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German postcard by Ross Verlag, no 9545/1, 1935-1936. Photo: Pallas-Film der Terra. Sybille Schmitz in Fährmann Maria/Ferryman Maria (Frank Wisbar, 1936).
Beautiful German actress Sybille Schmitz (1909-1955) started her career in the era of silent cinema. With her typical face and her relaxed, slightly mysterious way of playing, she became a prominent Ufa star during the Third Reich. After the war she was beset by drug abuse and depression and at 45, she committed suicide.
Sybille Maria Christina Schmitz was born in Düren, in the west of Germany, in 1909. She was the daughter of a confectioner. Schmitz attended an acting school in Köln (Cologne) and got her first engagement at Max Reinhardt's Deutsches Theater in Berlin in 1927. Reinhardt was the most famous stage director of the Weimar Republic. Only one year later, she made her film debut with the SPD party film Freie Fahrt/Free Ride (1928). Her role as a mother who dies of premature birth attracted her first attention from critics. Her other early films include Tagebuch einer Verlorenen/Diary of a Lost Girl (Georg Wilhelm Pabst, 1929) starring Louise Brooks, and Vampyr/Castle of Doom (Carl Theodor Dreyer, 1932) as the haunting beauty Leone. Her beautiful face with the shy look, enormous brooding eyes and sad mouth had a touch of strangeness and loneliness. In the following years, she often played a mysterious and unapproachable woman. She played her first leading role in the SciFi film F.P.1 antwortet nicht/F.P.1 Doesn't Answer (Karl Hartl, 1932) opposite Hans Albers. Schmitz then established herself as a prominent Ufa star with Der Herr der Welt/Master of the World (Harry Piel, 1934), Abschiedswalzer/Farewell Waltz (Géza von Bolváry, 1934), the Oscar Wilde adaptation Ein idealer Gatte/An Ideal Husband (Herbert Selpin, 1935) with Brigitte Helm, and the horror thriller Fährmann Maria/Death and the Maiden (Frank Wisbar, 1936), in which she played a ferry person attempting to save a doomed youth from Death. Schmitz and the alcoholic Wisbar lived some years together. Nazi minister of propaganda, Joseph Goebbels, disliked her and thought her "too foreign." Schmitz suffered blacklisting by the regime for a while but stage director Gustaf Gründgens persuaded Goebbels to allow her to star in Der Tanz auf dem Vulkan/Dancing on the Volcano (Hans Steinhoff, 1938), one of the many circus melodramas made during the Nazi regime. She also had roles in Die Frau ohne Vergangenheit/The Mysterious Woman (Nunzio Malasomma, 1939), Trenck, der Pandur (Herbert Selpin, 1940) with Hans Albers, and Titanic (Herbert Selpin, 1943), a technically amazing – for 1943 – film version of the sinking of the British luxury liner in 1912. According to Hans J. Wollstein at AllMovie, the film “was promptly banned by Goebbels for being too depressing and not anti-British enough. The drama survives, however, and Schmitz once again offers a standout performance.”
After World War II, Sybille Schmitz was shunned by the German film community for continuously working during the Third Reich, and it became difficult for her to land roles. She appeared in supporting roles in such films as Zwischen gestern und morgen/Between Yesterday and Tomorrow (Harald Braun, 1947) starring Hildegard Knef, Sensation im Savoy (Eduard von Borsody, 1950), and Illusion in Moll/ Illusion in a Minor Key (Rudolf Jugert, 1952), but was beset with drug abuse, depression, several suicide attempts and the committal to a psychiatric clinic. In 1940 she married author Harald G. Petersson who wrote many of her screenplays and later would write the screenplays for the Winnetou films. Schmitz was bisexual and had a relationship with acting teacher Beate von Molo. Petersson could not cope with his wife’s bisexuality and her ever-increasing consumption of alcohol, so they went their separate ways. Ironically, the last film she made less than two years before taking her own life, Das Haus an der Küste/The House on the Coast (Bosko Kosanovic, 1953, now considered a lost film), had Sybille's character committing suicide as a last act of desperation. In 1955, Sybille Schmitz took a fatal overdose of sleeping pills in Munich. She was 45 years old. Schmitz left a note, not blaming anyone in particular for her death and stating that she simply grew weary of her life. One year later, an action was brought against her doctor, Dr. Ursula Moritz, for improper medical treatment. Schmitz's tragic final years inspired Rainer Werner Fassbinder to his acclaimed film Die Sehnsucht der Veronika Voss/Veronika Voss (1982) with Rosel Zech as the tragic film star of the title.
Sources: U. Pothoff (Sybille Schmitz – Die Unbekannte), Hans J. Wollstein (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
This gentleman is getting his point across at Quorn and Woodhouse Station during the Great Central Railway's 1940s Event on the 3rd of June 2023, a glorious early summer day.
Canon F1, 50mm f1.2L Lens, Ilford XP2 rated at ISO 200
Some background:
After the space-worthy conversion of the CVS-101 Prometheus and the SLV-111 Daedalus carriers, these ships were docked with the SDF-1 Macross and it became clear that this new gigantic vessel required a specialized unit with a heavy armament for medium range defense.
