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Short adaptation by Luc Boulanger of an original play of Molière, "The Bourgeois Gentleman, " directed by Véronique Dumais. Presented by the troupe "Feet on Stage "from the École secondaire Jean-de-Brebeuf, in Limoilou, January 14, 2011. The story recounts the misadventures of a rich bourgeois who wants to become a gentleman, so to be noble. He seeks to marry his daughter to a noble man ... The actors have presented two versions, one "white", following a classical staging and a "black" one very surprising and fun! The texts are the same in both versions, but the setting is totally different. I wish it would have last longer.
Playing Age 30
height 6' 0" (1.83 m)
weight 13st. 0lb. (83kg)
hair color Black
eye color Green
Build Medium
Vintage Italian postcard. Unione Cinematografica Italiana, No. 45.
Mario Bonnard aka Mario Bonard (1889-1965) was an Italian actor and director, whose rich career span from 1909 to the early 1960s.
Mario Bonnard was born in Rome on 24 December 1889. In 1909 he started his career on the Roman amateur stage. Within a few months he started acting in films too, first in short films in uncredited parts (e.g. Otello, Gerolamo Lo Savio 1909), but soon had male leads as upperclass types. His first known credited role was in Dalla morte alla vita (director unknown, Latium Film, 1911). In 1911 he followed director Mario Caserini to start working at Ambrosio Film in Turin, where he had leads or was co-actor in e.g. La nave dei leoni (Luigi Maggi 1912), Nelly la domatrice (Mario Caserini 1912), Parsifal (Mario Caserini 1912), La rosa rossa (Luigi Maggi 1912), Santarellina (Mario Caserini 1912), and in particular Satana (Luigi Maggi 1912), in which Bonnard was the devil through the ages (Old Testament/New Testament/Middle Ages/modern times), based on Milton’s Paradise Lost and Klopstock’s Der Messias. The film had an international success, even in the US. French film historian Georges Sadoul has written that the film’s script by Guido Volante was a clear example to the later films Intolerance (1916) by D.W. Griffith, Civilisation (1916) by Thomas Ince, and Blatter af Satans bog (Pages from Satan’s book, 1919) by Carl Dreyer. Unfortunately, only a short fragment of Satana remains.
After a few other films at Ambrosio, Summer 1913 Bonnard shifted to the new Turinese company Gloria, where he acted in its first film Il treno degli spettri (Mario Caserini 1913). This wasn’t as successful as the second Gloria film, the Hennequin & Veber boulevard comedy Florette et Patapon (Mario Caserini 1913), with Bonnard as the lover of Bianca Patapon (Maria Caserini Gasperini). The film was widely praised as the first feature-length comedy and proving that comedy features were feasible. Bonnard’s breakthrough as star though came Fall 1913 as male lead opposite Lyda Borelli in the Gloria production Ma l’amor mio non muore (Love Everlasting, Mario Caserini, 1913), which also launched Borelli as film star after a rich theatrical career. Bonnard played Prince Maximilian who falls in love with Diana, a popular opera singer (Borelli). She proves to have been exiled by his father the Duke, as she is Elsa Holbein, the daughter of a colonel who was accused of treachery (after a foreign spy had stolen his secret documents), and who afterwards had committed suicide. By this and other films Bonnard became a heartthrob as aristocratic, passionate and languid Italian dandy, inspiring Ettore Petrolini for his latin-lover character Gastone (Bonnard’s penultimate film Gastone (1960) was about this character).
After the success of Ma l’amor mio non muore, the dream couple Borelli-Bonnard was paired again by Gloria in La memoria dell’altro (Alberto Degli Abbati, 1914). Here Lyda is a famous female aviator who falls in love with journalist Mario (Bonnard), but the two are separated, Lyda marries her rich suitor while Mario goes back to his fiançee. When in Venice they meet again, the flame rearises, and together they flee to Paris, but there ill fate destroys their lives. Bonnard had a little share in the popular Italian Antiquity films of 1913-1914 when acting as Petronius in Caserini’s epic Nerone e Agrippina (1914), Gloria’s answer to successes such as Cines’s Quo vadis and the two versions of Gli ultimi giorni di Pompei by Ambrosio and Pasquali (all three 1913).
