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1962; Oscuras son las Estrellas [The Stars are dark] by Peter Cheyney. Cover art by Gracia. Spanish Barcelona G.P. Policiaca
Spanish postcard by Ediciones Este, no. 164-T, 1966. David McCallum as U.N.C.L.E. agent Illya Kuryakin in the TV series The Man from U.N.C.L.E. (1964–1968).
British actor David McCallum (1933) is best known for two American TV series. He played U.N.C.L.E. agent Illya Kuryakin in the legendary hit series The Man from U.N.C.L.E. (1964). Nearly 40 years later, he made a come-back as Dr. Donald "Duckie" Mallard on NCIS: Naval Criminal Investigative Service (2003). While making The Man from U.N.C.L.E., McCallum received more fan mail than any other actor in MGM's history, including Clark Gable and Elvis Presley.
David Keith McCallum was born in 1933 in Glasgow, Scotland, UK. his father, David McCallum Sr., was the first violinist for the London Philharmonic and his mother, Dorothy Dorman, was a cellist, it's not surprising that David was originally headed for a career in music, playing the oboe. He studied briefly at the Royal Academy of Music. He left that, however, for the Royal Academy of Dramatic Art, which he attended between 1949 and 1951. His first acting role was in 'Whom the Gods Love, Die Young' playing a doomed royal. A James Dean-themed photograph of McCallum caught the attention of the Rank Organisation, who signed him in 1956. McCallum married actress Jill Ireland, while filming Hell Drivers (Cy Endfield, 1957) together. He made nearly a dozen films in the United Kingdom before he had his breakthrough as Lt. Wyatt in Billy Budd (Peter Ustinov, 1962), starring Terence Stamp. His first American film was Freud: The Secret Passion (1962), directed by John Huston. In 1963 he introduced Ireland to Charles Bronson when both were filming The Great Escape (John Sturges, 1963). She subsequently left McCallum and married Bronson in 1968. McCallum and Ireland had three sons: Paul, Jason (an adopted son who died from an accidental drug overdose in 1989), and Val (short for Valentine), who is a respected guitarist and session musician, recording and performing with such artists as Sheryl Crow.
In 1964, David McCallum became a star as the mysterious Russian agent Illya Kuryakin in the hit TV series The Man from U.N.C.L.E. (1964). The series was based on the popularity of the James Bond films. McCallum and Robert Vaughn play two top Agents of the United Network Command for Law and Enforcement (U.N.C.L.E.) who fight the enemies of peace, particularly the forces of T.H.R.U.S.H. and use charm, wit, and a never-ending assortment of gadgets. McCallum's Beatle-style blond haircut provided a trendy contrast to Vaughn's clean-cut appearance. He became a sex symbol and his Russian alter ego became a pop culture phenomenon, despite the Cold War. McCallum received two Emmy Award nominations in the course of the show's four-year run (1964–1968) for playing the intellectual and introvert secret agent. McCallum also played the role of Judas Iscariot in The Greatest Story Ever Told (George Stevens, 1965). This epic is a retelling of the Biblical account about Jesus of Nazareth (Max von Sydow), from the Nativity through to the Ascension. In the 1960s, McCallum recorded four albums for Capitol Records with music producer David Axlerod.
For decades, David McCallum never quite repeated the popular success he had gained as Kuryakin, though he did become a familiar face on British television in such shows as Colditz (1972–1974), Kidnapped (1978), and ITV's Science-Fiction series Sapphire & Steel (1979–1982) opposite Joanna Lumley. In 1975 he played the title character in a short-lived U.S. version of The Invisible Man. He and Robert Vaughn reprised their roles of Kuryakin and Solo in the TV film, Return of the Man from U.N.C.L.E. (1983). In 1986 they reunited again in an episode of The A-Team entitled 'The Say U.N.C.L.E. Affair'. Finally, McCallum made a come-back with his superlative portrayal of chief medical examiner Dr. Donald "Duckie" Mallard on the hit CBS series, NCIS: Naval Criminal Investigative Service (2003) with Mark Harmon. He has played the same character in three different series: JAG (1995), NCIS: Naval Criminal Investigative Service (2003), and NCIS: New Orleans (2014). In 2016 he published the novel 'Once a Crooked Man' (2016). McCallum has been married to model Katherine Carpenter since 1967. They have a son, Peter, and a daughter, Sophie. McCallum and his wife are active with charitable organizations that support the United States Marine Corps: Katherine's father was a Marine who served in the Battle of Iwo Jima, and her brother lost his life in the Vietnam War. David McCallum lives on Long Island, New York, and has six grandchildren.
Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.
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Spanish postcard by Ediciones JRB, no. 191/11. Photo: 20th Century Fox. Publicity still for Will Success Spoil Rock Hunter? (Frank Tashlin, 1957).
