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- F-111F
- Serial: 70-2385
- 493rd Tactical Fighter Squadron, 48th Tactical Fighter Wing
- The location is definitely RAF Lakenheath. Notes on the slide state it was taken in June 1979.
- Other photos of this jet taken at the exact same place at the same time can be found here:
www.flickr.com/photos/192710984@N05/52449274298
www.flickr.com/photos/192710984@N05/52451945819
www.flickr.com/photos/192710984@N05/52446332031
- Another photo of this jet can be found here:
www.flickr.com/photos/192710984@N05/53548894113
Source: my personal collection
Every Bantam frame gets tagged with it's own serial number on the BB shell and the steerer tube. I'm guessing that I'm up to about 28 frames now... www.bantambicycles.com
Use two motifs for the head of a bedspread. This one had a lot of clean up and I had to add a lot of missing dots. circa 1930-1940
Planning to submit a rebate and searching for the serial number? When facing the dishwasher, check the right side of the door for the label.
applying American cultural influence deep into the Pannonian province, to provoke installing more CCTV, which will help solve the problem of massive economic crime
With no interesting insects in sight, I had to settle on shooting this common house fly enjoying the spring weather.
Sedos, the City of London's premier amateur theatre company, presents Serial Killers, by James Griffin, at the Bridewell Theatre from 30 June-4 July 2015.
Find out more at www.sedos.co.uk/2015/serialkillers.htm
Image by Stacey Gledhill
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Sedos, the City of London's premier amateur theatre company, presents Serial Killers, by James Griffin, at the Bridewell Theatre from 30 June-4 July 2015.
Find out more at www.sedos.co.uk/2015/serialkillers.htm
Image by Stacey Gledhill
Sedos, the City of London's premier amateur theatre company, presents Serial Killers, by James Griffin, at the Bridewell Theatre from 30 June-4 July 2015.
Find out more at www.sedos.co.uk/2015/serialkillers.htm
Image by Stacey Gledhill
Sedos, the City of London's premier amateur theatre company, presents Serial Killers, by James Griffin, at the Bridewell Theatre from 30 June-4 July 2015.
Find out more at www.sedos.co.uk/2015/serialkillers.htm
Image by Stacey Gledhill
Flash Gordon Conquers the Universe is a bracing, dazzling movie serial, 12 chapters of nonstop action that are as entertaining today as they were in 1940. The movie's visual appeal is still startling, its action taking place in settings that mix 19th century European opulence with spaceships and other futuristic inventions. The cast -- including Larry "Buster" Crabbe, Frank Shannon, Charles B. Middleton, Anne Gwynne, Roland Drew, Carolyn Hughes, and Don Rowan -- were at the peak of their powers as performers. Yet even beyond these attributes, Flash Gordon Conquers the Universe also offers a unique mix of mythic imagery and 1940 topicality. Each of the three Flash Gordon serials reflected elements of popular culture sensibility and contemporary history that were unique to the particular time in which it was made. The first, Flash Gordon (1936), depicted Emperor Ming as a Fu Manchu-type character, with a distinctly Oriental appearance, both personally and in the design and costuming of his court. The second, Flash Gordon's Trip to Mars (1938), offered such conventions as the wisecracking reporter (Donald Kerr) and the presence of a Martian adventure at a time when the notion of possible life on the fourth planet was starting to be discussed widely (a period culminating with Orson Welles' infamous War of the Worlds radio broadcast).
The third serial, Flash Gordon Conquers the Universe, reflected the world of 1939-1940; in place of the Oriental robes that he wore in the first serial, Emperor Ming (Charles B. Middleton) now wears a European-style uniform cut along military lines and he employs stormtrooper-type soldiers in his attempt to conquer Mongo. The various kingdoms of Mongo now seem like an array of Central European-type duchies and principalities, and Flash Gordon (Larry "Buster" Crabbe) is the bold, impetuous Earth man who arrives to help lead them in their struggle for freedom while protecting his home planet. The equating of Ming with Adolf Hitler should have been obvious, but just in case it was missed by anyone, the first chapter includes a pointed mention of Ming's concentration camps and his efforts to control the thoughts of his captive populations. The whole serial is an allegory about World War II, with Crabbe's Flash Gordon representing a kind of American Siegfried, arriving to face the would-be conqueror Ming, who now relies much more on science than the magic and mysticism of the earlier movies.
