View allAll Photos Tagged prostitute
Satin playsuits, or satin teddies, are my all-time favorite lingerie. They are comfortable, super cute and sensual with elegance and class. I guess they are perfect for my new job as a red light prostitute also. What do you think; will you give me the contents of your wallet for playing with me in my playsuit?
Disclaimer:
I am not for sale and this is just a photo shoot for fun.
… then get some of her cuddling with Joey and a couple of her other favorites. Finally I suggest that I get some of Melvin and her together.
It's an idea that's quite obviously agreeable to Ronda, since she immediately sidles up seductively to Melvin, who's been observing the photo session from the bathroom doorway. "Why don't I slip into something sexy?" she asks him, whispering alluringly, but loudly enough for me to hear. "Let him get some pictures of us..."
Melvin vetoes the idea with a quick shake of his head...
So with Ronda still in her jeans, the two of them sit on the bed, their arms around each other... And Ronda begins easing her head downward...easing it slowly downward...toward Melvin's lap...
"We need a portrait!" protests Melvin.
"To hell with portraits—" Ronda lifts her head—"we've got enough portraits!" And she presses her mouth to Melvin's and slides in her tongue.
By the time she withdraws it, Melvin is red in the face. "I'm gonna make you smile," he tells her—something she almost never does for pictures.
"You're gonna make me smile?"—she smiles long enough for one snap of the shutter—"then I'm gonna make you kiss me." And falling back on an elbow, she pulls Melvin's lips to hers and gives him a kiss to remember, and then takes the lead—
—and they smooch and neck from one side of the bed to the other.
_______________________
Excerpted from RONDA: AN INTIMATE PORTRAIT OF A SOUTHERN STREETWALKER. You may buy volume one of this ebook or read fifty pages for free here:
A phantom bell boy, murdered prostitutes, and a booze-loving criminal are just a few of the ghosts said to haunt the Hotel Monte Vista in Flagstaff, AZ. In fact, John Wayne himself encountered a spirit at the 87-year-old landmark. Here’s the story behind the hotel’s infamous haunting.
History
Built in 1927, the Monte Vista boasted over 70 rooms and was the tallest building in Flagstaff. The hotel also harbored the city’s most popular speakeasy before the end of Prohibition as well as the only slot machines ever operated within city limits. Celebrity guests throughout the years include Humphrey Bogart, Clark Gable, Bing Crosby, Bob Hope, and John Wayne, among others. However, it’s the Monte Vista’s more permanent guests that make the hotel famous among paranormal enthusiasts.
John Wayne and the Phantom Bell Boy
The legend of the phantom bell boy is perhaps Monte Vista’s most famous ghost tale. Legend has it the ghostly boy will knock on doors and call out “room service.” However, when puzzled guests open the door no one is around.
Other guests have seen the bell boy standing outside Room 210, also known as the Zane Grey Suite. According to the hotel’s website, actor John Wayne saw the bell boy ghost during a stay at the Monte Vista. He reportedly felt at ease around the spirit and thought it seemed friendly.
Another famous legend involves a trio of men who robbed a Flagstaff bank and decided to celebrate at the Monte Vista Lounge. One of the men had been shot in the robbery and bled out in the hotel’s lounge. Now, the robber’s ghost allegedly appears to guests in the form of a hazy mist. Drinks and bar stools also move on their own.
The robbery allegedly occurred in 1970, so it should be easy to verify the robber’s unusual death. However, as far as I know, there is no official record of such an incident.
Ladies of the Night
In the early 1940s, two prostitutes paid a visit to Room 306, also known as the Gary Cooper Suite. Someone killed the women and tossed their bodies out the third-story window. Now, guests staying in Room 306 awake in the night with the eerie sensation of being watched. At times, male guests have trouble breathing and feel an unseen hand covering their mouths or throats.
According to the hotel’s website, Room 305 is the most active room at Monte Vista. Guests claim to see an old woman sitting near the window in a rocking chair, even when the room is unoccupied. Reports from staff claim the chair rocks on its own and even slides across the room. Legend has it an elderly woman was once a long-term boarder of the room and spent countless hours in the chair. Perhaps she is responsible for the strange events. Unsolved Mysteries featured the rocking chair tale in an episode of their show.
