View allAll Photos Tagged strangulation
The Elephant "Fritz". A member of Barnum and Bailey Circus and part of its European Tour. Fritz was taller and heavier than the famous "Jumbo". Fritz apparently had the poor judgement to attack his keeper (or just make a break for it -- I found differing accounts) in 1902 and Mr. Bailey ordered him put to death by strangulation on June 12 at the age of 35. Six of eighteen elephants died during the 5-year European Tour.
Barnum offered the stuffed remains of Fritz to the City Museum of Tours upon his death and here he stands in this glassed in room.
Is it just me?
Strobist info: 580 EX with shoot through umbrella camera right, 580 EX camera front pointing at wall behind bunny.
I know you'd love to:
We attended the Fullball Fiesta event at Pima Animal Care Center this morning. Although we showed up fashionably late at 8:30, it felt like it was already encroaching 100 degrees.
Here are photographs of Bigfoot, who was classifed as "very timid." However, this was not the case as he was very interested in smaller children and dogs, but avoided direct contact with regular sized folks including my camera.
Bigfoot is available for adoption through Pima Animal Care Center. His adoption fees are waived through the summer. Bigfoot looks like he got stuck in some sort of fencing in the past, as he has big right-angle scar pattern on his ribs and one back paw has two mangled toes with strangulation scarring where little hair had grown in. Poor guy! Ridgeback/ general Shepherd, you think?
IMGL7944
I am a great fan of big cats, But they need to be treated with the utmost respect.
They not only have very strong jaws but also very sharp teeth, when hunting very large prey, tigers prefer to bite the throat until the prey dies of strangulation. Tigers have one of the strongest bite among big cats. PSI: 950
A human bite is 55 -200 psi
In the wild, tigers mostly feed on large and medium-sized mammals, particularly ungulates weighing 60–250 kg (130–550 lb). Range-wide, sambar deer, wapiti, barasingha and wild boar are significantly preferred. Tigers are capable of taking down larger prey like adult gaur but will also opportunistically eat much smaller prey, such as monkeys, peafowl and other ground-based birds, hares, porcupines, and fish. They also prey on other predators, including dogs, leopards, pythons, bears, and crocodiles. Tigers generally do not prey on fully grown adult Asian elephants and Indian rhinoceros but incidents have been reported.More often, it is the more vulnerable small calves that are taken. When in close proximity to humans, tigers will also sometimes prey on such domestic livestock as cattle, horses, and donkeys. Although almost exclusively carnivorous, tigers will occasionally eat vegetation for dietary fibre such as fruit of the slow match tree.
Dentition of tiger above, and of Asian black bear below. The large canines are used for killing, and the carnassials for tearing flesh.
Tigers are thought to be mainly nocturnal predators, but in areas where humans are absent, remote-controlled, hidden camera traps recorded them hunting in daylight.[99] They generally hunt alone and ambush their prey as most other cats do, overpowering them from any angle, using their body size and strength to knock the prey off balance. Successful hunts usually require the tiger to almost simultaneously leap onto its quarry, knock it over, and grab the throat or nape with its teeth. Despite their large size, tigers can reach speeds of about 49–65 km/h (30–40 mph) but only in short bursts; consequently, tigers must be close to their prey before they break cover. If the prey senses the tiger's presence before this, the tiger usually abandons the hunt rather than chase prey or battle it head-on. Horizontal leaps of up to 10 m (33 ft) have been reported, although leaps of around half this distance are more typical. One in 2 to 20 hunts, including stalking near potential prey, ends in a successful kill.
Bengal tiger attacking a sambar in Ranthambore Tiger Reserve
When hunting larger animals, tigers prefer to bite the throat and use their powerful forelimbs to hold onto the prey, often simultaneously wrestling it to the ground. The tiger remains latched onto the neck until its target dies of strangulation.[89] By this method, gaurs and water buffaloes weighing over a ton have been killed by tigers weighing about a sixth as much.[100] Although they can kill healthy adults, tigers often select the calves or infirm of very large species. Healthy adult prey of this type can be dangerous to tackle, as long, strong horns, legs and tusks are all potentially fatal to the tiger. No other extant land predator routinely takes on prey this large on its own.
With smaller prey, such as monkeys and hares, the tiger bites the nape, often breaking the spinal cord, piercing the windpipe, or severing the jugular vein or common carotid artery. Though rarely observed, some tigers have been recorded to kill prey by swiping with their paws, which are powerful enough to smash the skulls of domestic cattle,and break the backs of sloth bears.
After killing their prey, tigers sometimes drag it to conceal it in vegetative cover, usually pulling it by grasping with their mouths at the site of the killing bite. This, too, can require great physical strength. In one case, after it had killed an adult gaur, a tiger was observed to drag the massive carcass over a distance of 12 m (39 ft). When 13 men simultaneously tried to drag the same carcass later, they were unable to move it] An adult tiger can go for up to two weeks without eating, then gorge on 34 kg (75 lb) of flesh at one time. In captivity, adult tigers are fed 3 to 6 kg (6.6 to 13.2 lb) of meat a day.
Not every HAND is a helping hand.
I've always been a firm believer of listening to what people aren't saying. As a very quiet person I've learned that silence can be sonorous, not every opinion is meant to edify, not every hand they extend is there to hold you up...
امرأة تحمل لافتة مكتوب عليها
"كل العيون تركز على فلسطين"
A reminder to those who turn a blind eye to injustice or worse, like much of the mainstream British media, try to excuse or whitewash it - dismissing last weekend's raids on Al-Aqsa mosque, in which journalists and women were struck with batons and others injured by rubber bullets - as mere 'clashes' - a reminder that all eyes should be on Palestine and the crimes against humanity being committed daily by Israel's occupation forces.
The dispossessions, the bulldozing of Palestinian homes, the segregation of Palestinians forced to live in impoverished enclaves, the detention and torture of children in prisons, the extrajudicial executions, the slow strangulation by the blockade of Gaza's inhabitants resulting in widespread malnutrition and a desperate shortage of drinking water.