Some Hollywood stars were much more popular in Europe than at home. A fabulous example is sweet Jayne Mansfield (1933-1967), one of Hollywood's original platinum blonde bombshells. Although most of her American films did not do much at the European box offices, Jayne herself was a sensation whenever she came to Europe to promote her films. During the 1960s when Hollywood had lost its interest in her, Jayne continued to appear cheerfully in several European films.
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Spanish postcard by Ediciones Tarjet-Fher / Ediciones Mandolina, no. 216. Photo: Epoca Films.
Spanish singer and actress Rocío Dúrcal (1944–2006) was called the ‘Queen of Ranchera’, the traditional Mexican song. She began in the 1950s as a child star and as a teenager, she appeared in a series of popular Spanish 1960s musicals. Later she focused on her musical career, became a star in Mexico and Latin America and won for her albums with rancheras and ballads several Latin Grammy awards.
Rocío Dúrcal was born María de los Ángeles de las Heras Ortiz in Madrid, Spain, in 1944. She was born and raised in Spain in the bosom of a working-class family. At the age of 10, ‘Marietta’ took part in the radio show, Conozca a sus Vecinos (Meet Your Neighbours). In these shows, she charmed the audience with her clear and melodic voice that also made her a winner in many other radio contests that she participated in those years. She was secretly supported by her paternal grandfather, who believed in her talent and was her first fan. In 1959, with the approval of her parents, she participated in the television program Primer Aplauso (First Applause). For the contest she sang the traditional song La sombra vendo. Manager Luis Sanz was impressed by her talent and personality and signed her up. Soon after, she started taking singing and dancing lessons with Lola de Aragón and Alberto Lorca. From that time, Maria began working as Rocío Durcal. Durcal is taken from a town in the province of Andalucia in southern Spain. Her new name was used for the first time in her debut film, the musical Canción de Juventud/Song of Youth (Luis Lucia, 1961). The film was a huge box office hit in Spain and in other Spanish-speaking countries. Soon followed another film vehicle, Rocío de La Mancha (Luis Lucia, 1963) and a record deal with Phonogram (now Universal Music). At this time many other young singer-actors in Spanish films were popular, including Raphael, Marisol, and the twin sisters, Pili and Mili. The songs Dúrcal performed in her films served to make her debut album, Las películas de Rocío Dúrcal (The films of Rocío Dúrcal, 1962). It was the start of a successful recording career. Durcal traveled to Mexico, Venezuela, Puerto Rico and the United States where she appeared on The Ed Sullivan Show. In her fourth film, Tengo 17 años/I am 17 (José María Forqué, 1964), Dúrcal abandoned the role of child star. That same year, she made her stage debut in Un domingo en Nueva York (A Sunday in New York), in which she proved to be a good theatrical actress. In 1965 she filmed Más bonita que ninguna/Prettier than any (Luis César Amadori, 1965) for which the pop group Los Brincos (considered at the time as the Spanish version of The Beatles) wrote some songs. In 1966, she shared the spotlight with Enrique Guzmán in the film Acompáñame/Accompany me (Luis César Amadori, 1966). She began to perform duets with such singers as Jaime Morey and Amalia de Isaura. Then she co-starred in the film Amor en el Aire/Love in Flight (Luis César Amadori, 1967) with Argentine singer-songwriter Palito Ortega and Fernando Rey. The following year, she filmed Cristina Guzmán (Luis César Amadori, 1968), the first of her films that was aimed at an adult audience. She plays the double role of a young widow with a child, is asked to replace a missing woman, and of course the missing woman who suddenly returns.
In 1970, Rocío Dúrcal married Philippine musician Antonio Morales, better known as Júnior, a former member of Los Brincos. He would later manage her singing career. In 1972, Morales began a series of television shows in Spain and Latin America singing with his wife as a duo. Their first child, Spanish actress Carmen Morales de las Heras, was born in 1970. After the birth of their second child, Antonio Morales de las Heras, in 1974, Morales decided to give up his career to devote time to their children. In 1979 they had their third child, Shaila Morales de las Heras, who is now also a singer under the stage name of Shaila Dúrcal. Dúrcal continued her film and singing career. During the 1970s she appeared in such films as the musical La novicia rebelled/The Rebellious Novice (Luis Lucia, 1971) and the French-Spanish thriller Dites-le avec des fleurs/Say it with flowers (Pierre Grimblat,1974), starring Delphine Seyrig. Her final film was the drama Me siento extraña/I feel strange (Enrique Martí Maqueda, 1977). In 1977, Dúrcal signed a contract with Ariola Eurodisc, from then on dedicating herself to her musical career. That year, while in Mexico, she met the Mexican singer-songwriter Alberto Aguilera Valadez, better known as Juan Gabriel. He convinced her to perform a popular Mexican style known as ranchera. They recorded a whole album of rancheras entitled Rocío Dúrcal canta a Juan Gabriel. Backed by the Mexican band, Mariachi América, this resulted in unexpected hits, popularity and awards, not only in Spain and Mexico, but also in Latin America and in the Hispanic community of the United States. Dúrcal and Juan Gabriel decided to continue to record rancheras together. Dúrcal's album named Canta A Juan Gabriel Volumen 6 (1984) is among the top ten best-selling albums in the history of Mexico. For this album Rocío Dúrcal received her first Grammy Award nomination. The collaboration of Dúrcal with Juan Gabriel was interrupted by disagreements between the artists and because of problems of Juan Gabriel with his record label, so Dúrcal continued to record albums with other songwriters such as Marco Antonio Solís and Rafael Pérez Botija. She moved from rancheras to romantic ballads. In 1988 she recorded the album Como Tu Mujer with producer Marco Antonio Solis.