The resulting Space Defense Robot (SDR) Phalanx was tailored to this task. Development of the Phalanx began in a hurry, during the already ongoing Space War I in July 2009. Its systems and structural elements were, to save time and minimize development risks, taken over from a pre-war Destroid standard mass production model. The "Type 04" biped chassis from 2001 was common to several Destroid types, including the Tomahawk medium battle robot and the Defender anti-aircraft robot. The main frame from the waist down included a common module which consolidated the thermonuclear reactor and ambulatory OverTechnology system, and for the Phalanx it was combined with a new, jettisonable torso that was suited to space operations and could also act as a rescue capsule with modest independent propulsion. Thanks to this dedicated mission profile, the Phalanx was the best adapted Destroid to space operations, with the best zero-G maneuverability of any Destroid type during Space War I.
With this proven basis, the Phalanx quickly reached rollout in December of that year. Armed with dozens of missiles in two large launcher pods, the Phalanx made an excellent semi-mobile missile-based battery. On board of spaceships, the Phalanx also performed as a substitution deployment for the much more complex ADR-04-Mk X Destroid Defender, and it complemented this type with its longer-range guided missile weaponry. Minor Phalanx variants featured additional light close-range armament, such as a head-mounted gatling gun that replaced the original search light array, or more sophisticated sensor arrays. The latter led to the dedicated Mk. XIII version for space operations.
During the final battle of Space War I against the Zentraedi Bodol Zer Main Fleet, the Phalanx units, originally delivered in a sand-colored livery, were repainted in dark blue and refitted to fire long-range reaction warheads for use against space warships. The Phalanx’ on board of SDF-1 had their finest hour when the SDF-1 Macross broke through the Zentraedi fleet defenses and entered the interior of the massive Fulbtzs Berrentzs command vessel: all the Phalanx units unleashed their missiles and aided in the swift destruction of the enemy flagship.
However, Phalanx production only reached limited numbers, due to the type’s high grade of specialization and its inherent vulnerability in close combat - the Phalanx’ combat operation capability decreases substantially once the missile ordnance had been exhausted. Beyond the initial production on Earth, roughly 20 more Phalanx Destroids were also built aboard the SDF-1 Macross shipboard factories, and many of these were later updated from the Mk. XII to the Mk. XIII standard. Post-Space War I, Phalanx Destroids were deployed as part of defense forces on various military bases and used in the ground attack role as long-range infantry support artillery units, fighting from the second line of battle. Nevertheless, the Phalanx remained a stopgap solution and was quickly followed by the more versatile Destroid "Nimrod" SDR-04-Mk. XIV.
Technical Data:
Equipment Type: Space Defense Robot/heavy artillery
Accommodation: One pilot
Government: U.N. Spacy
Manufacturer: Macross Onboard Factories
Introduction: December 2009
Dimensions:
Height 12.05 meters overall (11.27 m w/o searchlight array)
Length 5.1 meters
Width 10.8 meters.
Mass: 47.2 metric tons
Powerplant:
1x Kranss-Maffai MT828 thermonuclear reactor, developing 2800 shp;
Auxillary Shinnakasu Industry CT 03 miniature thermonuclear generator, output rated at 970 kW.
Propulsion:
Biped, with limited zero-G maneuverability through many low-thrust vernier thrusters beneath multipurpose hooks/handles all over the hull.
Armament:
2x Howard SHIN-SHM-10 Derringer short-range high-maneuverability self-guided missile pods, one per arm, with 22 missiles each (missiles stored in two rows behind each other).
Production Notes:
The rather obscure Destroid Phalanx made its media debut in Super Dimension Fortress Macross, Episode 27, and it's actually the only occasion where it appears. Original mecha designer is/was Miyatake Kazutaka.
The kit and its assembly:
I have been pushing this build away from the workbench for a long time. I was – after building two conversions - missing a canonical Destroid Phalanx in my Macross mecha collection, and since I had one stashed away (you never know…) I tackled this project now. The kit is Bandai’s re-issue of Imai’s 1982 1:100 kit, a vintage “Matryoshka” construction (= build one element from two halves, place it between two more halves, etc.) which does not make the assembly process easy.
The kit was basically built OOB, but “under the hood” it received some mechanical mods and improvements. These primarily include scratched joints for the arms/launcher pods and the hip. The pods remained detachable through an internal styrene tube construction. An important improvement for the “04 chassis” is a completely now hip joint arrangement because the Phalanx’ OOB posture is pretty stiff, with the legs and feet facing straight forward. The mecha model is just supposed to just stand upright and with the model’s OOB joint options it is really hard to create a vivid poise at all, so that a 3rd dimension improves the posing options a lot. Furthermore, the bolts that hold the legs are prone to break off, even more so because the kit is from the 1st generation of mecha kits without vinyl caps and just a very tight joint fit to hold the appendages in place. My solution was the implantation of a new hip “bone”, made from plastic-coated steel wire, which is stiff in itself but can be bent in two dimensions. The thighs had to be modified accordingly, since the wire is much thinner than the original bolts, and it needs a rigid attachment point. Resulting gaps around the hip joints were filled with bits of paper tissue drenched in white glue.
Other visual improvements include launch tubes inside of the missile pods. These were made from thin plastic drinking straw material, they fill the (rather ugly and well-visible) blank space between the warheads. Additionally, the hollow “heels” were filled on their insides with putty.
While the kit itself is a pretty simple affair, fit is mediocre, and you have to expect PSR almost everywhere. A direly weak spot area is the shank’s rear: there’s a recession with a seam running right through, and there are side walls missing in the section, too. I tried to mend this through putty and decals.