"All Eyes on Palestine" should be the rallying call - as Desmond Tutu, who championed the cause of Palestinians, observed - "Those who turn a blind eye to injustice actually perpetuate injustice. If you are neutral in situations of injustice, you have chosen the side of the oppressor."
This photo was taken during a protest outside the Israeli Embassy in London. The action followed a massive raid by Israeli security forces on the Al Aqsa mosque, the third holiest site in Islam, during which women and journalists can be seen on video being attacked by baton wielding riot police - others were injured by rubber bullets.
The mosque itself was flooded with tear gas and hundreds of Palestinians were arrested. The Palestinian Red Crescent claimed that Israeli occupation forces refused to allow ambulances access.
www.middleeasteye.net/video/why-did-israel-storm-al-aqsa-...
The protest also followed the killing of dozens of Palestinians by Israeli Security forces in recent weeks as well as an Amnesty International's report on 1 February 2022 which concluded that Israel's extensive use of segregation, dispossessions and legal discrimination amounted to Apartheid, which it described as a 'cruel system of oppression and a crime against humanity.'
A picture of SCP-4007-3, who SCP-4007-3 infiltrated an unit of the Chinese NRA forces during the Second Sino-Japanese War, a conflict betweent the Republic of China and the Empire Of Japan. All members of this unit were captured and executed.
This picture in particular was taken by the Red Sky Society's (RSS) archives and eventually used by the SCP Foundation for containment and documentation purposes.
SCP-4007-3 was part of a group (dubbed by the SCP foundation as SCP-4007) but originally referred as “Pingfang 5,” who formed a special operations unit serving under Unit 731 of the Imperial Japanese Army during World War II. It consisted of 5 Japanese soldiers who each of them received anomalous properties. SCP-4007-3, who goes by his original name
Corporal Joichiro Ida,
nickname: Kitsune - Fox
Date of birth: 12/08/1915
He has the ability to compel listeners to believe any statement that he spoke. People with sufficiently high Psychic Resistance scores could resist the effects of this compulsion.
SCP-4007-3 was deployed in numerous stealth operations in territory throughout southeast China, that were occupied by the Empire Of Japan often being used to discover and secretly infiltrate resistance cells before reporting them to the kempeitai. Additionally, SCP-4007-3 was also tasked with gathering intel within Chinese territory that wasn’t occupied by the Japanese.
SCP-4007-3 was discovered for the first time by the SCP Foundation in 1947. records of the RSS dated that mention of SCP-4007 in general goes all the way back since the early founding of Unit 731.
Foundation records describe that SCP-4007-3 affilated himself with multiple communists guerilla groups in Southeast China during the Chinese Civil War against the nationalists forces. The reason for this is unknown whenever he acted on his own accord or under orders of his superiors is also left unknown.
Records of 1958 indicated that SCP-4007-3 was still actively hunting down hidden Nationalists Chinese operatives in the mainland following the Chinese Civil War.
He died in 1958 after the RSS tipped the SCP Foundation about SCP-400-7’s wearbouts under a different name, MTF unit Phi-51 was deployed to capture the anomaly, however upon arrival of the MTF unit, SCP-4007-3 was found dead, the cause of death was through strangulation, upon further investigation of his current residence, revealed several signs of a gunfight. Any further investigations hold no clue.
The Red Sky Society, also known as Red Sky or rather its official name: ‘’National Bureau Of Paranormal Investigations’’ is a secret organization founded after the Xinhai revolution in 1911 by the Chinese Republic, under secret orders of the Tongmenghui. They dealt with researching ancient artifacts, folklore, myths, folktales, the occult, mystical and paranormal anomalies. Red Sky consisted of two branches, the Research branch and the military branch which dealt with retrieving, combat and protection against the paranormal.
In this case, the RSS serves as an non-canon GoI that appeared already in a couple of my own animations.
The Chinese on the picture translate to: Top secret
Overall I’m pretty happy on how this picture turned out, this picture was featured in the animation about the SCP Foundation the link of that one is in the description below as well as the article.
Custom gear: Brickarms
Custom torso’s: Brickmania/theminifigco
Link to the brickfilm about the SCP Foundation:
www.youtube.com/watch?v=9JnqmZLXN8E
Link to the SCP article:
“And think yourselves lucky, others have swung from the yard arm for crimes less serious than yours”
The reference to “swing from the yard arm” refers to a method of execution carried out in the navy until 1860 and is well described by Nordoff and Hall in Mutiny on the Bounty. As a capital punishment it was by no means instantaneous, the prisoner's hands and feet were tied, and with the noose about his neck a dozen or so men hoisted him aloft where he was left to die by slow strangulation.
( thanks to Bull Whip for officer photo and Bing for other detail )
The Shadow / Magazin-Reihe
The Case Of Congressman Coyd
Cover: Jerome George Rozen
Street & Smith Publications / USA 1935
Reprint / Comic-Club NK 2010
ex libris MTP
en.wikipedia.org/wiki/The_Shadow_(magazine)
A mind that is stretched by a new experience can never go back to its old dimensions.