In 1990, Rocío Dúrcal recorded her first album on CD format entitled Si Te Pudiera Mentir. In 1991, Durcal offered a concert at the National Auditorium in Mexico City, recorded in a double disc El Concierto... En Vivo. Between 1992 and 1993 she recorded the album Desaires, produced by the Mexican singer and songwriter Joan Sebastián. In this album she reprises ranchera. With this album, released simultaneously in Mexico, the United States, Colombia, Venezuela and Spain, she made a promotional world tour. In 1995 she launched her production Hay Amores Y Amores, with songs written and produced by the Argentine Roberto Livi. For this album she was nominated again for a Grammy Award in the category Best Latin Pop Album. In 1997 the double album Juntos Otra Vez brought Rocío Dúrcal and Juan Gabriel together again for the last time. In 1998, under the direction of her discoverer Luis Sanz, she starred in the Spanish TV Show Los negocios de mamá. In 2000, she celebrated 40 years in the industry. In that year she returned to ranchera music with the album Caricias, under the production of songwriter and producer Bebu Silvetti. In 2001 Rocío Dúrcal recorded Entre Tangos Y Mariachi, again produced by Bebu Silvetti, an album that includes 10 of the most famous Argentine tango arrangements interpreted with ranchero/bolero style like her previous album. In the summer of 2001 Dúrcal made a successful tour in Spain, after 13 years of no shows in Spain. In 2001 Dúrcal recorded Dama, Dama for Mujer, an album released by BMG Music Spain as part of a campaign to raise funds for an organization against breast cancer. In 2002, she performed a concert at the National Auditorium in Mexico, which was recorded in the double album En Concierto... Inolvidable. The album was nominated for a Latin Grammy Award. In 2003, the artist received another Latin Grammy Award nomination for her album Caramelito, produced by Kike Santander. In May 2004 she returned to Spain to record what would be her last album Alma Ranchera, which was nominated for a Latin Grammy Award, but did not win. A year later she received a Latin Grammy Award for musical excellence. Dúrcal had been diagnosed in 2001 with uterine cancer. In 2006, Rocío Dúrcal died at her home in Madrid. She was 61.
Sources: Drago Bonacich (AllMusic), Francisca Guilarbigos (IMDb), Wikipedia and IMDb.
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The new Ferrari 488GTB powered by a V8 Turbo engine.
www.autogespot.es/ferrari-488-gtb/2015/11/25
Forty years on from the unveiling of its first ever mid-rear-engined V8 model, the 308 GTB, the Prancing Horse opens a new chapter in its 8-cylinder history. The Ferrari 488 GTB provides track-level performance that can be enjoyed to the full even by non-professional drivers in everyday use. Its response times, nimbleness and on-the-limit driving guarantee a unique sense of exhilaration and unparalleled driving pleasure.
The new berlinetta brilliantly encapsulates Ferrari’s experience in both F1 and the WEC, where the 458 GT holds the World Championship title and has won its category in the last two editions of the 24 Hours of Le Mans. The new model also exploits to the full the know-how gleaned by Ferrari technicians over the last decade through the XX programme which makes extreme track-only cars available to gentleman test-drivers. The data yielded has made a significant contribution to the refinement of the electronic and vehicle control systems so that drivers can make the most of the incredible performance of this new car.
Powertrain:
The Ferrari 488 GTB’s new 3902 cc V8 turbo is at top of the class for power output, torque and response times, making it the new benchmark for this kind of architecture. The engine unleashes 661hp at 8,000 rpm along with 561 ft-lb of maximum torque in seventh gear and a response time to the accelerator of just 0.8 seconds at 2,000 rpm. These figures are sufficient to allow the 488 GTB to accelerate from 0-124 mph in an astonishing 8.3 seconds and, when combined with the radical innovations introduced on all aspects of the car’s performance, lap the Fiorano track in just 1’23”.