The serial also reflects a growth in the role of women in chapterplays of this type. Often presented as little more than a reason to put the hero in jeopardy, heroines in 1930s serials walked a tightrope between being necessary characters and plot impediments, especially in the eyes of the usual majority audience for serials: pre-adolescent boys. In the first Flash Gordon serial, Dale Arden (as portrayed by Jean Rogers) didn't have much more to do than scream and faint while looking pretty enough to convince us that Ming the Merciless would go to any lengths to possess her. Four years later, in Flash Gordon Conquers the Universe -- a serial that was aimed at a slightly broader audience than the usual chapterplay (it ran in major downtown theaters and was seen by some adults) -- and Dale (as portrayed by Carolyn Hughes) is shown piloting a spaceship in battle, quite capable of defending herself, and presenting a potential threat to Ming -- even as his prisoner. All of those elements, coupled with lush costuming and decor, in addition to the most glorious music score ever heard in a serial (largely derived from Franz Liszt's "Les Preludes"), resulted in an intensely complex and satisfying aesthetic experience, as well as a very diverting four hours of action.
Ironically, Crabbe himself never thought much of Flash Gordon Conquers the Universe, mostly because he objected to the producers having "cheated" in chapters two and three, in which they used large sections of stock footage from the 1929 German film The White Hell of Pitz Palu (scenes that, strangely enough, very probably included long shots of Leni Riefenstahl as an actress). Even that material, however, helped to make those chapters memorable and compelling. The special effects were up to standards, with excellent spaceship sequences (the final chapter, featuring a ship-to-ship escape, is genuinely exciting to this day) and some very eerie sequences involving Ming's deadly robot army midway through the serial. There are certainly a few flaws -- including some very hasty dubbing that is embarrassing at times -- but those are isolated moments. Potential purchasers are advised, however, to be wary of unauthorized editions. The copyright on Flash Gordon Conquers the Universe lapsed in 1968, and since then it has come out through various pirate distributors in editions of widely varying quality. The version issued by Image Entertainment on laserdisc and DVD, licensed by the Hearst Corporation (which owns the underlying copyright on the Flash Gordon comic strip), is the best looking edition and the only fully legitimate release of this title. The movie was also re-edited into feature-length films -- including the title Purple Death From Outer Space -- that convey only a fraction of the majesty of the complete serial. The serial's title, by the way, is explained in the final shot when Ming the Merciless declares "I am the universe!" As Zarkov explains, having defeated Ming, Flash Gordon has, thus, conquered the universe.
Larry "Buster" Crabbe - Flash Gordon
Charles B. Middleton -Ming the Merciless
Frank Shannon - Dr. Zarkov
Carolyn Hughes -Dale Arden
Roland Drew - Prince Barin
Shirley Deane - Princess Aura
Anne Gwynne - Lady Sonja
Ben Taggart - Lupi
Don Rowan -Torch
Edgar Edwards - Turan
Harry C. Bradley - Keedish
Lee Powell - Roka
Michael Mark - Karm
Victor Zimmerman - Thong
William Royle - Capt. Suden
Chapter Titles:
Chapter 1 -- "The Purple Death."
Chapter 2 --”Freezing Torture”
Chapter 3 --”Walking Bombs”
Chapter 4 -- The Destroying Ray
Chapter 5 -- The Palace of Peril
Chapter 6 -- Flaming Death
Chapter 7 -- Land of the Dead
Chapter 8 -- The Fiery Abyss
Chapter 9 -- The Pool of Peril
Chapter10 -- The Death Mist
Chapter11 -- Stark Treachery
Chapter12 -- Doom of the Dictator
Amid the political chaos sweeping across the world in 1939, a new terror arises -- the Purple Death -- and people around the world succumb at random by the hundreds, then thousands, with the identifying symptom being a purple spot on the victim. The authorities are baffled as to the cause or the treatment, and panic is spreading. Dr. Alexis Zarkov (Frank Shannon) determines that the Purple Death is linked to extraterrestrial events. Along with Flash Gordon (Larry "Buster" Crabbe) and Dale Arden (Carolyn Hughes), Zarkov finds an alien spaceship, which they recognize as being from the planet Mongo, home of their old enemy, Ming the Merciless, spreading some sort of dust in the Earth's upper atmosphere. Flash, Dale, and Zarkov head for Mongo, where they discover that Emperor Ming (Charles B. Middleton), whom they believed had been killed at the end of their battle with him on Mars (told in Flash Gordon's Trip to Mars), is still alive. He is threatening not only to conquer all of Mongo, but is attacking Earth again, using a "Death Dust" spread by his spaceships that will eventually destroy everyone on Earth.
