View allAll Photos Tagged George
George Centre, Grantham at night. The grade 2* listed George Hotel (dating from 1780) was transformed into a shopping mall, which despite its attractiveness has failed to attact business and has recently been sold.
Grantham, Lincolnshire, High Street, George Centre
May 2017
French postcard by Cinémagazine-Edition, Paris, no. 598. Photo: Paramount.
Burly, beefy and tall George Bancroft (1882-1956) was an American film and stage actor who played many ill-tempered tough guys. He received an Oscar nomination for his part as Thunderbolt Jim Lang in Josef von Sternberg's gangster film Thunderbolt (1929). Bancroft is also well remembered as Marshal Curly Wilcox in John Ford's Western Stagecoach (1939).
George Bancroft was born in 1882 in Philadelphia, Pennsylvania. He attended high school at Tomes Institute in Port Deposit, Maryland. After working on merchant marine vessels at age 14, Bancroft was an apprentice on the USS Constellation and later served on the USS Essex and the West Indies. Additionally, during the Battle of Manila Bay (1898), he was a gunner on the USS Baltimore. During his days in the Navy, he staged plays aboard ship. In 1900, he swam underneath the hull of the battleship USS Oregon to check the extent of the damage after it struck a rock off the coast of China. For this, he won an impressive appointment to the United States Naval Academy at Annapolis. He graduated as a commissioned officer, and served in the Navy for the prescribed period of required service but no more. He decided to turn to show business, first as a theatre manager. In 1901, Bancroft began acting in earnest, as he toured in plays and had juvenile leads in musical comedies. In vaudeville, he did blackface routines and impersonated celebrities. By 1923, he was good enough for Broadway and spent about a year there doing two plays, the musical comedies Cinders (1923) and The Rise of Rosie O'Reilly (1923). Two years earlier, he had already made his first appearance in the silent film The Journey's End (1921). Being a big man with dark features, he was a natural for heavies. And it seemed that early Westerns were an easy fit as well after his first four films. Through 1924 and into 1925, he did four, culminating with pay dirt in his appealing performance as rogue Jack Slade in the silent Western The Pony Express (James Cruze, 1925). With him was another up-and-coming character actor, Wallace Beery. Bancroft's acting made Paramount Pictures take a look at him as star material. He played an important supporting role in a cast including Wallace Beery and Charles Farrell in the period naval widescreen epic Old Ironsides (James Cruze, 1926). His roles as tough guy took on more flesh in his association with director Josef von Sternberg and his well-honed gangster films. The first of these was Underworld (Josef von Sternberg, 1927) with Clive Brook and Evelyn Brent. Journalist and screenwriter Ben Hecht won an Academy Award for Best Original Story. He next appeared in von Sternberg's The Docks of New York (Josef von Sternberg, 1928) with Betty Compson and Olga Baclanova, and their work culminated with Thunderbolt (Josef von Sternberg, 1929) for which Bancroft received an Oscar nomination. He was tops at the box office.
George Bancroft played the title role in The Wolf of Wall Street (Rowland V. Lee, 1929), released just prior to the Wall Street Crash. It was Bancroft's first talkie. He appeared in Paramount's all-star revue Paramount on Parade (Elsie Hanis, a.o., 1930) and the crime film Blood Money (Rowland Brown, 1933) with Frances Dee and Judith Anderson. His various on-screen personas as bigger-than-life strong man was not far from his off-screen character as Hollywood notability got to him. It was recalled that he became more difficult to deal with as his ego grew. William McPeak at IMDb: "At one point, he refused to obey a director's order that he fall down after being shot by the villain. Bancroft declared, 'One bullet can't kill Bancroft!'" He stayed busy through the 1930s as older and stouter featured characters. Bancroft was getting competition from younger character actors. In the early 1930s, his roles continued to typecast him as lead heavies, but increasingly, he was cast as second tier in later roles. He was paper editor MacWade in Mr. Deeds Goes to Town (Frank Capra, 1936), starring Gary Cooper and Jean Arthur, a doctor in A Doctor's Diary (Charles Vidor, 1937), a contracter in Angels with Dirty Faces (Michael Curtiz, 1938) with James Cagney and Humphrey Bogart, and a warden in Each Dawn I Die (William Keighley, 1939) with Cagney and George Raft. Most memorably is his Marshal Curly Wilcox in the classic Western Stagecoach (John Ford, 1939), opposite John Wayne. Here he is particularly engaging as a tough lawman with a big heart. Into the 1940s, he only did a handful of films. But he again had a rogue's spotlight with another name director, Cecil B. DeMille, in one of his epics. He played a Texas Ranger chasing a murderer over the Canadian border in North West Mounted Police (Cecil B. DeMille, 1940) with a stellar cast including Gary Cooper, Madeleine Carroll, and Paulette Goddard as fleeing criminal, Jacques Corbeau's (Bancroft) daughter. By 1942, Bancroft had decided to move on, retiring with the intention of becoming a Southern California rancher. He quietly assumed this new role for a long run of 14 years before his passing. George Bancroft passed away in 1956 in Santa Monica, California. He was married twice, first to Edna Brothers, and after their divorce to silent film actress Octavia Broske. They had a daughter Georgette.
