One of the versatile Class 73 Electro-Diesels, seen here freshly repainted into large logo livery - the light grey roofs didn't stay this clean for long. Built as E6040 in 1966, 73133 is now preserved on the Barry Island Railway. Note the ex-Southern Railway wagon.

The Electro-Diesels were intended as mixed-traffic locomotives, hauling parcels, freight and also passenger trains, usually on routes that included some non-electrified sections, such as boat trains. More on the Class 73s here: en.wikipedia.org/wiki/British_Rail_Class_73

Taken with a Soviet made Zenith TTL SLR.

British postcard in the Film Star Autograph Portrait Series by L.D. LTD., London, no. 53.

English actor Sir Alec Guinness (1914–2000) was one of the most versatile and subtle actors of his time, in the cinema and on television no less than on the stage. He was master of disguise in several of the classic Ealing Comedies, including Kind Hearts and Coronets (1949) in which he played eight different characters. He later won the Academy Award for Best Actor for his role as Colonel Nicholson in The Bridge on the River Kwai (1957), and he is probably even better known for playing Obi-Wan Kenobi in the original Star Wars trilogy (1977-1983).

Alec Guinness was born as Alec Guinness de Cuffe London in 1914. His mother's maiden name was Agnes Cuff. On Guinness's birth certificate, the space for the mother's name shows Agnes de Cuffe. The space for the infant's name (where first names only are given) says Alec Guinness. The column for name and surname of father is blank. It has been frequently speculated that the actor's father was a member of the Irish Guinness family. However, it was an elder Scottish banker, Andrew Geddes, who paid for Guinness's private school education. From 1875, under English law, when the birth of an illegitimate child was registered, the father's name could only be entered on the certificate if he were present and gave his consent. At five he became Alec Stiven, as a consequence of his mother's three-year marriage to Scottish army captain David Stiven, a violent, shell-shocked veteran of the Irish War of Independence. To persuade Alec's mother to submit to his demands, the captain was given to holding a loaded revolver to the boy's head, or hanging him upside down from a bridge. It was a relief when, at six, Alec was sent away to a prep school, the fees being at least partly paid by Andrew Geddes. At school he directed performances of The Pirates of Penzance and Silas Marner. Later while working as a junior copywriter in an advertising agency, he studied at the Fay Compton Studio of Dramatic Art. In 1934, he made his stage début and in 1936, at the age of 22, he played the role of Osric in John Gielgud's successful production of Hamlet. With the Old Vic he starred in plays by William Shakespeare, George Bernard Shaw, and Anton Chekhov, and worked with actors and actresses who would become his friends and frequent co-stars in the future, including John Gielgud, Peggy Ashcroft, Anthony Quayle, and Jack Hawkins. In 1938, he starred in a famous modern dress production of Hamlet which won him acclaim on both sides of the Atlantic. He also appeared as Romeo in a production of Romeo and Juliet (1939), Andrew Aguecheek in Twelfth Night and as Exeter in Henry V in 1937, both opposite Laurence Olivier, and Ferdinand in The Tempest, opposite Gielgud as Prospero. In 1939, he adapted Charles Dickens' novel Great Expectations for the stage, playing the part of Herbert Pocket. The play was a success. Guinness served in the Royal Navy Volunteer Reserve in World War II, serving first as a seaman in 1941 and being commissioned the following year. He commanded a landing craft taking part in the invasion of Sicily and Elba and later ferried supplies to the Yugoslav partisans. In 1946, he returned to the Old Vic and stayed until 1948, playing Abel Drugger in Ben Jonson's The Alchemist, the Fool in King Lear opposite Laurence Olivier in the title role, DeGuiche in Cyrano de Bergerac opposite Ralph Richardson in the title role, and finally starring in an Old Vic production as Shakespeare's Richard II. After leaving the Old Vic, he played Eric Birling in J. B. Priestley's An Inspector Calls at the New Theatre in October 1946. He played the Uninvited Guest in the Broadway production of T. S. Eliot's The Cocktail Party (1950, revived at the Edinburgh Festival in 1968). His third attempt at the title role of Hamlet, this time under his own direction at the New Theatre (1951), proved a major theatrical disaster.