Painting and markings:
Since I wanted to stick to the authentic OOB livery, I gave the model an overall basic color, a greenish-grey, dull beige (RAL 1019) from the rattle can. The canonical Phalanx also features some dark contrast highlights all over the hull, and these were created with RAL 7013 (Revell 46), an olive drab tone that looks, in contrast to the light beige, almost like a dull brown on the model. The box art suggests a very dark grey, but I found that this would not work too well with the overall light beige tone.
Strangely, the characteristic white trim on the lower legs that many Destroids carry was in this boxing provided with the decal sheet – other Destroid kits require them to be painted manually!
Otherwise there's hardly any other color on the Phalanx’ hull. The missile pod exhausts as well as the launcher interior were painted with steel metallizer (Humbrol 27003) and treated with graphite for a shiny finish, the inside of the launcher covers and the missile tips became bright red (Revell 332). The bellows in the knees became anthracite (Revell 06), later dry-brushed with a reddish brown.
Quite a challenge were the three search lights in the “head unit”, because they consist of massive molded opaque styrene. I simulated glass and depth through a bright silver base, with vertical stripes in thinned white and medium grey and a coat with white translucent paint on top of that. Finally, extra artificial light reflexes were added with opaque white paint and, finally, everything was sealed with glossy varnish, which also adds some visual depth.
The model was thoroughly weathered with a black-and-brown watercolor washing and a generous dry-brushing treatment with Hemp 168 (RAF Hemp). The decals came next, taken from the OOB sheet, the Bugs Bunny artwork on the lower right leg is a typical individual detail of many Destroids, taken from a WWII USAAF P-47D.
After some additional weathering with watercolors and some graphite rubbing around the many edges for a worn and beaten look, the model received an overall coat with acrylic matt varnish. After final assembly of the model’s elements, soot stains were added around the missile launchers’ openings as well as to the small thrusters, again with grinded graphite, and some mineral pigments were dusted onto the model with a soft, big brush, esp. around the lower areas.
A build that took some time because of the mediocre fit of the kit and the mechanical mods it IMHO requires. But I am quite happy with the outcome, “just a Destroid” in its gritty heavy ordnance look, and the dull beige suits the Phalanx well.
This was inspired by my record collection as you never know how good the B side is until you give it a go. Cheers and heres to a great week ahead
I took this photo of Civil War specialist actor, E.C. Fields, Jr., taking on the role of General Ulysses S. Grant at Camp Nelson, Kentucky. In 1864 the real General Grant visited the camp.
Our generation has forgotten just how formidable and brilliant this American commander was. It was the battles of America's bloodiest war, the Civil War, that would forge arguably America's greatest commander, General Ulysses S. Grant. In the British television series Great Commanders, Grant is placed among the world's six greatest military commanders of all time, among the likes of Alexander the Great, Julius Caesar and Britain's very own Horatio Nelson. He is the only American on that very short list. Consider this: Confederate general after general went up in vain against him. That is amazing considering that Grant studied from the same military playbook. He was taught by the same military professors at West Point, and fought in the same wars. Yet, this low-key quiet midwesterner was considered unpredictable, unorthodox and ruthless. He wouldn't be shackled by the manual that he had been trained so well on. He would learn and change course. He outfoxed even the greatest enemy commanders who rebelled against the United States.
In surveying American history, Theodore Roosevelt said in 1900 of Ulysses Grant, "Mightiest among the mighty dead loom the three great figures of Washington, Lincoln, and Grant." Roosevelt went on to place Benjamin Franklin, Thomas Jefferson and Alexander Hamilton in the second tier.
But the early 20th Century would erode Grant's considerable accomplishments. With the flourishing of Jim Crow laws and the erection of Confederate statues, the false reputation of Grant spread as a drunk, a brute and a crook.
Yet, this supposed brutish plebeian, who allegedly obtained his wins by sheer brute advantage and was no intellectual match for his opponents, would produce in his sunset days the Personal Memoirs of Ulysses S. Grant. The autobiography would be the literary standard of prose, conciseness and candor that broke from the norms of the time that all U.S. Presidents since consider before writing their memoirs. How did such a literary gem happen from such an unskilled bungler who won simply because he had logistical advantage on his side?*
Camp Nelson was a distribution center for the U.S. Army and it also became a recruiting and training center for the U.S. Colored Troops. Before the Emancipation Proclamation, southern slaves that ran to the U.S. Army from the Confederacy were considered contraband of war. Despite the demands of the states in rebellion, the U.S. refused to return the slave property back to their Southern owners. Eventually, thousands of slaves served the U.S. Army at Camp Nelson.
In 1864 General Grant actually visited Camp Nelson. Grant assessed that Camp Nelson was in a poor position as a distribution center within the military's supply chain for Army efforts against the Confederacy. But his colleague, General Sherman, persuaded the commander to keep the camp going in its role of a recruiting and training center for colored troops.
*Note: Mathematics and logistics, two under-appreciated military skills, were Grant's talents coming into the Civil War. He had a knack for both. Regarding book authors from Civil War commanders, I am also a fan of General Lew Wallace of the U.S. Army, who wrote the fictional work Ben Hur about how adversity and life's unfairness can make one stronger — something that General Wallace knew from experience.
a dream role i never got to play and now it's too late. my little homage to a lost chance.
"Good night, ladies; good night, sweet ladies; good night, good night."
~Hamlet
British postcard in the Picturegoer Series, London, no. W. 301. Photo: Boulting Bros.