The gearbox features Variable Torque Management which unleashes the engine’s massive torque smoothly and powerfully right across the rev range, while specific gear ratios deliver incredibly progressive acceleration when the driver floors the throttle. As is always the case, engineers have dedicated great attention to perfecting the Ferrari 488 GTB’s sound, creating a new soundtrack that is full, clear and totally distinctive, as expected from any Prancing Horse engine.
Aerodynamics:
The car’s aerodynamics also made a pivotal contribution to performance: its 1.67 efficiency figure is a new record for a production Ferrari and is the fruit of 50 per cent more downforce than the previous model and reduced drag. The greatest challenge was achieving these two goals simultaneously. Several innovative elements were specifically developed to do so, not least a double front spoiler, base bleed side intakes and, at the rear, active aerodynamics coupled with a blown spoiler. The aerodynamic underbody, which incorporates vortex generators, is highly sophisticated, too.
Vehicle dynamics:
The Ferrari 488 GTB’s subsystems and electronic controls make its power and performance instantly available and controllable. It is, in fact, the most responsive production model there is, with razor-sharp response times comparable to those of a track car.
The evolved version of Ferrari’s side slip angle control system (Side Slip Control 2 - SSC2), is more precise and less invasive, providing greater longitudinal acceleration out of corners. Aside from integrating with car’s F1-Trac and E-Diff, the SSC2 now also controls the active dampers which renders the car’s dynamic behaviour during complex manoeuvres even flatter and more stable.
(ES)
Cuarenta años después de que viese la luz el primer Ferrari berlinetta con motor V8 central trasero, el 308 GTB, la marca del Cavallino Rampante abre un nuevo capítulo en la historia de los ocho cilindros.
El nombre 488 GTB marca el retorno a la denominación de los modelos Ferrari clásicos: el 488 indica el cubicaje unitario de cada cilindro, mientras las siglas GTB hacen referencia a Gran Turismo Berlinetta. El nuevo coche no sólo ofrece unas prestaciones incomparables, sino que también hace que esa potencia extrema sea aprovechable y controlable a unos niveles sin precedentes, incluso para los conductores menos expertos.
Un motor excepcional y una sofisticada aerodinámica, en combinación con unos afinados controles dinámicos del vehículos, mejoran radicalmente la ya de por sí increíble respuesta de los Ferrari de carretera, hasta llevarla a niveles cercanos a un coche de circuitos.
Potencia (670 CV), motor y tiempos de respuesta del vehículo (0,8 s y 0,06 s, respectivamente) dan al 488 GTB un carácter único y garantizan un incomparable placer al conductor, independientemente de sus capacidades.
Para lograr este resultado, Ferrari ha aprovechado su experiencia tanto en la F1 como en las competiciones de GT, en las que el 458 mantiene el título de campeón del mundo de Resistencia y ha ganado su categoría en dos ediciones de las 24 Horas de Le Mans. El nuevo modelo también explota todos los conocimientos adquiridos por los ingenieros de Ferrari durante la última década a través del programa XX, que construye coches extremos para pilotos probadores amateurs que sólo pueden usarlos en la pista.
Spanish postcard by Ediciones Beascoa S.A., Barcelona, no. P 136. Image: Disney / Pixar. Film image ofA Bug's Life (John Lasseter, 1998).
A Bug's Life (John Lasseter, 1998) is an American computer-animated film produced by Pixar Animation Studios and released by Buena Vista Distribution. It was the second film by Disney and Pixar. Written by Andrew Stanton, the film involves a misfit ant, Flik, who is looking for 'tough warriors' to save his colony from a protection racket run by Hopper's gang of grasshoppers. Unfortunately, the 'warriors' he brings back turn out to be an inept troupe of Circus Bugs.
An ant colony on an island is suppressed by a group of locusts, led by Hopper. Each year, they claim a part of the food supply. One of the ants is Flip, an outsider who prefers to work alone and is constantly trying to come up with new inventions. He is seen as an eccentric. On the day the locusts come again, Flip causes all the food he has collected to literally fall into the water. The locusts think that, because of the lack of food, the ants are trying to revolt. Hopper demands that the ants deliver a double supply of food before the end of autumn. Then he and his gang leave. While Flip is on trial for what he has done, he suggests going to town to find larger insects that can drive the locusts away. The ant council agrees as they would like to get rid of Flip. Flip reaches the insect city, a metropolis built of old boxes and other rubbish. In the same city, there is a circus. The artists of this circus are fired by their boss, P.T. Vlo, after a performance degenerated into chaos. Flip finds the fired insects and thinks they are the warriors he needs. The Bugs, in turn, think that Flip wants to hire them for their act. He takes them to the colony. On the island, the performers soon make themselves popular when they rescue the young ant Dot from a bird. The attack gives Flip the idea of chasing off the grasshoppers with a fake bird. On his instructions, the ants build this bird.
