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Was sad to hear of the recent passing of the actor Bernard Cribbins. So this is my small tribute to a fine actor who was the voice of "The Wombles" the annoying guest Mr Hutchinson in a Fawlty Towers episode and many other acting roles that a lot of us may remember from our childhood. But perhaps best remembered for playing Albert Perks the station porter in the 1970 all time great family film "The Railway Children" May he rest in peace.
Bernard Cribbins (1928- 2022)
© PJR 2022
French postcard by Editions P.I., Paris, no. 34. Photo: Teddy Piaz.
Character actor Raymond Aimos (1891–1944) or simply Aimos was one of the familiar faces of the French cinema of the 1930s and early 1940s. During this golden age of poetic realism, he was the quintessential 'Titi Parisien' (Parisian kid) in at least 105 films. His film characters generally corresponded with himself: humble, poor, colourful, cheeky but with a heart of gold.
Raymond Aimos was born as Raymond Arthur Coudurier in La Fère in the North of France in 1891 (1889 (sic) according to IMDb and other sources). He was the son of a watchmaker-jeweler and was expected to work in the family business but young Raymond was uncontrollably attracted to show business. He managed to become an opera singer under the stage name Aimos. According to urban legends, retold by different sources, he made his first film appearance as a kid either in the Lumière brothers’ L’arroseur arose/The Sprinkler Sprinkled (1895, Louis Lumière) or in a film by another legendary film pioneer, Georges Méliès. (In the first film, the naughty boy was Benoît Duval). However, officially Aimos made his cinema debut in the short silent western Pendaison à Jefferson City/Hanging at Jefferson City (1910, Jean Durand) with Joë Hamman and Gaston Modot. He appeared in more early silent shorts, like the Onesime comedies Onésime et le nourrisson de la nourrice indigne/ Onesimus and the infant unworthy of the nurse (1912, Jean Durand), Onésime a un duel à l'américaine/Onesime has an American-style duel (1912, Jean Durand) and Onésime horloger/Onesime, Clockmaker (1912, Jean Durand), all starring Ernest Bourbon aka Onésime. A decade later, Aimos appeared in the Three Musketeers-sequel Vingt Ans après/Five Years Later (1922, Henri Diamant-Berger), based on the novel by Alexandre Dumas père. These film parts had all been modest, but Aimos’ lucky strike would be the coming of sound.
Aimos' physical appearance, his popular roots and mostly his gift of gab were in perfect harmony with the sound cinema of the 1930s. He was wonderful as a humble man of the people in two masterpieces by René Clair, Sous les toits de Paris/Under the Roofs of Paris (1930) starring Albert Préjean, and Quatorze juillet/July 14 (1933) with Annabella. It lead to more work for important directors. He appeared for Raymond Bernard as a soldier in the war drama Les croix de bois/Wooden Crosses (1932) with Pierre Blanchar, and a clochard in Amants et voleurs/Lovers and Thieves (1935) with Arletty, for Sacha Guitry as another clochard in Ils étaient neuf célibataires/Nine Bachelors (1939), for Marcel Carné as Quart-Vittel, the wreck in Quai des brumes/Port of Shadows (1938), and for Jean Grémillon in Lumière d'été/Summer Light (1943) starring Madeleine Renaud. His most memorable roles were in the films by Julien Duvivier, such as Mulot, the legionary friend of Jean Gabin in La Bandera, and Tintin, one of the five friends who build a riverside café after winning the jackpot in the lottery in La Belle Équipe with Jean Gabin and Charles Vanel. He also appeared in Duvivier’s Paquebot Tenacity and L’homme du jour. At IMDb, Guy Bellinger writes: “But even when he worked for less distinctive directors his presence was an asset for the film.” Some of these films now belong to the highlights of the Poetic realism, a French genre of the 1930s of lyrical, stylized and studio-bound films which offered a fatalistic view of life with their characters living on the margins of society, either as unemployed members of the working class or as criminals. Raymond Aimos was a courageous man in life. In August 1944, he decided to take part in the uprising against the Nazis which would lead to the Liberation of Paris. He was unfortunately hit by a stray bullet in the 10th Arrondissement. The exact circumstances of his death remain unclear and undetermined. He was only 53. Raymond Aimos never married and had no children. But he left an impressive film legacy, according to some sources he even appeared in nearly 450 films (IMDb only mentions 105 films)!
Sources: Simon Benattar-Bourgeay (Ciné-Artistes), Guy Bellinger (IMDb), Les Légendes du Cinéma (French), Wikipedia (French) and IMDb.
And, please check out our blog European Film Star Postcards.