[] Oliver Wendell []
Ah! Post WW2 planners utopia! As early as 1942/43 British planners were looking ahead to post-war reconstruction - both to deal with the devastation of Britain's urban fabric by enemy bombing as well as the social and economic 'evils' of much of the unchecked Victorian urban and industrial expansion. Hitherto much of the methodology behind contemporary urban expansion and new housing was to manage the rapid suburban development that, in many cities had lead to edge of town development of 'suburbia' - interestingly loved by those who lived and aspired to such 'semis' and hated by planners and architects as drab fungal growths on the urban fringe ('subtopia'). The other great priority was slum clearance and in-city redvelopment of existing urban areas. Most British towns, cities and regions produced massive development plans and these were to form the foundation of many elements of post-war construction - most notably in the landmark Town & Country Planning Act of 1947 in which the new Labour Government enshrined the production of planning and plans themselves, introduced the 'green belt' concept to protect the boundaries of existing and pushed for the construction of quite a British solution - "New Towns". In the 1940s and '50s numerous New Towns were 'designated' including a ring of such towns around London that had been suggested in the 1944 Greater London Plan. This magnificent volume, sister to the 1943 County of London Plan, was largely authored by one of the doyen of UK planning, Patrick Abercrombie. It put forward plans that helped formulate various of the London 'new towns' - one site considered was the large Essex village of Chipping Ongar, better known as Ongar. Eventually Ongar was de-selected in c1947 largely because of the cost of the ambitious transport plans involving the London - Ongar branch railway line - the scheme would have seen extension of the line into a loop running through to Brentwood and electrification. This foundered, due to potential costs in post-war austerity - had it happened the history of the branch (that ended up being reluctantly electrified as part of London Transport's Central line and eventually abandoned in 1994) would have been very, very different. Anyhow - the Plan contains some illustrations of the 'new world' proposed - by the illustrator Peter Shepheard, they are in that marvellous style that seems so utopian to us now but must have been so asperational and vital to a British population that had suffered years of war, depression and who often lived in crowded, drab slums. Here we see spring in the air at the sleek lines of a proposed neighbourhood shopping centre that would have helped form the nucleus of the Greensted 'village' to the west of Ongar. Much was made of the traffic free environment - this form of segregation was seen as being key to allow the relaxed, carefree lifestyle New Towns would offer. Happy women and children, cavorting with cats and dogs (I see no men - they're all at work!) do the daily shopping, having arrived by foot or London Transport bus - one of the drawbacks of many post-war plans was the inability to deal with late 20th century growth in personal ownership of motor cars that is seen in road sizes and car parking in many UK towns and cities. In the evening you could have gone to the Greensted Ritz - to see Carmen Miranda in Rio, I'm amazed it isn't 'Brave New World"!
If Ongar didn't get off the drawing board a neighbouring Essex village of Harlow did and was to see precisely the sorts of changes that Ongar had illustrated. Harlow, designated in 1947, saw many of these proposals implemented and, in time, was seen to be the most successful of the 'New Towns'. Places such as Harlow are easily sneered at I fear but one has to admire the energy and passion put into the intention to 'better' peoples lives, whatever you think of the planning and concepts. Interesting that now, in 2014, a new generation of New Towns is proposed to help manage the UK's housing shortage - based on the premise that the 1947 Act, now seen by some as being at the roots of the 'strangulation' of urban development, has been radically overturned we may turn back to one of the very concepts that engendered such centralised planning!
Divided reverse. No correspondence.
Austro-Hungarian military execute civilians in their preferred method, death by slow strangulation. This scene is made all that more horrific when you realise that three more condemned are being forced to watch on as they await their turn on the gallows.
The military justification for the massacre of civilians was that many were “partisans” engaged in a guerrilla war against the invading forces. As early as 17 August, the Austro-Hungarian general, Lothar von Hortstein, complained that it was impossible to send reconnaissance patrols into Serb territory because “all were killed by the rural people”. But it is also certain that popular anti-Serb sentiment gave the military the impression it had been given carte blanche to commit atrocities. A popular song in Vienna in August of that year was entitled “Alle Serben müssen sterben” (“All Serbs must die”).
See. Hear. Speak.
Today's motivation came from...
Hair cut today = Not a huge fan.
No make-up = pale and sickly.
I don't sleep anymore. = Giant bags under my eyes.
It was just one of those days I just didn't want to show my face. So I didn't!
You MUST view on black.
Explore #134 (thanks guys!)
“How do you know, when you think blue — when you say blue — that you are talking about the same blue as anyone else?
You cannot get a grip on blue.
Blue is the sky, the sea, a god’s eye, a devil’s tail, a birth, a strangulation, a virgin’s cloak, a monkey’s ass. It’s a butterfly, a bird, a spicy joke, the saddest song, the brightest day.
Blue is sly, slick, it slides into the room sideways, a slippery trickster.
This is a story about the color blue, and like blue, there’s nothing true about it. Blue is beauty, not truth. ‘True blue’ is a ruse, a rhyme; it’s there, then it’s not. Blue is a deeply sneaky color.”
― Christopher Moore, Sacré Bleu: A Comedy d'Art
This little road, off the Boulevard St Germain, is still more or less in its original state, knew many famous personalities and was the place where a particular invention was developed. Here are a few details:
During the early months of the French Revolution in 1789, the National Assembly passed a law requiring that all executions must be performed by beheading, considered more humane than the other, more torturous methods such as hanging, burning, boiling, strangulation, and dismemberment that were common at that time.
German engineer Tobias Schmidt was living at Number 9 in the Cour du Commerce above his basement workshop, where he made harpsichords, when French surgeon Antoine Louis asked him to test a prototype of an improved device. And so he did, starting in April 1789, first on hay bales, then on a number of sheep, and finally on corpses procured from the Paris morgue.
Forfar Town & County Hall
Forfar Town and County Hall is a municipal building in The Cross, Forfar, Scotland. The structure, which serves as the meeting place of Angus Council, is a Category B listed building.
The first municipal building in the town was a medieval tolbooth which was primarily used to the detention of prisoners; in the early 1660s, 42 women were tried for witchcraft at the tolbooth and, in some cases, found guilty and executed by strangulation. In the late 1770s the burgh officials decided to demolish the dilapidated tolbooth and to erect a new building in its place.
The new building was designed by James Playfair in the neoclassical style, built in ashlar stone at a cost of £1,100 and was completed in 1788. The design involved a symmetrical main frontage with four bays facing onto The Cross; the central section of two bays, which slightly projected forward, featured round headed windows on the ground floor, square headed windows on the first floor and a pediment above. The outer bays contained doorways on the ground floor and square headed windows on the first floor. At roof level, there was originally a bellcote. The building was originally intended to operate as a weigh house and butter market. Internally, the principal rooms, which were all accessed by passing through the left hand doorway and then up a staircase, were at the front of the building: they were the council chamber on the left, the county hall in the centre and the sheriff courtroom on the right. The county hall contained several crystal chandeliers which were presented by the future local member of parliament, David Scott.
