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While driving around looking for a cool winter landscape to shoot, Flickr friend Light Forger and I spotted an abandoned farmhouse.
Faversham /ˈfævərʃəm/ is a market town and civil parish in the Swale district of Kent, England. The town is 48 miles from London and 10 miles from Canterbury and lies next to the Swale, a strip of sea separating mainland Kent from the Isle of Sheppey in the Thames Estuary. It is close to the A2, which follows an ancient British trackway which was used by the Romans and the Anglo-Saxons, and known as Watling Street. The Faversham name is of Latinvia Old English origin, meaning "the metal-worker's village".
There has been a settlement at Faversham since pre-Roman times, next to the ancient sea port on Faversham Creek, and archaeological evidence has shown a Roman theatre was based in the town. It was inhabited by the Saxons and mentioned in the Domesday bookas Favreshant. The town was favoured by King Stephen who established Faversham Abbey, which survived until the Dissolution of the Monasteries in 1538. Subsequently, the town became an important seaport and established itself as a centre for brewing, and the Shepherd Neame Brewery, founded in 1698, remains a significant major employer.
The town was also the centre of the explosives industry between the 17th and early 20th century, before a decline following an explosion in 1916 which killed over 100 workers. This coincided with a revival of the shipping industry in the town. Faversham has a number of landmarks, with several historic churches including St Mary of Charity, Faversham Parish Church, the Maison Dieu and Faversham Recreation Ground. Faversham Market has been established for over 900 years and is still based in the town centre. There are good road and rail links, including a Southeastern service to the High Speed 1 line at Ebbsfleet International and London.
History
Faversham was established as a settlement before the Roman conquest. The Romans established several towns in Kent including Faversham, with traffic through the Saxon Shore ports of Reculver, Richborough, Doverand Lympne converging on Canterbury before heading up Watling Street to London. The town was less than 10 miles from Canterbury, and consequently Faversham had become established on this road network by 50 AD following the initial conquest by Claudius in 43 AD. Numerous remains of Roman buildings have been discovered in and around Faversham, including under St Mary of Charity Church where coins and urns were discovered during reconstruction of the western tower in 1794. In 2013, the remains of a 2,000-year-old Roman theatre, able to accommodate some 12,000 people, were discovered at a hillside near the town. The cockpit-style outdoor auditorium, the first of its kind found in Britain, was a style the Romans used elsewhere in their empire on the Continent.
There is archaeological evidence to suggest that Faversham was a summer capital for the Saxon kings of Kent. It was held in royaldemesne in 811, and is further cited in a charter granted by Coenwulf, the King of Mercia. Coenwulf described the town as the King's little town of Fefresham, while it was recorded in the Domesday Book as Favreshant. The name has been documented as meaning "the metal-worker's village", which may derive from the Old English fæfere, which in turn comes from the Latin "faber" meaning "craftsman" or "forger". The town had established itself as a seaport by the Middle Ages, and became part of the Confederation of the Cinque Ports in the 13th century, providing a vessel to Dover. The Gough Map of Britain, printed in 1360, shows the Swale as an important shipping channel for trade.
The manor was recorded as Terra Regis, meaning it was part of the ancient royal estates. King Stephen gave it to his chief lieutenant, William of Ypres, but soon made him swap it with Lillechurch (now Higham) so that the manor of Faversham could form part of the endowment of Faversham Abbey. Stephen established the abbey in 1148, and is buried there with his consort Matilda of Boulogne, and his son, Eustace, the Earl of Boulogne. Stephen favoured the town because of the abbey, and so it was historically important during his reign. King John tried to give the church to Simon of Wells in 1201, but it was owned by the monks of St Augustine's Abbeyat Canterbury, who appealed to Rome and denied the request. Abbey Street was constructed around this time in order to provide an appropriate approach to the abbey from the town. It still houses timber framed buildings and has been described as "the finest medieval street in southeast England".
Sir Thomas Culpeper was granted Faversham Abbey by Henry VIII during the Dissolution of the Monasteries in 1538. Most of the abbey was demolished, and the remains of Stephen were rumoured to have been thrown into Faversham Creek. An excavation of the abbey in 1964 uncovered the empty graves. The entrance gates survived the demolition and lasted until the mid-18th century, but otherwise only a small section of outer wall survived. The abbey's masonry was taken to Calais to reinforce defence of the town, then in British possession, against the French army. In 1539, the ground upon which the abbey had stood, along with nearby land, passed to Sir Thomas Cheney, Lord Warden of the Cinque Ports.
Among the few surviving buildings of Faversham Abbey are the two barns at Abbey Farm. Minor Barn was built around 1425; Major Barn, the larger of the two, dates from 1476. Next to the barns is the Abbey Farmhouse, part of which dates from the 14th century. The Abbey Guest house, on the east side of the Abbey's Outer Gateway, has survived as Arden's House. This house, now a private residence in Abbey Street, was the location of the murder of Thomas Arden in 1551. The Faversham Almshouses were founded and endowed by Thomas Manfield in 1614, with additional houses being built by Henry Wright in 1823.
Due to the poor quality of roads in the middle ages, travel by sea was an important transport corridor. Richard Tylman (or Tillman), mayor in 1581, expanded the port at Faversham, building two wharfs. He became a key figure in exporting corn, wheat and malt to London from the town.
Several notable people in the middle ages had origins in Faversham. Haymo of Faversham was born in Faversham and later moved to Paris to join the Franciscans, becoming the "Aristotelian of Aristotelians".[27] Simon of Faversham was born in the town around the middle of the 13th century and later became Chancellor of the University of Oxford in 1304. The notorious pirate Jack Ward is believed to have been born in Faversham around 1553. John Wilson, lutenist and teacher was born in Faversham in 1595 who was the principal composer for the King's Men and a professor of music at Oxford. There is now a plaque at the site of the house in Abbey Street where he was born.