Sources: William McPeak (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
George Clooney, Tilda Swinton among the honorees at the 38th Telluride Film Festival from September 2-5 in Telluride, Colorado.
French postcard by Editions du Globe, Paris, no. 760. Photo: Studio Harcourt.
Singer-songwriter and poet Georges Brassens (1921-1981) is an iconic figure in France. He wrote and sang, with his guitar, more than a hundred of his poems, as well as texts from many others such as Victor Hugo, Paul Verlaine, or Louis Aragon. Between 1952 and 1976, he recorded fourteen albums that include several popular French Chansons. Most of his texts are black humour-tinged and often anarchist-minded. His most famous film is Porte des Lilas/Gates of Paris (René Clair, 1957).
Georges Charles Brassens was born in 1921 in the town of Sète, a town in southern France near Montpellier. Brassens grew up in the family home in Sète with his mother, Elvira Dagrosa, father, Jean-Louis, half-sister, Simone, and paternal grandfather, Jules. His mother was a devout Roman Catholic, while his father was an easy-going, generous, openminded, anticlerical man. Brassens grew up between these two starkly contrasting personalities, who nonetheless shared a love for music. His mother, Simone and Jules, were always singing. This environment imparted to Brassens a passion for singing that would come to define his life. A poor student, Brassens performed badly in school. Alphonse Bonnafé, his literature teacher strongly encouraged the 15-years-old Braassens’s apparent gift for poetry and creativity. Bonnafé would later write the first Brassens biography in 1963. Georges listened constantly to his early idols: Charles Trenet, Tino Rossi, and Ray Ventura. At age seventeen, Georges and his gang started to steal from their families and others. Georges stole a ring and a bracelet from his sister. The police found and caught him, which caused a scandal. The young men were publicly characterized as ‘voyous’ (high school scum). Brassens was expelled from school. Following a short trial as an apprentice mason in his father's business, he moved to Paris in 1940 to live with his aunt and work at the Renault car factory. In the meantime, he learned piano and wrote some of his first original compositions. He stayed there after World War II had broken out while he felt that this was where his future lay and wrote his first collection of poems. Brassens published two short poetry collections in 1942, thanks to the money of his family and friends. In 1943, he was forced by the Germans to work in a labor camp at a BMW aircraft engine plant in Basdorf near Berlin in Germany. Here Brassens met some of his future friends, such as Pierre Onténiente, whom he called Gibraltar because he was "steady as a rock." Onténiente later became his right-hand man and his private secretary. After being given ten days' leave in France, he took refuge in a small cul-de-sac called "Impasse Florimont," in the 14th arrondissement of Paris. Without much else to occupy him, Brassens spent his days composing songs and writing music, eventually teaching himself the guitar based on his prior experience with the mandolin. There he lived for several years with its owner, Jeanne Planche and her husband Marcel in relative poverty: without gas, running water, or electricity. Brassens remained hidden there until the end of the war five months later, but ended up staying for 22 years. Planche was the inspiration for Brassens's song Jeanne.