The ghosts listed above aren’t the only spirits said to roam Hotel Monte Vista. Tales of a ghostly child, a baby, a dancing couple, and an odd guest known as the meat man also surround the historic landmark. Read more stories at HotelMonteVista.com and let me know what you think.
From ghostsnghouls.com/
Ronda fixing herself up to go out on the streets.
_____________________________________________________Photo and text excerpted from RONDA: AN INTIMATE PORTRAIT OF A SOUTHERN STREET PROSTITUTE
Volume one
Volume two
RONDA: AN INTIMATE PORTRAIT OF A SOUTHERN STREET PROSTITUE
Volume One
To read about this photo of Ronda, see Volume Two
Byron Woolfe - Sweet Slut
Playtime Books 691-S, 1964
Cover Artist: Robert Bonfils
"Can a prostitute be a good wife? Janice thought so and she proved it, in and out of bed."
Byron Woolfe was a pseudonym of Edwin M. Adair
German postcard by Kolibri-Verlag G.m.b.H., no. 1827. Photo: Paramount. Collection: Marlene Pilaete.
Chinese-American actress Nancy Kwan (1939) played a pivotal role in the acceptance of actors of Asian ancestry in major Hollywood film roles. She is best known for her debut as a free-spirited Hong Kong prostitute who captivates artist William Holden in The World of Suzie Wong (Richard Quine, 1960). She followed it the next year with the hit musical, Flower Drum Song (1961). Kwan spent the 1960s commuting between film roles in America and Europe.
Nancy Kwan Ka Shen (Chinese: 關家蒨) was born in Hong Kong in 1939 and grew up in Kowloon Tong. She is the daughter of Kwan Wing Hong, a Cantonese architect and Marquita Scott, a European model of English and Scottish ancestry. Kwan has an older brother, Ka Keung. In fear of the Japanese invasion of Hong Kong during World War II, Wing Hong, in the guise of a coolie, escaped from Hong Kong to North China in Christmas 1941 with his two children, whom he hid in wicker baskets. Kwan and her brother were transported by servants, evading Japanese sentries. They remained in exile in western China for five years until the war ended, after which they returned to Hong Kong and lived in a spacious, contemporary home her father designed. Scott escaped to England and never rejoined the family. Kwan's parents divorced when she was two years old. Her mother later moved to New York and married an American. Remaining in Hong Kong with the children, her father married a Chinese woman, whom Kwan called "Mother". Her father and her stepmother raised her, in addition to her brother and five half-brothers and half-sisters Five of Kwan's siblings became lawyers. Kwan attended the Catholic Maryknoll Convent School until she was 13 years old, after which she travelled to Kingsmoor School in Glossop, England a boarding school that her brother, Ka Keung, was then attending. Her brother studied to become an architect and she studied to become a dancer, soon also at the Royal Ballet School in London. Afterward, she travelled back to Hong Kong, where she started a ballet school. Stage producer Ray Stark posted an advertisement in the Hong Kong Tiger Standard (later renamed The Standard) regarding auditions for the character Suzie Wong for a play. Kwan was discovered by Stark in a film studio constructed by her architect father. After auditioning for Stark, she was asked to screen test to play a character in the film The World of Suzie Wong. Kwan did three screen tests, and a deadlock existed between whether to choose Kwan or France Nuyen, who played Suzie Wong on stage. Owing to Kwan's lack of acting experience, at Stark's request, she travelled to the United States, where she attended acting school in Hollywood and resided in the Hollywood Studio Club, a chaperoned dormitory, with other junior actresses. She later moved to New York. Kwan signed a seven-year contract with Stark's Seven Arts Productions at a beginning salary of $300 a week though she was not given a distinct role. When The World of Suzie Wong began to tour, Kwan was assigned the part of a bargirl. In addition to her small supporting character role, Kwan became an understudy for France Nuyen. Though Stark and the male lead William Holden preferred Kwan, despite her somewhat apprehensive demeanor during the screen test, she did not get the role. Paramount favored the eminent France Nuyen, who had been widely praised for her performance in the film South Pacific (1958) Stark acquiesced to Paramount's wishes. Nuyen received the role and Kwan later took the place of Nuyen on Broadway. In a September 1960 interview with Associated Press journalist Bob Thomas, she said, "I was bitterly disappointed, and I almost quit and went home when I didn't get the picture." In 1959, one month after Nuyen was selected for the film role and while Kwan was touring in Toronto, Stark told her to screen test again for the film. Nuyen, who was in an unstable relationship with Marlon Brando, had a nervous breakdown and was fired from the role because of her erratic actions. The film's director, Jean Negulesco, was fired and replaced by Richard Quine. Kwan began filming in London with co-star William Holden.