English actor, film director and producer Richard Attenborough (1923) won two Oscars for Gandhi in 1983. He has also won four BAFTA Awards and three Golden Globe Awards. As an actor he is known for his roles in Brighton Rock (1947), The Great Escape (1963) and Jurassic Park (1993).
Richard Samuel Attenborough, Baron Attenborough was born in Cambridge, England in 1923. ‘Dickie’ was the eldest of three sons of Mary Attenborough née Clegg a founding member of the Marriage Guidance Council and Frederick Levi Attenborough, a scholar and academic administrator who was a don at Emmanuel College, Cambridge. Richard’s brothers were nature documentarian David Attenborough and John Attenborough, who was an executive at Alfa Romeo before his death in 2012. Attenborough was educated at Wyggeston Grammar School for Boys in Leicester and studied at the Royal Academy of Dramatic Art (RADA). At the age of 12, his acting career had started when he appeared in shows at Leicester's Little Theatre. Attenborough's film career began in an uncredited role as a deserting sailor in the war film In Which We Serve (Noël Coward, David Lean, 1942). During the Second World War Attenborough served in the Royal Air Force. After initial pilot training, he was seconded to the newly-formed RAF Film Unit at Pinewood Studios, under the command of Flight Lieutenant John Boulting where he appeared with Edward G. Robinson in the propaganda film Journey Together (John Boulting, 1943-1945). He then volunteered to fly with the Film Unit and after further training, where he sustained permanent ear damage, qualified as a sergeant, flying on several missions over Europe filming from the rear gunner's position to record the outcome of Bomber Command sorties. After the war, he made his breakthrough as a psychopathic young gangster in the film of Graham Greene's novel Brighton Rock (John Boulting, 1947), a part that he had previously played to great acclaim at the Garrick Theatre in 1942. Brighton Rock received critical acclaim and was the most popular British film of 1947. After that, he was type-cast for many years as working-class misfits or cowards in films like The Guinea Pig (Roy Boulting, 1948) in which the 26-year-old Attenborough was wholly credible as a 13-year-old schoolboy, London Belongs to Me (Sidney Gilliat, 1948) with Alastair Sim, and the naval drama Morning Departure (Roy Ward Baker, 1950) starring John Mills. In 1949 exhibitors voted Attenborough the 6th most popular British actor at the box office.
In 1952, Richard Attenborough starred in the original West End production of Agatha Christie's The Mousetrap, which went on to become the world's longest-running stage production. He took a 10% profit-participation in the production, which proved to be a wise business decision. During the 1950s, Attenborough worked prolifically in British films and appeared in successful comedies, such as Private's Progress (Roy Boulting, 1956) opposite Ian Carmichael, and I'm All Right Jack (Roy Boulting, 1959), also with Dennis Price. In the late 1950s, Attenborough formed a production company, Beaver Films, with Bryan Forbes. He began to build a profile as a producer on projects including the crime drama The League of Gentlemen (Basil Dearden, 1959), the drama The Angry Silence (Guy Green, 1960) with Pier Angeli, and Whistle Down the Wind (Bryan Forbes, 1961) starring Hayley Mills. In the first two, he also performed as an actor. In 1963 he appeared in the ensemble cast of The Great Escape (John Sturges, 1963) as RAF Squadron Leader Roger Bartlett (‘Big X’), the head of the escape committee and based on the real-life exploits of Roger Bushell. It was his first appearance in a major Hollywood film blockbuster and his most successful film up to that time. During the 1960s, he expanded his range of character roles in films such as Séance on a Wet Afternoon (Bryan Forbes, 1964) and Guns at Batasi (John Guillermin, 1964), for which he won the BAFTA Award for Best Actor for his portrayal of the Regimental Sergeant Major (RSM). In 1965 he played Lew Moran opposite James Stewart in The Flight of the Phoenix (Robert Aldrich, 1965), and in 1967 and 1968, he won back-to-back Golden Globe Awards in the category of Best Supporting Actor, the first time for The Sand Pebbles (Robert Wise, 1967), co-starring Steve McQueen and the second time for his comedic turn as a circus owner in Doctor Dolittle (Richard Fleischer, 1968) starring Rex Harrison. His feature film directorial debut was the all-star screen version of the hit musical Oh! What a Lovely War (Richard Attenborough, 1969). Sergio Angelini in Directors in British and Irish Cinema: “a project inherited from John Mills, who had developed the screenplay with Len Deighton from Joan Littlewood's stage production. This satiric fantasia on the First World War is largely set on Brighton Pier, but Attenborough and cinematographer Gerry Turpin successfully open out the play with a number of bravura sequences, the best remembered being the final shot which pulls back to reveal an entire hillside covered in white crosses.” He later directed two epic period films: Young Winston (Richard Attenborough, 1972), which starred his favourite leading man, Anthony Hopkins, as Winston Churchill, and A Bridge Too Far (Richard Attenborough, 1977), an all-star account of Operation Market Garden in World War II. His acting appearances became sporadic as he concentrated more on directing and producing. His portrayal of the serial killer John Christie in 10 Rillington Place (Richard Fleischer, 1971) garnered excellent reviews and he also played to great acclaim in Indian director Satyajit Ray's period piece The Chess Players (1977). Following his appearance in The Human Factor (Otto Preminger, 1979), he stopped with film acting for more than a decade.
