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Ediciones Malinca (Buenos Aires) - 1959
Colección Nueva Linterna #27
Título original: The case of the beautiful body
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!!.
He publicado la edición en español de mi novela.
Mi novela, B♭, ya está disponible.
Soy fan de Apple, así que en la historia aparecen productos de Apple. :)
Las ediciones en japonés y en inglés ya han sido publicadas.
Puede encontrarse en la siguiente carpeta de Drive:
Carpeta de Drive para la publicación de la novela:
drive.google.com/drive/folders/1EUyKO4locQKzfKfvmlh0-uamF...
B♭
Mitsushiro Nakagawa, with ChatGPT 5.5
El sistema de criptomonedas de Corea del Norte es hackeado, y cientos de millones de dólares son robados.
Al final de ese flujo oculto de dinero, un group de hombres y mujeres palestinos originarios de Gaza se infiltra secretamente en los Estados Unidos.
Su propósito es “restaurar” su patria perdida, Gaza, sobre suelo estadounidense.
Una política migratoria de línea dura impulsada por el Partido Republicano.
Una corriente latente de xenofobia dentro del país.
Una sociedad que se fractura cada vez más.
Aprovechándolo todo, un plan para derrumbar a Estados Unidos desde dentro empieza a avanzar en silencio.
El candidato presidencial republicano Justin Bradford recibe un disparo durante un discurso. Casi al mismo tiempo, en Los Ángeles, el expresidente Owen Reed también es baleado.
Dos disparos dividen a la nación en dos.
Sin embargo, Justin sobrevive milagrosamente.
Lo que mantiene su vida es uno de los tipos de sangre más raros del mundo: la sangre Bombay.
La única persona capaz de donar esa sangre es Anaya Patel, una facilitadora de arte comunitario que trabaja en Brooklyn.
La sangre de una sola mujer toca el destino de una nación.
Aquella coincidencia, como si nunca hubiera sido realmente una coincidencia, comienza a arrastrarla hacia el centro de un acontecimiento inmenso.
Terrorismo, elecciones, inmigración, sangre, memoria y plegaria.
Quienes creen en la destrucción, y quienes han visto el vacío que queda más allá de ella.
Un plan que comenzó como venganza va desdibujando, poco a poco, la frontera entre la salvación y la nada.
La noche de Manhattan.
La luz de Brooklyn.
Los recuerdos abandonados junto al río.
La ciudad sigue brillando como si nada hubiera ocurrido.
Pero bajo sus pies continúa resonando una nota grave que nadie puede oír.
¿Qué arrebata la venganza?
¿A quién salva la plegaria?
¿Y hacia dónde se dirigen los seres humanos, cargando con aquello que han perdido?
Tráiler
Banda sonora
B♭ — My Novel Playlist
music.apple.com/jp/playlist/b-my-novel-soundtrack/pl.u-47...
B♭ — My Novel Playlist for Japanese
music.apple.com/jp/playlist/b-my-novel-soundtrack-for-jap...
© 2026 Mitsushiro Nakagawa. Todos los derechos reservados.
Los derechos de autor de esta obra pertenecen a Mitsushiro Nakagawa.
Ninguna parte de esta obra podrá ser reproducida, reimpresa ni modificada sin la autorización del autor.
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I have released the Spanish edition of my novel.
My novel, B♭, is now available
I’m an Apple fan, so Apple products appear in the story. :)
.
The Japanese and English editions have already been published.
It can be found in the following Drive folder:
Drive folder for novel publication:
drive.google.com/drive/folders/1EUyKO4locQKzfKfvmlh0-uamF...
B♭
Mitsushiro Nakagawa, with ChatGPT 5.5
North Korea’s cryptocurrency system is hacked, and hundreds of millions of dollars are stolen.
At the end of that hidden flow of money, a group of Palestinian men and women from Gaza secretly infiltrates the United States.
Their purpose is to “restore” their lost homeland, Gaza, on American soil.
A hard-line immigration policy led by the Republican Party.
A smoldering current of xenophobia within the country.
A society breaking further apart.
Using all of it, a plan to collapse America from within begins to move forward in silence.
Republican presidential candidate Justin Bradford is shot during a speech. Almost at the same time, in Los Angeles, former President Owen Reed is also gunned down.