The World of Suzie Wong (Richard Quine, 1960) was a "box-office sensation". Critics lavished praise on Kwan for her performance. She was given the nickname "Chinese Bardot" for her unforgettable dance performance. Kwan and two other actresses, Ina Balin and Hayley Mills, were awarded the Golden Globe for the "Most Promising Newcomer–Female" in 1960. Scholar Jennifer Leah Chan of New York University wrote that Suzie provided an Asian actress—Kwan—with the most significant Hollywood role since actress Anna May Wong's success in the 1920s. Kwan was on the October 1960 cover of Life, cementing her status as an eminent sex symbol in the 1960s. In 1961, Nancy Kwan starred in Flower Drum Song (Henry Koster, 1961) in a related role. The film, based on the Broadway musical by Rodgers and Hammerstein, was distinguished for being the first major Hollywood feature film with an all-Asian cast. It would be also the last film to do so for more than 30 years. Her prior ballet education provided a strong foundation for her role in Flower Drum Song, where she had much space to dance. After starring in The World of Suzie Wong and Flower Drum Song, Kwan's fame peaked in 1962. As a Hollywood icon, Kwan lived in a house atop Laurel Canyon in Los Angeles. She commuted in a white British sports car and danced to Latin verses. The 22-years-old Kwan was dating Swiss actor Maximilian Schell. Kwan's success in her early career was not mirrored in later years, due to the cultural nature of 1960s America. Kwan had to journey to Europe and Hong Kong to escape the ethnic typecasting in Hollywood that confined her largely to Asian roles in spite of her Eurasian appearance. Her third film was the British drama The Main Attraction (Daniel Petrie, 1962) with Pat Boone. She played an Italian circus performer who was the love interest of Boone's character. While she was filming in the Austrian Alps, she met Peter Pock, a hotelier and ski teacher, with whom she immediately fell in love. After several weeks, the two married and resided in Innsbruck, Austria. Kwan later gave birth to Bernhard "Bernie" Pock. Her contract with Seven Arts led her to travel around the world to make films. In 1963, Kwan starred as the title character of the comedy Tamahine (Philip Leacock, 1963), opposite Dennis Price. She played an English-Tahitian ward of the headmaster at an old English public school. In the aviation disaster film Fate Is the Hunter (Ralph Nelson, 1964), her seventh film, Kwan played an ichthyologist opposite Glenn Ford. It was her first role as a Eurasian character. Kwan's roles were predominantly comic characters. She divorced Peter Pock in 1968. Kwan met Bruce Lee when he choreographed the martial arts moves in the spy comedy The Wrecking Crew (Phil Karlson, 1969), starring Dean Martin as Matt Helm. In Kwan's role in the film, she fought the character played by Sharon Tate by throwing a flying kick. Her martial arts move was based not on karate training, but on her dance foundation. In 2019, the film was referenced and briefly seen in Quentin Tarantino's film Once Upon a Time in Hollywood, in which Tate is shown enjoying the film at the Fox Bruin Theater. She became close friends with Lee and met his wife and two children. In the 1970s, both Kwan and Lee returned to Hong Kong, where they carried on their companionship.