A gunpowder plant had been established around 1573 in Faversham. The town had a stream which could be dammed at intervals to provide power for watermills. It became known as the Home Works in the 18th century and was nationalised in 1759. By the 19th century, the site stretched for around a mile along the waterfront. A second explosive works was established at Oare to the northwest of town in the late 17th century, with the Marsh Works following in 1786. Towards the end of the 19th century, two new factories were built alongside the Swale to manage production of TNT and cordite. Faversham developed six explosive factories, and from 1874 to 1919, the town was the centre of the explosives industry in the UK.
The first production of guncotton took place in the Marsh Works in 1847. Due to a lack of experience with production methods, an explosion took place soon after work started, with several fatalities. On Sunday 2 April 1916, an explosion occurred at one of the Swale factories in Uplees after sparks from a chimney ignited the works containing around 150 tonnes of high explosives. The incident killed over 100 people, which led to decline of the explosives industry in the town. Later accounts suggested that had the incident not happened on a Sunday, there would have been many more casualties.
All three gunpowder factories closed in 1934 due to the impending threat of World War II. Production was moved to Ardeer in Ayrshire, Scotland, and the munition industry around Faversham is now extinct. The town is now a harbour and market community; old sail-powered Thames barges are repaired, rebuilt and moored along the creekside.
Kent is the centre of hop-growing in England, being centred on nearby Canterbury and Faversham has been the home of several breweries. The Shepherd Neame Brewery was officially founded in 1698, though brewing activities in Faversham pre-date this. The brewery claims to be the oldest in Britain and continues to be family-owned. The Rigden brewery was founded in the early 18th century by Edward Rigden. It subsequently merged with the Canterbury based George Beer in 1922 to become George Beer & Rigden before being purchased by the Maidstone based Fremlins. Whitbread bought out Fremlins in 1967, and closed the Faversham brewery in 1990. The site is now a Tesco superstore. Shepherd Neame remains a significant regional brewer despite a decline in consumption of traditional bitter beer, producing around 230,000 barrels a year. It now also makes India Pale Ale under licence.
A shipyard was established in Faversham by James Pollock & Sons (Shipbuilders) in 1916 at the request of Lord Fisher, the First Lord of The Admiralty, for manufacturing barges for landing craft. Faversham already had a tradition of shipbuilding, and it soon became a major contributor to markets throughout the world, producing vessels such as the Molliette and the Violette, both constructed of concrete. Over 1200 ships were built and launched from Faversham between 1916 and 1969.
Faversham Market is still held in the town centre. It is now the oldest street market in Kent, dating back over 900 years. Monthly markets are also held in Preston Street and Court Street.
Having been an important thoroughfare since the 12th century, Abbey Street went into decline around the start of the 20th. Some buildings on the street adjoining Quay Lane were demolished in 1892 and much of the entire street was intended for demolition as recently as the 1950s, until intervention from the Society for the Protection of Ancient Buildings. Local people began a determined fight to restore and preserve the area. Faversham has a highly active archaeological society and a series of community archaeologyprojects are run every year. In 2009, evidence of the town's medieval tannery was unearthed in back gardens of one street, and evidence from the Saxon period was uncovered during the Hunt the Saxons project between 2005 and 2007.
When the first dark blue parts became available around the year 2010, I decided to try and make the Yak-38 Forger.
However, I was still learning how to make LEGO planes and the new dark blue parts were at the same time rare, very limited in variety and extremely expensive. Even today, they are still quite expensive.
So I decided to adapt the design and make a "my own design", the "Fireline". I published the MOC on Mocpages and I had a reasonable success with it, some people even made copies of it.
But off course it was a very basic and limited design. So when I decided to make some soviet models this year, the Forger was on the top of the list.
And now I have the Forger plane finally completed.
To know more about the Yak-38 Forger plane, click here to watch a video that I made about it:
www.flickr.com/photos/einon/48069049476
Eínon
Digitally composed image
The original craft is exposed in Technical Museum of Vedim Zadorozhny, Moscow.
www.tmuseum.ru/en/collection/catalog_5/135.htm
The Yakovlev Yak-38 (Russian: Як-38, NATO reporting name: Forger) was Soviet Naval Aviation's first and only operational VTOL strike fighter aircraft.
Design and development
The first drawings showed a supersonic aircraft strongly resembling by the Hawker P.1154 in study in the United Kingdom but with two R27-300 engines. Supersonic performances would have implied many difficulties of development, and it was decided to initially develop a relatively simple aircraft limited to Mach 0.95. Although the Yak-38 and Yak-38M were developed from the land-based Yakovlev Yak-36, the aircraft had almost nothing in common.
The Prototype VM-01 was finished on April 14, 1970. Though outwardly similar to the British Harrier Jump Jet, it followed a completely different configuration. Apart from having a vectorable engine in the rear used for flight, two smaller, less powerful engines were housed in the front portion of the aircraft and used purely for take-off and landing. (The Harrier uses only one engine, vectoring its thrust through four nozzles.) The aircraft used a similar layout to the German experimental VTOL strike fighter, the VFW VAK 191B, which began development in 1961, and the contemporary Dassault Mirage IIIV.
A diagram showing the lift forces on a Yak-38 in VTOL modeThe Yak 36 was sent for tests in May and June 1970. Mikhail Deksbakh carried out the first flight of the VM-02 in conventional mode on January 15, 1971. The VM-03 made its first flight in short takeoff mode on May 25, 1971. Sea trials aboard the aircraft carrier ("aviation cruiser") Kiev were observed in 1975. 231 Yak-38 aircraft were produced, including 38 two-seat trainers (Yak-38U). These were based on the four Kiev class aircraft carriers.
The Yak-38 used a hands-free landing system. The aircraft could negotiate a telemetry/telecommand link with a computer system in the aircraft carrier which would allow it to be guided onto the deck with no interaction from the pilot.