At British Pictures, David Absalom writes: “Alec Guinness was one of the great acting knights of the century. His reputation is sometimes overshadowed by that of the great triumvirate of Olivier, Gielgud and Richardson and it is true that his theatre work is slightly less distinguished than that of the big three, but when it comes to film acting, he far outstrips them.” Beyond an extra part in Evensong (1934, Victor Saville) with Evelyn Laye, Guinness’ film career began after World War II with the small but memorable role of Herbert Pocket in Great Expectations (1946, David Lean) starring John Mills. Guinness and David Lean would continue to work on acclaimed films together. He appeared as a repulsive Fagin in Oliver Twist (1948, David Lean), what was widely criticized for being a Jewish stereotype. Lean later gave him a starring role as the insanely uncompromising Colonel Nicholson opposite William Holden in The Bridge on the River Kwai (1957, David Lean). For this performance Guinness won an Academy Award. Despite a difficult and often hostile relationship, Lean, referring to Guinness as ‘my good luck charm’, continued to cast Guinness in character roles in his later films: Arab leader Prince Feisal in Lawrence of Arabia (1962, David Lean), the title character's half-brother, Bolshevik leader Yevgraf, in Doctor Zhivago (1965, David Lean), and Indian mystic Godbole in A Passage to India (1984, David Lean). He was also offered a role in Ryan's Daughter (1970, David Lean), but declined. Initially Guinness was associated mainly with the Ealing comedies that made him one of the great character stars of British films. His virtuosity as a master of disguise reached a peak in Kind Hearts and Coronets (1949, Robert Hamer), when he played all eight members of the D'Ascoyne family whom Dennis Price bumped off on his way to the Dukedom of Chalfont. Other Ealing classics include the mild and underpaid bank clerk who plots the perfect robbery in The Lavender Hill Mob (1951, Charles Crichton), an inventor who, to the consternation of management and the unions, invents a fabric that never gets dirty and never wears out in The Man in the White Suit (1951, Alexander Mackendrick), and the unctuous, snaggle-toothed leader of a gang of incompetent burglars in the last great Ealing Comedy, The Ladykillers (1955, Alexander Mackendrick). Director Ronald Neame cast Guinness in his first romantic lead role, opposite Petula Clark in The Card (1952, Ronald Neame). His conversion to Roman Catholicism followed the shooting of Father Brown (1954, Robert Hamer) in which he played GK Chesterton's cheery cleric. The film was shot in Burgundy. Between takes Guinness, wandering about the local village in his clerical fig, found himself taken by the hand and subjected to the prattle of a local boy, who imagined he was a genuine priest. The confidence which the Church inspired in the child made a profound impression. Guinness became a Roman Catholic in 1956. Other notable film roles of this period included the part of the Crown Prince in The Swan (1956, Charles Vidor) starring Grace Kelly, in her second to last film role, and The Horse's Mouth (1958, Ronald Neame) in which Guinness played the part of drunken painter Gulley Jimson as well as contributing the screenplay, for which he was nominated for an Academy Award. He was a vacuum cleaner salesman enlisted into the secret service by Noel Coward in Our Man in Havana (1959, Carol Reed), Marcus Aurelius in The Fall of the Roman Empire (1964, Anthony Mann) starring Sophia Loren, Jacob Marley's Ghost in Scrooge (1970, Ronald Neame) opposite Albert Finney, and Charles I of England in Cromwell (1970, Ken Hughes) featuring Richard Harris. He considered the title role in Hitler: The Last Ten Days (1973, Ennio De Concini) as his best film performance, though critics disagreed. The Telegraph commented in its obituary: “Guinness, having discovered through his usual assiduous research that Hitler was a boring man, unfortunately succeeded brilliantly in bringing this interpretation to the screen.” Guinness won a Tony Award for his Broadway performance as poet Dylan Thomas in Dylan. He next played the title role in Macbeth opposite Simone Signoret at the Royal Court Theatre in 1966, a conspicuous failure.