Flash, Dale, and Zarkov form an alliance with their old friend, Prince Barin (Roland Drew), the rightful ruler of Mongo, who with his wife, Princess Aura (Shirley Deane) -- Ming's own daughter -- rules the peaceful kingdom of Arboria, resisting Ming's military might with their small fleet of ships, the aid of neighboring free kingdoms, and the help of a tiny handful of officers within Ming's own palace who remain loyal to the prince. Their first task is to secure a neutralizing agent for the Death Dust, which exists in the frozen northern kingdom of Frigia, but before they can do that, they have to free the imprisoned Frigian military leader General Lupi (Ben Taggart), who has been captured by Ming. Flash rescues the general, who is about to be used as the subject of a scientific experiment, and secures the aid and gratitude of the Frigians. This barely slows Ming in his plans for conquest, however, and over the next 11 chapters, Flash Gordon and his friends and allies -- including Ronal (Donald Curtis), Roka (Lee Powell), and Captain Suden (William Royle) -- take their battle for the safety of the Earth and the freedom of Mongo to the far reaches of the planet. Battling Ming and his villainous henchmen -- including Captain Torch (Don Rowan) and Lady Sonja (Anne Gwynne) -- from Mongo's frozen northern wastes to its uncharted deserts, Flash and his allies outmaneuver and generally outfight and outwit Ming's larger, better equipped army and spaceship fleet, but they are nearly undone by the spies that Ming has placed in Barin's own household. The bravery of the Earth hero and his friends, and the patriotism and sacrifices of Mongo's people ultimately prove too much for the evil emperor, who finally faces impending destruction from one of his own fiendish inventions.
Considered by many to be the most elaborate and elegant of the three serials Universal Studios produced starring Buster Crabbe as space traveler Flash Gordon. Beginning with the release in 1936 of Flash Gordon, based on the comic strip created by Alex Raymond, Universal rose to the top of the serial market with this science fiction/adventure chapter play. They followed up with Flash Gordon's Trip to Mars in 1938 and finally, this chapter play, considered by many to be the best. Flash is now faced with ridding the world of a mysterious malady called the Purple Death which has inflicted Earth courtesy of Ming, the Merciless (Charles Middleton), evil ruler of the planet Mongo.
This serial was based on Alex Raymond's Flash Gordon comic strip continuity involving Prince Barin and his kingdom of Arboria. Much of the serial's action also takes place in the comic strip kingdom of Frigia. The movie serial characters of Queen Fria, Count Korro, Gen. Lupi and Capt. Sudin all originated in the strip.
King Features Syndicate released the 3 Flash Gordon serials as well as "Buck Rogers," "Red Barry", "Ace Drummond" and other comic strip cliffhangers to US TV in 1951. Because the television show Flash Gordon, starring Steve Holland as Flash, was in syndication in late 1953, the three Universal Pictures' Flash Gordon theatrical serials were retitled for TV broadcast. Flash Gordon became "Space Soldiers", Flash Gordon's Trip to Mars became "Space Soldiers' Trip to Mars", and Flash Gordon Conquers the Universe became "Space Soldiers Conquer the Universe". To this day both the 3 original "Flash Gordon" serial titles and the 3 "Space Soldiers" titles are used.
In the final chapter before his demise, Ming is looking to escape. In the endings of most serial episodes the hero is is the one trying to escape (then thought to be killed - until the next week). This might suggest another sequel or fourth Flash Gordon serial. However, after 7 December 1941 and the attack on Pearl Harbor, just 3 years after Orson Welles' infamous 'War of the Worlds' radio broadcast simulating an attack from from outer space, the production of "space travel" films were put on hold.
John Hamilton, who plays Flash's father Professor Gordon, is best known to 1950s TV fans as editor Perry White of Adventures of Superman.
Sedos, the City of London's premier amateur theatre company, presents Serial Killers, by James Griffin, at the Bridewell Theatre from 30 June-4 July 2015.
Find out more at www.sedos.co.uk/2015/serialkillers.htm
Sedos, the City of London's premier amateur theatre company, presents Serial Killers, by James Griffin, at the Bridewell Theatre from 30 June-4 July 2015.
Find out more at www.sedos.co.uk/2015/serialkillers.htm
Image by Stacey Gledhill
Part of an Avro Anson wreck, which has been sitting in the forest since it crashed on October 30, 1942.
Spanish minicard (collector's card). Reclam Films, Mallorca. Scene from the third episode of the French silent crime serial Fantomas, Le Mort qui tue/ The Dead Man Who Killed (Louis Feuillade, Gaumont 1913), card 6 of 6. Fantomas René Navarre) is held at gunpoint by Inspector Juve (Edmund Breon) and Fandor (Georges Melchior), but manages to escape - again - through a hidden door in the wall behind him.