A Bug's Life was initially inspired by Aesop's fable 'The Ant and the Grasshopper'. The storyline originated from a lunchtime conversation between John Lasseter, Andrew Stanton, Pete Docter, and Joe Ranft, the studio's head story team; other films such as Monsters, Inc., Finding Nemo and WALL-E were also conceived at this lunch. Lasseter and his story team had already been drawn to the idea of insects serving as characters. Like toys, insects were within the reach of computer animation back then, due to their relatively simple surfaces. Production began shortly after the release of Toy Story (1995). The screenplay was penned by Stanton and comedy writers Donald McEnery and Bob Shaw from a story by Lasseter, Stanton, and Ranft. The ants in the film were redesigned to be more appealing, and Pixar's animation unit employed technical innovations in computer animation. Randy Newman composed the music for the film. During the production of A Bug's Life, a public feud erupted between DreamWorks' Jeffrey Katzenberg, and Pixar's Steve Jobs and John Lasseter. Katzenberg, former chairman of Disney's film division, had left the company in a bitter feud with CEO Michael Eisner. In response, he formed DreamWorks SKG with Steven Spielberg and David Geffen and planned to rival Disney in animation. After DreamWorks' acquisition of Pacific Data Images (PDI)—long Pixar's contemporary in computer animation—Lasseter and others at Pixar were dismayed to learn from the trade papers that PDI's first project at DreamWorks would be another ant film, to be called Antz. By this time, Pixar's project was well known within the animation community. Both Antz and A Bug's Life center on a young male ant, a drone with oddball tendencies that struggles to win a princess's hand by saving their society. Whereas A Bug's Life relied chiefly on visual gags, Antz was more verbal and revolved more around satire. The script of Antz was also heavy with adult references, whereas Pixar's film was more accessible to children. It was clear that Lasseter and Jobs believed that the idea was stolen by Katzenberg. Katzenberg had stayed in touch with Lasseter after the acrimonious Disney split, often calling to check up. In October 1995, when Katzenberg asked what they were doing next, Lasseter described what would become A Bug's Life in detail. When the trades indicated production on Antz, Lasseter, feeling betrayed, called Katzenberg and asked him bluntly if it were true, who in turn asked him where he had heard the rumor. Lasseter asked again, and Katzenberg admitted it was true. Lasseter raised his voice and would not believe Katzenberg's story that a development director had pitched him the idea long ago. Katzenberg claimed Antz came from a 1991 story pitch by Tim Johnson that was related to Katzenberg in October 1994. Lasseter grimly relayed the news to Pixar employees but kept morale high. Katzenberg moved the opening of Antz from spring 1999 to October 1998 to compete with Pixar's release. The film grossed $363.3 million worldwide, surpassing DreamWorks' Antz. Despite the successful box office performance of both Antz and A Bug's Life, tensions would remain high between Jobs and Katzenberg for many years.
A Bug's Life won in 1999 the Academy Award for Best Music and received positive reviews. Todd McCarthy of Variety wrote, "Lasseter and Pixar broke new technical and aesthetic ground in the animation field with Toy Story, and here they surpass it in both scope and complexity of movement while telling a story that overlaps Antz in numerous ways." Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, saying "I enjoyed too the use of animation to visualize a world that could not be seen in live-action and could not be created with special effects. Animation contains enormous promise for a new kind of storytelling, freed from reality and gravity, but although the Japanese have exploited that freedom, too many American feature cartoons follow the Disney formula of plucky young heroes and heroines and comic sidekicks. It's a formula that has produced wonderful movies. But the Pixar computer animation studio, a Disney co-producer, broke new ground with "Toy Story" in 1995, and now with "A Bug's Life," it runs free. The story, about an ant colony that frees itself from slavery to grasshoppers, is similar in some ways to the autumn's other big animated release, "Antz," but it's aimed at a broader audience and lacks the in-jokes." And at AllMovie, Matthew Doberman wrote: "A Bug's Life is a high point in animated family fare. It's the kind of film adults enjoy as much as, if not more than, their preschool offspring. Even the fake "outtakes" following the film are hilarious: like much of the film's humor, they aim for a surprising level of sophistication. The creators use animation not just to put a child-friendly face on some normally creepy critters, but to go where live-action can't, creating a world of shapes, colors, and sounds that couldn't be accomplished otherwise."
Sources: Roger Ebert (RogerEbert.com), Matthew Doberman (AllMovie), Wikipedia (Dutch and English), and IMDb.
December is Pixar month at EFSP!
Spanish postcard by Ediciones Este, no. 156-T. Ben Gazzara in the TV series Run for Your Life (1965-1968). Run for your life had the Spanish title 'Alma de Acero'.
