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Managing Director Kristalina Georgieva and World Bank President David Malpass participate in The Way Forward: Responding to Global Shocks in a Time of Uncertainty at the World Bank.
IMF Photo/Cory Hancock
19 April 2022
Washington, DC, United States
Photo ref: CH220419051.arw
Actor/Director/Model
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Metairie, Louisiana
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Vintage Italian postcard. 1920s. Ed. A. Traldi, Milano, No. 61.
Gennaro Righelli (12 December 1886 – 6 January 1949) was an Italian film director, screenwriter and actor, who directed over 110 films in Italy and Germany between 1910 and 1947. In 1930, he directed the first Italian sound film, La canzone dell'amore (The Song of Love). He was married to the film star Maria Jacobini, whom he frequently cast in his films.
Salvatore Gennaro Righelli, born in Salerno, was the son of the Neapolitan dialect actor Angelo and the Bolognese Maria Galassi. He took up the theatrical activity in 1902 in a dialect company following the footsteps of his father. His daughter Lea was the mother of directors Luciano and Sergio Martino.
Righelli started to work in cinema in 1910, when he made his acting debut for the Roman company Cines in a handful of short films such as Amore di schiava (Enrique Santos, 1910) and Anore di torero (Santos, 1910), often acting together with his first wife, Maria Righelli, née Maria Mauro. IMDB and Aldo Bernardini give contrasting information about Righelli's film directions. IMDb claims it was for Andreuccio da Perugia, after Boccaccio, in 1910, but Bernardini doesn't list a director for this film. IMDb lists the film Sperduta with Righelli first playing opposite Maria Jacobini but Bernardini indicates the films as 1911 and with Maria Righelli instead. Indeed, it seems that IMDb erroneously conflates Maria Righelli with Maria Jacobini (Gennaro Righelli and Maria Jacobini would only work professionally from the late 1910s onward and would marry eventually in 1925).
In 1911 Gennaro and Maria Righelli continued at Cines, alternating historical and modern dramas. While it seems that Righelli co-directed with Mario Caserini La fidanzata di Messina and Giovanna la pallida, his first independent directing must have been that of La vita di una chanteuse/ Povera Dora!. In May 1911 Righelli and his wife moved to Vesuvio Films in Naples, where he was actor-director of some 9 films until early 1913, and also manager of the studio. He made his first feature films there, including an adaptation of Boccaccio's Decamerone (1912), the Napoleonic Der Tugenbund (1912), and L'eroica fanciulla di Derna (1912), set during the Italo-Turkish war. In 1913 work at Vesuvio halted and Maria Righelli stopped acting for several years, probably due to a marital crisis, Bernardini suggests. In 1914 Gennaro Righelli encountered misfortune with the companies Victoria Film and Parioli Film, so he returned to Cines in 1915, where he shot the short propaganda comedy Il sogno patriottico di Cinessino and launched Diomira Jacobini, Maria Jacobini's younger sister, in the comedy Diomira si diverte (1915). For Milano Films he did the heavy drama La macchia nel blasone (1915).
Yet, more substantial was Righelli's career at the Roman company Tiber Film, between 1916 and 1920. In 1916 Righelli directed Primo e ultimo bacio, Alla capitale, Febbre di gloria, and Nella città eterna, often with the couple André Habay and Matilde Di Marzio in the lead. In 1917 Righelli continued at Tiber Film with the Giacosa adaptation Come le foglie, with Maria Jacobini in the lead - probably their first professional collaboration on the film sets. Until 1920, Righelli turned out several films per year at Tiber Film, again with the couple Habay-Di Marzio but in particular 9 films with Diomira Jacobini: L'ombra che passa (1917), Demonietto (1917), Quando il sole tramonta (1917), Camere separate (1917), Duecento all'ora (1918), L'autunno dell'amore (1918), Il veleno del piacere (1918), Mademoiselle Pas-Chic (1918), and Le avventure di Doloretta (1919). Righelli also directed Polidor (Il nipote di America, 1917, Venti giorni all'ombra, 1918, also with Diomira Jacobini); Vittoria Lepanto, Diana Karenne (La peccatrice casta, 1919), Italia Almirante Manzini (L'innamorata, 1919); and last but not least, Diomira's sister Maria Jacobini (L'articolo IV, 1918, La regina del carbone, 1919, La vergine folle, 1921). In 1918-19 he co-directed with Polidor also shot a long serial, La canaglia di Parigi, which had trouble with the censor.