In the late 18th century, criminals were held in cells behind the town and county hall; they were taken to the courtroom and, if they were found guilty and sentenced to be hanged, the sentence was carried out from the first floor window on the east side of the building. The bellcote was removed and the pediment was enhanced by the installation of a clock in the tympanum in 1804, and a dedicated sheriff courthouse, designed by David Neave with a large tetrastyle portico, was erected to the immediate north of the town and county hall at a cost of £5,000 and was completed in 1824. Internal alterations to the town and county hall, to a design by William Scott, were completed in 1847: the changes involved the removal of the old council chamber and the old sheriff courtroom and the enlargement of the county hall.
The sheriff court moved to a new purpose built building adjacent to the county prison in Market Street in the north of the town in 1871. Then, in 1883, the county prison in Market Street was converted into offices and, following the implementation of the Local Government (Scotland) Act 1889 which established a uniform system of county councils in Scotland, the new Forfarshire County Council established its headquarters in the Market Street building which later became known as the County Buildings.
In the 20th century, the town and county hall served as a venue for public events, particularly functions organised by the county council, while the former sheriff courthouse behind was re-designated the "municipal buildings": burgh council officers and their departments, including the town clerk's department, were accommodated within the latter building. A plaque to commemorate the residence of the 10th Polish Reconnaissance Group in the town from October 1940 to April 1942 was placed on the western elevation of the town and county hall on the unit's departure during the Second World War.
At a ceremony attended by the General Officer Commanding-in-Chief Scottish Command, Lieutenant-General Sir Colin Barber, in September 1952, a plaque was unveiled on the front of the town and county hall and four stained glass windows were unveiled inside the building to commemorate the lives of local service personnel who had died in the First and Second World Wars. Queen Elizabeth The Queen Mother visited the town and county hall to receive the freedom of the town in 1956.
The municipal buildings ceased to be the local seat of government when the enlarged Angus District Council established its offices at County Buildings in Market Street in 1975. However, the town and county hall continued to be used as a civic meeting place and continued in that role when the new unitary authority, Angus Council, was formed in 1996. It also continued to be used by the Lord Lieutenant of Angus for investitures. Queen Elizabeth II, accompanied by the Duke of Edinburgh, visited the town and county hall and had lunch with civic officials in July 2004. [Wikipedia]
I haven't been flickr'ing much anymore, and believe me when I say this is not a picture that I ever thought I would take, much less share to the world, or at least my corner of it.
This is my friend Jennifer. On November 15th-16th, her significant other beat the living shit out of her, calling her a cunt and telling her this was only about half of what she actually deserved.
This was the third time this had happened in their 2 year relationship. I accidentally caught a post of a selfie of hers on Instagram that she quickly took down. There was enough time for me to absorb what had happened and for me to reach out to her and insist that we take pictures for a court date that she had not made yet.
This is one of many I took on Sunday November 17th. Jennifer no longer has the bruises on her eyes or her arms, the one from her neck is fading away from the attempted strangulation...her ear drum is perforated so who knows when she will be able to hear properly out of it again, if ever.
She is one of the most amazing, kind and caring women I have ever known, and she loved him very much, and I'm sure part of her still does. But this relationship is over. This is not okay. We are not okay.
Jennifer was brave enough to share her story, and a lot of us started to share ours. We have started Jericho Roses, where anyone with a history of abuse or is currently being abused can share their stories with us, anonymously or publicly. We will have an email set up through my non-profit organization The Women's Groovement, but for now we have a p.o. box.
If you or someone you know has a story to tell, who needs help, who has survived and wants to help others, I urge you to pass along this address.
Jericho Roses
P.O. Box 314
Independence, KY 41051
We decided to name it after the Jericho rose as it is known to be a plant of survival and resurrection. I’m not a religious person, but it pays respect and acknowledges those that are.
Our goal is to publish these stories in a book to help us all heal, to give us strength and opportunity to reach out and get help and to connect with people that can help.
Much love to all of you.
Lisa
Protesters in Trafalgar Square attempt to mobilize support in Britain for opposition to the autocratic rule of Nicaragua's president, Daniel Ortega, who is backed by big business and foreign investors. The state has taken increasingly repressive measures since it was suspected of fixing last year's general election results. More than 120 people have been killed in the last two months during police operations to quell a popular uprising. One journalist was shot dead while broadcasting on Facebook live.
Since protests gained momentum at the end of April, Ortega has been compared to Nicaragua's former US backed dictator Somoza who was overthrown by a socialist revolution in 1979. After seizing power, the left wing Sandinastas carried out their promise to implement welfare, health and agrarian reforms even as the United States imposed an economic strangulation of the country and deployed proxy terror forces (the Contras) in an attempt to overthrow the government.
In an illuminating legal decision in 1986 the International Court of Justice ruled that the United States should pay Nicaragua reparations for the massive human and economic cost inflicted on it by the US terror campaign in violation of international law. However Washington used its veto in the Security Council to block any enforcement of the judgement.
In more recent year's, however, Nicaragua's government has been corroded by increasing levels of corruption and cronyism. People on the streets of Managua in recent days have been heard chanting “Daniel! Somoza! ¡Son la misma cosa!” – “Daniel! Somoza! They’re the same thing!”
This photo was used in the following online publication.
www.maailma.net/uutiset/jarjestot-vetoavat-suomen-otettav...
I haven't been flickr'ing much anymore, and believe me when I say this is not a picture that I ever thought I would take, much less share to the world, or at least my corner of it.
This is my friend Jennifer. On November 15th-16th, her significant other beat the living shit out of her, calling her a cunt and telling her this was only about half of what she actually deserved.
