editon of 6000
•Includes Certificate of Authenticity
•Romantic side-swept hair
•Dramatic lace collar
•Elaborately embroidered velvet bodice with puff sleeves with red satin detailing
•Layered gown ornately decorated with golden gemstones, taffeta, lace, and embroidered foliage
•Dramatic make-up and rooted eyelashes
•Red bow headband
•Prince features velvet cape
•Satin shirt with faux leather waistcoat and belt
•Boots and sword
•Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the name of Snow White and the Prince
•Includes special Disney Fairytale Designer Collection Gift Bag
•Part of the Disney Fairytale Designer Collection
* Intended for adult collectors -- Not a child's toy.
The bare necessities
•Plastic / polyester
•Snow White: 11 1/2''
•Prince: 12'' H
•Imported
Me with my new Kenner! My husband is the best! He surprised me with a blonde Kenner with a peachy toned complexion!
1. Join Us Mystic Sister / No More Sages, 2. winter complexion, 3. 80's, 4. Untitled, 5. my cigarette and I......., 6. Last witness, 7. "When I let go of what I am, I become what I might be..." Lao Tzu, 8. Nens pescant crancs, 9. 7 Years, 10. flickr.com/photos/29968028@N05/4444686392/, 11. W.T. Benda: Blonde girl with earrings, ca. 1924, 12. Stinginess shrinks the soul, 13. Paréntesis,, 14. mirar al cielo, 15. a trip to Lake Mary, 16. the traveler, 17. de esperanzas, ilusiones, tenacidad y emociones..., 18. La niña de sus secretos., 19. aviary mist, 20. The things I think when I think about nothing, 21. no more blind trust, 22. gulls|haiku [seva stylee], 23. The waiting, 24. Untitled, 25. avec papa 26. Morning Beach Posts, 27. Do the clouds, 28. Midnight in the Garden, 29. Diálogo con un retrato, 30. Winter Creeper
When I was a kid I wanted to be an astronomer, a ranger, a biologist and an oceanographer.
Now, I do not want to BE anything different any more, but want to DO what these people do.
Tried to make a smaller mosaic but cant decide who to leave out.
And there are so many missing that it is not funny.
Some are my contacts, others are not.
Some I couldnt add because of their copyright settings.
They are all special and do what I wish I could do.
4/6
Taken last night.
My baby girl Olivia.
She will be 4 months on Easter.
She's growing up too fast!
*See her holding her foot and looking at me? Almost like she's saying, "Look what I can do Mommy!!" :]
She has been grabbing everything that you put in front of her lately and she recently found her feet, she loves to play with them!
Isn't she just the most precious little one?
Every time that someone sees Olivia they always use the same two words, "baby doll".
Some people have even thought that we were carrying around a baby doll and that she wasn't a real baby. They have commented a lot on her porcelain complexion, perfect features and constant smile.
*You know what I think? Well you know what her proud Momma thinks.. [perfection!] However, I think she's going to be a great model for her Mommy as she grows.. and for many other photographers in the future. She loves the camera already.. she's a little "ham" and she's just gorgeous. I can see her going far in the future.. Especially since she'll have a ton of experience through me, she'll have a full portfolio and I know plenty of other photographers to help her build a lot of experience and confidence.
That is.. if she wants to be a model. If not, that's okay too.
But Mommy is going to give her a great opportunity, if she wants to take it that is up to her!
and never mind the electricity bill or your guests' complexions. classic 70s chrome and smoked glass furniture, classic 70s orange flowers kitchen, skirtings and architraves painted silver.
Poster,
Greenfield Village, Dearborn, Michigan
--------------
Kellogg's was founded in 1906, by Will Keith Kellogg in Battle Creek, Michigan. It was an outgrowth
of work with his brother John Harvey Kellogg at the Battle Creek Sanitarium. The company made the
hugely successful Kellogg's Toasted Corn Flakes.
-- Wikipedia
2,000 views on 29th November 2013
1,000 views on 3rd October 2013
Malcolm Macdonald - Chief Constable of Sutherland Constabulary from 1887 to 1906
On 7 June 1887, Malcolm Macdonald, then an Inspector in the Inverness-shire Constabulary, stationed at Portree on the Isle of Skye, was appointed as the new Chief Constable of Sutherland.
He had joined the Inverness-shire Constabulary as a 3rd Class Constable on 2 December 1874 at the age of 26 years. Previously a farm servant, he had also served 2 years in the City of Glasgow Police before joining Inverness-shire.