Markings
The initial colour scheme worn by the AV-MF Yak-38 consisted of dark green anti-corrosion paint on the undersides of the aircraft, with dark blue upper surfaces. This was later replaced by a light grey over dark grey scheme, frequently associated with the Yak-38M. An unusual green-over-silver "tiger" camouflage scheme, reportedly seen on an aircraft onboard Leningrad in 1986, was probably applied for one cruise only. Special camouflage schemes may also have been applied to aircraft involved in the Romb-1 trials in Afghanistan in 1980.
Operational history
The majority of Yak-36M initial production deliveries were to the 279 OKShAP (Otdelnyi Korabelnyi Shturmovoi Aviatsionnyi Polk, Independent Shipboard Attack Air Regiment) initially based at Saki, the AV-MF’s training centre in Crimea. Pilots for this unit were drawn from the Yakovlev OKB and the LII at Zhukovskii, as well as from the AV-MF. Established as early as December 1973, the 279 OKShAP of the Black Sea Fleet made use of a dummy Kiev class aircraft carrier deck, and also operated a pair of MiG-21UMs (and, briefly, Ka-25s) for training. The first AV-MF squadron embarked on Kiev in July 1976. On the conclusion of acceptance tests for the Yak-36M initial series in August 1976 (Kiev was underway in the Atlantic at this point), the aircraft was formally accepted by the AV-MF in October, under the new designation Yak-38.
On its arrival in Murmansk, the 279 OKShAP was transferred to the Northern Fleet, with subsequent flying operations mainly being conducted from Severomorsk-3. The 299 IIAP (Issledovatlesko-Instruktorskiy Aviatsionnyi Polk, Research and Instructor Air Regiment) had been formed as a training unit at Saki in September 1976 to replace the previous unit within the Black Sea Fleet.
The February 1978 entry into service of Minsk, the second Kiev class ship, was accompanied by a further series of Yak-38 shipboard trials, beginning in April 1978, and with the emphasis now placed on developing procedure for STOL operations. The passage of Minsk out of the Black Sea in February 1979 was duly followed by a major exercise involving the first two ships of the Project 1143 class in the Mediterranean. On this occasion, five aircraft from each vessel conducted formation exercises in proximity to NATO observers.
The Yak-38’s limited useful payload was always its Achilles’ heel, but the high ambient temperatures that had been encountered in the Black Sea during the summer 1976 trials frequently prevented the aircraft from carrying any external stores at all, despite a reduced fuel load. Similar problems were then encountered when Minsk sailed off the coast of West Africa and then in the Indian Ocean; in these instances the lift jets proved unwilling to start under hot and humid conditions. (An oxygen-boosting intake system[clarification needed] helped alleviate the problem, and was installed from September 1979 during routine overhauls.) In July 1979, Minsk arrived in the Sea of Japan, where the vessel was home-ported at Strelok Bay, the Yak-38 component of its air wing thereafter being provided by the 311 OKShAP subordinate to the Pacific Fleet. The 311 OKShAP was the second AV-MF Yak-38 unit, and had been established in March 1976.
During its first few years of ship-borne operations the Yak-38 was not cleared to make rolling take-offs and run-on landings, leading some Western observers[who?] to believe that the fundamentals of its propulsion design restricted the type to VTOL operations.[citation needed] In fact, shipboard short take-off trials had begun by December 1979, while experiments with run-on landings followed onboard Minsk between September 1980 and February 1981. V/STOL operations were made easier by the addition of a refined automatic flight-control system, linked to a thumb switch on the pilot’s stick. Rolling take-offs were conducted with the lift engines deflected aft, the main engine nozzles being rotated automatically from 60° to 25° during the take-off run, before being slowly returned to the horizontal as the lift engines were shut down.
The Kiev class ships normally embarked a total of 12 single-seat Yak-38s, supplemented by two or three two-seat Yak-38Us, as part of an independent aviation regiment that also included two squadrons of (mainly anti-submarine warfare) helicopters. Of the seven landing pads available on the deck of each of the Project 1143s, all but one could accommodate the Yak-38.
During April and May 1980 four Yak-38s and four AV-MF pilots were deployed to Afghanistan as part of a 50-day trial codenamed Romb-1, although the ‘hot and high’ conditions prevented any meaningful combat missions from being undertaken – in total, 12 combat sorties were made, but only two 100 kg (220 lb) bombs could be carried. In the event, any involvement would have been further limited by the ‘near-operational’ nature of the Romb-1 deployment (which also involved the first and third prototype Su-25s). The aircraft involved were not intended to be subject to combat, but rather tested under conditions that simulated the battlefield to a high degree. Despite their official non-operational nature, aircraft involved in the Romb trials could be requested to undertake combat sorties by local divisional commanders, on an ad hoc basis. The Yak-38s and prototype Su-25s operated out of a specially prepared air base near Shindand. Even with a much-reduced fuel and weapons load, the Yak-38 proved incapable of operating during the hot daylight hours (after around 0500 hrs).
In September 1982, Novorossiysk - the third Kiev class vessel - was commissioned. By now the V/STOL technique had been well practised, and the resulting increase in the Yak-38’s overall performance and capability was exploited during the passage of Novorossiysk from Severomorsk to join the Pacific Fleet. In a maritime context, the Yak-38 was not limited to the decks of the Kiev class. In September 1983, AV-MF pilots operated from the civilian ‘Ro-Ro’ vessel Agostinio Neto, and NII-VVS pilots conducted further tests from another ‘Ro-Ro’, Nikolai Cherkasov. In both cases, use was made of a heat-resistant landing platform; further land-based trials tested the practicality of dispersed landing platforms, in a similar concept to the RAF’s Harrier operations in West Germany.