In 1982, Richard Attenborough finally realized a project he had been attempting to get made for 18 years: Gandhi, featuring Ben Kingsley. It proved to be an enormous commercial and critical success. Gandhi won eight Academy Awards, and Attenborough himself was awarded the Oscar for Best Director and as the film's producer, the Oscar for Best Picture. He also won the Golden Globe as Best Director in 1983 for his historical epic. He also published his book In Search of Gandhi, another product of his fascination with the Indian leader. Attenborough then directed the screen version of the musical A Chorus Line (Richard Attenborough, 1985) and the anti-apartheid drama Cry Freedom (Richard Attenborough, 1987), based on the life and death of the prominent anti-apartheid activist Steve Biko and the experiences of Donald Woods. He was nominated for a Golden Globe Award for Best Director for both films. His most recent films as director and producer include the underrated Chaplin (Richard Attenborough, 1992) starring Robert Downey, Jr. as Charlie Chaplin and Shadowlands (Richard Attenborough, 1993), based on the relationship between C.S. Lewis (Anthony Hopkins) and Joy Gresham (Debra Winger). He made his come-back as an actor as the eccentric owner of a dinosaur theme park in Jurassic Park (Steven Spielberg, 1993) and the sequel, The Lost World: Jurassic Park (Steven Spielberg, 1997). He also starred in the remake of Miracle on 34th Street (Les Mayfield, 1994). Since then he has made occasional appearances in supporting roles, including as Sir William Cecil in the historical drama Elizabeth (Shekhar Kapur,1998) with Cate Blanchett, Jacob in Joseph and the Amazing Technicolor Dreamcoat (David Mallet, 1999) and as The Narrator in the film adaptation of Spike Milligan's comedy book Puckoon (Terence Ryan 2002). He made his only appearance in a Shakespeare film when he played the British ambassador who announces that Rosencrantz and Guildenstern are dead at the end of Kenneth Branagh's Hamlet (1996).
Richard Attenborough has been married to English actress Sheila Sim since 1945. With his wife, they founded the Richard and Sheila Attenborough Visual Arts Centre. He also founded the Jane Holland Creative Centre for Learning at Waterford Kamhlaba in Swaziland in memory of his elder daughter. Jane Holland, her mother-in-law, and her 15-year-old daughter Lucy were killed in 2004 when a tsunami caused by the Indian Ocean earthquake struck Khao Lak, Thailand where they were holidaying. Attenborough has two other children, Michael and Charlotte, an actress. Michael is a theatre director and the Artistic Director of the Almeida Theatre in London. In 1967, Richard Attenborough was made a Commander of the Order of the British Empire (CBE). He was knighted in 1976 and in 1993 he was made a life peer as Baron Attenborough, of Richmond upon Thames. At 84, he made his last film as director and producer, Closing the Ring (Richard Attenborough, 2007). According to Jason Buchanan at AllMovie, “Sixty-five years after making his screen debut as a young stoker in co-directors Noël Coward and David Lean's World War II drama In Which We Serve, Richard Attenborough perfects the balance between epic story and intimate tale with this drama starring Shirley MacLaine and Neve Campbell as a mother and daughter who find a relic from the past sparking an incendiary series of events.” Attenborough served as vice president (1973–1995) and president (2002–2010) of the British Academy of Film and Television Arts and as president of the Royal Academy of Dramatic Art (2003– ). For 33 years he was President of the Muscular Dystrophy Campaign, and he is also the patron of the United World Colleges movement. He passionately believes in education, primary education that does not judge upon colour, race, creed, or religion. In 2008 Attenborough published, in association with his long-standing associate Diana Hawkins, an informal autobiography Entirely Up to You, Darling. Later that year he entered the hospital with heart problems and was fitted with a pacemaker. In December 2008 he suffered a fall at his home after a stroke and went into a coma, but came out of it within a few days. Shortly before her 90th birthday, in June 2012 Sheila Sim entered the actors' home Denville Hall, for which she and Attenborough had helped raise funds. In March 2013, in light of his deteriorating health, Attenborough moved into Denville Hall to be with his wife.
Sources: Sergio Angelini (Directors in British and Irish Cinema), Jason Buchanan (AllMovie), Encyclopaedia Britannica, AllMovie, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
The Cutest Roly Bowly Pins that will entice your little ones to play with them. Easy to store in their own little bag. Carry them anywhere Source: www.shumee.in/products/skittles
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it was a outdoor portrait activity , i invited the pretty phillipinese girl 摩莎 to play a gunner role , she got beautiful deep eyes and nice figure , thank 摩莎 and her friend help , we did a great photo works at Taipei water museum garden
Pattern is the Roly Poly Pinafore by Imagine Gnats. Main fabric is Ghost Wing in Dusk by Anna Maria Horner, reverse is from Just Wing It by MoMo for Moda.
More details here;
www.craftstorming.com/2013/05/roly-poly-pinafore-blog-tou...
GB Railfreight Class 60, 60096 "Impetus" leads Class 66, 66785 across the Northwich Viaduct on 6E17 12:30 Liverpool Biomass Terminal to Drax Power Station.
This Saturday afternoon working is used to move locos across to Doncaster (via Drax) for repair and maintenance (or any other reason they're to be swapped out of the circuit).
More often than not when it's a Class 60 and Class 66 combination it's the 66 which is leading a stricken 60. The roles were reversed for this Halloween move, though, with the premium Brush traction on the front.
HMS Yarmouth was the first modified Type 12 frigate of the Rothesay class to enter service with the Royal Navy. From her commissioning in 1960, she performed in numerous roles, including the Third Cod War and the Falklands War.