Nancy Kwan married Hollywood scriptwriter David Giler in July 1970 in a civil ceremony in Carson City, Nevada. That year, Kwan returned to Hong Kong with her son because her father was sick. She initially intended to remain for one year to assist him, but ultimately remained for about seven years. In 1972 she divorced Giler. She did not stop her work, starring as Dr. Sue in the action film Wonder Women (Robert Vincent O'Neil, 1973), Supercock (Gus Trikonis, 1975), and Fear/Night Creature (Lee Madden, 1978) with Donald Pleasance and Ross Hagen. The latter introduced her to filmmaker Norbert Meisel, who became her third husband. . While in Hong Kong, Kwan founded a production company, Nancy Kwan Films, which made dozens of commercials for the Southeast Asia market. In 1979, she returned to the United States, because Kwan wanted her son Bernie to finish his schooling there. There she played characters in the television series Fantasy Island (1978), Knots Landing (1984), and The A-Team (1986). In 1987, Nancy Kwan co-owned the dim sum restaurant, Joss. Kwan, producer Ray Stark, and restaurateur and Hong Kong film director Cecile Tang financed the restaurant, located on Sunset Strip in West Hollywood. In 1993, Kwan played Gussie Yang, a tough-talking, soft-hearted Hong Kong restaurateur, in the fictional Dragon: The Bruce Lee Story (Rob Cohen, 1993). starring Jason Scott Lee. She played a pivotal role in the film, a character based on Seattle restaurateur and political leader Ruby Chow who hires Bruce Lee as a dishwasher and gives him the funds to open a martial arts school. She also wrote, directed, and starred in a film about Eurasians, Loose Woman With No Face (Nancy Kwan, 1993). She was asked about whether she was confronted with racism as a leading Asian Hollywood actress in the 1960s. Kwan replied, "That was 30 years ago and (prejudice) wasn't such a heavy issue then. I was just in great Broadway productions that were turned into films. I personally never felt any racial problems in Hollywood." In the 1990s, she faced a severe shortage of strong roles. She attributed this to both her age and the movie enterprise's aversion to selecting Asians for non-Asian roles. In earlier years, she was able to play an Italian and a Tahitian. She passed on a role in The Joy Luck Club (1993) because the filmmakers refused to excise a line calling The World of Suzie Wong a "...horrible racist film". In 1993, Kwan co-starred in the two-character play Arthur and Leila about two siblings who struggle with their Chinese identities, and in 1994 she assumed the role of 52-year-old Martha in Singapore Repertory Theatre's showing of 'Who's Afraid of Virginia Woolf?' by Edward Albee. She and her husband produced the feature film Biker Poet. of which Bernie was the director and an actor. In 1996, when he was 33, Kwan's son, Bernie, died after contracting AIDS. Four years after his death, poet and actress Amber Tamblyn compiled her debut poetry book 'Of the Dawn' and dedicated it to Pock. She acted in the film Biker Poet with him when she was nine. Into the 1990s, Kwan appeared on television commercials and appeared in infomercials as the spokesperson for the cosmetic Oriental Pearl Cream. Kwan has been involved in philanthropy for AIDS awareness. In 1997, she published 'A Celebration of Life – Memories of My Son'. In 2006, Kwan reunited with Flower Drum Song co-star James Shigeta to perform A. R. Gurney's two-person play Love Letters. Kwan appeared in the documentary Hollywood Chinese (Arthur Dong, 2007). Kwan and her husband Norbert Meisel wrote, directed, and produced Ray of Sunshine (Norbert Meisel, 2007), a Bildungsroman film starring Cheyenne Rushing and with Kwan in a supporting role. Kwan wrote an introduction for the 2008 book 'For Goodness Sake: A Novel of the Afterlife of Suzie Wong' by James Clapp. During her career, Kwan has appeared in two television series and over 50 films. Kwan currently resides in Los Angeles and has family members in Hong Kong. She recently appeared in the feature Paint It Black (Amber Tamblyn, 2016), and the documentary Be Water (Bao Nguyen, 2020) about Bruce Lee.