A native of the Island of Skye, Chief Constable Macdonald stood 6'1'' in height, had grey eyes and fresh complexion with dark and curly hair. He was a big man in all senses, with a considerable presence.
His promotion to Inspector came from the previous Chief Constable, William Murray, six months before Chief Constable McHardy went to Inverness-shire Constabulary from Dornoch.
In fact Mr MscDonald's advancement to Inspector had come quickly, only 13 months after being made up to Sergeant at Beauly with only 9 years Police Service, some 7 of them in Inverness-shire. Such a rapid (at least in terms of promotions in Inverness-shire) ascent would likely not have pleased some of his colleagues as it was upsetting the established order (“dead man’s shoes”).
That feeling of resentment would not apply however if his colleagues had identified, as they probably did in this case, that he was what was (and still is) termed a ‘flier’ (accelerated
promotion - such flight being both ‘upwards’ and ‘away’), and would be off to another force in a promoted rank soon enough, so that the previous order would resume with no harm done.
The new Chief, aged 39 on appointment, was awarded an initial salary of £200 per annum. He appeared to settle in very well in Sutherland, a land very similar in terrain and attitude to his own
home Island. That he made a lasting impression on the local population is not in dispute.
Sadly his wife died during his period in Dornoch, leaving the Chief to raise his family of six, three boys and three girls.
In November 1892 Mr Macdonald received a ten per cent rise in his salary, going up to £220, having served 5 years in the Force. The 15th of November seems to have been either the start or mid point of the Force's financial year. Almost all amalgamations of Forces occurred on 16 May or 16 November.
John Macdonald, eldest son of Malcolm, joined the City of Dundee Police in 1898 and had been promoted to Sergeant in the following year. He surely was a ‘flier’. With only 14 years of police service, he would reach the exalted rank of Superintendent (and be appointed Deputy Chief Constable) in Dundee by 1912, and then from 1931 to 1936 would be Chief Constable of the City of Dundee himself.
Chief Constable Malcolm Macdonald died suddenly at his home in Dornoch on the afternoon of Thursday 15 February 1906 and a sense of shock was experienced all around the County, as demonstrated by the obituary carried in the "Northern Times" newspaper:-
It came as a shock to the northern public on Thursday afternoon to hear of the sudden death at 4.40 p.m. on that day of Mr Malcolm Macdonald, Chief Constable of Sutherland, at his residence in Dornoch. The cause of death, it is understood, was heart failure supervening after a sharp attack of colic, which began about 10 a.m. on the morning of his death. He was at the curling on Loch-in-treel, and in excellent spirits the day before. He got up on Thursday morning as usual and breakfasted with his family, after which he went outside and did some work on his own premises. Returning to the house he complained of a feeling of being gripped as if some one had caught him by the throat, this gradually going down the chest to the abdomen when pain set in, which was at times very acute.
Dr Maclachlan was called about eleven o'clock, but no serious view was taken of the attack, and a prescription was given. Again at two o'clock the doctor saw Mr Macdonald, and, although he was still suffering nothing serious was apprehended; but unfortunately the unseen was at work, and he became alarmingly ill, and expired suddenly at the hour stated above, in the presence of his son and daughter and his sister-in-law. All the curlers, in view of the County Bonspiel, were out at Loch-in-treel, and when they heard the sad news on their return it could hardly be believed. The telegraph conveyed the news all over the county, and the sadness which it produced as it spread testified to the popularity of the deceased.
The "Chief," as he was popularly known, was 57 years of age and a widower. His eldest son is superintendent of police at Dundee, and there are two other sons and three daughters, six in all, mostly grown up. Mr Macdonald was Chief Constable of Sutherland for eighteen years, having succeeded the late Chief-Constable MacLean in July 1887. He was appointed from the post of inspector at Portree, which he had occupied under Mr McHardy, chief constable of Inverness-shire for about five years.
He was in Skye, of which he was a native, during the time of the crofter disturbances, and on one occasion he and the late Sergt Mackenzie, Kingussie, and four constables, visiting Glendale, encountered a violent mob, by whom the inspector was roughly handled, receiving injuries from the after effects of which he suffered for a long time. Mr Macdonald's connection with the Inverness-shire Constabulary began at Obbe, from which he transferred to Ardersier, afterwards becoming sergeant of police at Beauly.