After several minor dramas at Gloria in 1914-15, in 1915 Bonnard moved to Caserini’s newly founded company and acted e.g. opposite Leda Gys in La pantomime della morte (Mario Caserini 1915) and L’amor tuo mi redime/ Leda di Roccarna (Mario Caserini 1915). In 1915 Bonnard also founded his own company Bonnard film, for which Pier Angelo Mazzolotti did the direction. Most films were modest and plots were criticised, though Titanic (Mazzolotti 1915) received praise for its staging. For La morsa della morte (Pier Angelo Mazzolotti 1915) Bonnard had to leave the male lead to Giovanni Casaleggio, as he was called for service when Italy joined the Allies in the First World War. He was freed from service quite soon though. In 1916 Bonnard went to work for the Roman Caesar Film company and was the star of Eduardo Bencivenga’s films Don Giovanni (1916), Il ridicolo (1916), Ferréol (1916), and La figlia di Jorio (1917), though received with lukewarm acclaim. He also played in patriotic films such as Passano gli Unni (Mario Caserini, 1916), starring Gys, Bonnard and Gianpaolo Rosmino, which premiered in Rome and Paris at the same time and was well received despite its drastic plot. Bonnard and Rosmino visited the Parisian premiere and were applauded with enthusiasm.
In 1917 Bonnard ventured into his first direction with the film L'altro io, for his own company Electa Film. Vaguely inspired by Wilde and The Student of Prague, Bonnard plays a man who wounded by his perverse adversary, needs to have a piece of the latter’s brain implanted, with unforeseen consequences. Bonnard was very successful with his second film Treno di lusso (Megale Film, 1917), adapted from Umberto Notari’s novel, and starring Leda Gys as a poor Parisian girl who loses her child and successfully climbs the societal ladder. She is armed with cynicism, until she meets an engineer (Bonnard) she falls in love with. He has a wife and child though. After 1917 Bonnard completely shifted to film direction instead of acting - possibly, as Lotti suggests, because of less positive reception of his acting.
In 1919 he directed Ettore Petrolini in his first cinematographic interpretation in Mentre il pubblico ride (While the audience laughs), taken from a play by Petrolini himself and by the futurist Francesco Cangiullo. Subsequent films were often at Celio Film, e.g. Papà Lebonnard (1920) starring Ugo Piperno, Il milione (1920), Il fauno di marmo (1920), and L’amica (1920) with Vittoria Lepanto. Memorable was Bonnard's direction of the Manzoni adaptation I promessi sposi (1923), produced by the Unione Cinematografica Italiana (UCI), and starring Emilia Vidali as Luciana, Domenico Serra as Renzo, Mario Parpagnoli as Don Rodrigo and Ida Carloni Talli as Agnese. While other Italian directors and actors were looking at Hollywood, with Fairbanks and Valentino as model, Bonnard looked at French boulevard comedy, with Il tacchino (1925) after Feydeau’s Le dindon, and Teodoro e socio (1925, released 1926), based on the French stage comedy Théodore et Cie. Both films starred Marcel Levesque, while the female leads were both for French actresses, resp. Maryse Dauvray and Dolly Grey.
At the collapse of the Italian film industry around 1923, Bonnard went to Germany and directed in Berlin several films with an international cast. Marcella Albani repeatedly was his leading actress then, starting with Die Flucht in den Zirkus (1916, with Guido Schamberg), also Das letzte Souper (1928).. Other films were e.g. Die Sünderin (1927) with Elisabeth Pinajeff, and Der goldene Abgrund (1928) with Liane Haid. In 1928, together with Nunzio Malasomma, Bonnard directed Der Kampf ums Matterhorn (The Battle for the Matterhorn), which helped Luis Trenker to make his breakthrough, and which co-starred Albani. This was followed by other films with the daring mountaineer Trenker: Der Sohn der weißen Berge (1930), Die heiligen drei Brunnen (1930), as well as the French version Les chevaliers de la montagne (DE/FR 1930). With Der Ruf des Nordens (1929) Nunzio Malasomma directed but Bonnard had supervision.
At the beginning of the thirties, Bonnard shifted his focus to Paris and directed French and French-Italian productions – such as Trois hommes en habit/ Tre uomini in frac (1933) - before finally settling in Rome in 1932. He filmed here with numerous well-known Italian actors of his time. His specialty was adaptations of stage comedies, interpreted by the greatest stars of the time: Assia Noris, Elsa Merlini, Amedeo Nazzari, Luisa Ferida, Enrico Viarisio, the most famous of which is Il feroce Saladino (1937). During the war years Bonnard realised two works not without a fresh grace and promoting the film careers of Aldo Fabrizi and Anna Magnani: Avanti c'è posto... (1942), about a trolley bus conductor protecting and falling in love with a poor girl (Adriana Benetti), based on an idea by Aldo Fabrizi and Cesare Zavattini, and Campo de 'Fiori (1943) with Fabrizi and Anna Magnani as two quarrelling marketers.