Sources: Wikipedia and IMDb.
RONDA: AN INTIMATE PORTRAIT OF A SOUTHERN STREET PROSTITUE
Volume One
To read about this photo of Ronda, see Volume Two
ᴛʜɪꜱ ɪꜱ ᴍʏ ᴍᴏꜱᴛ ᴠɪᴇᴡᴇᴅ ᴘʜᴏᴛᴏɢʀᴀᴘʜ ᴏɴ ꜰʟɪᴄᴋʀ, ᴡɪᴛʜ ᴏᴠᴇʀ 115,351 ᴠɪᴇᴡꜱ. ᴛʜᴇ ᴄᴀᴘᴛɪᴏɴ ʙᴇʟᴏᴡ ᴡᴀꜱ ᴡʀɪᴛᴛᴇɴ ᴀᴛ ᴛʜᴇ ᴛɪᴍᴇ, ꜱᴏ ᴘʟᴇᴀꜱᴇ ꜰᴀᴄᴛᴏʀ ɪɴ ᴛᴇɴꜱᴇꜱ ᴀɴᴅ ᴅᴀᴛᴇꜱ.
Prostitute, Soho Cabaret, a well known Soho clip joint. This Russian 'lady' threatened to have my camera smashed by her 'Security manager' if I dared to take her photo. So, I took her photo.
I was hoping she'd carry on talking to me as she did and asked her how much an hour of it would amount to. She started laughing then and turned to the suntan lotion as seen here.
In the last two months, Westminster Council licensing inspectors have raided and closed down two illegal hostess bars, which lured men in under the false premise of adult entertainment then charged them exorbitant rates for soft drinks in the company of hostesses. One of these hostess bars was also an illegal gambling club.
Clip joints, as they are informally known, have previously circumvented licensing legislation by not selling alcohol or offering adult entertainment, despite displaying garish signs such as “sexy girls”.
But following extensive lobbying from Westminster City Council, the LLA Act 2007 (London Local Authorities Act) means the venues now need to apply for a sex establishment licence if they wish to continue trading, putting them under the control of the local licensing authority for the first time.
Two years ago there were eight clip joints operating in Westminster but tough enforcement by Westminster Council and the Metropolitan Police for breaches of planning and health and safety regulations has led to the closure of six.
www.melonfarmers.co.uk/arsssoho.htm
www.dailymail.co.uk/news/article-478920/Bluetooth-text-wa...
When I'm staying with Tess in her cabin in the woods, we do lots of fun things together. This time we decided to do a mischievous photo shoot: Paula as a playful prostitute in front of her red light window. You see, I live close to Amsterdam with its (in)famous red light district, so I didn't have to look far to get inspired for this shoot.
So, we turned all the lights in the cabin to red, I dressed in my satin playsuit, got in front of the window and Tess started making the photos that you are seeing right now. All went very well but since the cabin is in the middle of the forest I didn't have any customers and didn't make any money. Never mind though, Tess and I rewarded ourselves with big fun and lots of laughs.
Next time you're out at night in the woods be aware: satin prostitutes may be out hunting for you...
I took a friend on a walking photo tour to give him a glimpse of the prostitutes in the Zona Norte. I warned him that they would all turn and scatter once he lifted his camera. And that's exactly what happened on the main strip. But on our way out, we passed this girl who saw the cameras around our necks and started to pose. She quickly stopped as her older co-worker scolded her.
"Vas a posar o no? Are you going to pose or not?" I asked with a smile. She turned where she stood and I took this photo. She was standing with her face in the shade and her body in the sun, making a decent exposure impossible.
While out shooting, borderreporter and I were trading lenses back and forth. Minutes before taking this shot, he handed back a lens. I didn't notice he was using it in manual mode. That's why the shot is out of focus.
some robots break free of their former oppressors shackles, sometimes they form mini states in the Lower Levels of the capital planet often mimicking human society which is rather strange since the often claim to hate these Flechies culture...
Here are four service men captured in fighting the rebellion, now they are "in court"!