From 1920, Righelli worked for the Turinese company Fert, where he was a prolific author varying between literary inspiration (Il viaggio, 1921, after PIrandello) and melodrama with an evocative setting (Cainà, l'isola e il continente, 1922). It was here that he did various acclaimed dramas with Maria Jacobini, who became his girlfriend and finally, in 1925, his wife. Together they did, in addition to Il viaggio and Cainà, also La casa di vetro (1920) with Amleto Novelli, Amore rosso (1921) set in Spain, Il richiamo (1921) with Lido Manetti, and L'incognita (1922). Single collaborations at Fert Righelli had once more with Diomira Jacobini and Italia Almirante Manzini. For the small company EDA, Righelli and Jacobini did the fascinating film La casa sotto la neve (1922), with a thrilling Kammerspiel-like climax when Jacobini's character and her daughter are menaced by the mother's evil suitor (Alberto Capozzi), within a house that is snowed-in.
In 1923, following the crisis that hit Italian cinema, Righelli joined the ranks of Italian directors, from Mario Almirante to Mario Bonnard, from Guido Brignone to Amleto Palermi, who decided to move to Germany. Once in Berlin, the director was hired by producer Jakob Karol and, together with Maria Jacobini, they founded the film company Maria Jacobini-Film GmbH, from which the film entitled Bohème - Künstlerliebe was released. Afterward, they collaborated with several companies such as Trianon and Phoebus. In 1925 Righelli married Jacobini, who starred in his German films Steuerlos (1924), the exotic film Orient - Die Tochter der Wüste (1924) also with the German heartthrob Harry Liedtke, Die Puppenkönigin (1925), and Der Bastard/ Il transatlantico (1925) which includes a spectacular shipwreck scene and of which a nicely tinted & toned version has been found and restored.
In the later 1920s, Righelli maintained his productivity of three to four films a year in Germany, but with other stars in the lead such as Fred Solm (Der Meister der Welt, 1927), Paul Wegener (Svengali, 1927), Mady Christians (Heimweh, 1927), Claire Rommer (Frauenraub in Marokko, 1928), Ivan Mozzhukhin (Der Präsident, 1928; Der geheime Kurier, 1928), Paul Richter (Sensation im Wintergarten, 1928), and Fritz Kortner (Die Nacht des Schreckens, 1929), while Jacobini still starred in Righelli's Fünf bange Tage (1928).
In 1930, when sound film had set in, Righelli returned to Italy to shoot the first Italian sound film, La canzone dell'amore. It starred Dria Paola as young woman who takes care of her mother's baby, causing a break with fiancé (Elio Steiner), a singer who is about to have his breakthrough. Isa Pola is the girlfriend who tries to drive a wedge between the couple. Righelli also directed the French alternative version of the film, La dernière berceuse, with Dolly Davis in the lead. The film, produced by Cines-Pittaluga, was the start of Righelli's new, prolific career in sound film.
During the 1930s, Righelli directed several comedies, some of which starred Sicilian actor Angelo Musco, in titles such as L'aria del continente (1935), Pensaci, Giacomino! (1936), Lo smemorato (1936), and Gatta ci cova (1937). He also directed Jacobini once more opposite Armando Falconi in the comedy Patatrac (1931). Although Righelli directed several Italian sound films in the 1930s and early 1940s, many were average fare comedies and dramas that didn't make history, and none were die-hard propaganda films. They starred the stars of those years, such as Gino Cervi, Germana Paolieri, and Nino Besozzi, although he often directed former stars of the silent era too, in supporting parts. In the immediate post-war period, Righelli directed Anna Magnani in two films that were a great success with the public: Abbasso la miseria! (1945) and Abbasso la ricchezza! (1946), the latter starring the great Roman actress alongside Vittorio De Sica.
Sources: Aldo Bernardini, Cinema muto italiano protagonisti, Aldo Bernardini/ Vittorio Martinelli, il cinema muto italiano, Italian Wikipedia, IMDb.
French postcard by News Productions, Beaulmes, no 56063. Photo: Eric Coiffier. Director and cast of Le Grand Bleu (Luc Besson, 1988) at the Festival de Cannes, 1988. With in the front row from left to right: Marc Duret, Jean-Marc Barr, Rosanna Arquette, Luc Besson, Sergio Castellitto and Andréas Voutsinas.