This was the third time this had happened in their 2 year relationship. I accidentally caught a post of a selfie of hers on Instagram that she quickly took down. There was enough time for me to absorb what had happened and for me to reach out to her and insist that we take pictures for a court date that she had not made yet.
This is one of many I took on Sunday November 17th. Jennifer no longer has the bruises on her eyes or her arms, the one from her neck is fading away from the attempted strangulation...her ear drum is perforated so who knows when she will be able to hear properly out of it again, if ever.
She is one of the most amazing, kind and caring women I have ever known, and she loved him very much, and I'm sure part of her still does. But this relationship is over. This is not okay. We are not okay.
Jennifer was brave enough to share her story, and a lot of us started to share ours. We have started Jericho Roses, a project where anyone with a history of abuse or is currently being abused can share their stories with us, anonymously or publicly. We will have an email set up through my non-profit organization The Women's Groovement, but for now we have a p.o. box.
If you or someone you know has a story to tell, who needs help, who has survived and wants to help others, I urge you to pass along this address.
Jericho Roses
P.O. Box 314
Independence, KY 41051
We decided to name it after the Jericho rose as it is known to be a plant of survival and resurrection. I’m not a religious person, but it pays respect and acknowledges those that are.
Our goal is to publish these stories in a book to help us all heal, to give us strength and opportunity to reach out and get help and to connect with people that can help.
Much love to all of you.
Lisa
Belgian postcard in the Vedettes series of Victoria Chocolates by S. Best. Anvers (Antwerp) / Rotterdam, no. 2.
On 18 December 2019, French actress Claudine Auger (1941) passed away. She is best known as Bond girl Domino in the James Bond film Thunderball (1965). At 17, she was Miss France 1958 and she became the first runner-up in the Miss World contest. Later she worked mostly in France and Italy.
Claudine Auger was born Claudine Oger in Paris, France in 1941. She attended St. Joan of Arc College. At the age of 16 the well-proportioned brunette earned the title of Miss France 1958 and was also the first runner-up in the 1958 Miss World contest. A year later, she married the 41-year-old writer-director Pierre Gaspard-Huit. She attended the Paris Drama Conservatory, where she performed dramatic roles. Still at school, Jean Cocteau cast her as a tall ballerina in his final film Le testament d'Orphée, ou ne me demandez pas pourquoi!/The Testament of Orpheus (1960), about an aging poet who knows he is dying. She had her first leading lady role in the satirical Swashbuckler Le Masque de fer/The Iron Mask (Henri Decoin, 1962) opposite Jean Marais as the aging musketeer D’Artagnan. She also starred opposite Pierre Étaix in his Tati-esque comedy Yoyo (Pierre Étaix, 1965). On holiday in Nassau, she met writer-producer Kevin McClory. He recommended her for an audition for Thunderball (Terence Young, 1965), the fourth 007 mission featuring Sean Connery. She auditioned for the role of Domino, the mistress of international business executive and agent of the evil SPECTRE organization Emilio Largo (Adolpho Celi). Domino was originally to be an Italian woman: Dominetta Petacchi. Auger impressed the producers so much that they re-wrote the part into a French woman, Dominique Derval. Auger later claimed that she related to her character, as she and Domino were involved with older men. Although she took lessons to perfect her English, her voice was eventually dubbed by Nikki van der Zyl. Immediate by-products of Claudine's stardom were a semi-nude Playboy spread and a guest shot on an American TV special starring Danny Thomas and Bob Hope.
Thunderball launched Claudine Auger into a successful European film career, but it did little for her otherwise in the United States. In Europe, she reunited with her James Bond director Terence Young for the British-French spy film Triple Cross (1966) with Christopher Plummer. Other trendy sixties films in which she starred were the French-Spanish-Italian thriller L'Homme de Marrakesh/That Man George! (Jacques Deray, 1966), the Italian-French-German caper comedy Operazione San Gennaro/Operation San Gennaro (Dino Risi, 1967), the Italian-French sex comedy Le Dolci Signore/Anyone Can Play (Fausto Saraceni, Luigi Zampa, 1967) opposite Ursula Andress, the French satire Jeu De Massacre/The Killing Game (Alain Jessua, 1967) and the Italian fantastic comedy L'Arcidiavolo/The devil in Love (Ettore Scola, 1968) starring Vittorio Gassman. One of her best films was Reazione a catena/Bay Of Blood (Mario Bava, 1971). This Giallo - an Italian genre of bloody horror-thrillers – is often cited as the grandfather of the modern slasher film. Robert Firsching at AllMovie: “the film's style influenced countless American slasher films of the 1970s and 1980s. Bava also includes a strangulation by telephone cord, a gory axe decapitation, a man speared to a wall, and five other murders. Antefatto was a trendsetting film, and paved the way for literally hundreds of graphically violent imitations.” Auger is the scheming daughter of a murdered Countess (played by film legend Isa Miranda). Her staged suicide forms the basis of the film's plot. With two other Bond girls, Barbara Bach and Barbara Bouchet, she appeared in another Giallo, La Tarantola dal ventre nero/Black Belly of the Tarantula (Paolo Cavara, 1972) starring Giancarlo Giannini. That year she also co-starred with Christopher Mitchum, the son of Robert Mitchum, in the Italian action film Un verano para matar/Summertime Killer (Antonio Isasi-Isasmendi, 1972).