General characteristics
Crew: One
Length: 16.37 m (50 ft 1 in)
Wingspan: 7.32 m (24 ft 0 in)
Height: 4.25 m (14 ft 5 in)
Wing area: 18.5 m² (199 ft²)
Empty weight: 7,385 kg (16,281 lb)
Loaded weight: kg (lb)
Max takeoff weight: 11,300 kg (28,700 lb)
Powerplant: 1 x Tumansky R-28 V-300 turbojet, 66.7 kN (15,000 lbf)
Powerplant: 2× Rybinsk RD-38 turbojets, 31.9 kN (7,870 lbf>) each
Performance
Maximum speed: 1 280 km/h (795 mph)
Range: 1,300 km[3] (807 miles)
Service ceiling: 11,000 m (36,089 ft)
Rate of climb: 4,500 m/min (14,760 ft/min)
Wing loading: kg/m² (lb/ft²)
Thrust/weight: 1+
en.wikipedia.org/wiki/Yak-38
View of La Pedrera (Casa Milà) built between 1906 and 1910 for Milà family.
This is one of the main Gaudí residential buildings and one of the most imaginative houses of the architecture history, this building is more an sculpture that a building.
Some of the collaborators in the works (following Permanyer) were the architect Josep Maria Jujol, the brothers Badia as iron forgers, the founder Manyach, the builder Josep Bayo and the plaster Joan Beltran (plaster ceilings of that building are truly exceptional).
The façade is an impressive, varied and harmonious mass of undulating stone without straight lines where also the forged iron is present in the shapes of balconies imitating vegetal forms.
The lofts are supported by the traditional Catalan "totxo" (brick) arching walls following the style developed by Gaudí in Santa Teresa school and Bellesguard also in Barcelona.
The roof show an exuberant fantasy, the chimneys designing vanguard shapes remember warriors in a forest of surprising figures.
The building was also recognized by UNESCO as "World Heritage" in 1984.
This shot was taken around 6:30 p.m. on the last day of the year. No tripod available and at the last minute a girl stands in front of me and ruins my shot. Anyway i could have cropped it but i would loose the tree and part of the lamp. I decided to leave just the way it is.
A beautiful view from the top of La Pedrera by my daughter Matilde here www.flickr.com/photos/matidocas/82650636/
هفتاد و هشت سال داشت. در یک خانه کاه گلی معمولی، اما نه آنقدر معمولی ؛ خانه ای که تو را یاد کاوه آهنگر می انداخت با این تفاوت که آنجا خبری از درفش کاویانی نبود. در گوشه ای از خانه چند میش نگهداری میکرد، آنها را به نام صدا می زد، گویی برایش جای فرزندان نداشته اش را پر می کردند؛ گوشه ای دیگر کوره ای داشت که آتشش را با هیزم می افروخت و آهن پاره هایی را که از گوشه و کنار جمع می کرد در آنجا می گداخت و زیر ضربه های پتکش رام می کرد؛ گمانم بود که آهن از شرم اینچنین رام و خموش ملعبه ی دستش بود. او داس می ساخت؛ تمام قدیمی ها او را می شناختند اما حالا . . . به طور متوسط روزی یک داس می فروخت بهای هریک 5000 تومان. 3000 تومان را خرج و ما بقی را پس انداز می کرد. پس انداز برای آینده ای مبهم
خدا قوت آق میرزا
From chapel to church
Dedicated to Our Lady the Blessed Virgin – “Notre Dame” – the small original chapel was operated at first by the Jesuits. Then came the Sulpician Fathers, who in 1657 undertook construction of a larger church. The Sulpician François Dollier de Casson was its architect, and the present-day Notre-Dame Street served as the original site. Its construction, in Baroque style was completed between 1672 and 1683.
Edvardas Matas Riomeris
Edward Mateusz Römer (1848-1900)
Vilnius Picture Gallery
Vilnius, Lithuania
Notes:
1. The museum's label gives the English title of this piece as The Forger.
This is a mistranslation, since in common parlance the term "forger" denotes an individual involved in counterfeiting, not someone who work with forges.
Since nothing in the image or the larger context suggests this man was a counterfeiter, I have renamed the piece The Blacksmith.
At first I thought about calling it The Smithy, but that term connotes old English village life, whereas the painting has its roots in Lithuania. Thus, I opted for the more geographically flexible title The Blacksmith.
2. For reasons I cannot explain, the museum's label gives the artists's name in Lithuanian and in Polish.
Now, at one time, there existed a polity known as The Kingdom of Poland and the Grand Duchy of Lithuania, also known as the Polish-Lithuanian Commonwealth. I suppose it is possible the state had two official languages and that individuals might have gone by the Polish version of their Lithuanian name or vice versa. I have no doubt that someone more culturally fluent here than I would be able to tell by the name whether the person was ethnically Lithuanian or ethnically Polish.
However, that state ceased to exist in 1795, well before the birth of the artist who executed this work. As far as I know, Polish is not an official language in Lithuania, so what reason could there be for giving the artist's name in Lithuanian and Polish?
I'd call this an art history mystery because it rhymes so well, but it is actually a museology mystery, that is, a mystery having to do with the field of museum management.
If anyone has an answer, please do tell!
'YOR FORGER - SPY X FAMILY' - 'COSPLAY BY GRACIE' - 'MAGNA SCIENCE MUSEUM COSPLAY EVENT' -
'UNLEASHED EVENTS' - MAY 11th 2025
The Kiev Heavy Aviation Cruiser was designed to carry the Yakovlev Yak-38 Forger Strike fighter on board, a very small VTOL plane. In this photoshop picture, you can see one "Forger" taking off from the carrier vertically.
The Soviets had considerable experience in VTOL operations during the seventies and the eighties but sadly, they have abandoned the concept after the end of the Cold War.
Since the entire ship was designed around that tiny plane (even the elevators were extremely narrow), it was almost impossible to continue to operate these ships after the removable from service of their planes. Only very narrow plane designs could be operated.