In 1946, after the war had ended, Georges Brassens published the first of a series of virulent, black humour-tinged articles in the anarchist journal Le Libertaire. The following year, he also published his first novel, La Lune Écoute Aux Portes, and met Joha Heiman, the woman he would love -- and write about -- for the remainder of his life. His friends who heard and liked his songs urged him to go and try them out in a cabaret, café or concert hall. He was shy and had difficulty performing in front of people. At first, he wanted to sell his songs to well-known singers such as "les frères Jacques". In 1952 he met the singer Patachou, owner of a very well known cafe, Les Trois Baudets. Though Brassens had never considered himself a singer, Patachou convinced him to try his hand at performing himself. A bass player present at the audition, Pierre Nicolas, quickly joined Brassens in support, and would serve in that capacity for the remainder of the singer's career. Jacques Brel and Léo Ferré came also into the music industry with the help of Patachou. With her help, Brassens met Polydor exec Jacques Canetti, and landed a record deal. His first single, Le Gorille, was released later in 1952, and stirred up controversy with its strong anti-death penalty stance; in fact, it was banned from French radio until 1955. In these years, Brassens achieved fame with his elegant songs with their harmonically complex music for voice and guitar and articulate, diverse lyrics. He won the prestigious Grand Prix du Disque de l'Academie Charles Cros in 1954 for his EP Le Parapluie, and spent much of the year touring Europe and northern Africa. In 1957, he made his film debut in Porte des Lilas/Gates of Paris (René Clair, 1957). An old bum (Pierre Brassens) becomes infatuated with a pretty young girl (Dany Carrel) who gets entangled with a young gangster (Henri Vidal). Brassens played an important part as an the bum’s friend, L'Artiste, a taciturn, solitary bard, whose character seems to have been based on Brassens himself. Peter Beagle at IMDb: “The film turned out to be a delightful, warmhearted work, holding up remarkably well on repeated viewings, and Brassens makes an excellent deadpan foil for the great Pierre Brasseur. And the songs he wrote for the film remain among the best of his classic repertoire.” Brassens performed his songs in several other films, but his main focus was live performing. He later on made several appearances at the Paris Olympia and at the Bobino music hall theater. He toured with Pierre Louki, who wrote a book of recollections entitled Avec Brassens. During these performances he accompanied himself on acoustic guitar. Most of the time the only other accompaniment came from his friend Pierre Nicolas with a double bass, and sometimes a second guitar (Barthélémy Rosso, Joël Favreau). He released several more LPs over the remainder of the 1950s, during which time chronic kidney ailments began to affect his health, resulting in periodic hospitalizations. In the following decades he continued to tour. His songs often decry hypocrisy and self-righteousness in the conservative French society of the time, especially among the religious, the well-to-do, and those in law enforcement. The criticism is often indirect, focusing on the good deeds or innocence of others in contrast. His elegant use of florid language and dark humor, along with bouncy rhythms, often give a rather jocular feel to even the grimmest lyrics. Brassens’s lyrics are difficult to translate, though his work is translated in more than 20 languages. Georges Brassens died of cancer in 1981, in Saint-Gély-du-Fesc, having suffered health problems for many years. He was 60. Brassens rests at the Cimetière le Py in Sète.Steve Huey at AllMusic: “Along with Jacques Brel, he became one of the most unique voices on the French cabaret circuit, and exerted a tremendous influence on many other singers and songwriters of the postwar era. His poetry and lyrics are still studied as part of France's standard educational curriculum.”
Sources: Peter Beagle (IMDb), Steve Huey (AllMusic), Wikipedia and IMDb.