From the 1970’s, Alec Guinness made regular television appearances. He was perfect as the enigmatic master spy George Smiley in the two television series adapted from John Le Carre's novels, Tinker, Tailor, Soldier, Spy (1979, John Irvin) and Smiley's People (1982, Simon Langton). Le Carré was so impressed by Guinness's performance as Smiley that he based his characterization of Smiley in subsequent novels on Guinness. In the cinema Guinness excelled as Jamessir Bensonmum, the blind butler, in the Neil Simon film Murder By Death (1976, Robert Moore). Guinness is now probably best known as Obi-Wan Kenobi in the original Star Wars trilogy, Star Wars: Episode IV - A New Hope (1977, George Lucas), Star Wars: Episode V - The Empire Strikes Back (1980, Irvin Kershner), and Star Wars: Episode VI - Return of the Jedi (1983, Richard Marquand). The part brought him worldwide recognition by a new generation. Guinness agreed to take the part on the condition that he would not have to do any publicity to promote the film. He was also one of the few cast members who believed that the film would be a box office hit; he negotiated a deal for 2.5 % of the gross, which made him very wealthy in his later life. His role would also result in Golden Globe and Academy Award nominations. Despite these rewards, Guinness soon became unhappy with being identified with the part, and expressed dismay at the fan-following that the Star Wars trilogy attracted. For his role as Obi-Wan Kenobi he was nominated for the Academy Award as Best Supporting Actor in 1977. Guinness won the Academy Award for Best Actor in 1957 for his role in The Bridge on the River Kwai. He was nominated in 1958 for an Oscar for his screenplay adapted from Joyce Cary's novel The Horse's Mouth. He received an Academy Honorary Award for lifetime achievement in 1980. In 1988, he received an Academy Award nomination for Best Supporting Actor for Little Dorrit (1988, Christine Edzard) starring Dereki Jacobi and Joan Greenwood. For his theatre work, he received an Evening Standard Award for his performance as T.E. Lawrence in Ross and a Tony Award for his Broadway turn as Dylan Thomas in Dylan. Guinness was appointed a Commander of the Order of the British Empire (CBE) in 1955, and was knighted in 1959. Guinness married the artist, playwright, and actress Merula Sylvia Salaman in 1938. In 1940, they had a son, Matthew Guinness, who later became an actor. In his biography, Alec Guinness: The Unknown, Garry O'Connor says that Guinness was arrested and fined 10 guineas for a homosexual act in a public lavatory in Liverpool in 1946. Guinness avoided publicity by giving his name to police and court as "Herbert Pocket", the name of the character he played in Great Expectations. The incident did not become public knowledge until April 2001, eight months after his death. Piers Paul Read, Guinness's official biographer, doubts that this incident actually occurred. He believes that Guinness was confused with John Gielgud, who was infamously arrested for such an act around the same period. According to Piers Paul Read, Guinness' friends and family knew of his bisexuality. Guinness wrote three volumes of a bestselling autobiography, beginning with Blessings in Disguise (1985), followed by My Name Escapes Me (1996), and A Positively Final Appearance (1999). He continued to act almost until his death, submerging himself in an amazing array of characters. His final stage performance was at the Comedy Theatre in 1989 in the play A Walk in the Woods. Between 1934 and 1989, he had played 77 parts in the theatre. His final film role was a one-scene cameo in the horror thriller Mute Witness (1994, Anthony Waller) and his last TV role was in the TV-film Eskimo Day (1996, Piers Haggard). Alec Guinness died in 2000, from liver cancer, at Midhurst in West Sussex at the age of 86. In his obituary in The Guardian, Tom Sutcliffe calls him ‘a by nature an unostentatious and reserved man’: “Though he undertook a great variety of roles, all were informed, at heart, with the wisdom of the sad clown. It was that spiritual severity, together with those clear, wide-open eyes - capable of melting in close-up on screen into the most reassuringly serene of smiles - which lent his performances force and authenticity. “

Sources: Brian McFarlane (Encyclopedia of British Cinema), Tom Sutcliffe (The Guardian), David Absalom (British Pictures), Ed Stephan (IMDb), The Telegraph, BritMovie, Wikipedia, and IMDb.

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Supermoon rises over the former Republic Steel site. Night photography fro a bobbing canoe is pretty hard so I played the odds and took enough photos that a few had to come out somewhat clearer. Not great but ok.

Buffalo was once a national center of heavy industry. It still has one of the nation's most versatile and dense rail hubs. Until the 1980s the shores of the river were lined edge to edge with heavy industry. Steel, Iron, chemicals, grain, cement, petroleum and many smaller industries once hummed 24/7. Now the shores are largely abandoned, although once can still see the sea walls, pilings and remnants of docks where the massive lake freighters navigated up through the Buffalo River's sinuous channels to park...often 5 end to end and 3 deep. UNlike the massive silos down the river, nearer to Lake Erie, these industries were torn down, the buildings razed and the machinery sold for scrap. It's amazing how little remains of the some of the world's most powerful industrial centers....Only the docks and sheet pilings show where freighters docked and unloaded piles of ore, limestone and coal that reached several stories tall. They are eerie, weedy overgrown fields. The railroad bridges also still remain and are still part of one of the nation's important rail hubs connecting Lake Erie to the interior of the US.