Vast is also Bonnard’s film production in the post-war period in which he demonstrated excellent professional skills by directing films of various kinds, attentive to the public's tastes, ranging from comedies with Totò and Gino Cervi to historical films, from popular melodrama to peplum up to the engaged film, and mixing typical pre-1945 actors such as Doris Duranti (Il voto, 1950) and Fosco Giachetti (Addo, mia bella Napoli!, 1947) with newcomers such Antonella Lualdi (L’ultima sentenza, 1951) and Brigitte Bardot (Tradita/Haine, amour, trahison, 1954). Bonnard was the unsurpassable director of masses (Fra Diavolo, 1931) and packer of historical plots (Il ponte dei sospiri/ The Bridge of Sighs, 1940). With Città dolente (1948) he directed a film virtually ignored by the public, documenting the exodus from Pula. Gli ultimi giorni di Pompei (The last days of Pompeii, 1959), a film interrupted by his illness and then completed by Sergio Leone, gives proof of skilled craftsmanship, succeeding with limited means to compete with the great American productions.
Mario Bonnard died because of cardiac arrest in Rome on 22 March 1965. He was the younger brother of the soundtrack composer Giulio Bonnard.
Sources: Italian, Spanish and German Wikipedia, IMDB, Vittorio Martinelli, Il cinema muto italiano, Denis Lotti, Muscoli e frac, www.filmportal.de.
Jamais habitué à la langue de bois, Robert Downey Jr. l’acteur portant l’armure d’Iron Man a révélé sa fascination pour Mickey Rourke et notamment sur sa façon de se préparer avant ses scènes d’émotions. Il explique que Rourke, pour pouvoir pleurer, demande à un technicien de lui montrer hors-champ des portraits de ses chiens décédés. On sait le revenant particulièrement amoureux de ses chihuahuas, qui apparaissent même avec lui dans certains films, comme le « Desperados II » de Robert Rodriguez. Marlon Brando peut aller se rhabiller…
Par ailleurs l’acteur en pleine résurrection sera à l’affiche prochainement du film bodybuildé de Sylvester Stallone « The Expendables », et jouera le Guerrier Mongol Genghis Khan dans un film épique en préparation, signé John Milius.
Viktoria Odintcova & Esha Gupta look alike. an actor & model who look same to same or you can say duplicates. Viktoria Odintcova a model and Esha Gupta an actor who never meet each other but when we see their pics together they exactly look same.
www.lovekarmapassion.com/viktoria-odintcova-esha-gupta-lo...
this is the late actor jack palance. I met him in the late 80s , he purchased this sculpture from me when we met in beverly hills. he passed away in 2006. he told me many stories and was a great guy there arent many actors from his era left like him he will be missed. theres a whole other story to how I met him this will be told later.
This one of many stills photos for a proposal for a new .TV series Totters Tramps And Thieves with Frankie Oatway. (Photos Taken by the excellent and talented Photographer Nick Williams)
Modelo: Cristian Perez
Fotógrafía: Sara Manriquez Palma
Producción: Cristián Olivares
Vestuario y Maquillaje: Miry Elb
Asistencia: Pablo Contreras
Playing Age 30
height 6' 0" (1.83 m)
weight 13st. 0lb. (83kg)
hair color Black
eye color Green
build Medium
Es el hermano menor de In Hye es un joven despreocupado y mujeriego tiene una forma de pensar distinta a la de su hermana; el esta sufriendo en secreto ya que tiene cáncer terminal y esta punto de morir.
bollyy.com/actor-sharad-kelkar-lends-his-baritone-voice-f...
Popular maker Rajan Shahi who has been immensely successful with the family drama genre has came up with a new show Baavle Utaavle. Through this show, he has reunited with actor Sharad Kelkar with whom he worked in Kuch Toh Log Kahenge.
Es un joven alfarero que llega de corea a Japón es de buen corazón siempre usa su tiempo libre par ir al hospital para visitar el pabellón de niños enfermos.
PARIS - JULY 25: Actor Will Smith poses with Jaden Smith (L) and Willow Smith (C) and wife Jada Pinkett Smith (R) as they attend "The Karate Kid" film premiere at Le Grand Rex on July 25, 2010 in Paris, France. (Photo by Pascal Le Segretain/Getty Images) *** Local Caption *** Will Smith;Jaden Smith;Willow Smith;Jada Pinkett Smith