Jean-Antoine Houdon, George Washington, 1788-92, marble, 6′ 2″ high (State Capitol, Richmond, Virginia)
The George Washington Bridge (known informally as the GWB) is a
suspension bridge over the Hudson River, connecting the Washington
Heights neighborhood in the borough of Manhattan in New York City to
Fort Lee in New Jersey. The bridge carries Interstate 95, U.S. Route
1, U.S. Route 9, and U.S. Route 46 over it. It is considered one of
the world's busiest bridge in terms of vehicle traffic; In 2004, the
bridge carried 108,404,000 vehicles, with current AADT estimates of
nearly 300,000 vehicles daily. It is currently the fourth largest
suspension bridge in the U.S.
from wikipedia
St George Wharf, Lambeth, long exposure at dusk
PERMISSION TO USE: Please check the licence for this photo on Flickr. If the photo is marked with the Creative Commons licence, you are welcome to use this photo free of charge for any purpose including commercial. I am not concerned with how attribution is provided - a link to my flickr page or my name is fine. If used in a context where attribution is impractical, that's fine too. I enjoy seeing where my photos have been used so please send me links, screenshots or photos where possible. If the photo is not marked with the Creative Commons licence, only my friends and family are permitted to use it.
From: Crown Studios' New South Wales officers and men of the Australian Imperial Force (A.I.F.) and the Australian Naval Forces : portrait collection, 1919
Date of Birth: 5.1.[no year]
Date of Enlistment: [no year]
Trade or Calling:
Born in or near what Town: Wallarabba NSW
Address prior to Enlistment: Wallarabba NSW
Rank, Number, Battalion, Distinctions:
Casualties and where:
Name & Address of Next of Kin: Mr J. Killner Wallarabba NSW
Name and last address of Father: John Killner
acmssearch.sl.nsw.gov.au/search/itemDetailPaged.cgi?itemI...
I was standing on a street corner in downtown Toronto with a group of commuters waiting for a streetcar home at the end of the day. He was next to me and I noticed his St. Marten cap perched above a friendly face. He made eye contact and I told him I liked the hat because St. Marten is a beautiful place. He broke into a smile. “It sure is” he said. “I just got back from a visit there. A beautiful climate, very friendly people, and great food.” I told him my wife and I took our first Caribbean holiday to St. Marten quite a few years ago and greatly enjoyed it too. He told me he was lucky enough to spend a month because he has a friend who is living there. I introduced myself and we shook hands. Meet George.
One thing led to another as we waited for the streetcar and I learned that George is a retired electrician who spent his career doing industrial electrician work – mainly on power plants. When I commented that being an electrician is a great trade he said “It was good to me. I have worked in California, Australia, and Canada.” George is now retired and said he is doing as much travel as he can. “Now is the time, right?” When he told me he is 79 I said that surprised me as he didn’t look 79 to me. I commented that he is only 9 years ahead of me at 70. He quipped “I’ll take your nine years. You look good.” We were acting out the ritual familiar to people our age: complimenting each other on how young we look. We both chuckled at the unspoken fact that neither of us looks 30.
George was wonderfully open and good-natured. He told me he was born and raised in Guyana in South America and came to Canada at age 22. He had some electrician experience in Guyana but realized he needed papers in Canada and attended Ryerson Polytechnic School which is now a university where I take courses myself. When he learned I am a retired social worker he told me that his wife was a social worker employed in the justice system. He told me she died two years ago and I expressed my condolences. Sadness flickered over his face but was quickly brushed aside in exchange for his relaxed, warm smile.
George commented on my camera and I explained if we weren’t waiting for a streetcar, I would be asking him to be part of my Human Family photo project. He said he’d be happy to and invited me to take the portrait since traffic was heavy and there was not yet a streetcar in sight. I took him up on the offer and suggested we escape the crowd and walk around the corner to use a papered-over plywood wall as a simple background. As so often happens, George commented that it was a pretty dingy wall but I asked him to trust me and he did. The photos were rushed as I pictured our both missing the streetcar but when we returned to the crowd at the corner the streetcar was still a block away, impeded by heavy pre rush-hour traffic.
We continued to chat and stood next to each other on the crowded car after boarding and continued the conversation. We were at very close range in a crowd but I was still noticing the warmth in George’s face so I took a couple of quick portraits in the crowd as we talked. George was reflecting on how much Toronto has changed over the years (real estate prices, subway fares, and wages) and I agreed. When I invited him to share a few words for the project he thought for a moment and said “It’s all about people, isn’t it? Too many people spend their lives chasing money instead of enjoying people. I think they miss the whole point of life.” Ten minutes later it was time for him to transfer to the subway and for me to continue east so we parted company with a warm handshake.