The legacy of Buffalo's industry can be seen in the incredibly ornate buildings and rich history. HOwever another legacy of these industries is some extreme pollution. In the 1980s when the last of the heavy industry closed the land around this river was so badly contaminated as to be uninhabitable. The river itself was essentially dead. It had a permanent rainbow hue and smelled like petroleum. The mud is contaminated with almost every chemical and metal one can think of and almost no life could survive...except for noxious invasive weeds and species. In 1968 the river caught fire as a welder's spark ignited thick, goopy mats of crude oil. Sewage poured in and at times the industries drew so much water for cooling that the river flowed in reverse and the temperature changed. As mentioned above ships once choked the harbor, necessitating creation of mazes of canals, intensive dredging, hardening of shorelines all which changed the flow and ecology of the river forever.

The river is slowly recovering due to EPA regulations and loss of industry. While they were awe inspiring and spawned great wealth and innovation for about 70 years their legacy is mixed. Perhaps if they were still employing tens of thousands workers and building the local economy one could possibly forgive their uninformed and sloppy environmental past, and feel more sympathy for their plight in the modern world. When they locked the gates for the last time they went away...no longer a legal person anymore....and consciously, legally, and deliberately, left their leaking tanks and pipes and transformers, and ponds of chemicals, piles of slag, radioactivity, mounds of asbestos, soot and coke waste, etc... Thus rebuilding the river and protecting it is now more important because the benefits of business are just too fleeting to be justified. This night trip reminds me that the river is for people and should not be allowed to degrade so badly again.

A wonderful night, warm with a pleasant breeze, pleasent company and a huge full moon to light the way. What more could one ask for?

This must be one of the most versatile cameras ever designed. I bought mine, to add to my F707, early in 2004 not so long after they first appeared. It has been in constant use ever since with only a short hiatus when the CCD failed. This was efficiently replaced by Sony when they announced a generic problem with this model.

I use mine mostly for digital infrared and for macro imaging. It is a superb performer in both of these roles. Unfortunately, Sony restrict its use as an infrared camera by only allowing limited options with the firmware. This can be overcome using neutral density filters but it still irks me that this is necessary. Sony missed a big chance to provide photographers with an effective infrared capability!

The excellent f/2 Zeiss lens and the short distance between the final element and the CCD - made possible by the digital/optical viewfinder (no mirror) - means a great macro performance.

The HDR photo here - taken with a Canon 5D MkII with a Zeiss 120mm macro planar (from Hasselblad days!) - shows the novel camera design with, starting from the right back: the plastic ring to cover the infrared illuminating lamps which always come on when the camera is set to 'Night-Shot' mode; two neutral density filters, x8 and x4 needed to compensate for the full aperture and the longish exposures offered by the Night-Shot firmware; two alternative infrared filters, an RG 780 and an RG715 - the latter giving a somewhat broader bandwidth in the infrared (see the first comment below); a standard circular polarizer; and a transfer lens for attachment to microscopes, telescopes and spectroscopes. What more do you want? OK, more than 5 Mpix perhaps but...

There are many descriptions on the web about how to use this camera in the IR so I won't repeat them here. But, in spite of f/2-f/2.8 and a shutter speed no faster than 1/60 sec, it works like a dream. I think I was amongst the first to use the camera in this way and I had to do the experiments myself.

I have just ordered a couple of spare batteries before they go out of production and I hope this camera lasts forever - or at least as long as I do!

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Quality is good - zoom in or go Large (press the L key) to see each pic nicely. Just like Linda's but hers are more artistic :-)

I thought that the photos in the Versatile challenge weren't getting their share of the fun. Flickr only pushes threads (discussions) to the top when it senses a new post. Because in this challenge we build up our post over the month, it only gets a showing on the days a new post is started.

I asked Linda if I could do a 'Versatile' montage. On saying yes I set to to have a go. This is pure DIY. A blank file, with downloaded files placed individually into place, saved, and titles added. The photos were different sizes so I shrunk them to make them all the same height - 500 pixels. This is my fourth go/version of the montage.

One photo per challenge (the challenge is to take a photo for each of the 10 subjects each month) - and at least one photo from everyones post.

Once I got this one finished and more or less presentable, I tried using the Photoshop E13 collage - a pathetic app. They probably sell better ones in their app store, but there is only the one in the program.