Jean Reno (1948) is a Moroccan-born French actor of Spanish descent, with a low-key raspy voice. He became known for his many roles in films by director Luc Besson, including Le Grand Bleu/The Big Blue (1988), Nikita (1990), and Léon: The Professional (1994). Working in French, English, Japanese, Spanish, and Italian, he has appeared in numerous successful films such Mission: Impossible (1996), Godzilla (1998), Ronin (1998) and Crimson Rivers (2000).
Jean Reno was born Juan Moreno y Herrera-Jiménez in Casablanca, Morocco, in 1948. His Spanish parents had moved to North Africa to find work and escape the dictatorship of Francisco Franco. He has a younger sister named María Teresa ‘Maite’. Their father was a linotypist. Their mother died when Juan was a teenager. He learned Spanish from his parents, and Arabic and French growing up in Morocco. At the age of seventeen, Juan Moreno moved to France, where he studied acting in the Cours Simon School of Drama. When Moreno moved to France he served in the French Army which was mandatory to gain his French citizenship. After he started to get acting jobs in France, Juan adopted the French version, Jean, of his name, and shortened his surname to Reno. He had a role in every play of stage director Didier Flamand from 1977 to 1981, and then had the lead role in Flamand's first short film La vis (1993). He made his film debut in the mystery film L'Hypothèse du tableau vole/The Hypothesis of the Stolen Painting (Raúl Ruiz, 1979). That same year he played a bit role as a policeman in Clair de femme/Womanlight (Costa-Gravas, 1979) with Romy Schneider. Due to his large frame (1.88 m or 6 ft 2 in), Reno was called on to play ‘heavies’ in his early career. He had his first prominent role in the post-apocalyptic Fantasy film Le dernier combat/The Last Battle (1985). It was the first feature-film to be directed by Luc Besson. Wikipedia: “A dark vision of post-apocalyptic survival, the film was shot in black and white and contains only two words of dialogue. It depicts a world where people have been rendered mute by some unknown incident.” In 1981, Besson and Reno had worked on the short film L'Avant Dernier. Reno and Besson became close personal friends, and Reno collaborated in films produced, written or directed by Besson, who became known as one of the masters of the ‘Cinéma du look style’ (French film directors who were said to favour style over substance, spectacle over narrative). Reno played a supporting part in Besson’s breakthrough film, Subway (Luc Besson, 1985), starring Isabelle Adjani and Christopher Lambert. His own breakthrough came with their next film, Le Grand Bleu/The Big Blue (Luc Besson, 1988). Cast as the comic rival of diver Jacques Mayhol (Jean-Marc Barr), Reno received international exposure when The Big Blue became a worldwide hit with both critics and audiences. Reno was nominated for a Best Supporting Actor César. Of their joint work, those films that have achieved the most critical and commercial success are Nikita (Luc Besson, 1990), and Léon/Léon: The Professional (Luc Besson, 1994) with Gary Oldman. For his role as the calm assassin Léon, who reluctantly takes in 12-year-old girl Mathilda (Natalie Portman), Reno was nominated for the César in 1995. The film was a commercial success, grossing over $45 million worldwide on a $16 million budget.