On 13 July 1965, Yarmouth collided with the submarine Tiptoe, 10 miles South East of Portland Bill. Tiptoe survived, but had to be repaired at the yards of Cammell Laird. In May 1966 she began a long refit and modernisation at Portsmouth Dockyard. The main alterations were to build a hangar and flight deck for a Wasp Helicopter and to fit Seacat anti-aircraft missiles. She re-commissioned on 1 October 1968 for service in the Western Fleet and then in the Far East Fleet. In 1971 she was present at Portsmouth Navy Days.
In April 1970 whilst on the Beira Patrol she was diverted to be a long stop for the rescue of Apollo 13. Communications in the Indian Ocean were very poor. The recovery instructions were sent from Houston to Halifax, Nova Scotia where the Royal Canadian Navy sent them by morse code to the ship. Recovery manual was taken down by communications ratings, two at a time, in pencil and paper. Luckily the space craft came down amongst a US Navy task force with two aircraft carriers and television cameras in the Pacific Ocean.
In March 1976, in the course of the Third Cod War, Yarmouth was rammed and heavy damaged in her bow by the Icelandic gunboat Baldur. She had to limp away from the patrol area assisted by the Royal Maritime Auxiliary Service tug Rollicker. Yarmouth undergone repairs at Chatham, where she was fitted with a new bow section.
During the Falklands War she carried out a variety of tasks including shore bombardment, anti-submarine patrols, covert operations and escorting merchant ships to and from the landing area. On the early hours of 23 May 1982, along with Brilliant, she intercepted and shelled the Argentine coaster Monsunen west of Lively Island; the coaster evaded capture by running aground at Seal Cove. After the San Carlos Landings (Operation Sutton) she provided air defence during the Battle of San Carlos for the landing ships in San Carlos Water. On 25 May she shot down an A4C Skyhawk (C-319), flown by Teniente Tomás Lucero, with her Sea Cat missile system. Lucero ejected and was recovered by Fearless. On 13–14 June, she and Active fired on Argentine positions during the Battle of Mount Tumbledown. During the war she fired over 1,000 shells from her 4.5" guns, mostly during shore bombardment, and 58 anti-submarine Limbo mortar rounds.
She was decommissioned in 1986, and in 1987 towed out to the North Atlantic and sunk by weapons from Manchester in that year's SinkEx on 16 June 1987.
The Rothesay class, or Type 12M frigates were a class of frigates serving with the Royal Navy, South African Navy (where they were called President-class frigates) and the New Zealand Navy.
The original Type 12 frigates, the Whitby class, were designed as first-rate ocean-going convoy escorts in light of experience gained during World War II. However, such were the capabilities and potential of the design that it was deemed suitable for use as a fast fleet anti-submarine warfare escort. As such, a repeat and improved Type 12 design was prepared, known as the Type 12M (M for "modified"), and known as the Rothesay class after the lead ship. A total of twelve vessels were constructed, with the lead ship being laid down in 1956, two years after the last Whitby. The design was successful and popular, serving the Royal Navy and South African Navy well into the 1980s and serving with distinction in the Falklands war.
The Needles is a row of three distinctive stacks of chalk that rise out of the sea off the western extremity of the Isle of Wight, UK, close to Alum Bay. The Needles Lighthouse stands at the end of the formation. Built in 1859, it has been automated since 1994.
The formation takes its name from a fourth needle-shaped pillar called Lot's Wife that collapsed in a storm in 1764.] The remaining rocks are not at all needle-like, but the name has stuck.
The Needles were featured on the 2005 TV programme Seven Natural Wonders as one of the wonders of Southern England.
The Needles' pointed shape is a result of their unusual geology. The strata have been so heavily folded during the Alpine Orogeny that the chalk is near vertical. This chalk outcrop runs through the centre of the Island from Culver Cliff in the east to the Needles in the west, and then continues under the sea to the Isle of Purbeck, forming Ballard Cliff (near Swanage), Lulworth Cove and Durdle Door. It is also believed that The Needles were once connected to Old Harry Rocks (east of Studland and north of Swanage) where these strata lines moving from horizontal to near vertical can be seen from the sea.
Just off the end of the Needles formation is the Shingles, a shifting shoal of pebbles just beneath the waves. The Shingles is approximately three miles in length. Many ships have been wrecked on the Shingles.
The US Brig Niagara or the Flagship Niagara[a], is a wooden-hulled brig[b] that served as the relief flagship for Oliver Hazard Perry in the Battle of Lake Erie during the War of 1812. It is one of last remaining ships from the War of 1812. The Niagara is usually docked behind the Erie Maritime Museum in downtown Erie in the U.S. state of Pennsylvania as an outdoor exhibit for the museum, but travels the Great Lakes during the summer, serving as an ambassador of Pennsylvania when not docked. It was listed on the National Register of Historic Places in 1973 and was designated the official state ship of Pennsylvania by the Pennsylvania General Assembly in 1988.
The Niagara was constructed from 1812 to 1813 to protect the vulnerable American coastline on Lake Erie from the British and played a pivotal role in the battle for the lake. Along with most of warships that served in the war, the Niagara was sunk for preservation on Presque Isle in 1820. Raised in 1913, it was rebuilt for the centennial of the Battle of Lake Erie. After deteriorating, restoration of the Niagara was started again in the 1930s, but was hampered by the lack of funds caused by the Great Depression and remained uncompleted until 1963. A more extensive restoration was carried out in 1988 in which much of the original ship was largely destroyed. The incorporation of new materials and modern equipment makes it ambiguous as to whether it is or is not a replica.