Ben Gazzara (1930-2012) was an American actor and television director, known for such classic films as Anatomy of a Murder (1959). He turned to television in the 1960s but made a big-screen comeback in the 1970s with roles in three films directed by his friend John Cassavetes. The 1980s and 1990s saw Gazzara work more frequently than ever before in character parts.
Biagio Anthony 'Ben' Gazzara was born in New York in 1940. His parents were Italian immigrants; Angelina Gazzara née Cusumano and Antonio Gazzara, a carpenter. The young Gazzara grew up in the Lower East Side, which in those days was a dangerous neighbourhood in Manhattan. He attended classes at Stuyvesant High School. After seeing Laurette Taylor in 'The Glass Menagerie' by Tennessee Williams, Gazzara wanted to become an actor but he decided to study electrical engineering. He gave up this study after two years when he was accepted at a prestigious drama school, The New School. There he was taught by the legendary coach-director Erwin Piscator. Gazzara then joined the Actors Studio, where a group of students improvised a play from Calder Willingham's novel 'End as a Man'. The tale of a brutal southern military academy reached Broadway slightly changed in 1953 but with Gazzara still in the principal role. It was a star-making part for which he won a Theatre World award. Later, he also starred in 'Cat on a Hot Tin Roof' (1955) by Tennessee Williams, a production directed by Elia Kazan, and 'A Hatful of Rain' (1955) for which he was nominated for a Tony. During his career, Gazzara was nominated for a Tony Award three times. Bigger names Paul Newman and Don Murray played those last two roles on the big screen in Cat on a Hot Tin Roof (Richard Brooks, 1958) and A Hatful of Rain (Fred Zinnemann, 1957), respectively. However, Gazzara made his film debut as the male lead in The Stange One (Jack Garfyn, 1957), the Hollywood adaptation of 'Die Like a Man'. His next role was as the defendant in Anatomy of a Murder (Otto Preminger, 1959) with James Stewart, George C. Scott, and Lee Remick. The film was a big hit. Gazzara followed this with an Italian venture co-starring Anna Magnani and Toto, Risate di gioia/The Passionate Thief (Mario Monicelli, 1960), two Hollywood films The Young Doctors (Phil Karlson, 1961) with Fredric March, and Convicts 4 (Millard Kaufman, 1962) opposite Stuart Whitman, and then another Italian film La città prigioniera/The Captive City (Joseph Anthony, 1962) starring David Niven and Lea Massari. None of these did much for his career, and he turned to television. He first starred in the TV series Arrest and Trial (1963-1964) and then in Run for Your Life (1965-1968) for which he received three Golden Globe nominations in 1967, 1968 and 1969 and two Emmy nominations in 1967 and 1968. In the cinema, he played the lead in The Bridge at Remagen (John Guillermin, 1969) opposite George Segal and Robert Vaughn.
Ben Gazzara appeared several times in films directed by his friend John Cassavetes. In 1970, he starred alongside Peter Falk in Husbands (John Cassavetes, 1970), which was a critical success. In 1975, Gazzara and Cassavetes appeared together in Capone (Steve Carver, 1975), in which Gazzara portrayed the notorious Chicago gangster Al Capone. Gazzara also played in Cassavetes's cult films The Killing of a Chinese Bookie (John Cassavetes, 1976) and Opening Night (John Cassavetes, 1977) with Gena Rowlands. Gazzara starred opposite Audrey Hepburn in Bloodline (Terence Young, 1979) and They All Laughed (Peter Boganovich, 1981). In the Charles Bukowski adaptation Storie di ordinaria follia/Tales of Ordinary Madness (Marco Ferreri, 1981), Gazzara co-starred with Ornella Muti, but the film and his role received a mixed critical reception. Other big-screen roles in the 1980s were scarce apart from Road House (Rowdy Herrington, 1989), a Patrick Swayze vehicle that Gazzara believed out of all his films had been the most repeated on television. In the 1970s Ben Gazarra was also active as a director. In the Columbo television series with Peter Falk, he directed the two episodes My Dead - Your Dead (1974) and Dreamboat of Death (1975). Throughout his career, Gazzara acted in theatre; he was nominated for a Tony in 1955, 1975 and 1976 respectively. Over the years, Gazzara became a much sought-after supporting actor in films. He appeared in several well-known productions such as The Big Lebowski (Joel Coen, Ethan Coen, 1998), Happiness (Todd Solondz, 1998), and The Thomas Crown Affair (John McTiernan, 1999), and Dogville (Lars von Trier, 2003), starring Nicole Kidman. In 2003, he was awarded another Emmy nomination for Best Supporting Actor in the TV Movie Hysterical Blindness (Mira Nair, 2003) starring Uma Thurman. An amazing achievement since Gazzara was diagnosed with throat cancer in 1999. He underwent chemotherapy and lost a lot of weight during the treatment. Francoise Purdue at IMDb: "If he never became the leading man his early films and stage work promised, he had a career notable for its longevity. " In 2012, Gazzara died of pancreatic cancer in New York's Bellevue Hospital Center at the age of 81. Just before his death, Gazzara was involved in the making of a film called Max Rose, in which he would play opposite elderly comedian Jerry Lewis. The film was released in 2016 and directed by Daniel Noah. For a brief period, Gazzara reportedly had a relationship with actress Audrey Hepburn, with whom he was seen together in Bloodline and They All Laughed. Gazzara was married to Louise Erickson from 1951 to 1957. From 1961 to 1979, he was married to actress Janice Rule. In 1982, he married German model Elke Krivat, with whom he remained until his death.