- (Robot Ballfit) Bzzz-Krrr-poing! Could all bots and humans stand up the Main Judge His revered holiness Judge Groin-bolt is entering the court...
- (Judge G-B) I... I am... I am here, I have, I haaaave I have my Audio-holes open may all the defendants, defendents, prostituters, Ballfit and Avocados sit again, I am Here...
I hereby start the.. the court!
Ballfit Please read the amusications on the Human scum!
- (Ballfit) Poing_Bzzz-Krr! these humans are accusated in the suspection of being Human Fleshies and therefor constitute a illegal subject to juridical law under the suspected crime of being human and therefor constitute a "crime agains humanity" According to Frederational Charter of the Robot republic of zone 234 Bh 22!
- (Judge) Lojjer do eh, you have... anythings to say to your clements defendification!
- (lajjer) Yes, I am pretty sure they are organics I saw one of them soil his suit I have also bespoken up on them and they all admit of being human which is a crime against Humanity and quite frankly a crime so horrible that they never ever must be forgiven...
- (Judge) Ok, we have heard their defending side, has the prostitutor have anything to say?
- (prostitutor) My Lord, I object!
- (judge) object to what? Speak forth revered honorable prostitutor!
- (Prostitutor) Ah, Wait my circuits got mixed up, I was speaking about last weeks court where I was a layyer!
- (Judge) Very well Prostitutor, this is a new court, please pay attention and speak now or be silent!
- (prostitutor) Ok, My honor, my lovely huge Judge! I will speak, I was thinking about a thing, where did the first human come from? who built them?
- (judge) Objection refused!
Now let the repulsive fleshiies talk in their own defense, Yellow Suilt Human start:
- (yellow suited human) I am Marissa and I am actually sympathetic to the robot emancipation cause...
(the Judge interrupts)
- (judge) silent Human scum, speak only when addressed, I will add 15 years to the sentence!
Now, blue suited human may you speak with your slimy organic tongue...
- (blue Suited Human) ...your honor I think this is a non functioning fake court, it is not based on any reality, I will not speak and give this banana-kangaroo fake court any credence I will remain silent in a protest!
- (judge) great speech tiny human, I eh, I really like it I will put a golden star in the corner of your case file...
To save time we will jump past the testeronies of the last two scum humans, I the almighty judge refuse to give black-suited human and the last one any speech in this technocratic court, I will skip right to the jury!
Jury have your saying in alphabetic order:
- (Jury Member) I sentence them all to be remolded in to cyber-slaves to quarry coal in the mines for eternity!
- (Judge) Oh, I though I was the one who where gonna put the sentence, but since the jury member already has I agree to his sentence and add the Bonuses and punishment to the two individuals who earned them, since the Jury consisting of the Jury Member who just spoke gave them the punishment they deserve I will instead do what the jury should and thereby proclaim them guilty of being humans a horrible crime against all of humanity...
(Clomp) (clomp) a hammer-like gavel hits the judges kneecap
Ebook on Ronda
RONDA: AN INTIMATE PORTRAIT OF A SOUTHERN STREET PROSTITUTE
Volume One
To read about this photo of Ronda, see Volume Two
…My camera at my eye, I get down on my knees in front of her and through the viewfinder watch her twist the leg of some longjohns around her arm. As she inserts the needle into a vein, I snap a picture; I'm too absorbed in focus and composition to get squeamish. As she draws back the plunger and the syringe fills with blood, I snap another.
I can hear Melvin's foot begin an anxious tap-tap-tap-tap.
When Ronda depresses the plunger, forcing her blood, now mixed with Dilaudid, back into her bloodstream, she looks over at him... "I left enough of the pill, baby. Don't you worry about it."
As she pulls out the needle, I snap a last shot.
"Outside of what you wrote," I ask, putting away my camera, "what were your motivations for getting on methadone?"…
______________________________________________________Photo and text excerpted from RONDA: AN INTIMATE PORTRAIT OF A SOUTHERN STREET PROSTITUTE
Volume one
Volume two
French postcard by Editions Mercuri, no. 634. Spanish poster for Another Country (Marek Kanievska, 1984).