The six episodes of the next sequel, Le mort qui tue (November 1913), make it one of the longest in the series, and in reprising characters and situations from the earlier films, it is even more grisly in its violence. After Juve and Fandor escape the destruction of Lady Beltham's villa (not without injury), it is the journalist who now pursues the archcriminal, but with no more success than Juve had. As before, Fantômas's exploits take him and his pursuer through several different levels of French society. In the first episode, Fantômas chloroforms a painter named Jacques Dollon (André Luguet) in order to set him up for the murder of a wealthy baroness he has killed. In prison, the guard Nibet (Naudier) stabs Dollon to death, and Fantômas takes away the body in order to remove the skin of its right hand—for a human glove. Here, Juve (disguised as a clochard) has to rescue Fandor who has followed Fantômas to a Seine sewer inlet (where Dollon's body is dumped). Princes Danidoff [Jane Faber, whom we saw in the first episode] returns in the third episode, to give a party for her fiancé Thomery (Luitz-Morat), a sugar-plantation owner, and promptly is robbed of her jewels again by Fantômas, disguised as a banker named Nanteuil—but on her neck (she has been rendered unconscious) is a fingerprint that turns out to be Dollon's. Lady Beltham then returns in the next episode, to deliver a ransom note for the jewels to Thomery, who is lured to an empty apartment and garroted by Fantômas' s gang. In the fifth episode, Fantômas searches the Pension Bourrat, where Elizabeth Dollon (Fabienne Fabrèges) is staying, trying to recover an enigmatic list she found earlier in her brother's cell, and Fandor arrives just in time to save her from being asphyxiated—and sends her to a convent for protection. Then, hidden in a packing basket of her belongings which Fantômas has requisitioned, he is transported to the gang's hideout and discovers Thomery's body. Finally, Fandor links up again with Juve, and they confront Nanteuil, thinking that they have Fantômas at last—but he vanishes before their eyes (and guns) through a secret wall panel door.
From this narrative summary, the six episodes of Le mort qui tue would seem to correspond closely to the film's six reels. According to the National Film Archive's print, however, which covers only the last three episodes and has Czech intertitles [Note: all of the Fantômas films were restored in 1995-96 by Gaumont Studios, with the assistance of the French Government], this film, too, either carried the action across at least some of the reel breaks or else used the reel break to heighten suspense near the end of an episode. One break in the NFA print, for instance, comes just after Fantômas exits from Elizabeth's room at the pension, after having drugged her coffee and turned on the gas; the next opens with Fandor breaking into the room to turn off the gas and open a window. Yet, if Le mort qui tue resembles its predecessors in this use of reel breaks, its mode of representation is slightly different. Most of the scenes, for instance, are shot in studio decors, and frequent intertitles either link or interrupt the AS ["American Shot" (from the knees up)] / LS [Long Shot] or FS [Full Shot] / LS tableaux. Some of the decors, especially the ones with less depth, are quite spare, but this is used to good effect for moments like the garroting—where Thomery steps from a background painted-flat hallway into an empty room, through a central doorway on either side of which two hooded figures stand poised. One of the film's more interesting features, however, is the greater number of cut-in CUs [Close-Ups] and ECUs [Extreme Close-Ups] of objects, which prove more deceptive than revealing.In episode three, for instance, the CU photograph of the fingerprint lifted from the princess's neck baffles her guests, and the ECU of the pearls that Lady Beltham shows Thomery deceives him into believing that the ransom exchange is genuine—in both cases, by contrast, the spectator can conclude that this is Fantômas's handiwork. Curiously, another cut-in close shot briefly positions the spectator as superior to Fantômas—when Elizabeth stuffs the list into the back of a blotter, which he later overlooks in his search of her room. Yet, a cut-in CU of his hand turning the gas lever then threatens to take revenge on her for the sleight of hand, as well as on any spectator tempted to identify with her. These CUs culminate in the last scene as Juve rips the glove of human skin from Fantômas's hand—only to have him disappear through the wall, secreted beneath one more fake exterior.
Sources: Robin Walz at www.fantomas-lives.com/fanto4c.htm; Richard Abel, The Ciné Goes To Town: French Cinema 1896-1914; IMDb.
René Navarre (1877-1968) was a French actor of the silent cinema. He is best remembered for his part of the master criminal Fantomas.
Georges Melchior (1889-1944) was a French film actor, active in French cinema between 1911 and 1937, and known for the Fantômas serials by Louis Feuillade (1913-1914), and L'Atlantide (1921).
Edmund Breon (sometimes credited as Edmond Breon or Edmond Breon) was a Scottish actor, born Iver Edmund de Breon MacLaverty1 on 12 December 1882 in Hamilton, Scotland, who died on 24 June 1953 in Cork, Ireland.