市街地住宅からの景色。Urban high-rise residential building. sony a7III + Carl Zeiss(sony) Vario-Tessar FE 24-70mm F4
German collectors card in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 7. Photo: Ufa / Ross Verlag. Karin Evans and Conrad Veidt in Die letzte Kompagnie/The Last Company (Kurt Bernhardt, 1930).
Conrad Veidt (1893–1943) was the 'most highly strung and romantically handsome of the German expressionist actors'. From 1916 until his death, he appeared in over 100 films, including such classics as Das Kabinett des Doktor Caligari (1920) as the sleep-walking killer Cesare, and Casablanca (1942) as Nazi Major Heinrich Strasser. He played in the 'first gay film', Anders als die Andern (1919) and his starring role in The Man Who Laughs (1928) was the inspiration for Batman's greatest enemy, The Joker.
Hans Walter Conrad Veidt was born in 1893, in Potsdam, Germany. He attended the Sophiengymnasium (a secondary school) in the Schoeneberg district of Berlin, and graduated without a diploma in 1912. Veidt received his basic acting training and stage experience from Max Reinhardt, and appeared at the age of 20 — just before World War I — at Reinhardt's Deutsches Theater in Berlin. In 1914, he met actress Lucie Mannheim, with whom he began a relationship. Later in the year he was drafted into the German Army during World War I. In 1915, Veidt was sent to the Eastern Front as a noncommissioned officer and took part in the Battle of Warsaw. He contracted jaundice and pneumonia, and had to be evacuated to a hospital on the Baltic Sea. While recuperating, he received a letter from Lucie Mannheim informing him that she had found work at a front theatre. Intrigued, Veidt applied for the theatre as well. As his condition had not improved, the army allowed him to join the theatre so that he could entertain the troops. It was also during this time that his relationship with Mannheim ended. In late 1916, he was reexamined by the Army and deemed unfit for service; he was given a full discharge in January 1917. Veidt then returned to Berlin to pursue his acting career. Director Richard Oswald encouraged him to go into films. He was seen in such silent films as Der Weg des Todes/The Road of Death (Robert Reinert, 1917) with Maria Carmi, Furcht/Fear (Robert Wiene, 1917), Das Tagebuch einer Verlorenen/The Diary of a Lost Woman (Richard Oswald, 1918) with Erna Morena, Opium (Robert Reinert, 1919) with Werner Krauss, and as Lucifer in Satanas/Satan (F.W. Murnau, 1920) starring Fritz Kortner. The anonymous biographer at Lenin Imports writes: "Veidt was the most highly strung and romantically handsome of German expressionist actors. He was a creature from Poe's nightmares - tall, gaunt, glowing with a mixture of illness and ecstatic anxiety. Amid so many overweight actors, Veidt was an attenuated, hypersensitive figure, the aesthete or artist tormented by dark forces and driven to violence. His movements were deliberately slowed and prolonged".
With his impressive height, handsomely gaunt face, high cheekbones and wide, thin-lipped mouth, Conrad Veidt seemed a natural to play sinister, tortured roles. To many silent film fans, he is primarily known for his Cesare, the sleep-walking killer in Das Kabinett des Doktor Caligari/The Cabinet of Dr. Caligari (Robert Wiene, 1920). His first close-up of Cesare was riveting: a pale face and harrowed eyes, awakened from sleep. Unforgettable was also the rhythmic, boldly diagonal way he crept along a wall to kidnap Lil Dagover. Cesare became one of the most influential performances in the history of the fantasy and horror film. Veidt did a brave appearance in Magnus Hirschfeld's pioneering homosexual rights film Anders als die Andern/Different from the Others (Richard Oswald, 1919). It is credited as being the first gay film: it argued for reform of the harsh German laws regarding homosexuality. The film had a very short run in Germany before being pulled, and people who attended it were, according to the reviewer on IMDb, harassed. Veidt then worked in the full range of the German cinema: the Jekyll and Hyde film Der Januskopf/The Two-Faced Man (F. W. Murnau, 1920) with Béla Lugosi, the exotic adventure epic Das Indische Grabmal/The Indian Tomb (Joe May, 1921) starring Olaf Fønss and Mia May, the melodrama Der Gang in die Nacht/Journey Into the Night (F.W. Murnau, 1921), the historic film Danton (Dmitri Buchowetzki, 1922) starring Emil Jannings, and the drama Die Brüder Schellenberg/The Brothers Schellenberg (Karl Grune, 1926). He starred in three classic horror films, in Das Wachsfigurenkabinett/The Three Wax Works (Paul Leni, Leo Birinsky, 1924) as Ivan the Terrible, in Orlacs Hände/The Hands of Orlac (Robert Wiene, 1924) as Orlac, and in Der Student von Prag/The Student of Prague (Henrik Galeen, 1926) as the student and his doppelganger. In addition he directed also films himself, including Wahnsinn/Madness (1919) with Reinhold Schünzel, and Die Nacht auf Goldenhall/The Night at Goldenhall (1920) with his then-wife Gussy Holl.