Since he came into the County of Sutherland the Chief was one of the most popular public figures, and was welcomed wherever people gathered together. He was a man equally at home at a social gathering or at a public meeting, ever having an open eye to his duty, and ever ready to take his full share of public work.
It is a rare testimonial to a Chief Constable to say that he was one of the most popular men in the north and west of Scotland. From the nature of the duties falling to be executed by one in that position, people would naturally look for some enmity, at least on the part of those unfortunate enough to come on the wrong side of his official work. But the Chief had his own way of doing things. His official work never left the flesh raw or nor a feeling of revenge.
Everyone knew the big soft heart he carried in his big frame, and any unpleasant work that may have fallen to the Chief was done in the most pleasant manner possible. Therein lay his popularity. He never talked "shop". He never spoke anything but well of people, and where he could not do that he held his peace.
He gave a helping hand where he could, whether it was privately or in connection with public movements, either in the Burgh of Dornoch or in the County, or in his native island of Skye, and his death is mourned by a huge circle of friends all over the northern half of Scotland, who extend to the bereaved family every expression of sympathy.
The Chief was a fine specimen of the Highlander. Standing considerably over six feet in height, and huge of girth and limb he was an imposing figure, and the beau ideal in the public mind of what a chief constable should be. Coming from the misty Isle of Skye his knowledge of the Gaelic language was extensive, and he spoke with a correctness of tone and felicity of expression which often excited comment.
He was passionately fond of Gaelic song and story, and had an illimitable store of both, which, when it was tapped, was delightful. To see the fine erect figure, clad in real Highland dress, and to, at the same time hear him conversing in the Gaelic language, was to find the real embodiment of a Highlander, seemingly as far apart from English language and latter-day customs as the towering peaks of his native Cuchullins.
Although out of Skye for many years he always manifested a keen interest in the doings of the island, and was regularly a prominent figure at the annual "field-day" at Portree, renewing acquaintances with his many friends and following with zest the fortunes of the competitors at the cattle show and the Highland games, to the prize-lists of each of which he was a standing contributor.
Physically a strong man, he was naturally fond of the out-door life, although, within recent years, the attacks of rheumatism with which he was visited served to curtail his partaking in various games he played as much as he would have wished. Prominently, above all else, he was a golfer. Although he never tackled a club until he was about forty years of age, he worked himself down to "scratch" in a year or two, and for some years he held the record at the Dornoch course, and since then has always been reckoned as amongst the best five or six players the club possessed.
He was also a well-known figure on the Tain, Brora, and Golspie courses, and his style of play - so easy, confident, and sure with clubs remarkable for their lightness and shortness - was always much admired. Then, as a curler - and golf and curling are the two premier games of Scotland - he was as keen and hearty a man as ever "sooped a stone into the house" and none watched the counting of points with keener interest.
In all respects he was an ideal man for his position and the "good old chief" - decent soul that he was" - will long live in the memories of those to whom he was known. It will be many long years ere he has been forgotten, and there will always be those for half a century to come who will remember with softening of the heart and a dimming of the eyes the admirable Chief who they loved so well. Requiescat in pace.
The funeral took place to Dornoch Churchyard on Monday amid every appearance of mourning and sincere sympathy. It was largely attended by representatives from practically every corner of the county, and by all the officials and Constabulary. The remains were laid beside those of his wife and daughter, the coffin bearing the age of 57.
(The newspaper cutting was preserved by the late Kenneth Ross BL, final Chief Constable of Sutherland)
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date.
Sometimes too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance, or nature's changing course, untrimmed:
But thy eternal summer shall not fade
Nor lose possession of that fair thou ow'st,
Nor shall Death brag thou wand'rest in his shade
When in eternal lines to time thou grow'st.
So long as men can breathe or eyes can see,
So ling lives this, and this gives life to thee.
W. Shakespeare
Ti paragono a un giorno d’estate?
Tu sei più incantevole e più mite.
Violenti venti scuotono i cari germogli di maggio,
E la durata dell’estate ha una scadenza troppo breve.
A volte troppo caldo l’occhio del cielo splende,
E spesso la sua dorata carnagione è oscurata;
Ed ogni bellezza dalla bellezza qualche volta declina,
Per caso, o dal mutevole corso della natura privata d'ornamenti;
Ma la tua eterna estate non morirà
Né perderai possesso di quella bellezza che ti distingue;
Fino a quando gli uomini possono respirare o gli occhi vedere,
Fino a quando vive questo, e dà questo vita a te.