From the 1990s on, Jean Reno appeared in international romantic-comedies and action films. He starred in several French box office hits. He played the servant of a 12th century knight (Christian Clavier) in the fantasy comedy Les Visiteurs/The Visitors (Jean-Marie Poiré, 1993), the Number 1 box office film in France in 1993. Reno and Clavier reprised their roles in a sequel, and the American remake Just Visiting (Jean-Marie Gaubert, 2001) with Christina Applegate. Other French smashes were the psychological horror film Les Rivières Pourpres/The Crimson Rivers (Mathieu Kassovitz, 2000) with Vincent Kassel, and the comedy Décalage horaire/Jet Lag (Danièle Thompson, 2002) with Juliette Binoche. Reno did the voice-over for Mufasa in the French-language version of the animation film The Lion King (Roger Allers, Rob Minkoff, 1994). He also played in such high-profile American films as the romantic comedy French Kiss (Lawrence Kasdan, 1995) with Meg Ryan and Kevin Kline, Mission: Impossible (Brian De Palma, 1996) with Tom Cruise, Ronin (John Frankenheimer, 1998) with Robert De Niro, and Godzilla (Roland Emmerich, 1998). To do the disastrous wannabe summer blockbuster Godzilla, Reno turned down the role of Agent Smith in The Matrix (The Wachowski Brothers, 1999). The part was played by Hugo Weaving. In 2006, Reno had a prominent role in the remake of The Pink Panther (Shawn Levy, 2006) and its sequel, playing Gilbert Ponton, opposite Steve Martin as Inspector Clouseau. He portrayed Captain Bezu Fache in the film adaptation The Da Vinci Code (Ron Howard, 2006), starring Tom Hanks and Audrey Tatou. In other media, Reno was involved in the production of the third installment in the popular Capcom game series Onimusha, Onimusha 3: Demon Siege (Minoru Nakai, 1994). For this action-adventure game, he lend his likeness to the protagonist Jacques Blanc, as well as provided the voice for the character's French dialogue. In advertising work, Reno has appeared in American television commercials for UPS and portrayed Doraemon in a series of Toyota ads in Japan, as part of the ReBorn campaign. Jean Reno married three time. His first wife was Geneviève Reno, with whom he has a daughter, Sandra (born 1978), and a son, Mickael (1980). They divorced in 1995. Reno's second wife was Nathalie Dyszkiewicz, a Polish model, with whom he has a son, Tom (1996), and a daughter, Serena (1998). They divorced in 2001. In 2006, Reno married for the third time, to another Polish model and actress, Zofia Borucka. Then-presidential candidate Nicolas Sarkozy and singer Johnny Hallyday served as his best men (Reno endorsed Sarkozy for the 2007 French presidential election). Zofia and Reno have two sons, Cielo (2009) and Dean (2011). Reno maintains homes in Paris, Malaysia, and Los Angeles. Jason Buchanan describes Reno’s appeal at AllMovie: “With mournful eyes that suggest deep contemplation lurking beneath a sometimes imposing exterior, French actor Jean Reno (born July 30th, 1948) has carved a particular niche in cinema by portraying men who prefer to define themselves through action rather than words. Though his characters may often resort to violence without pause when necessary, that isn't to say that they are without the sort of honor or dignity that has served to define some of the screen's most memorable action stars.” Upcoming films with Reno are the American drama The Last Face (Sean Penn, 2016) with Charlize Theron and Javier Bardem, and the historical drama The Promise (Terry George, 2016) starring Christian Bale.
Sources: Jason Buchanan (AllMovie), Wikipedia, and IMDb.
When Pornhub is looking for a creative thinker for the next campaign
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Actor/Director/Model
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www.facebook.com/ryananthonywilliamsofficial/?pnref=story
Uptown
New Orleans, Louisiana
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Director of the Office of Management and Budget Mick Mulvaney | 7/25/17 (Official White House Photo by Evan Walker)
Chris Scolese, Center Director of NASA Goddard's Space Flight Center in Greenbelt, MD.
Credit: Credit: NASA/Goddard/Bill Hrybyk
Director's and Dean's Office
Main Building
Faculty Hall
Indian Institute of Science
25MP Panorama Shot using 12 images taken by Pureview 808. Combined using Microsoft ICE and perspective / color corrected in Adobe Photoshop CS5.
Pl. check my Black & White Photographic work on Facebook. "Like" if you like it :)
From the collection of my late friend Dave Fenton. As this is 1958, it must have been taken by his Dad, but we know the location is Trafford Park.
The loco is one of Robinson's wonderful improved "Directors" or D11's, that eked out their last days out usefully on the old Cheshire Lines.
62661 was built in 1920 as Great Central no.507, "Gerard Powys Dewhurst." Her LNER no. was 5507 and she was scrapped in November 1960.
Note the ex-GCR "pom-pom" 0-6-0 behind her.
Stage of the El Capitan Theatre before the showing of Tangled. Tangled director Nathan Greno and actress/singer Mandy Moore (the voice of Rapunzel) taking questions (and requests) from the audience.
I saw Tangled at the El Capitan Theatre on Saturday February 20, 2016 at 7 pm. It was a wonderful experience, especially since I had never seen it in a movie theater before. Also they had the special guests Mandy Moore and director Nathan Greno appear before the showing the film. They were both charming and funny, and Mandy looked lovely. They did some Q&A, and helped in the raffles. The big prizes was the artwork created and signed by Nathan Greno and a big poster of Tangled, which was also shown on the big screen throughout the preliminaries before the movie. Also on the stage, a guy proposed marriage to a girl from the audience (she was told that she was the grand prize winner of the raffle), and fortunately she said yes.