During the following decades, Claudine Auger kept busy in both the Italian and the French cinema. A classic is the French thriller Flic Story/Cop Story (Jacques Deray, 1975) starring Alain Delon and Jean-Louis Trintignant. She again worked with Jacques Deray on his modern noir Un Papillon sur l'Epaule/A butterfly on the shoulder (Jacques Deray, 1978) starring Lino Ventura. James Travers reviews at Films de France: “In many ways, this is one of Jacques Deray’s most sophisticated and appealing films – the cobweb intrigue is masterfully woven, the detached photography evokes the sense of an unseen deadly threat throughout, and the minimalist script emphasises the feeling of isolation and helplessness of the film’s principal protagonist. It is a satisfying and compelling work, but also a profoundly disturbing one”. In Italy she appeared in the comedy of errors Viaggio con Anita/Lovers and Liars (Mario Monicelli, 1979) starring Goldie Hawn and Giancarlo Giannini, and the domestic comedy Aragosta a Colazione/Lobster for Breakfast (Giorgio Capitani, 1979). The French comedy L'Associé/The Associate (René Gainville, 1980), featuring Michel Serrault, lead in 1996 to a less successful American remake with Whoopi Goldberg. In the UK Auger made Secret Places (Zelda Barron, Judith Lang, 1984) and the British-American production The Summer House (Waris Hussein, 1993) starring Jeanne Moreau. Her last films were the erotic drama Salt on Our Skin/Desire (Andrew Birki, 1993) with Greta Scacchi, and the Spanish comedy Los hombres siempre mienten/Men Always Lie (Antonio del Real, 1995). Later she worked incidentally for TV. After her divorce from Pierre Gaspard-Huit, Claudine Auger was married to businessman Peter Brent until his death in 2008. After a long illness, Claudine Auger passed away on 18 December 2019.
Sources: Hal Erickson (AllMovie), Robert Firsching (AllMovie), James Travers (Films de France), Thomas Staedeli (Cyranos), les Gens du Cinéma, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Female Kankakee Bullsnake (Pituophis catenifer sayi).
Bullsnakes are one of the largest native snakes in North America, dwarfed only by the eastern indigo snake, Drymarchon corais couperi (National Park Service 2015); this is dismissing the presence of the invasive Burmese pythons and green anacondas in the Florida everglades. The bullsnake can reach lengths of over seven feet, with individuals commonly ranging from fifty to seventy-two inches long (National Park Service 2015). They are also heavy bodied, with larger species capable of weighing almost ten pounds (Snake Facts). Its coloration is a yellow-tan with rectangular blotches on its dorsal side that can range in shades from brown to black to reddish, forming a slight checkered pattern; the tail has between nine to nineteen dark bands (Canadian Herpetological Society 2017). This coloration provides them perfect camouflage in their grassy habitats. The ventral side is a light cream-yellow with black checker marks (Illinois Natural History Survey 2018). The scales are strongly keeled, giving them a rough texture (Illinois Natural History Survey 2018). Its eyes are an orange or reddish color with round pupils (National Park Service 2015). The head is very distinct, being disproportionately small in comparison to the body, with black bars around the eyes and mouth, and a slightly elongated and upturned rostral scale (Kapfer 2007); this scale is not as distinct as those seen on species like the hognose snake, but it still functions to assist the snake in burrowing. Common to other snakes in the Pituophis genus, these snakes have a thin and flexible epiglottis that, when air from the trachea is forced through it, creates a loud hiss that has been described as similar to the grunt of a bull, likely giving the snake its common name (Schmidt & Davis 1941).
This species is highly wide ranging, appearing from southern Canada to Northern Mexico and from California east into Indiana (Canadian Herpetological Society 2017). Instances of interbreeding in areas where multiple subspecies of P. catenifer interact on the boundaries of their ranges lead to some taxonomic confusion (National Park Service 2015). They can have extensive territory ranges, with a single snake capable of utilizing over a square mile of space for its daily activities (Carpenter Nature Center 2016), and they can travel even more than that distance to reach their summer habitat from their winter hibernacula (Canadian Herpetological Society 2017). As a native of the American Great Plains, the bull snake prefers habitats such as grasslands, sandhills, shrublands, prairies, and old agricultural fields (National Park Service 2015); in Illinois, they are extensive throughout the sand prairies in the central and northwestern counties (Illinois Natural History Survey 2018). They can spend up to sixty percent of their time in burrows underground, typically using old gopher burrows as a site to hunt and hide from predators (Carpenter Nature Center 2016). In order to avoid harsh winter conditions that occur throughout much of their range, bull snakes hibernate below the frost line in their underground burrows, typically in groups. It is interesting to note that these aggregations often are not just of conspecifics; bull snakes have been known to share hibernacula with racers, milksnakes, garter snakes, and even rattlesnakes (National Park Service 2015). Additionally, each species enters and leaves the hibernacula at different times – the bullsnake will leave in the spring after garter snakes but before rattlesnakes (Graham 1997).
Bullsnakes commonly consume small mammals, particularly rodents, as well as the occasional bird and their eggs, and even newborns are capable of capturing and consuming small mice (Graham 1997). They will also consume frogs when available, but this makes up a very small portion of their diet (Wheaton Park District 2018). These large snakes are constrictors, subduing their prey via strangulation before consuming it whole (Graham 1997). As a diurnal species, they hunt for prey during the day, typically in the morning and late afternoon in order to avoid direct sunlight of midday but still benefit from the warmth of the environment, and when the temperatures in peak summer get too hot, they will occasionally switch to being active at night for several weeks (Graham 1997). During the day they will also alternatively bask or seek cooler shelter, a cycle that aids in digestion and energy conservation before and after hunting (Graham 1997). Mammals like skunks or birds of prey like raptors commonly predate on the young, but once they reach their full length, they have few predators and remain relatively undisturbed (Graham 1997).
Bullsnakes begin to mate once they emerge from their hibernacula in March through May, with males emerging earlier than females (Graham 1997). Males reach sexual maturity earlier in life, at one to two years old, but females mature later at three to five years (Canadian Herpetological Society 2017). The female will excavate burrows and lay a clutch of eggs in late summer, between June and August (National Park Service 2015). A single clutch typically has between three to twenty-four eggs, usually over two inches long and creamy white with the stereotypical parchment shell common to all snakes (Graham 1997). What is interesting is that, much like their hibernacula, nesting sites also tend to be communal, so a particularly large clutch of eggs in a burrow is likely to be from more than one female (Illinois Natural History Survey 2018). The young are left unattended and hatch in August or September, an average of around eighty days, and are around twelve inches long (Illinois Natural History Survey 2018). They will disperse quickly from the nest because they need to find their own meals; as previously mentioned, even these relatively small young are capable of constricting small rodents (Graham 1997). In the wild, these snakes can live to be around twelve years old, and in captivity this more than doubles to around thirty years of age (Carpenter Nature Center 2016). This old age is possibly due to their adult size, as other animals do not easily consume them.