My favorite actor ever. I LOVE his profile and insanely long neck. So much beauty in one package! ♥
Photo property of Men's VOGUE
November 1986: Actor Michael Parris Newman portrays Howard Hughes in a one-person, two-act musical in Los Angeles. He posed for me next to a retired Lockheed Constellation aircraft at Camarillo Airport. #howardhughes #camarilloairport #lockheedconstellation
#bnw #bnwphotography #bnwlovers #bw #monochrome #bw_lover #greatestbnw #bnw_greatshots #world_bnw
Big German card by Film-Foto-Verlag, no. G 199, 1941-1944. Photo: Baumann.
German actor Carl Raddatz (1912-2004) was much in demand by film producers in the 1940s and especially in the 1950s. He appeared in several Nazi propaganda films, but he also gave Joseph Stalin a German voice. Through the years he would become one of the leading character actors of the German theatre.
Carl Raddatz was born as Werner Fitz in Mannheim, Baden. He took acting lessons from Willy Birgel, who engaged him for the Mannheimer Nationaltheater. Engagements in Aachen, Darmstadt, Bremen and finally Berlin followed. In Berlin he would have his greatest successes. In the Ufa studios in Babelsberg he made his film debut in the propaganda film Urlaub auf Ehrenwort/Furlough on Word of Honor (Karl Ritter, 1938). Soon followed more Ufa productions like Liebelei und Liebe (Arthur Maria Rabenalt, 1938) with Paul Hörbiger as well as Verklungene Melodie/Dead Melody (Viktor Tourjansky, 1938) with Brigitte Horney and Willy Birgel. In the next years Raddatz became established as a star and appeared in well-known productions like Befreite Hände/Freed Hands (Hans Schweikart, 1939) opposite Brigitte Horney and Olga Tschechowa, Zwielicht/Twilight (Rudolph von der Noss, 1940) with Viktor Staal, Der 5. Juni/June the 5th (Fritz Kirchhoff, 1942), opposite Kristina Söderbaum in Immensee (Veit Harlan, 1943), and Opfergang/The Great Sacrifice (Veit Harlan, 1944), and in the poetic love-triangle Unter den Brücken/Under the Bridges (Helmut Käutner, 1945) with Hannelore Schroth. He also played in Nazi-Propagandafilms like Wunschkonzert/Request Concert (Eduard von Borsody, 1940), Heimkehr/Homecoming (Gustav Ucicky, 1941), and Stukas (Karl Ritter, 1941).
After the war, Carl Raddatz rather smoothly continued his career with films like the episode film In jenen Tagen/In Those Days (Helmut Käutner, 1946-1947), and Epilog/Epilogue (Helmut Käutner, 1950). Next to his films, he worked mainly in the theatre. In the mid-1950s he became a darling of the public with the films Rosen im Herbst/Roses in Autumn (Rudolf Jugert, 1955) with Ruth Leuwerik, Nacht der Entscheidung (Falk Harnack, 1956) with Hilde Krahl, and Made in Germany (Wolfgang Schleiff, 1957) with Winnie Markus. To his other popular post-war films belong Gabriela (Géza von Cziffra, 1950) opposite Zarah Leander, Regina Amstetten (Kurt Neumann, 1953), and Das Mädchen Rosemarie/Rosemary (Rolf Thiele, 1958) with Nadja Tiller. Giulietta Masina was his partner in Jons und Erdme/La donna dell'altro (Victor Vicas, 1959). His career ended slowly with The Counterfeit Traitor (George Seaton, 1962) starring William Holden, and finally the Hans Fallada adaptation Jeder stirbt für sich allein (Alfred Vohrer, 1975) with Hildegard Knef. For TV, he appeared opposite Ruth Leuwerik in the series Die Buddenbrooks (1979) based on the classic novel by Thomas Mann and in an episode of the popular crime series Derrick (1990). He always remained true to the theater. For years he was a member of the ensemble of the Staatlichen Schauspielbühnen Berlin and impersonated many interesting roles which heaved him to the guild of leading character actors. In the 1950s he had also dubbed stars like Humphrey Bogart, Robert Taylor, and Lee Marvin, and after WWII he gave Joseph Stalin his voice on German TV. In 1972 he was awarded the Bundesverdienstkreuz and in 1979 the Filmband in Gold. Carl Raddatz died in 2004 in Berlin. He was married three times, among others with the actress Hannelore Schroth, his partner in the film Unter den Brücken/Under the Bridges (Helmut Käutner, 1945).
Sources: Thomas Staedeli (Cyranos), Wikipedia, Filmportal.de, and IMDb.