For more info about the ship and the model, watch the video that I made about it here:
www.flickr.com/photos/einon/48113029206
Eínon
c/n 7977862706147, l/n 05-06.
’38 yellow’ is a false bort code, it was previously ’29 yellow’.
NATO codename ‘Forger-A’
On display as part of the museum at the 121st Aircraft repair plant.
Starry Gorodok, Kubinka Area, Moscow Oblast, Russia.
23rd August 2017
This image and the ones below are of Dave Martens who is the Blacksmith at Pioneer Village in Steinbach MB. It was so interesting to watch Dave work with such precision as he described the use of so many tools in the shop.
Thanks Dave for providing such insight into your craft!!
'YOR FORGER - SPY X FAMILY' - 'COSPLAY BY GRACIE' - 'MAGNA SCIENCE MUSEUM COSPLAY EVENT' -
'UNLEASHED EVENTS' - MAY 11th 2025
'YOR FORGER - SPY X FAMILY' - 'COSPLAY BY GRACIE' - 'MAGNA SCIENCE MUSEUM COSPLAY EVENT' -
'UNLEASHED EVENTS' - MAY 11th 2025
After much negotiation Diana is able to convince Hephaestus into crafting a weapon for me. He seems perplexed by my special request but I don't have time to explain why I need it. Every minute I'm away from Gotham could be the nail in the coffin. Despite that though I have no choice but to wait until Hephaestus finishes crafting the blade, the Knight took Jack to act as bait to give himself a field advantage. I need to be able to level the playing field.
It takes him only an hour to craft the blade, rather impressive really. Especially when you consider it takes the average man weeks to craft the perfect blade. I can't deny it has me calling into question the quality of the blade but if Diana has faith in him, then so do I. Diana returns me to the cave and like Vic she offers her help. Just as I did with Vic, I turn down her kind offer.
The next four hours roll by quickly as I resume my work making tweaks to an old batsuit. From every opportunity I've had to inspect the Knight's blade I know it's easily capable of cutting through my suit without reinforcement. Heck it was able to cut through Jim's hand so it would cut through my suit like it's made of paper.
After I'd completed the modifications to the suit I'm greeted by a recently awoken Alfred. Clearly he's noticed my bed sheets have gone untouched.
"Plan on sleeping at some point today?"
"I was busy."
"I can tell. Modified your gauntlets by chance?"
"Yeah. Hopefully they'll provide more of a defence from the Knight's blade than they have previously."
"We can only hope. Did you spend all night just working on your gauntlets?"
"No. I also paid a visit to the Watchtower."
"You've asked the League for help?"
"No. Vic was checking up on me. Apparently I missed monitor duty."
"That warranted going all the way to the Watchtower?"
"No. I also paid a visit to Hephaestus."
"Hephaestus? The greek forger?"
"Yeah. Diana was able to convince him to forge me a blade for when I go up against the Knight again."
"Any reason you went to a greek god of all people to make you a sword?"
"It's not an ordinary sword he crafted for me."
"Oh? What's so special about this sword?"
"Well, hopefully it'll give me an edge over the Knight."
"We can only hope. So what's the plan now?"
"I'm as ready as I'm going to be. All I can do now is wait."
"Good. Then perhaps you can get some beauty sleep. You really need it."
"Thanks Alfred."
"I'm just telling you how I see it Master Bruce."
"Fine. I'll get some sleep. But if an alert for the Knight comes in you need to get me up!"
"Don't worry Master Bruce. I'll wake you if such an alert comes through."
With that I concede and take the elevator back up to the house. Whether you're a multi-billionaire or a bat themed vigilante you need your sleep. Much to my annoyance. Heck even Clark needs to sleep and he basically runs on sunlight.
-------------------------------------
Eight Hours Later
Eight hours. It's been years since I slept that long. In fact it would of been longer had Alfred not woken me up. I don't even know what time it is. That's how disorientated eight hours sleep makes me.
"What time is it?"
"6pm. You've been asleep for eight hours."
"Eight hours? Christ, I can't remember the last time I slept so long."
"Indeed. I was concerned you'd slipped into a coma after four hours."
"So have we had a hit for the Knight?"
"No. We have a guest."
"We're on lockdown. Tell them Bruce Wayne is away on holiday."
"I would do. But Mr Gordon was rather insistent."
"Jim's here?"
"Indeed Master Bruce. He looks rather exhausted I must say."
"I'll be there shortly."
It takes me five minutes to freshen up and put some clothes on. By that time Alfred's led Jim into the reception room and given him a scotch. I dread to think what it is that's got Jim drinking such stuff this early in the night. Usually he doesn't have a drink until near the end of his shift.
"Tough day at the office?"
"Like you wouldn't believe. Are you okay? I couldn't help but notice some bullet holes in the walls as Alfred led me down here."
"Yeah, we had some unwelcome guests last night."
"They wouldn't happen to be some of those mercenaries you warned me about?"
"How did you know?"
"Apparently a group of them abducted Jack Drake last night. Witnesses say they saw Robin and another figure on the scene. I was worried that if they went after Tim's dad they might have come here as well."
'Yeah they did. Fortunately I was able to get back here in time."
"So where are they now? We never got a call to pick them up."
"They're under the floorboards."
Jim laughs to himself and takes a swig of his scotch. He knows full well I mean the cave but I like to think he's conjuring an image in his head of Alfred sweeping a load of bodies under the floorboards. I think I'd pay to see that.
"How come they're being given the premium cells? The cells at GCPD not up to standard for them?"
"If only. They know Jim."
Jim's facial expression changes from a smile to a look of concern.
"You mean?"
"Yeah. That's why I'm holding them here."
"Christ this day just keeps getting worse."
"Worse?
"I was having a meeting with the Mayor when you called me about the Knight. I asked Bullock to bring him in."