British actor Rupert Everett (1959) grew up in privileged circumstances, but the wry, sometimes arrogant intellectual was a rebel from the very beginning. He had his breakthrough in Another Country (1984) as an openly gay student at an English public school in the 1930s. He has since appeared in many other films including The Comfort of Strangers (1990), My Best Friend's Wedding (1997) and An Ideal Husband (1999).
Rupert James Hector Everett was born in Burnham Deepdale, Great Britain to Major Anthony Michael Everett and his wife Sara née Maclean. He has a brother, Simon Anthony Cunningham Everett. Everett was brought up as a Roman Catholic. From the age of seven, Everett was educated at Farleigh School, Hampshire, and from the age of thirteen was educated by Benedictine monks at Ampleforth College, Yorkshire. At this prestigious Roman Catholic public school. he trained classically on the piano. He dropped out of school at 16 and ran away to London to become an actor. In order to support himself, he worked as a male prostitute for drugs and money. After being dismissed from the Central School of Speech and Drama ((University of London) for clashing with his teachers, he travelled to Scotland and got a job at the avant-garde Citizens' Theatre in Glasgow. Everett's break came in 1981 at the Greenwich Theatre and later West End production of 'Another Country', playing a gay schoolboy opposite Kenneth Branagh. His character, Guy Bennett, is based on the double agent Guy Burgess. The play was filmed, Another Country (Marek Kanievska, 1984) with Cary Elwes and Colin Firth. Brian J. Dillard at AllMovie: “Rupert Everett and Colin Firth give strong, economical performances as the homosexual dandy and the fervent Marxist who, for different reasons, chafe at the restrictions of their society. Both characters are callow and self-absorbed, but Firth's principled thinker and Everett's ambitious romantic undergo subtle transformations that make them ultimately sympathetic.” He followed on with Dance With a Stranger (Mike Newell, 1985), based on the true story of Ruth Ellis (Portrayed by Miranda Richardson), the last woman to be executed in England. In Italy, he starred in the Gabriel Garcia Marquez adaptation Cronaca di una morte annunciata/ Chronicle of a Death Foretold (Francesco Ros, 1987i) with Ornella Muti. Everett began to develop a promising film career until he co-starred with Bob Dylan in the huge flop Hearts of Fire (Richard Marquand, 1987). Around the same time, Everett recorded and released an album of pop songs entitled Generation of Loneliness. Despite being managed by the largely successful pop svengali Simon Napier-Bell (who steered Wham! to international fame), the public didn't take to his change in direction. The shift was short-lived, and he would only return to pop indirectly by providing backing vocals for his friend Madonna on her 1999 cover of 'American Pie' and on the track 'They Can't Take That Away from Me' on Robbie Williams' 'Swing When You're Winning' in 2001. Following this flop, Everett disappeared for a while, taking up residence in Paris and writing a semi-autobiographical novel, 'Hello, Darling, Are You Working?'. He also came out as gay.
Rupert Everett returned to the screen opposite Christopher Walken and Helen Mirren in The Comfort of Strangers (Paul Schrader, 1990). He was successful as the fat and lazy Prince of Wales (the later George IV) in The Madness of King George (Nicholas Hytner, 1994), and appeared among the all star cast of Prêt-à-Porter (Robert Altman, 1994). The Italian comics character Dylan Dog, created by Tiziano Sclavi, is graphically inspired by him. Everett appeared in a film adaptation, Dellamorte Dellamore/Cemetery Man (Michele Soavi, 1994) as a killer of zombies. In 1995 he released a second novel, 'The Hairdressers of St. Tropez'. His film career was revitalized by his award-winning performance in the comedy My Best Friend's Wedding (P.J. Hogan, 1997), playing Julia Roberts's gay friend. Robert Firsching at AllMovie: “Rupert Everett is terrific as Roberts' gay confidant, and there are some surprising scenes, including a woman with her tongue stuck to an ice sculpture in a most untoward location. It was a huge hit at the box office, with enough genuine romance to satisfy purists and enough bite for those with a slightly different attitude.”Everett has since appeared in a number of high-profile film roles, including as Christopher Marlowe in Shakespeare in Love (John Madden, 1998), Lord Arthur Goring in An Ideal Husband (Oliver Parker, 1999) and Oberon in A Midsummer Night's Dream (Michael Hoffman, 1999). In 1999, he also played Madonna's best friend in The Next Best Thing (John Schlesinger. 1999), and the villainous Sanford Scolex/Dr. Claw in Disney's Inspector Gadget (David Kellogg, 1999) with Matthew Broderick.