And, please check out our blog European Film Star Postcards.
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New Orleans, Louisiana
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New Orleans Lakefront
New Orleans, Louisiana
Italian postcard.
Eleuterio Rodolfi (1876-1933) was an Italian actor, director, and scriptwriter, who was highly active in Italian silent cinema. For Ambrosio, Rodolfi acted in some 95 films of which some 80 were directed and scripted by himself. Many of these were comedies interpreted by Rodolfi together with actress Gigetta Morano, with the two acting and becoming known as ‘Gigetta’ and ‘Rodolfi’. In contrast to the previous anarchist farces by Cretinetti and others focused on speed and havoc, entitled as ‘comiche’ in Italian, the comedies with Gigetta and Rodolfi were true ‘commedie’, so more situational, boulevardier, less speedy, and often hinting at forbidden fruits and voyeurism.
Eleuterio Rodolfi aka Rodolfo Rodolfi was born in Bologna on 28 January 1876. He was the son of Giuseppe Rodolfi (1827-1885), a famous stage actor in the 19th century. He debuted on stage as "generico giovane" (generic young actor) with the company of Francesco Garzes. He then moved to other important theatre companies, such as the one of Ermete Novelli. There he met Adele Mosso, who worked as "seconda donna" (second woman) in the company. They married in 1895. In 1911 he moved over to the cinema and was hired by the Ambrosio film company of Turin, where he became both actor and director. For Ambrosio, Rodolfi acted in some 95 films of which some 80 were directed and scripted by himself. Many of these were comedies interpreted by Rodolfi together with actress Gigetta Morano, with the two acting and becoming known as ‘Gigetta’ and ‘Rodolfi’. In contrast to the previous anarchist farces by Cretinetti and others focused on speed and havoc, entitled as ‘comiche’ in Italian, the comedies with Gigetta and Rodolfi were true ‘commedie’, so more situational, boulevardier, less speedy, and often hinting at forbidden fruits and voyeurism. In the risqué comedy Acqua miracolosa (1914) Gigetta’s husband deplores that in their flat he hears children everywhere (the set is built up like a doll’s house) but he cannot get any. The family doctor (Rodolfi) has a secret affair with Gigetta. He advises the wife to go the wondrous wells – where she meets no other than the doctor. In the end, everybody is happy: the husband has become the father of twins, and the wife lifts a glass in which see a little doctor. Often in their comedies Morano and Rodolfi played together with a third actor, the portly little bourgeois Camillo De Riso, who frequently played Morano’s father, as in Un successo diplomatico (1913) and L’oca alla Colbert (1913).
Rodolfi also acted in and directed historical films, such as Ambrosio's super-production Gli ultimi giorni di Pompei (The Last Days of Pompeii, 1913), based on Bulwer-Lytton’s famous novel and a worldwide success. The film starred Fernanda Negri Pouget as the blind girl Nydia, Ubaldo Stefani as Glaucus and Antonio Crisanti as Arbaces. NB despite what IMDB tells, Mario Caserini had nothing to do with the film. The Turinese company Pasquali made a competing version at the same time, so competition was fierce. Moreover, in recent times the Ambrosio version is often confused with the later silent version of 1926, directed by Carmine Gallone and Amleto Palermi, and starring Victor Varconi, Maria Corda, and Bernhard Goetzke, as Glaucus, Nydia and Arbaces. Among his films in the mid-1910s for Ambrosio were a few with the Polish actress turned Italian diva Elena/ Helena Makowska, such as Val d'Olivi (1916), Eva nemica (1916), and the D’Annunzio adaptations La Gioconda (1916) and La fiaccola sotto il moggio (1916).
In 1916 Rodolfi also started at Jupiter Film, where he shot some seven dramas – of which just one survives: Ah! Le donne! (1916), with Rodolfi. Armand Pouget and Mercedes Brignone. In 1917 he founded his own film company Rodolfi Film, with which he made films like the Shakespeare adaptation Amleto (1917), starring Ruggero Ruggeri, ‘monstre sacré’ of the Italian Belle Epoque, and also with Makowska as Ofelia, Pouget as the King, and Brignone as the Queen. In the early 1920s Rodolfi did various films with Mercedes Brignone, Lola Visconti Brignone, and Pouget. Rodolfi’s company ceased activity around 1922, after which he did one last production for the Fert Pittaluga company: Maciste e il nipote d’America, a film in a completely different genre, and starring Bartolomeo Pagano and Diomira Jacobini, plus Pauline Polaire, Alberto Collo, Oreste Bilancia, and Mercedes Brignone. After that he withdrew from the set he returned to the stage. In the late 1920s he withdrew from the stage as well. The last years of his life Rodolfi spent in the city of Brescia, where on 19 December 1933 he committed suicide and died.