"The Knight escaped?"
"If only that was it."
"You don't mean....."
"Yeah. I do."
"I'm sorry Jim. I know how good a friend he was to you."
"Yeah. Harvey was the best. God rest his soul."
I reach into the drinks cabinet where Jim got his scotch from and fill a glass with my 'whiskey'. Well I call it whiskey, it's simply apple juice that has been tweaked to give off the smell of whiskey. After I've poured myself a glass I walk back over to Jim and raise my glass up in the air.
"To Harvey."
"To Harvey."
We clang our glasses together and empty our glasses. Jim goes to pull out a cigarette before remembering how much Alfred dislikes people smoking in the house, but given what's happened I let him do so anyways.
"I'll deal with Alfred."
"Thanks Bruce."
He lights his cigarette and takes in deep breath of smoke.
"So what's his next move?"
"For the moment all Tim and I can do is wait. He took Jack for a reason, I suspect it's to force us to walk into a trap of his own choice."
"How's the boy been holding up? What with his father being taken and all. I can't imagine he's happy to just sit by and wait."
"He's not. But he knows the protocol. No-one leaves the house until our identities are secured."
"So until the Knight is dealt with?"
"Basically."
"Well when you see him, do me favour."
"What's that?"
"Give him hell. For Harvey, and for me."
"I will Jim. I will."
"Thank you Bruce."
"How's the arm treating you?"
"Poorly. The only silver lining is that if I ever get in a bar fight I've got a weapon to hand."
"I'm sorry, for all he's done to you Jim. But I promise you, I'll make him pay. For all he's to you, and for what he's done to Harvey. Mark my words."
"Thank you Bruce. It really means a lot."
"Happy to help Jim. Happy to help."
'YOR FORGER - SPY X FAMILY' - 'COSPLAY BY GRACIE' - 'MAGNA SCIENCE MUSEUM COSPLAY EVENT' -
'UNLEASHED EVENTS' - MAY 11th 2025
The Yak-38 was a VTOL strike fighter which flew with the Soviet Navy. It first flew in 1971 and entered service in 1976. The M variant was inducted to service in 1985. The type saw active service in the Soviet War in Afghanistan where it was employed against guerrilla forces.
The Forger can be compared against NATO's Harrier, but was an inferior platform as it could not carry as great a payload. It was, therefore, also restricted in range when carrying any armament. Nevertheless, as an attack aircraft that could operate from nearly anywhere, it was still a valuable asset to the Soviet Navy, especially when the engines were upgraded on the M variant.
About the model:
So... I've avoided the regular Dark Blue / Green scheme on this model for... obvious reasons! Instead I've used a scheme as found at the MAKS airshow in 1993. As such, it might not *quite* fit the timescale of the rest of the series. I've been a bit slow to get these strike fighters onto Flickr despite having had them ready all week. Just wasn't at the computer every evening, I guess. I'm also a bit late on the bookend model for this series, but it'll definitely be posted before Christmas. Those of you who've been paying attention will know what it's going to be!
c/n 48-3.
NATO codename:- Freestyle
On display at the Vadim Zadorozhny Technical Museum, Arkhangelskoye, Moscow Oblast, Russia.
26th August 2017
OK, this is complicated!
This VSTOL type was designed as replacement for the Yak-38 Forger. It's military designation was the Yak-41M, however, for political and security reasons the aircraft was referred to as the Yak-141 in press releases for the 12 class World records which they set.
Three aircraft were built, the first (48-1) remained as a static test airframe while 48-2 (coded 75 white) and 48-3 (coded 77 white) were flight test aircraft.
In 1991 Lockheed-Martin got involved in the project and as they only knew the type as the '141' then that's how it has been known since then. At that time, both complete aircraft were recoded '141 white'.
In September 1991, this aircraft (48-3) suffered a landing accident on the carrier 'Admiral Gorshkov' and was damaged by the resulting fire.
Stored, it was later statically rebuilt for display in Yakolev's own museum.
When the second aircraft (48-2) stopped flying, it was also preserved. Initially it was at Khodynka but it later moving to Monino, where it remains. Throughout preservation, 48-2 has remained coded '141 white', a code accurate for both airframes.
For some unexplained reason, 48-3, which was originally '77 white' was repainted as '75 white', a code only ever worn by 48-2. Detail differences between the two, particularly in the tail area, confirm that this is, in fact, 48-3, although painted to represent 48-2, which, remember, is preserved at Monino as '141 white'.
Clear? I did say it was complicated!!
Banpresto Q Posket Spy X Family Anya Forger Research Version A Figurine
For those of you keeping score at home, award one "Influencer Point" to Hina Ichigo for making me aware of this irresistibly cute figure and the associated anime series.
17 June - A Doll A Day 2024
This is a small video about my Soviet Yakvolev Yak-38 "Forger" model.
Some video scenes were taken from the Documentary "Kiev - Made in URSS".
For more pictures and info, please visit my Flickr page:
Eínon
While there's still a few hours left in #ImperialMarchBabyBuilds....
It’s April 1st somewhere in the world, right? Well, no games today, just a straight up building contest!
May we present to you: Digital Forgery – digital seed parts, physical prizes! Can you build a cool MOC with a seed part that doesn't actually exist?
Head over to the Discord for the details!
You have until the end of April 1st (anywhere on earth) to build with the (supplied) seed part!
The best of the digital forgers will win his very own Blacksmith shoppe.
Vintage playcard. Photo: Ernest A. Bachrach. Orson Welles in Citizen Kane (Orson Welles, 1941).
American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).
George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalized at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose instead to travel to Europe. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in Jew Suss as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful Everybody's Shakespeare. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in Romeo and Juliet. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.
In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”
Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals, but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically, and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.
Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons, and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut, and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.
Orson Welles left Hollywood for Europe. In Italy he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.
In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box-office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.