Thank you George for making our wait for the streetcar so much more enjoyable. I’m sure we enjoyed it a lot more than the people surrounding us who were lost in thought or frustration at the length of the wait. Time passes quickly when you’re having fun. Thanks also for participating in my photo project.
This is my 373rd submission to The Human Family Group on Flickr.
You can view more street portraits and stories by visiting The Human Family.
Olga Georges-Picot (January 6, 1944 - June 19, 1997) was a French actress.
Born in Shanghai, China, she was the daughter of Guillaume Georges-Picot, the French Ambassador to China, and a Russian mother. Olga studied acting at the Actor’s Studio in Paris. Her acting career covered many diverse French and English films and television roles. She was featured in Playboy Magazine’s Sex in the Cinema and also on the front cover of the periodical Adam.
She played important roles in three classic mainstream films: Denise, the OAS mole, in The Day of the Jackal (1973); Countess Alexandrovna in Woody Allen’s Love and Death (1975); and Julie Anderson in Basil Dearden’s The Man Who Haunted Himself (1970). Her break-through role in the movies was as Catrine in the Alain Resnais’ film Je t'aime, je t'aime (1968). Earlier that year, she had appeared in the French television movie Thibaud the Crusader (1968).
Biographical information on her life and career leading to her apparent suicide on Thursday, 19 June 1997 is very limited and often incomplete. However, apparently Olga suffered from severe depression for unknown or unpublished reasons. Her bouts with depression apparently led to her suicide jump from the 5th floor of an apartment building that overlooked the river Seine, in Paris, France. (Wikipedia)
George has got to nine years of age and has now decided to sneak up on the back of the settee and watch the world go by !
Panasonic Lumix G3 ~ f4.2 @ 67MM , on camera flash, 1/160, iso 160 ~ lens ~ 45-200 Lumix f3.5
Dutch postcard by P.F. Cladder, Amsterdam, no. 49-62 kk. Photo: HABÉ Film.
George Formby (1904–1961) was Britain's most popular film comedian between 1934 and 1945, and one of the highest-paid stars. He appeared in 21 hit films, cut over 230 records, and entertained an estimated three million Allied Servicemen during World War II. His trademark was the ukulele - along with his buck-toothed grin.
George Formby was born in Wigan, Lancashire, as George Hoy Booth , the eldest of seven children. His father, George Formby Senior (real name James Booth), was a famous stage actor and comedian. He never wanted any of his family to enter show business and so George, Jr., was apprenticed as a jockey when he was seven and rode his first professional race at ten. On the death of his father in 1921, Formby abandoned his career as a jockey and started his own music hall career using his father's material. In 1924 he married dancer Beryl Ingham, who managed his career until her death in 1960. He allegedly took up the ukulele, for which he was later famous, as a hobby; he first played it on stage for a bet. In film and on stage, he generally adopted the character of an honest, good-hearted but accident-prone innocent who used the phrases: "It's turned out nice again!" as an opening line; "Ooh, mother!" when escaping from trouble; and a timid "Never touched me!" after losing a fistfight. What made him stand out, however, was his unique and often mimicked musical style. He sang comic songs, full of double entendre, to his own accompaniment on the ukelele. Some of his songs were considered too rude for broadcasting. His 1937 song, With my little stick of Blackpool Rock was banned by the BBC because of the lyrics, but Formby's cheerful, innocent demeanor and nasal, high-pitched Lancashire accent neutralized the shock value of the lyrics.