Two gunshots split the nation in two.
Yet Justin miraculously survives.
What keeps him alive is one of the rarest blood types in the world: Bombay blood.
The person able to provide that blood is Anaya Patel, a community art facilitator working in Brooklyn.
The blood of one woman touches the fate of a nation.
That coincidence, as if it had never truly been coincidence, begins to draw her toward the center of an enormous event.
Terrorism, elections, immigration, blood, memory, and prayer.
Those who believe in destruction, and those who have seen the emptiness left beyond it.
A plan that began as revenge gradually blurs the boundary between salvation and nothingness.
The night of Manhattan.
The light of Brooklyn.
Memories left behind by the river.
The city continues to shine as if nothing has happened.
Yet beneath its feet, a low sound no one can hear is still ringing.
What does revenge take away?
Whom does prayer save?
And where do human beings go, carrying what they have lost?
Trailer
Soundtrack
B♭ — My Novel Playlist
music.apple.com/jp/playlist/b-my-novel-soundtrack/pl.u-47...
B♭ — My Novel Playlist for Japanese
music.apple.com/jp/playlist/b-my-novel-soundtrack-for-jap...
© 2026 Mitsushiro Nakagawa. All rights reserved.
The copyright of this work belongs to Mitsushiro Nakagawa.
No part of this work may be reproduced, reprinted, or modified without the author’s permission.
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僕はスペイン語の僕の小説を発表しました。
僕の小説、【B♭（ビーフラット）】を公開しました。日本語と英語は公開済みです。
僕はアップルファンなので、アップル製品が登場します。:)
それは以下のドライブにあります。
Drive folder for novel publication: (小説専門の公開用ドライブ)
drive.google.com/drive/folders/1EUyKO4locQKzfKfvmlh0-uamF...
B♭
Mitsushiro Nakagawa, with ChatGPT 5.5
北朝鮮の仮想通貨システムがハッキングされ、数億ドルが奪取された。
その資金の流れの先で、ガザ出身のパレスチナ男女のグループが、密かにアメリカ合衆国へ潜入する。
彼らの目的は、失われた祖国ガザを、アメリカの地に「復元」することだった。
共和党による強硬な移民政策。
国内にくすぶる排外感情。
分断されていく社会。
そのすべてを利用し、アメリカを内側から崩壊させる計画が、静かに進行していく。
共和党大統領候補ジャスティン・ブラッドフォードが演説中に撃たれ、ほぼ同じ時刻、ロサンゼルスでは前大統領オーウェン・リードもまた銃撃される。
国家を二分する、ふたつの銃声。
だが、ジャスティンは奇跡的に生還する。
彼の命をつないだのは、世界でも極めて希少な血液型――ボンベイブラッド。
その血を提供できたのは、ブルックリンで活動するコミュニティアート・ファシリテーター、アナヤ・パテルだった。
ひとりの女性の血が、国家の運命に触れてしまう。
その偶然は、やがて偶然ではなかったかのように、彼女自身を巨大な事件の中心へ引き寄せていく。
テロ、選挙、移民、血、記憶、祈り。
破壊を信じる者と、破壊の果てに残る空虚を見てしまう者。
復讐として始まった計画は、いつしか救済と虚無の境界を曖昧にしていく。
マンハッタンの夜。
ブルックリンの光。
川辺に残された記憶。
都市は何事もなかったかのように輝き続けている。
だがその足元では、誰にも聞こえない低い音が鳴っている。
復讐は、何を奪うのか。
祈りは、誰を救うのか。
そして人は、失われたものを抱えたまま、どこへ向かうのか。
Trailer
Soundtrack
B♭ — My Novel Playlist
music.apple.com/jp/playlist/b-my-novel-soundtrack/pl.u-47...
B♭ — My Novel Playlist for Japanese
music.apple.com/jp/playlist/b-my-novel-soundtrack-for-jap...
© 2026 Mitsushiro Nakagawa. All rights reserved.