In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an aging film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973) , a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared on his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.
Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
American postcard by Fotofolio, New York, N.Y., no. P27. Photo: Timothy Greenfield-Sanders. Caption: Orson Welles, 1979.
American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).
George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalized at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose instead to travel to Europe. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in Jew Suss as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful Everybody's Shakespeare. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in Romeo and Juliet. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.
In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”
Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals, but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically, and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.
Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons, and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut, and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.
Orson Welles left Hollywood for Europe. In Italy he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.
In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box-office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.
In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an aging film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973) , a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared on his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.
Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Vintage card. Photo: Columbia.
American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).
George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalized at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose instead to travel to Europe. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in Jew Suss as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful Everybody's Shakespeare. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in Romeo and Juliet. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.
In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”
Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals, but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically, and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.
Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons, and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut, and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.
Orson Welles left Hollywood for Europe. In Italy he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.
In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box-office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.
In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an aging film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973) , a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared on his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.
Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
God of fire bring your light
forger of sun help me now
guardian of the shore will sleep in your warmth
lull the folk of cold water
banish the serpents of the dark
to the river let me go and fetch my son awa
It’s April 1st somewhere in the world, right? Well, no games today, just a straight up building contest!
May we present to you: Digital Forgery – digital seed parts, physical prizes! Can you build a cool MOC with a seed part that doesn't actually exist?
Head over to the Discord for the details!
You have until the end of April 1st (anywhere on earth) to build with the (supplied) seed part!
The best of the digital forgers will win his very own Blacksmith shoppe.
'YOR FORGER - SPY X FAMILY' - 'COSPLAY BY GRACIE' - 'MAGNA SCIENCE MUSEUM COSPLAY EVENT' -
'UNLEASHED EVENTS' - MAY 11th 2025
British postcard in the Picturegoer Series, London, no. W 130. Photo: RKO Radio.
American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).
George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalised at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten, Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose to travel to Europe instead. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in 'Jew Suss' as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful 'Everybody's Shakespeare'. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in 'Romeo and Juliet'. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.
In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became the executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to the radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”
Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.
Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after the early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.
Orson Welles left Hollywood for Europe. In Italy, he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.
In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong, he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris, he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia, he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.
In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an ageing film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973), a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared in his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.
Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.
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Dedham is a village within the borough of Colchester in northeast Essex, England, situated on the River Stour and on the border of Essex and Suffolk. The nearest town to Dedham is the small market town of Manningtree. It is frequently rated as containing some of England's most beautiful Lowland landscape, most particularly the Water Meadows of the River Stour, which passes along the northern boundary of the village forming the boundary between the counties of Essex and Suffolk. Dedham has a central nuclear settlement around the Church and the junction of Mill Lane and the High Street. Connected to Dedham are the hamlets of The Heath and Lamb Corner. The village forms a key part of the Dedham Vale. A group of early dissenters left Dedham to found the township of Dedham in the Massachusetts Bay Colony in 1635. Under the leadership of John Rogers, a preacher banned from his work in England, they established a settlement on the western edge of the colony first established in 1628, now a suburb of the city of Boston. Despite some early setbacks this township eventually proved very successful and a number of prominent US families can trace their ancestry from these early arrivals from East Anglia - see note below on William Tecumseh Sherman. Dedham is at the heart of 'Constable Country' - the area of England where John Constable lived and painted. Constable attended the town's Grammar School (now the 'Old Grammar School' and 'Well House'), and he would walk to school each morning alongside the River Stour from his family's home in East Bergholt. Many of Constable's paintings feature Dedham, including Dedham Mill, which his father owned, and Dedham Parish Church, whose massive Caen stone and flint tower is a focal point of the surrounding Dedham Vale. In 1937, Cedric Morris and Arthur Lett-Haines founded the East Anglian School of Painting and Drawing at Dedham. When, however, this burnt down, they moved to Hadleigh, Suffolk. Of longer influence in Dedham was the horse painter Sir Alfred Munnings, who became President of the Royal Academy. His house in Dedham, Castle House, now contains a gallery of his work, and his studio. Tom Keating, the art restorer and famous art forger, was a Dedham resident until his death in 1984. He is buried in the churchyard of Dedham Parish Church. Dedham Parish Church - St. Mary the Virgin, Dedham; the present building dates from the late 15th century, and was the last medieval 'wool church' to be completed, albeit in a more economical style that was originally intended. The Ascension by John Constable is on permanent display in the church. A viewing platform on top of the tower (open to the public from Easter to Harvest) gives excellent views of the lower part of the Stour valley.
Sherman's Hall, a Grade I listed, Georgian-fronted townhouse used as a school until 1873 and now belonging to the National Trust. Formerly a rich wool town and market town, Dedham is now still a flourishing commercial village, housing a post office, butcher, Co-op, grocer, delicatessen, art shop and various other shops. Agriculture is also important with mainly arable land, but also cattle grazing on the water meadows and some sheep on Grove Hill. There is an industrial estate near the A12, the main road which passes through the west of the village. A business centre and nursing home have recently opened.