Rupert Everett became a Vanity Fair contributing editor and wrote a film screenplay on playwright Oscar Wilde's final years. He also appeared in another film adaptation of a Wilde play, The Importance of Being Earnest (Oliver Parker, 2002) with Colin Firth. Later roles include his royal portrayals in To Kill a King (Mike Barker, 2003) and Stage Beauty (Richard Eyre, 2004), In 2006, he published a memoir, 'Red Carpets and Other Banana Skins', in which he revealed he had a six-year affair with British television presenter Paula Yates. Since then, Everett lead the 2007 Sydney Gay and Lesbian Mardi Gras, played a double role in the film St. Trinian's (Oliver Parker, Barnaby Thompson, 2007) and the sequel St Trinian's 2: The Legend of Fritton's Gold (Oliver Parker, Barnaby Thompson, 2009), and has appeared several times on TV, causing regularly some outrage. In recent years, Everett has returned to his acting roots appearing in several theatre productions; He made his Broadway debut in 2009 in the Noël Coward play 'Blithe Spirit', starring alongside Angela Lansbury. During the summer of 2010, he played in a revival of 'Pygmalion' as Professor Henry Higgins at the Chichester Festival Theatre and reprised this role in 2011, at the Garrick Theatre in London's West End, starring alongside Diana Rigg as Higgins's mother and Kara Tointon as Eliza.
Rupert Everett went on to play Oscar Wilde in 'The Judas Kiss' in 2013 and was about to play George on Broadway in 'Who's Afraid of Virginia Woolf?' when the play closed before it officially opened due to the COVID pandemic in 2020. On TV, he played the effortlessly suave Sherlock Holmes in Sherlock Holmes and the Case of the Silk Stocking (Simon Cellan Jones, 2004), the Marquis de Feron in the British series The Musketeers (2016) and Carroll Quinn in a second British series Adult Material (Dawn Shadforth, 2020). Known for his aloof handsomeness and often smug, piss-elegant characters, he engagingly portrayed a jet-setter in the contemporary film People (Fabien Onteniente, 2004); provided the voice of the unprincely Prince Charming in the animated features Shrek 2 (Andrew Adamson, Kelly Asbury, Conrad Vernon, 2004) and Shrek the Third (Chris Miller, Raman Hui, 2007); played a British defector opposite Sharon Stone in the romantic thriller A Different Loyalty (Marek Kanievska, 2004) and a millionaire playboy involved in a hit-and-run in Separate Lies (Julian Fellowes, 2005). He also has a part in the comedy film Wild Target (Jonathan Lynn, 2010), starring Bill Nighy, and the comedy Hysteria (Tanya Wexler, 2011) about the first vibrator. He appeared as King George VI (father of Queen Elizabeth) opposite Emily Watson's Queen Mum in the romantic dramedy A Royal Night Out (Julian Jarrold, 2015). He also played a monsignor in Altamira (Hugh Hudson, 2016) opposite Antonio Banderas. He wrote and directed The Happy Prince (Rupert Everett, 2018), in which he also starred as tortured gay playwright Oscar Wilde during his last days. His co-star was Colin Firth, the co-star of his film debut, Another Country. Although Rupert Everett urged in 2009 gay stars not to 'come out' and to keep their sexuality a secret as it could end their film career’, he himself is a living testament disproving the theory that a truly talented and successful romantic leading man cannot survive the career-killing stigma of being openly gay.
Sources: Brian J. Dillard (AllMovie), Gary Brumburgh (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.