Sources: Francoise Purdue (IMDb), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
Ediciones Malinca (Buenos Aires) - 1959
Colección Nueva Linterna #27
Título original: The case of the beautiful body
Ediciones Malinca (Buenos Aires) - 1957
Serie: Colección Nueva linterna #3
Título original: The cheaters
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POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
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Todos los Derechos Reservados © All rights reserved
PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!.
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Todos los Derechos Reservados © All rights reserved
PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!.
Pienso que una foto dice mucho del fotógrafo o el editor. He visto una evolución constante desde mis primeras fotografías, tétricas y oscuras, hasta mis ediciones actuales, luminosas y llenas de color. Creo que mi vida está siendo más plena que antes, y poco ha cambiado, sólo mi forma de ver las cosas. Últimamente, y pese a los problemas que todo el mundo pueda tener... soy feliz.
___________________
I think a photo says a lot about the photographer or the editor. I've seen a constant evolution since my first photos, tetric and dark pics, to my current images, brighten and full of color. I think my life is going much better, and the only that was change it's my way of thinking.
Lately, and although the problems everybody can have... I'm happy.
Todos los Derechos Reservados © All rights reserved
Agosto 2010 - (Cantabria)
© Gorka Goitia Fotógrafo
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Spanish postcard by Ediciones Beascoa, S.A., Barcelona. Illustration: Disney. Publicity still for One Hundred and One Dalmatians (Clyde Geronimi, Hamilton Luske, 1961).
One Hundred and One Dalmatians (Clyde Geronimi, Hamilton Luske, 1961), often abbreviated as 101 Dalmatians, is an American animated adventure film produced by Walt Disney and based on the 1956 novel The Hundred and One Dalmatians by Dodie Smith. The 17th Disney animated feature film, the film tells the story of a litter of Dalmatian puppies who are kidnapped by the villainous Cruella de Vil, who wants to use their fur to make into coats. Their parents, Pongo and Perdita, set out to save their children from Cruella, all the while rescuing 84 additional puppies that were bought in pet shops, bringing the total of Dalmatians to 101.
Dodie Smith wrote the book The Hundred and One Dalmatians in 1956. When Walt Disney read it in 1957, it immediately grabbed his attention, and he promptly obtained the rights. Smith had always secretly hoped that Disney would make it into a film. Originally released to theatres on 25 January 1961, by Buena Vista Distribution, One Hundred and One Dalmatians was a box office success, pulling the studio out of the financial slump caused by Sleeping Beauty, a costlier production released two years prior. Aside from its box office revenue, its commercial success was due to the employment of inexpensive animation techniques—such as using xerography during the process of inking and painting traditional animation cels—that kept production costs down. The film was re-released theatrically in 1969, 1979, 1985, and 1991. The film's total domestic lifetime gross is $145 million, and its total worldwide gross is $215 million. One Hundred and One Dalmatians was first released on VHS in 1992, as part of the Walt Disney Classics video series. Two months later, it had sold 11.1 million copies. At the time, it was the sixth best-selling video of all time.It was remade into a live-action film in 1996. Disney has announced that another live-action film is in development, but it will focus on the origin of Cruella de Vil. Emma Stone is set to play Cruella. Hal Erickson at AllMovie: "101 Dalmatians represents the Disney animation staff at its very best, and as a bonus introduces the world to Cruella De Vil, one of the greatest movie villains--cartoon or "real"--of all time."
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
Ediciones Malinca (Buenos Aires) - 1955
Colección Nueva Pandora #13
Título original: The madam who blushed!
Spanish postcard by Ediciones JRB, no. 191/10. Photo: Frank Powolny / 20th Century Fox. Publicity still for Will Success Spoil Rock Hunter? (Frank Tashlin, 1957).