After the showing of Tangled, they showed Tangled Ever After. It was nice seeing it again, and I think I enjoyed it even more this time, since the audience was so into it.
Afterwards I took a photo of a couple of cosplayers of Anna and Elsa, who sat a couple of rows in front of me, and sang along with Let It Go when the house organist played it in its entirety. There was also a good looking Flynn and Rapunzel couple in the lobby, but I didn't take photos of them.
En La Nueva Barquita todos los apartamentos tienen: balcón, salón comedor, cocina, área de lavado, despensa, closet de ropa blanca, 3 habitaciones, instalación de gas, y calentador solar. Un 5% de los apartamentos están habilitados para personas de movilidad reducida.
Foto: Luis Burdiez/Presidencia República Dominicana
Nota de prensa:
presidencia.gob.do/noticias/directores-de-diarios-y-pepin...
Italian postcard. Roseo & Co. Napoli. Caesar Film.
Italian film director Edoardo Bencivenga (1885-1934) was one of the most active film directors in Italian silent cinema.
Edoardo Bencivenga was born in Naples. In 1907 he was hired by film pioneer Filoteo Alberini as stage director for the small theatre that annexed his Roman Cinematografo Moderno. In the same year he entered Alberini's film company Cines, directing Raffaello e la Fornarina. In 1910-11 he worked in Turin, first mostly at Aquila (where he was responsible for its major successes), then in 1911 at Savoia and in 1912 at Ambrosio. At Ambrosio he directed e.g. a series of short D'Annunzio adaptations and an impressive feature, L'epopea napoleonica (1913-14). In 1914 he had an adventure with the Photo-Drama company of Grubiasco, for which he shot a feature with American actors, La DuBarry, never released on the Italian market, and made in coproduction with Ambrosio. In 1915 he did a few patriotic films at Polifilms in Naples, after which in 1916 he entered the Roman Caesar Film company. Here he worked for several years, directing a few films with Mario Bonnard (Ferréol, Don Giovanni, both 1916), the D'Annunzio adaptation La figlia di Jorio (1917) with Bonnard and Irene-Saffo Momo, the serial Le due orfanelle (1918) with Enna Saredo, and many films with the Italian diva Francesca Bertini, including several episodes of the series I sette peccati capitali as well as Mariute (1918) and La piovra (1919). From the late 1910s, Bencivenga worked for various companies, in films with Enna Saredo, Gemma Bellincioni and Elena Sangro. All in all, Bencivenga directed over 65 films.
Source: Aldo Bernardini, Cinema muto italiano. Protagonisti.
As ICU Consultant and Clinical Director of Support Services, Meera faced a “sheer fear of the unknown” as she treated “suddenly very ill” patients. In this “very difficult year to cope”, she worked hard to ensure there was “enough equipment, medicines, even oxygen.” She feels the NHS has “been severely affected” as “staff have worked extremely hard physically and mentally”, with a “big burden” now to deal with after “non-essential work had to stop”. She hopes “more mental support” will be made available as “witnessing colleagues being ill [has] been very traumatic”, and “not being able to deal with all the bereaved has been very difficult too.” She hopes “in future the vaccine works and we get this problem under control.”
Meera is one of 67 NHS staff I photographed across George Eliot Hospital during the COVID-19 pandemic first wave.
"Humans of the Pandemic" features portraits and thoughts from many roles incl doctors, domestics, maternity, mortuary, nurses, pathology, pharmacy, physio, and surgery – to name a few.
See the full project gallery on my link in bio, or www.matthewthompson.co.uk/humans-of-the-pandemic
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Managing Director Kristalina Georgieva meets the President of Zambia, Hakainde Hichilema
IMF Photo/Kim Haughton
21 September 2022
New York, New York, United States
Photo ref: KEH06136.ARW
Chris Scolese, Center Director of NASA Goddard's Space Flight Center in Greenbelt, MD.
Credit: Credit: NASA/Goddard/Bill Hrybyk
Dheeran Adhigaram Ondru movie Music Director confirmed: Actor Karthi and Rakul Preet Singh starrer Dheeran Adhigaram Ondru has now got a music director confirmed. It is buzzing that Ghibran will be the music for this film, directed by Vinoth H. Dheeran Adhigaram Ondru is coming up as an action...
www.reviewrating.org/dheeran-adhigaram-ondru-music-direct...