George Formby appeared in a sole silent film, By the Shortest of Heads (1915, Bert Haldane), and in 1934 he made his first sound film Boots! Boots! (1934, Bert Tracy). The film was successful and he signed a contract to make a further 11 with Associated Talking Pictures, which earned him a then-astronomical income of £100,000 per year. In his films he played essentially gormless incompetents, aspiring to various kinds of professional success (as cyclist or jockey) and even more improbably to a middle-class girlfriend, usually in the clutches of some caddish type with a moustache. Invariably he scored on both counts, in such films as No Limit (1935, Monty Banks), Keep Fit (1937, Anthony Kimmins), and Trouble Brewing (1939, Anthony Kimmins). Between 1934 and 1945 Formby was the top comedian in British cinema, and at the height of his film popularity, Let George Do It (1940, Marcel Varnel) with Phyllis Calvert, was exported to America.. This espionage comedy is still regarded as probably his best. He is a member of a concert party, who takes the wrong ship by mistake during a blackout, and finds himself in Norway (mistaking Bergen for Blackpool) as a secret agent. A dream sequence in which he punches Hitler on the nose and addresses him as a ”windbag" is one of the most enduring moments in film comedy. In the post-war years, the Formbys toured Australia and New Zealand, Scandinavia and Canada, and in 1951 George took the West End by storm in the new musical Zip Goes A Million. A weak heart led to his official retirement in 1952 although he had since occasionally appeared on the stage and in pantomimes. His final heart attack occurred at the home of his fiancée, Patricia Howson, 36. The announcement of their engagement was a surprise to many, coming as it did just two months after the death of Beryl. An estimated 100,000 mourners lined the route as his coffin was driven to the cemetary.
Sources: Brian McFarlane (Encyclopedia of British Film), Wikipedia, BBC On This Day, The George Formby Society, and IMDb.
George McCrae
- Rock Your Baby (3'14)
- Rock Your Baby (Part 2) (2'05)
RCA Records / Deutschland 1974
ex vinyl-collection MTP
(Edited to add answer key)
I shot the same scene with eight different imaging devices. Which device shot George best?
Each photo was shot in full-auto mode and I made no adjustments to the image afterward. All I did was crop and scale each one to a size of 2048 pixels to facilitate your side-by-side comparison. Go ahead and click through to the full-size version if y'like.
To give you some idea of the detail in the image, I've also compiled a lightbox of thumbnails, clipped from the same region of the image at the file's full original resolution (and then scaled to common dimensions).
What to you think? Leave your comments in the comments. I'll post the "answer key" after these have been online for a bit.
One of the principal dancers in upcoming musical movie, "Perfectly Frank".
Seen here taking a well earned rest on a break between takes on location shoot, in the ballroom of Southport's "Prince of Wales" hotel.
Original Caption: President George W. Bush and Harriet Miers Tuesday, Sept. 11, 2001, aboard Air Force One.
U.S. National Archives’ Local Identifier: P7089-14
Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. (01/20/2001 - 01/20/2009)
From:: Photographs Related to the George W. Bush Administration, compiled 01/20/2001 - 01/20/2009
Production Date: 09/11/2001
Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=5997234
Repository: George W. Bush Library (Lewisville, TX)
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
French postcard by Agfa. Photo: Studio Harcourt.
Handsome and athletic Georges Marchal (1920-1997) was one of the main lead actors in the French cinema of the 1950s, together with Jean Marais. He starred in several costume dramas and Swashbucklers and later appeared in films of Luis Buñuel.