Studio photo by Nick Dobbs 12-07-2025
In 1535, Tyndale was arrested and jailed in the castle of Vilvoorde (Filford) outside Brussels for over a year. In 1536 he was convicted of heresy and executed by strangulation, after which his body was burnt at the stake. His dying request that the King of England's eyes would be opened seemed to find its fulfillment just two years later with Henry's authorization of The Great Bible for the Church of England—which was largely Tyndale's own work. Hence, the Tyndale Bible, as it was known, continued to play a key role in spreading Reformation ideas across the English-speaking world and eventually, on the global British Empire.
Notably, in 1611, the 54 independent scholars who created the King James Version, drew significantly from Tyndale, as well as translations that descended from his. One estimate suggests the New Testament in the King James Version is 83% Tyndale's, and the Old Testament 76%.[7] With his translation of the Bible the first ever to be printed in English, and a model for subsequent English translations, in 2002, Tyndale was placed at number 26 in the BBC's poll of the 100 Greatest Britons.[8][9]
The ante-chapel is the entrance hall of the chapel, with a black-and-white marble floor that continues through the chapel.
The ante-chapel’s most prominent feature is the Tyndale Window, to the right as you enter. The window commemorates William Tyndale (1494–1536), scholar of Magdalen Hall (which became Hertford College in 1874), who translated the first English Bible from the original languages, and was executed for his troubles. The translators of the Authorized Bible (often known as the King James Version) relied heavily on Tyndale’s work for their texts. A switch on the side of the window’s case lights up the window.
Also here is the door to the tower and organ loft, the notice board, prayer board where prayer requests can be left, and bowl of holy water
French postcard by E.D.U.G., no. 326. Photo: Sam Levin.
On 18 December 2019, French actress Claudine Auger (1941) passed away. She is best known as Bond girl Domino in the James Bond film Thunderball (1965). At 17, she was Miss France 1958 and she became the first runner-up in the Miss World contest. Later she worked mostly in France and Italy.
Claudine Auger was born Claudine Oger in Paris, France in 1941. She attended St. Joan of Arc College. At the age of 16 the well-proportioned brunette earned the title of Miss France 1958 and was also the first runner-up in the 1958 Miss World contest. A year later, she married the 41-year-old writer-director Pierre Gaspard-Huit. She attended the Paris Drama Conservatory, where she performed dramatic roles. Still at school, Jean Cocteau cast her as a tall ballerina in his final film Le testament d'Orphée, ou ne me demandez pas pourquoi!/The Testament of Orpheus (1960), about an aging poet who knows he is dying. She had her first leading lady role in the satirical Swashbuckler Le Masque de fer/The Iron Mask (Henri Decoin, 1962) opposite Jean Marais as the aging musketeer D’Artagnan. She also starred opposite Pierre Étaix in his Tati-esque comedy Yoyo (Pierre Étaix, 1965). On holiday in Nassau, she met writer-producer Kevin McClory. He recommended her for an audition for Thunderball (Terence Young, 1965), the fourth 007 mission featuring Sean Connery. She auditioned for the role of Domino, the mistress of international business executive and agent of the evil SPECTRE organization Emilio Largo (Adolpho Celi). Domino was originally to be an Italian woman: Dominetta Petacchi. Auger impressed the producers so much that they re-wrote the part into a French woman, Dominique Derval. Auger later claimed that she related to her character, as she and Domino were involved with older men. Although she took lessons to perfect her English, her voice was eventually dubbed by Nikki van der Zyl. Immediate by-products of Claudine's stardom were a semi-nude Playboy spread and a guest shot on an American TV special starring Danny Thomas and Bob Hope.
Thunderball launched Claudine Auger into a successful European film career, but it did little for her otherwise in the United States. In Europe, she reunited with her James Bond director Terence Young for the British-French spy film Triple Cross (1966) with Christopher Plummer. Other trendy sixties films in which she starred were the French-Spanish-Italian thriller L'Homme de Marrakesh/That Man George! (Jacques Deray, 1966), the Italian-French-German caper comedy Operazione San Gennaro/Operation San Gennaro (Dino Risi, 1967), the Italian-French sex comedy Le Dolci Signore/Anyone Can Play (Fausto Saraceni, Luigi Zampa, 1967) opposite Ursula Andress, the French satire Jeu De Massacre/The Killing Game (Alain Jessua, 1967) and the Italian fantastic comedy L'Arcidiavolo/The devil in Love (Ettore Scola, 1968) starring Vittorio Gassman. One of her best films was Reazione a catena/Bay Of Blood (Mario Bava, 1971). This Giallo - an Italian genre of bloody horror-thrillers – is often cited as the grandfather of the modern slasher film. Robert Firsching at AllMovie: “the film's style influenced countless American slasher films of the 1970s and 1980s. Bava also includes a strangulation by telephone cord, a gory axe decapitation, a man speared to a wall, and five other murders. Antefatto was a trendsetting film, and paved the way for literally hundreds of graphically violent imitations.” Auger is the scheming daughter of a murdered Countess (played by film legend Isa Miranda). Her staged suicide forms the basis of the film's plot. With two other Bond girls, Barbara Bach and Barbara Bouchet, she appeared in another Giallo, La Tarantola dal ventre nero/Black Belly of the Tarantula (Paolo Cavara, 1972) starring Giancarlo Giannini. That year she also co-starred with Christopher Mitchum, the son of Robert Mitchum, in the Italian action film Un verano para matar/Summertime Killer (Antonio Isasi-Isasmendi, 1972).