Sources: Italian Wikipedia; IMDB; Aldo Bernardini/Vittorio Martinelli, Il cinema muto italiano; Mariann Lewinsky/Chiara Caranti, ‘Rodolfi e Gigetta: coppia in commedia’, www.cinetecadibologna.it/cinemaritrovato2009/ev/sezioni/r....
Actor John Joseph Quinlan - Former Cruiser Weight Boxing Champion of The World Character on Set Live Filming Prep @ Dullea's Boxing via Boston Film/Series with Trainer Greg Rich.
12/19/2015
www.johnjosephquinlan.com/actor-john-joseph-quinlan-forme...
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Aspiring actor and model. I've been stepping out of my comfort zone and doing more photo shoots lately. Watch out for Matthew, I believe he has it in him to do well in the business. Learn more about him here
City Park
New Orleans, Louisiana
.... John Barrymore (born John Sidney Blyth; February 14 or 15, 1882 – May 29, 1942) was an American actor on stage, screen and radio. A member of the Drew and Barrymore theatrical families, he initially tried to avoid the stage, and briefly attempted a career as an artist, but appeared on stage together with his father Maurice in 1900, and then his sister Ethel the following year. He began his career in 1903 and first gained attention as a stage actor in light comedy, then high drama, culminating in productions of Justice (1916), Richard III (1920) and Hamlet (1922); his portrayal of Hamlet led to him being called the "greatest living American tragedian".
After a success as Hamlet in London in 1925, Barrymore left the stage for 14 years and instead focused entirely on films. In the silent film era, he was well received in such pictures as Dr. Jekyll and Mr. Hyde (1920), Sherlock Holmes (1922) and The Sea Beast (1926). During this period, he gained his nickname, the Great Profile. His stage-trained voice proved an asset when sound films were introduced, and three of his works, Grand Hotel (1932), Twentieth Century (1934) and Midnight (1939) have been inducted into the National Film Registry.
Barrymore's personal life has been the subject of much attention before and since his death. He struggled with alcohol abuse from the age of 14, was married and divorced four times, and declared bankruptcy later in life. Much of his later work involved self-parody and the portrayal of drunken has-beens ....
Da un idea di Giulia Catania, progetto attore/doppiatore. Con l'aiuto di Giorgio Violino e Andrea Marietta. Grazie alla collaborazione di Spazio 211 - Torino. L’attore ci affascina, ci conquista, ci fa scegliere un film. È in grado di condizionare con il suo nome, il suo volto, la sua storia, la scelta di uno spettacolo, di inchiodarci alla poltrona. Poi nel buio, quando il racconto ci trattiene, ecco che la fascinazione del volto perde forza ed è la voce che ci conquista, la sua capacità di trasformare un momento di banali sequenze, in recitazione. La storia diventa rifrangenze, sonorità, una malia. Il volto lentamente si stempera e, da quel momento, l’attore diventa la sua voce e quella voce ci seguirà in altre storie, ritornerà altre volte e sempre riandremo a quelle emozioni che hanno saputo conquistarci. A poco a poco ogni attore si sfuma, perde consistenza, quasi si annulla e di lui resta, rimbalzando per altre opere, per momenti anche brevi, la sua voce, come una eco, come un miraggio. La parte è diventata il tutto e quel tutto sarà eterno, insostituibile. Cadono i capelli spuntano le rughe, il volto diviene meno bello, non è più interessante, ma c’è una parte di quel ritratto di Dorian Gray, in una sala di registrazione, che mai invecchia che sempre resta giovane, magari un po’ più maturo, ma migliora, ogni volta, ad ogni appuntamento. E la bravura di chi dietro lo specchio anima la vita professionale di un attore, spesso viene fraintesa, dimenticata, sottovalutata. Ho voluto con questo mio lavoro restituire un volto a una voce, rendere giustizia e chi è costretto a vivere di riflesso. Sovente, finiamo per amare di più quella voce che quell’attore, anzi quell’attore ci piace proprio per quella voce. Loro danno una vita nuova agli attori che doppiano, io ho voluto restituire una vita a chi riesce a farmi continuare un sogno. Quindi, in questo gioco, ho deciso di far doppiare fisicamente in foto l'attore, in questo caso Alex Polidori, che doppia con la voce e nelle mie foto Tom Holland (Spiderman). L'idea è di fare un progetto più completo con un buon numero di doppiatori che potrebbero prendere parte alla mia idea. Se sei un doppiatore e ti interessa chiamami.