本作品の著作権は Mitsushiro Nakagawa に帰属します。内容の全部または一部を、著者の許可なく複製・転載・改変することを禁じます。
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#スペイン #スペイン語 ##novel #B♭ #小説 #ビーフラット #ネットフリックスへの挑戦 #ChallengetoNetflix #Netflix #ネットフリックス #千葉 #やちまた #八街 #八街市 #yachimata #yachimatacity #cityofyachimata #NewYork #ニューヨーク #マンハッタン #Manhattan #アメリカ #USA #Chiba #apple #アップル #MrLonely #BobbyVinton #oneokrock #thepilot #nikon #coolpix8700 #ニコン #クールピクス8700
#Espana #espanol #novela #B♭ #novel #SiBemol #DesafioANetflix #ChallengeToNetflix #Netflix #Chiba #Yachimata #CiudadDeYachimata #yachimata #yachimatacity #cityofyachimata #NewYork #NuevaYork #Manhattan #EstadosUnidos #USA #MrLonely #BobbyVinton #ONEOKROCK #ThePilot #Nikon #Coolpix8700
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!
Ediciones Malinca (Buenos Aires) - 1957
Serie: Colección Nueva linterna #3
Título original: The cheaters
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.
Todos los Derechos Reservados © All rights reserved
Agosto 2010 - (Cantabria)
© Gorka Goitia Fotógrafo
.
NO BANNERS, please.
COMMENTS WITH IMAGES WILL BE DELETED. THANKS
.
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!!.
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!!.
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 Malinca (Buenos Aires) - 1955
Colección Nueva Pandora #9
Título original: Case of the cancelled redhead
Ediciones Reservada (Buenos Aires) - 1966
Colección Collar #53
Título original: Vultures over playwood
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!!.
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.
Spanish postcard by Ediciones Tarjefher, no. 206. Photo: Epoca Films / Foto Guzman.
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.
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!!.
Spanish postcard by Ediciones Raker, Barcelona, no. 1032.
Spanish actor and writer José Campos (1936-2010) was promoted as the Spanish James Dean. He was known for such films as La cripta e l'incubo/Crypt of the Vampire (1964), the historical TV series Diego de Acevedo (1966) and Vivir a mil/Living at a thousand (1976), which he also directed. Despite the high expectations at the start of his career, his films were of very little importance
José Campos was born José Antonio Campos Boloix in 1936 in Granada, Andalucia. He studied acting at the I.I.E.C., and then made his film debut, benefiting from a certain physical resemblance to the then-recently deceased James Dean. He was given one of the most spectacular publicity campaigns in the history of Spanish cinema. For his first film, Llama un tal Esteban (Pedro L. Ramírez, 1959), the publicity read: "José Campos is a true star of today's cinema, who will mark an epoch and define a school of acting in world cinema". However, the professional career of José Campos in no way corresponded to such optimistic perspectives. He developed his film activity mainly in Barcelona in films produced by Ignacio F. Iquino or the brothers Alfonso Balcázar and Jaime Jesús Balcázar. In the early 1960s, he starred in such Spanish light entertainment films as Solteros de verano/Summer bachelors (Alfonso Balcázar, 1962) and Los castigadores/The punishers (Alfonso Balcázar, 1962). He played a juvenile delinquent in Los desamparados/The Homeless (Antonio Santillán, 1962). He co-starred with Rafael Bardem in La alternativa/The alternative (José María Nunes, 1963). For this film, he also wrote the story.
In Italy, José Campos appeared in the horror film La cripta e l'incubo/Crypt of the Vampire (Camillo Mastrocinque, 1964) starring Christopher Lee. Though only superficially faithful to Joseph Sheridan Le Fanu's famous novella, 'Carmilla', the film was praised for its consistent visual distinction and unity of mood. Ma Cortes at IMDb: "A scary and ghastly film with a lot of thrills, chills, and ominous bloodsuckers. Interesting screenplay full of twists and turns." He appeared in an episode of the popular historical series Diego de Acevedo (Ricardo Blasco, 1966) about Spain during the 19th century. He also appeared in the crime films Yo no soy un asesino/I am not a murderer (José María Zabalza, 1968) and Homicidios en Chicago/Homicides in Chicago (José María Zabalza, 1969). After a long interval, José Campos returned to the screen with Vivir a mil/Living at a thousand (1976), which he both wrote and directed and which starred his son, Juan Carlos Campos. He then acted in the Spanish comedy Visanteta, estáte quieta/Visanteta, be quiet (Vicente Escrivá, 1979) starring Maria Rosaria Omaggio. He only played a supporting part, credited as Josep Campos. He had an even smaller, uncredited part in the sex comedy Consultorio sexológico/Sex Clinic (José Antonio Villalba, 1980). His final film was the thriller El enigma del yate/The enigma of the yacht (Carlos Aured, 1983). José Campos died in 2010 in Madrid, Spain. He was 76. His daughter is Marie Cozannet, who also works in the film industry.