I tried the Picasa collage and it is also pathetic. I couldn't change the order - it worked the first time, but never again after that. I have a very low boredom threshold, and the computer is just this side of the bin. Grrrrr.

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Joaquin Torres Opens This Week in Chicago, Passion Play: A Cycle in Three Parts

After two strong performances in King Lear one at the Goodman and then other here in New York at The Public Theater, Joaquin Torres continues to delight and astound audiences with his versatility and talent on the center stage.

If you are in Chicago through October 21st you should check out this exceptional play. “Passion Play: A Cycle in Three Parts” at the Goodman Theater. The reviews are coming in and are glowing! Take a look for yourself!

Chicago Sun Times

2,000-year pageant dazzles, charms - Puppets, satire, war, fairy tales and the Crucifixion are a start for 'Passion.

Though utterly accessible, Sarah Ruhl's "Passion Play: a cycle in three parts" is such a monumental attempt to synthesize the religious, social, historical and theatrical worlds of the past two millennia that you might well stagger out of the theater and into the real world in a slightly vertiginous state

Chicago Tribune

Simply put, whenever this show fully commits to the truth of the three worlds it conjures — 16th Century England, 1930s Austria and 20th Century South Dakota — things work superbly. Thanks to a clutch of fine multicharacter performances from Joaquin Torres, who plays Jesus three times, and Kristen Bush, who keeps wrestling with the Virgin Mary, we become deeply involved with the life and times of these earnest actors.

Broadwayworld.com

Goodman Theatre launches its 2007/2008 season with Passion Play: a cycle in three parts by Pulitzer Prize-nominated playwright Sarah Ruhl. British director, actor and teacher Mark Wing-Davey helms this triptych that addresses the thorny relationship between politics and religion, lust and dogma, and perception and reality, over 425 years and three controversial, politically-charged eras. Passion Play runs September 15 - October 21

Variety - USA

The theatrical conceit has actors associated to the same roles in each of the pieces -- Joaquin Torres, for example, plays the characters who have been cast as Jesus, while Nicole Wiesner takes on those who portray Mary Magdalene. It's an interesting acting challenge that the ensemble lives up to, managing to find both the connections and the disparities that make each piece unique but connected.

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When I saw this sitting in the rain at Trader Joe's the other day I thought, "Cute -- a trike with a raincoat!"

Then I Googled Organic Transit. Turns out the ELF is a versatile, low carbon footprint pedal-powered vehicle that has a solar panel on top and can be driven three ways: pedal power alone; pedal power with electric assist; or electric alone. The battery recharges in 7 hours of sunlight, or 2-1/2 hours from an outlet. Pricey, but cool.

I felt really frumpy in the longer length, but I actually really like how it looks with a long skirt underneath. I think I'll make the longer version + long skirt in the fall.

I like the shorter length better because it will be more versatile in my wardrobe. I'll be able to wear it over short or long skirts, or just with tights or leggings. Plus, I just felt happier wearing it once it was pinned up. :)

After comparing these pictures to a dress I wear a lot, I realize that the longer version here is only slightly too long -- about 1-1.5" longer than my "bottom of the knees" length. Once I add a short skirt or petticoat under the shorter version of this dress, it will appear to be that length anyway. :)

Longer length = 27" skirt; shorter length = 23" skirt.

British Valentine's postcard, no. 7179.

Portly, versatile British-American stage and film actor Charles Laughton (1899-1962) was often type-cast for arrogant, unscrupulous characters. He was one of the most popular actors of the 1930s and 1940s and gave some of his greatest performances as Nero, Henry VIII, Mr. Barrett, Inspector Javert, Captain Bligh, Rembrandt, and Quasimodo. Laughton was also a screenwriter, producer and one-time director.