Some Hollywood stars were much more popular in Europe than at home. A fabulous example is sweet Jayne Mansfield (1933-1967), one of Hollywood's original platinum blonde bombshells. Although most of her American films did not do much at the European box offices, Jayne herself was a sensation whenever she came to Europe to promote her films. During the 1960s when Hollywood had lost its interest in her, Jayne continued to appear cheerfully in several European films.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
Ediciones Malinca (Buenos Aires) - 1964
Colección Kaput #1
Título original: La foire aux asticots
Kaput es un seudónimo de Frédéric Dard
Ediciones Reservada (Buenos Aires) - 1966
Colección Collar #53
Título original: Vultures over playwood
Spanish postcard by Ediciones Beascoa SA, Barcelona, no. 74. Image: Disney. Flit, John Smith, Pocahontas and Meeko in Pocahontas (Mike Gabriel, Eric Goldberg, 1995).
Pocahontas (Mike Gabriel, Eric Goldberg, 1995) was the 33rd Disney animated feature film and is loosely based on the life of the Native American woman of the same name. The film tells the romance between the daughter of an Algonquin chief named Pocahontas and Capt. John Smith, an English soldier, who journeyed to the New World, seventeenth-century Virginia, with other settlers to begin fresh lives. Her powerful father, Chief Powhatan, disapproves of their relationship and wants her to marry a native warrior, the tribe's dashing bachelor, Kocoum. Meanwhile, Smith's fellow Englishmen hope to rob the Native Americans of their gold. Can Pocahontas' love for Smith save the day? Pocahontas was released to mixed reactions from reviewers, who praised its animation and music but criticized its story; the film's racial overtones and historical inaccuracy also garnered a mix of condemnation and praise. However, everybody liked Meeko, Pocahontas's pet raccoon with a love of food, especially John Smith's biscuits.
During the famed "Disney Renaissance", a period that started with the release of The Little Mermaid (1989), the studio was creating modern classics with every film they released. Many at Disney had high hopes for Pocahontas (1995) upon its initial release. Then-studio head Jeffrey Katzenberg regarded it even as a more prestigious project than The Lion King (1994), and believed that it had a chance of earning an Academy Award nomination for Best Picture, following in the steps of Beauty and the Beast (1991). The design for the film is sumptuous, with mostly blues and a seamless style that never gets in the way and illustrates the action (and the feminine nature of the film) beautifully. The film was less successful commercially than was hoped. Pocahontas dealt with more adult themes and tones and did not appeal to younger children, as much as the earlier Disney hits had. However, Pocahontas did succeed at the box office, earning $346 million, and it received two Academy Awards for Best Musical or Comedy Score for Alan Menken and Best Original Song for 'Colors of the Wind'.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Spanish postcard by Ediciones Beascoa SA, Barcelona, no. 69. Image: Disney. John Smith and Pocahontas in Pocahontas (Mike Gabriel, Eric Goldberg, 1995).
Pocahontas (Mike Gabriel, Eric Goldberg, 1995) was the 33rd Disney animated feature film and is loosely based on the life of the Native American woman of the same name. The film tells the romance between the daughter of an Algonquin chief named Pocahontas and Capt. John Smith, an English soldier, who journeyed to the New World, seventeenth-century Virginia, with other settlers to begin fresh lives. Her powerful father, Chief Powhatan, disapproves of their relationship and wants her to marry a native warrior, the tribe's dashing bachelor, Kocoum. Meanwhile, Smith's fellow Englishmen hope to rob the Native Americans of their gold. Can Pocahontas' love for Smith save the day? Pocahontas was released to mixed reactions from reviewers, who praised its animation and music but criticized its story; the film's racial overtones and historical inaccuracy also garnered a mix of condemnation and praise. However, everybody liked Meeko, Pocahontas's pet raccoon with a love of food, especially John Smith's biscuits.
During the famed "Disney Renaissance", a period that started with the release of The Little Mermaid (1989), the studio was creating modern classics with every film they released. Many at Disney had high hopes for Pocahontas (1995) upon its initial release. Then-studio head Jeffrey Katzenberg regarded it even as a more prestigious project than The Lion King (1994), and believed that it had a chance of earning an Academy Award nomination for Best Picture, following in the steps of Beauty and the Beast (1991). The design for the film is sumptuous, with mostly blues and a seamless style that never gets in the way and illustrates the action (and the feminine nature of the film) beautifully. The film was less successful commercially than was hoped. Pocahontas dealt with more adult themes and tones and did not appeal to younger children, as much as the earlier Disney hits had. However, Pocahontas did succeed at the box office, earning $346 million, and it received two Academy Awards for Best Musical or Comedy Score for Alan Menken and Best Original Song for 'Colors of the Wind'.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Ediciones Malinca (Buenos Aires) - 1955
Colección Nueva Pandora #9
Título original: Case of the cancelled redhead
Todos los Derechos Reservados © All rights reserved
PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!.