Sources: Ma Cortes (IMDb), Enciclopedia del Cine Español (Spanish), Film Affinity and IMDb.
And, please check out our blog European Film Star Postcards.
Todos los Derechos Reservados © All rights reserved
Julio 2010 - (Cantabria)
© Gorka Goitia Fotógrafo
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NO BANNERS, please.
COMMENTS WITH IMAGES WILL BE DELETED. THANKS
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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!!.
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!!.
Spanish postcard by Ediciones Raker, Barcelona, no. 26. José Campos in Solteros de verano/Summer bachelors (Alfonso Balcázar, 1962).
Spanish actor and writer José Campos (1936-2010) was promoted as the Spanish James Dean. He was known for such films as La cripta e l'incubo/Crypt of the Vampire (1964), the historical TV series Diego de Acevedo (1966) and Vivir a mil/Living at a thousand (1976), which he also directed. Despite the high expectations at the start of his career, his films were of very little importance
José Campos was born José Antonio Campos Boloix in 1936 in Granada, Andalucia. He studied acting at the I.I.E.C., and then made his film debut, benefiting from a certain physical resemblance to the then-recently deceased James Dean. He was given one of the most spectacular publicity campaigns in the history of Spanish cinema. For his first film, Llama un tal Esteban (Pedro L. Ramírez, 1959), the publicity read: "José Campos is a true star of today's cinema, who will mark an epoch and define a school of acting in world cinema". However, the professional career of José Campos in no way corresponded to such optimistic perspectives. He developed his film activity mainly in Barcelona in films produced by Ignacio F. Iquino or the brothers Alfonso Balcázar and Jaime Jesús Balcázar. In the early 1960s, he starred in such Spanish light entertainment films as Solteros de verano/Summer bachelors (Alfonso Balcázar, 1962) and Los castigadores/The punishers (Alfonso Balcázar, 1962). He played a juvenile delinquent in Los desamparados/The Homeless (Antonio Santillán, 1962). He co-starred with Rafael Bardem in La alternativa/The alternative (José María Nunes, 1963). For this film, he also wrote the story.
In Italy, José Campos appeared in the horror film La cripta e l'incubo/Crypt of the Vampire (Camillo Mastrocinque, 1964) starring Christopher Lee. Though only superficially faithful to Joseph Sheridan Le Fanu's famous novella, 'Carmilla', the film was praised for its consistent visual distinction and unity of mood. Ma Cortes at IMDb: "A scary and ghastly film with a lot of thrills, chills, and ominous bloodsuckers. Interesting screenplay full of twists and turns." He appeared in an episode of the popular historical series Diego de Acevedo (Ricardo Blasco, 1966) about Spain during the 19th century. He also appeared in the crime films Yo no soy un asesino/I am not a murderer (José María Zabalza, 1968) and Homicidios en Chicago/Homicides in Chicago (José María Zabalza, 1969). After a long interval, José Campos returned to the screen with Vivir a mil/Living at a thousand (1976), which he both wrote and directed and which starred his son, Juan Carlos Campos. He then acted in the Spanish comedy Visanteta, estáte quieta/Visanteta, be quiet (Vicente Escrivá, 1979) starring Maria Rosaria Omaggio. He only played a supporting part, credited as Josep Campos. He had an even smaller, uncredited part in the sex comedy Consultorio sexológico/Sex Clinic (José Antonio Villalba, 1980). His final film was the thriller El enigma del yate/The enigma of the yacht (Carlos Aured, 1983). José Campos died in 2010 in Madrid, Spain. He was 76. His daughter is Marie Cozannet, who also works in the film industry.
Sources: Ma Cortes (IMDb), Enciclopedia del Cine Español (Spanish), Film Affinity and IMDb.
And, please check out our blog European Film Star Postcards.