Charles Laughton was born to a wealthy hotel-owning family in Scarborough, England, in 1899. He was the son of Robert Laughton and his wife Elizabeth Conlon, who was a devout Roman Catholic. They ran the Victoria Hotel, a well-known retreat for the middle class. Laughton and his two younger brothers thrived in the spacious hotel, always finding new places to play. Laughton attended Stonyhurst College, a Jesuit school, in Lancashire, England. He was assigned the role of a portly innkeeper in the school’s production of The Private Secretary. Even though the role was a minor one, he loved the opportunity to let out his artistic flair. In 1917, just 18, he was sent onto the battlefields of Europe. He joined the war at its conclusion, but nonetheless suffered not only a gas attack but also some deep mental scars. He started work in the family hotel business while participating in amateur theatricals in Scarborough. Finally, he was allowed by his family to become a drama student at the Royal Academy of Dramatic Art (RADA) in 1925, where he received the gold medal. Laughton made his stage début in 1926 at the Barnes Theatre, as Osip in Gogol's comedy 'The Government Inspector', in which he also appeared at the London Gaiety Theatre. In the following years, he appeared in many West End productions. Overweight and not the best-looking of men, many of the leading roles were not available to him. Despite this he impressed audiences with his talent and played classical roles in two plays by Anton Chekhov, 'The Cherry Orchard' and 'The Three Sisters'. One of his earliest stage successes was as Hercule Poirot in 'Alibi' (1928), a stage adaptation of 'The Murder of Roger Ackroyd'. He was the first actor to portray Agatha Christie's Belgian detective. That same year Laughton also played the lead role of Harry Hegan in the world première of Sean O'Casey's 'The Silver Tassie' in London, and he played the title role in Arnold Bennett's 'Mr Prohack'. Elsa Lanchester was also in the cast. Coming from a bohemian background, Lanchester was lively and strong-willed. She fell for the reserved and sensitive Laughton and despite his suppressed feelings of homosexuality, the two began a courtship. In 1929 they married. Laughton went on to play the title role in 'Mr Pickwick' after Charles Dickens, and Tony Perelli in Edgar Wallace's 'On the Spot'. Another success was his role as William Marble in 'Payment Deferred'. He took this last play across the Atlantic and in it he made his American début in 1931, at the Lyceum Theatre in New York. He returned to London for the 1933-1934 Old Vic Season and was engaged in four Shakespeare roles. In 1936, he went to Paris and appeared at the Comédie-Française as Sganarelle in the second act of Molière's 'Le Médecin malgré lui' He was the first English actor to appear at that theatre, acted the part in French and received an ovation. Laughton commenced his film career in England while still acting on the London stage. He took small roles in three short silent comedies starring his wife Elsa Lanchester, Daydreams (Ivor Montagu, 1928), Blue Bottles (Ivor Montagu, 1928) and The Tonic (Ivor Montagu, 1928) which had been specially written for her by H. G. Wells. He made a brief appearance as a disgruntled diner in another silent film, Piccadilly (Ewald André Dupont, 1929) with Anna May Wong. Laughton appeared with Elsa Lanchester again in Comets (Sasha Geneen, 1930), featuring assorted British variety acts. In this ‘film revue’ they duetted in 'The Ballad of Frankie and Johnnie'. The couple made two other early British talkies: Wolves (Albert de Courville, 1930) with Dorothy Gish from a play set in a whaling camp in the frozen north, and Down River (Peter Godfrey, 1931) in which he played a murderous, half-oriental drug-smuggler.