From Wikipedia, the free encyclopedia
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Dedham is a village within the borough of Colchester in northeast Essex, England, situated on the River Stour and on the border of Essex and Suffolk. The nearest town to Dedham is the small market town of Manningtree. It is frequently rated as containing some of England's most beautiful Lowland landscape, most particularly the Water Meadows of the River Stour, which passes along the northern boundary of the village forming the boundary between the counties of Essex and Suffolk. Dedham has a central nuclear settlement around the Church and the junction of Mill Lane and the High Street. Connected to Dedham are the hamlets of The Heath and Lamb Corner. The village forms a key part of the Dedham Vale. A group of early dissenters left Dedham to found the township of Dedham in the Massachusetts Bay Colony in 1635. Under the leadership of John Rogers, a preacher banned from his work in England, they established a settlement on the western edge of the colony first established in 1628, now a suburb of the city of Boston. Despite some early setbacks this township eventually proved very successful and a number of prominent US families can trace their ancestry from these early arrivals from East Anglia - see note below on William Tecumseh Sherman. Dedham is at the heart of 'Constable Country' - the area of England where John Constable lived and painted. Constable attended the town's Grammar School (now the 'Old Grammar School' and 'Well House'), and he would walk to school each morning alongside the River Stour from his family's home in East Bergholt. Many of Constable's paintings feature Dedham, including Dedham Mill, which his father owned, and Dedham Parish Church, whose massive Caen stone and flint tower is a focal point of the surrounding Dedham Vale. In 1937, Cedric Morris and Arthur Lett-Haines founded the East Anglian School of Painting and Drawing at Dedham. When, however, this burnt down, they moved to Hadleigh, Suffolk. Of longer influence in Dedham was the horse painter Sir Alfred Munnings, who became President of the Royal Academy. His house in Dedham, Castle House, now contains a gallery of his work, and his studio. Tom Keating, the art restorer and famous art forger, was a Dedham resident until his death in 1984. He is buried in the churchyard of Dedham Parish Church. Dedham Parish Church - St. Mary the Virgin, Dedham; the present building dates from the late 15th century, and was the last medieval 'wool church' to be completed, albeit in a more economical style that was originally intended. The Ascension by John Constable is on permanent display in the church. A viewing platform on top of the tower (open to the public from Easter to Harvest) gives excellent views of the lower part of the Stour valley.
Sherman's Hall, a Grade I listed, Georgian-fronted townhouse used as a school until 1873 and now belonging to the National Trust. Formerly a rich wool town and market town, Dedham is now still a flourishing commercial village, housing a post office, butcher, Co-op, grocer, delicatessen, art shop and various other shops. Agriculture is also important with mainly arable land, but also cattle grazing on the water meadows and some sheep on Grove Hill. There is an industrial estate near the A12, the main road which passes through the west of the village. A business centre and nursing home have recently opened.
From Wikipedia, the free encyclopedia
I quickly gather up the rest of the suit and put it on before Vic activates his remote link to the Watchtower's teleporter. Normally I wouldn't need to bother wearing the cowl going up to the watchtower, heck there have been days where Clark came up straight from work to cover monitor duty. Boy it was funny watching Hal be baffled when Clark Kent showed up when he expected Superman. But the reason I need to protect my identity isn't because I'm going to the watchtower. It's hopefully where Diana will take me.
"If the login records are correct, Diana should be on monitor duty at the moment."
"Thanks Victor."
"What do you need Diana for anyways?"
"It's not what I need from her, it's what I need from someone only she can get me to."
"Who would that be Bruce?"
As those words echo through out the teleport room the oh so familiar figure of Diana enters the room. I haven't seen her for a couple of weeks lately. A combination of both troubles on Themyscira and the recent events in Gotham have stopped the two of us from crossing paths.
"Good to see you Diana."
"And you. Victor was saying how concerned he was about how he hadn't heard anything from you."
"Not to mention the fact that you've managed to block out my connection to the bat computer for the most part."
"Didn't stop you seeing that I'd engaged the nightmare protocol."
It's only the thing I can see when I try to access your computer these days."
"Well after that stunt with Grid I'm not willing to leave every computer at your will and mercy."
"I know Bruce. I still remember those days like they were yesterday."
"We all do Victor. Now who is it you need my help in reaching Bruce?"
"I need to see Hephaestus."
"Hephaestus? Why him?"
"There's this man terrorising Gotham. Despite my best efforts I've been unable to best him in combat. I'm hoping Hephaestus can provide me with a weapon to help me turn the tide in my favour."
".....What's so special about this man? So special that you're willing to deal with Hephaestus rather than the League?"
"I can't tell you Diana. But I need you to take me to Hephaestus."
"Well I'm not taking you unless I have a good reason to. Hephaestus may be known as the forger for the gods but he is also a god himself. You know all to well that only those considered gods may enter his realm, so I need a good reason to vouch for why I'm bringing you in the first place."
"....I've been compromised."
"You mean?"
"Yes. Someone knows that the Batman is Bruce Wayne."
">....How?"
"I have my suspicions, but now you see why it's imperative I'm able to restrain this man. Not just for my sake, but possibly the League's as well."
"If one of us is compromised, the others may be at risk of exposure as well."
"That's why I don't want the League getting involved. Tim and I are already exposed so we have to deal with this ourselves before it gets out any further. The last thing I want is to bring the rest of you down with me."
"Then why seek Hephaestus? Surely my sword alone should suffice?"
"Usually it would. But there's something I require that your sword lacks. Not to mention if this individual is who I believe he is, I may require the sword again."
"You believe you know who this individual is?"
"Yes, and that's what why I need to stop him. Too many people have suffered because I've been unable to stop him. No more will suffer."
Silence falls over the room before Diana walks over to the teleport controls and begins inputting co-ordinates.
"Victor these are co-ordinates to the realm of Hephaestus. Please delete them once we've left."
"Of course."
Diana's own security protocol in effect. Whenever she needs to transport to the realm of a god or to Themysicra she always has Vic delete the co-ordinates from the record immediately after. The last thing we need if someone were to seize the watchtower is them learning how to find the gods of Olympus.
Vic climbs off the teleport pad and Diana takes his place.
"When we get there, let me do the talking. Hephaestus won't serve a mortal but he'll be happy to deal me."
"Guess that's the perks of being the Princess of the Amazons."
"Perhaps."
"Thank you Diana."
"Don't thank me yet. You have to meet with Hephaestus. Now Victor."
With that command the teleporter jolts to life and both of us become surrounded in a wall of white light. Victor watches on as we fade from view and head to the realm of Hephaestus.