Conrad Veidt worked briefly in Sweden – Ingmarsarvet/The Ingmar Inheritance (Gustaf Molander, 1925) with Lars Hanson, and in Italy - the Luigi Pirandello adaptation Enrico I/The Flight in the Night (Amleto Palermi, 1926). Then he took up an offer to play Louis XI to John Barrymore's Francois Villon in The Beloved Rogue (Alan Crosland, 1927). Veidt stayed in Hollywood for A Man's Past (George Melford, 1927), and The Last Performance (Paul Fejos, 1927). In The Man Who Laughs (Paul Leni, 1928) he played a disfigured circus performer, one of his most sublime performances. His grotesque grin was achieved with a prosthesis. Comic book artist and Batman creator Bob Kane, writer Bill Finger and artist Jerry Robinson used stills of Veidt in The Man Who Laughs as inspiration for the iconic supervillain The Joker. Back in Germany, Veidt made Germany's first talking picture Das Land ohne Frauen/The Land Without Women (Carmine Gallone, 1929) about Australia in the days when the search for gold fused together men of all nations. His beautiful speaking voice consolidated his star position. He was cast as Count Metternich in the immensely popular operetta Der Kongress Tanzt (Erik Charell, 1931) with Lilian Harvey, both in the original and in the English-language version, The Congress Dances (Erik Charell, 1931). He also appeared oppposite Elza Temary in Rasputin (Adolph Trotz, 1932) as the legendary mystic who ruled the czarist court in its last years, as the czarina hoped he could heal her son's haemophilia. In 1916 Rasputin was murdered by a number of aristocrats, but not before predicting the downfall of the regime.
Conrad Veidt then moved to England for the thriller Express Rome (Walter Forde, 1932) and The Wandering Jew (Maurice Elvey, 1933), the fantasy of the Jew who cursed Christ and found himself stuck on earth till the Second Coming. Back in Germany he was in F.P.I. Antwortet Nicht/F. P. 1 Doesn't Answer (Karl Hartl, 1933). Veidt sang the title song Where the Lighthouse Shines Across the Bay. It was a flop at the time, but became a hit in the United Kingdom in 1980. BBC presenter Terry Wogan had played it as a request on his breakfast show and was flooded afterwards with letters asking for a repeat. Veidt fervently opposed the Nazi regime. His activities came under the scrutiny of the Gestapo, and a decision was made to assassinate him. Veidt found out about the plot, and managed to escape Germany in 1933 a week after marrying a half-Jewish woman, Illona Prager. He was married twice before, and reportedly he was bisexual. He was first married to actress Gussy Holl (1919-1922) and in 1923 he married Felicitas Radke, a woman from an aristocratic German family. They divorced in 1932. Their daughter, Viola Veidt, was born in 1925. Her father settled in the United Kingdom and continued making films. In England, Veidt played in Jew Suss (Lothar Mendes, 1934), a satire of Nazi anti-Semitism, based on the novel by Lion Feuchtwanger. Although it was not a success with audiences, it did succeed in angering Nazi propaganda minister Josef Goebbels who banned all of Veidt's films from Germany. Veidt became a British citizen in 1938. His most interesting British pictures were two films directed by Michael Powell and Emeric Pressburger, The Spy in Black (1939) and Contraband (1940). When the war started, producer Alexander Korda shipped Veidt to the United States to play the Vizier in The Thief of Baghdad (Michael Powell, Tim Whelan, Ludwig Berger, 1940). TCM notes that Veidt added "immeasurably to his role as the demonic magician and grand vizier Jaffar. He spent his last years playing Germans in such Hollywood films as Escape (Mervyn Le Roy, 1940) - in which he and Norma Shearer made a dynamic pair as a German general and his American mistress, A Woman's Face (George Cukor, 1941) as the lover and onetime partner in crime of Joan Crawford, and Nazi Agent (Jules Dassin, 1942) - in which he had a dual role as a Nazi and as the Nazi's twin brother. But he is best known for playing the Nazi Major Heinrich Strasser in Casablanca (Michael Curtiz, 1942) opposite Humphrey Bogart. When Britain went to war, Veidt gave most of his estate to the war effort. He also donated a large portion of the salary from each of his films to the British war relief, as well - he was the highest paid actor in Casablanca. His last film was Above Suspicion (Richard Thorpe, 1943), in which he played an Austrian undercover agent. In 1943, Conrad Veidt suddenly died of a heart attack during a game of golf in Los Angeles. He was playing with Arthur Field of MGM and his personal physician, Dr. Bergman, who pronounced him dead at the scene. His death at just 50 was possibly a result of his heavy smoking. Because he had been blacklisted in Nazi Germany, there was no official announcement there of his death. His ex-wife, Felicitas, and daughter Viola, in Switzerland, heard about it on the radio.
Sources: Peter Jacobs (Gay For Today), Roger Manvell (Film Reference), Hal Erickson (AllMovie), Doug Sederberg (IMDb), Lenin Imports, Filmportal.de (German), Wikipedia, and IMDb.
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Dominating with its imposing mass, the farm-castle, whose keep is none other than the tower of the knights, sign of the power of the first lords of the place, the "thour de Rolliers", dates back to the beginning of the XIIIth century. A house was attached to it. Later, a vast main building and the outbuildings were built: a huge barn, numerous stables, cowsheds and pigsties, as well as a sheepfold. The inner courtyard is defended by three turrets. The courtyard is defended by three turrets, entered through two carriage gates, and moats surround the buildings on the west and north sides.
The year 1616 affixed to the south wall is a reminder of the great restoration of this complex, which had been attacked by French troops at the time of the construction of the fortresses of Philippeville and Mariembourg.
The castle was in ruins at the beginning of 1700 and it is only during the years 1746 to 1749 that it was transformed.
Today, Mr. and Mrs. Leone are private owners and have restored part of this listed heritage.