Charles Laughton’s New York stage début in 1931 immediately led to film offers and Laughton's first Hollywood film was the classic Horror comedy The Old Dark House (James Whale, 1932) with Boris Karloff. Laughton played a bluff Yorkshire businessman marooned during a storm with other travellers in a creepy mansion in the Welsh mountains. In the Encyclopedia of British Film, Anthony Slide calls it Laughton’s ‘greatest work in the US’. He then played a demented submarine commander in The Devil and the Deep (Marion Gering, 1932) with Tallulah Bankhead, Gary Cooper and Cary Grant and followed this with his famous role as the perverted Nero in The Sign of the Cross (Cecil B. DeMille, 1932). He then repeated his stage role as a murderer in Payment Deferred (Lothar Mendes, 1932), played H. G. Wells's mad vivisectionist Dr. Moreau in Island of Lost Souls (Erle C. Kenton, 1932), and the meek raspberry-blowing clerk in the brief segment of If I Had a Million (1932) that was directed by Ernst Lubitsch. In all, he appeared in six Hollywood films during 1932, a remarkable movie 'apprenticeship' which set him on course for instant international stardom. His association with film director Alexander Korda began with The Private Life of Henry VIII (1933), loosely based on the life of King Henry VIII of England. Laughton won an Academy Award for his role, the first British actor to do so. He continued to act occasionally in the theatre. After the success of The Private Life of Henry VIII, he appeared at the Old Vic Theatre in 1933 in roles as Macbeth, Lopakin in 'The Cherry Orchard', Prospero in 'The Tempest' and Angelo in 'Measure for Measure'. His 1947 American production of a new English version of Bertolt Brecht's play 'Galileo' became legendary. Laughton played the title role at the play's premiere in Los Angeles on 30 July 1947 and later that year in New York. This staging was directed by Joseph Losey. Laughton preferred a film career though and in 1933 he returned to Hollywood where his next film was White Woman (Stuart Walker, 1933) in which he co-starred with Carole Lombard as a cockney river trader in the Malaysian jungle. Then came The Barretts of Wimpole Street (Sidney Franklin, 1934) as Norma Shearer's overbearing father, Les Misérables (Richard Boleslawski, 1935) as inspector Javert, and Ruggles of Red Gap (Leo McCarey, 1935) as the very English and selfless butler transported to early 1900s America. One of his most famous screen roles was Captain William Bligh in Mutiny on the Bounty (Frank Lloyd, 1935), co-starring with Clark Gable as Fletcher Christian. Back in England, and again with Alexander Korda, he played the title role in Rembrandt (1936). In 1937, also for Korda, he starred in an ill-fated film version of Robert Graves’ classic novel, I, Claudius (Josef von Sternberg, 1937), which was abandoned during filming owing to the injuries suffered by co-star Merle Oberon in a car crash. After I, Claudius, he and the ex-pat German film producer Erich Pommer founded the production company Mayflower Pictures in the UK, which produced three films starring Laughton: Vessel of Wrath/The Beachcomber (Erich Pommer, 1938), based on a story by W. Somerset Maugham, with Elsa Lanchester; St. Martin's Lane/Sidewalks of London (Tim Whelan, 1938), a story about London street entertainers that also featured Vivien Leigh and Rex Harrison; and Jamaica Inn (Alfred Hitchcock, 1939), with Maureen O'Hara. The latter was based on a novel about Cornish smugglers by Daphne du Maurier, and it was the last film Alfred Hitchcock directed in Britain before moving to Hollywood in the late 1930s. The films produced were not successful enough, and the company was saved from bankruptcy when RKO Pictures offered Laughton the title role of Quasimodo in The Hunchback of Notre Dame (1939) directed by William Dieterle. Laughton and Pommer had plans to make further films, but the outbreak of World War II, which implied the loss of many foreign markets, meant the end of the company.