Georges Marchal was born as Georges Louis Lucot in Nancy, France, in 1920. In Paris, he followed secondary school, and then took classes in ballet and acrobatics. Many odd jobs followed, like courier, docker at the Les Halles market, and assistant at the Medrano circus. He enrolled in the course of Ms. Calvi, and was hired at the Théâtre du Palais-Royal for the play 'Permission de détente' (Permission to relax) by Yves Mirande. At 20, he joined the Comédie-Française to play in 'Iphigénie et Psyché' (Iphigenia and Psyche). He soon also played in boulevard comedies. His film career started with the comedy Fausse alerte/The French Way (Jacques de Baroncelli, Bernard Dalban, 1940) starring Josephine Baker, which was only released in 1945. During the Occupation days, he was noted in Lumière d'été/Summer Light (Jean Grémillon, 1943) opposite Madeleine Renaud, Vautrin/Vautrin The Thief (Pierre Billon, 1943) with Michel Simon, and after the war, in Au grand balcon/The Grand Terrace (Henri Decoin, 1949) with Pierre Fresnay, about the heroic pilots who struggled, suffered and often died to carry the mail. He became the typical Jeune Premier of the French post-war cinema and posed as a rival of Jean Marais although he didn’t reach the same level. In 1951, he assumed the title role in Il naufrago del Pacifico/Robinson Crusoe (Jeff Musso, 1951), and for Sacha Guitry, he played the young Louis XIV in the star-studded Si Versailles m'était conté/Affairs of Versailles (Sacha Guitry, 1953). In 1951, he married actress Dany Robin. They were both young, beautiful, adored, and preserved their privacy in a house of Montfort l'Amaury. They made six films together, including La Voyageuse Inattendue/The Unexpected Voyager (Jean Stelli, 1949), based on an old script by Billy Wilder, and the comedy Jupiter (Gilles Grangier, 1952). Georges’ talent as a stuntman did wonders for his parts in costume films and swashbucklers such as Messalina (Carmine Gallone, 1952) with Maria Félix, Teodora, imperatrice di Bisanzio/Theodora, Slave Empress (Riccardo Freda, 1954) with Gianna Maria Canale, and Les trois mousquetaires/The Three Musketeers (André Hunebelle, 1953) in which he featured as D'Artagnan.
The arrival of the Nouvelle Vague (New Wave) sounded like the death knell for Georges Marchal. He moved to Italy to continue his career. With his muscular body, he was an ideal hero for the Peplum films (the Italian sword and sandal epics). He appeared in a dozen of them, including Nel Segno Di Roma/Sheba and the Gladiator (Guido Brignone - and uncredited Riccardo Freda and Michelangelo Antonioni, 1958) with Anita Ekberg, Le legioni di Cleopatra/Legions of the Nile (Vittorio Cottafavi, 1959) with Linda Cristal, and Sergio Leone's first solo directorial effort, Il colosso di Rodi/The Colossus of Rhodes (Sergio Leone, 1961) with Rory Calhoun. Marchal was a close friend of Luis Buñuel and also one of his preferred actors. Marchal starred in four of his films: Cela s'appelle l'aurore/That is the Dawn (1955) with Lucia Bosé, La mort en ce jardin/Death in the Garden (1956) with Simone Signoret, Belle de jour/Beauty of the Day (1967) with Catherine Deneuve, and La voie lactee/The Milky Way (1969) with Laurent Terzieff. Other interesting films he appeared in were the anthology film Guerre secrète/The Dirty Game (Terence Young, Christian Jaque, Carlo Lizzani, Werner Klinger, 1965) with Robert Ryan, the Romanian historical epic Dacii/The Dacians (Sergiu Nicolaescu, 1967) with Pierre Brice, Faustine et le bel été/Faustine and the Beautiful Summer (Nina Companeez, 1972) and Les Enfants du placard/The Closet Children (Benoît Jacquot, 1977) with Lou Castel. During the 1970s, he focussed on television and appeared in Quentin Durward (Gilles Grangier, 1971), as Philip IV the Fair in Les rois maudits/The Accursed Kings (Claude Barma, 1972), Gaston Phébus (Bernard Borderie, 1977), and Les grandes familles/The Great Families (Edouard Molinaro, 1988) with Michel Piccoli. He played a seductive older man in three TV-films based on the legendary Claudine novels by Colette, Claudine à Paris/Claudine in Paris (1978), Claudine en ménage/Pauline Engaged (1978) and Claudine s'en va/Claudine Goes (1978), all starring Marie-Hélène Breillat and directed by Edouard Molinaro. He also played Claude Jade's father in the fine TV Mini-series L'Île aux trente cercueils/The Island of Thirty Coffins (Marcel Cravenne, 1979). He retired in 1989. His last film appearance had been as General Keller in L'Honneur d'un capitaine/A Captain’s Honour (Pierre Schoendoerffer, 1982) about the French army's behaviour in Algeria. Georges Marchal died in 1997 in Maurens, France, following a long illness. He was married to Dany Robin from 1951 till their much-publicised divorce in 1969. He remarried in 1983 to Michele Heyberger.
Sources: Hal Erickson (AllMovie), Pablo Montoya (IMDb), Ciné-Ressources, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.