Although the 1930s were Charles Laughton’s best cinematic years, there were also some remarkable post-1930s performances. An example is the cowardly schoolmaster in occupied France in This Land is Mine (Jean Renoir, 1943). He played a modest, henpecked husband who eventually murdered his wife in The Suspect (1944), directed by Robert Siodmak, who later became a good friend of Laughton. He played sympathetically an impoverished composer-pianist in Tales of Manhattan (Julien Duvivier, 1942) and starred in an updated version of Oscar Wilde's The Canterville Ghost (Jules Dassin, 1944). Apart from these, he would enjoy his work in the two comedies he made with Deanna Durbin, It Started with Eve (Henry Koster, 1941) and Because of Him (Richard Wallace, 1946). He portrayed a bloodthirsty pirate in Captain Kidd (Rowland V. Lee, 1945) and a malevolent judge in Alfred Hitchcock's The Paradine Case (1948) with Alida Valli. Laughton played a megalomaniac press tycoon in The Big Clock (John Farrow, 1948) starring Ray Milland. Laughton made his first colour film in Paris as Inspector Maigret in The Man on the Eiffel Tower (Burgess Meredith, 1949). In 1950, Laughton and Lanchester became American citizens. In one of his funniest roles of the 1950s, he played a tramp in O. Henry's Full House (Henry Koster a.o., 1952), in which he had a one-minute scene with Marilyn Monroe. In later years he was frequently accused by the critics of hamming, although he remained a popular star. He became a pirate again, buffoon style this time, in Abbott and Costello Meet Captain Kidd (Charles Lamont, 1952). He guest-starred in an episode of the Colgate Comedy Hour on TV that also featured Abbott and Costello and that was notable for his delivery of the Gettysburg Address. He played Herod Antipas in Salome (William Dieterle, 1953) with Rita Hayworth in the title role, and repeated his role as Henry VIII in Young Bess (George Sidney, 1953) starring Jean Simmons. He returned to England for a memorable turn in Hobson's Choice (David Lean, 1954) as the patriarch brought to heel opposite John Mills. Laughton directed several plays on Broadway. His most notable box-office success as a director came in 1954, with 'The Caine Mutiny Court-Martial', a full-length stage dramatisation by Herman Wouk of the court-martial scene in Wouk's novel 'The Caine Mutiny'. In 1955, Laughton directed (but did not act in) the film The Night of the Hunter. This poetic thriller has become a critical and cult favourite thanks to Laughton's intriguing combination of expressionism and realism, a fine script co-written by James Agee and compelling performances by an excellent cast headed by Robert Mitchum as a psychotic preacher and Lillian Gish as a resolute farm woman. At the time of its original release, however, it was a critical and box-office failure, and Laughton never had another chance to direct a film. Laughton received Academy Award and Golden Globe nominations for his role as Sir Wilfrid Robarts in the screen version of Agatha Christie's play Witness for the Prosecution (Billy Wilder, 1957) with Marlene Dietrich. He played a British admiral in the Italian war film Sotto dieci bandiere/Under Ten Flags (Duilio Coletti, 1960) and worked for the only time with Laurence Olivier in Spartacus (Stanley Kubrick, 1960) as a wily Roman senator. He also gave highly successful one-man reading tours for many years. His material ranged from the Bible to Jack Kerouac's 'The Dharma Bums'. His final film was Advise and Consent (Otto Preminger, 1962), for which he received favourable comments for his performance as a southern US Senator. For his accent, he studied recordings of Mississippi Senator John Stennis. Laughton worked on the film, while he was dying. In January 1962 he had been diagnosed with cancer after being hospitalised with a collapsed vertebrae following a fall in the bath. Over his final eleven months, his weight dropped to just ninety pounds. Following Laughton's death in 1962, Laughton's wife Elsa Lanchester wrote a memoir in which she stated that they never had children because Laughton was actually homosexual. The lesbian and gay Fyne Times writes about the couple: “Only two years into the marriage, Lanchester learnt of her husband’s homosexuality. Although she was initially shocked and deeply upset, over time the couple began to develop an altered relationship, one of close friendship. They decided to remain married, although both of them took lovers, and were instead constant companions, looking after and supporting each other as in any other marriage.”

Sources: Anthony Slide (Encyclopedia of British Film), Gloria (Rooting for Laughton), Fyne Times, TCM, Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

A minimalist modern black and white brochure design that can be utilized by an individual or business in any industry!

The versatile trunk of an elephant showing the single "finger" of the Asian elephant's trunk. This elephant was in the grounds of the Dalada Maligawa (Temple of the Tooth) prior to the spectacular Kandy Esala Perahera in August, 2013. Scores of elephants are to be seen at various locations around the town of Kandy in the daytime during the perahera season.

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A Class 52 trio portraying the daily duties attributed to the type during their last years of service on the Western Region of British Rail.

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Camera: Olympus Pen F Half Frame SLR.

Reworked in black and white.

Versatile | Skilled | Vital -- Independent Duty Corpsman: HMC Tamia Daniels

06.02.2021

Video by Nicole McFarland

Visual Information Directorate-NMLPDC

HMC (FMF/SW/AW) Tamia Daniels describes why being an Independent Duty Corpsman is the best job in the Navy.

Date Taken: 06.02.2021

Date Posted: 06.04.2021 15:10

Category: Video Productions

Video ID: 799788

VIRIN: 210602-D-OO792-169

PIN: 820005

Filename: DOD_108379878

Length: 00:00:41

Location: MD, US

BUMED #21-0013-135

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My Vinegar Collection (and hiding in the background, Marsala and dry Sherry, also used in cooking). Most of my vinegars are from David Rosengarten's Real Vinegar Club. www.davidrosengarten.com/content.asp?type=site&id=166

When it comes to cooking, vinegar has more jobs to do than just appearing as an ingredient in recipes. It can improve flavor, preserve food, fill in for missing ingredients, and even make food look better. This ingredient can prevent spoilage and salvage the occasional cooking disaster. In fact, if you add a drop here and there during the preparation process, vinegar may change the whole personality of certain foods.

Check out my set "Most Interesting 500" here!

Visit my Waldorfschool/Steinerschool related pinboards here!

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This 'Most Versatile' challenge is set by the Compositionally Challenged Group. Thanks Sharon for a fab set of themes.

In this month's challenge, 9 members, entered 82 photos, and 6 members completed all 10 themes. These members, in play order, were: Maria, Robin, Dave, Linda, Ms J and Lesley..

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