During the following decades, Claudine Auger kept busy in both the Italian and the French cinema. A classic is the French thriller Flic Story/Cop Story (Jacques Deray, 1975) starring Alain Delon and Jean-Louis Trintignant. She again worked with Jacques Deray on his modern noir Un Papillon sur l'Epaule/A butterfly on the shoulder (Jacques Deray, 1978) starring Lino Ventura. James Travers reviews at Films de France: “In many ways, this is one of Jacques Deray’s most sophisticated and appealing films – the cobweb intrigue is masterfully woven, the detached photography evokes the sense of an unseen deadly threat throughout, and the minimalist script emphasises the feeling of isolation and helplessness of the film’s principal protagonist. It is a satisfying and compelling work, but also a profoundly disturbing one”. In Italy she appeared in the comedy of errors Viaggio con Anita/Lovers and Liars (Mario Monicelli, 1979) starring Goldie Hawn and Giancarlo Giannini, and the domestic comedy Aragosta a Colazione/Lobster for Breakfast (Giorgio Capitani, 1979). The French comedy L'Associé/The Associate (René Gainville, 1980), featuring Michel Serrault, lead in 1996 to a less successful American remake with Whoopi Goldberg. In the UK Auger made Secret Places (Zelda Barron, Judith Lang, 1984) and the British-American production The Summer House (Waris Hussein, 1993) starring Jeanne Moreau. Her last films were the erotic drama Salt on Our Skin/Desire (Andrew Birki, 1993) with Greta Scacchi, and the Spanish comedy Los hombres siempre mienten/Men Always Lie (Antonio del Real, 1995). Later she worked incidentally for TV. After her divorce from Pierre Gaspard-Huit, Claudine Auger was married to businessman Peter Brent until his death in 2008. After a long illness, Claudine Auger passed away on 18 December 2019.
Sources: Hal Erickson (AllMovie), Robert Firsching (AllMovie), James Travers (Films de France), Thomas Staedeli (Cyranos), les Gens du Cinéma, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Just what every man wants for Christmas- a tie. Ties are one of the worst fashion invention ever- a bane to mankind. I say mankind because no woman would be silly enough to wear one, except maybe as a novelty. They are uncomfortable; they get in the way (at least they did in my work as an art director); and they really serve no useful purpose unless self strangulation is in your cards. But don't let me put you off in asking for one for Christmas.
Romanian postcard by Casa Filmului Acin, no. 232.
On 18 December 2019, French actress Claudine Auger (1941) passed away. She is best known as Bond girl Domino in the James Bond film Thunderball (1965). At 17, she was Miss France 1958 and she became the first runner-up in the Miss World contest. Later she worked mostly in France and Italy.
Claudine Auger was born Claudine Oger in Paris, France in 1941. She attended St. Joan of Arc College. At the age of 16 the well-proportioned brunette earned the title of Miss France 1958 and was also the first runner-up in the 1958 Miss World contest. A year later, she married the 41-year-old writer-director Pierre Gaspard-Huit. She attended the Paris Drama Conservatory, where she performed dramatic roles. Still at school, Jean Cocteau cast her as a tall ballerina in his final film Le testament d'Orphée, ou ne me demandez pas pourquoi!/The Testament of Orpheus (1960), about an aging poet who knows he is dying. She had her first leading lady role in the satirical Swashbuckler Le Masque de fer/The Iron Mask (Henri Decoin, 1962) opposite Jean Marais as the aging musketeer D’Artagnan. She also starred opposite Pierre Étaix in his Tati-esque comedy Yoyo (Pierre Étaix, 1965). On holiday in Nassau, she met writer-producer Kevin McClory. He recommended her for an audition for Thunderball (Terence Young, 1965), the fourth 007 mission featuring Sean Connery. She auditioned for the role of Domino, the mistress of international business executive and agent of the evil SPECTRE organization Emilio Largo (Adolpho Celi). Domino was originally to be an Italian woman: Dominetta Petacchi. Auger impressed the producers so much that they re-wrote the part into a French woman, Dominique Derval. Auger later claimed that she related to her character, as she and Domino were involved with older men. Although she took lessons to perfect her English, her voice was eventually dubbed by Nikki van der Zyl. Immediate by-products of Claudine's stardom were a semi-nude Playboy spread and a guest shot on an American TV special starring Danny Thomas and Bob Hope.
Thunderball launched Claudine Auger into a successful European film career, but it did little for her otherwise in the United States. In Europe, she reunited with her James Bond director Terence Young for the British-French spy film Triple Cross (1966) with Christopher Plummer. Other trendy sixties films in which she starred were the French-Spanish-Italian thriller L'Homme de Marrakesh/That Man George! (Jacques Deray, 1966), the Italian-French-German caper comedy Operazione San Gennaro/Operation San Gennaro (Dino Risi, 1967), the Italian-French sex comedy Le Dolci Signore/Anyone Can Play (Fausto Saraceni, Luigi Zampa, 1967) opposite Ursula Andress, the French satire Jeu De Massacre/The Killing Game (Alain Jessua, 1967) and the Italian fantastic comedy L'Arcidiavolo/The devil in Love (Ettore Scola, 1968) starring Vittorio Gassman. One of her best films was Reazione a catena/Bay Of Blood (Mario Bava, 1971). This Giallo - an Italian genre of bloody horror-thrillers – is often cited as the grandfather of the modern slasher film. Robert Firsching at AllMovie: “the film's style influenced countless American slasher films of the 1970s and 1980s. Bava also includes a strangulation by telephone cord, a gory axe decapitation, a man speared to a wall, and five other murders. Antefatto was a trendsetting film, and paved the way for literally hundreds of graphically violent imitations.” Auger is the scheming daughter of a murdered Countess (played by film legend Isa Miranda). Her staged suicide forms the basis of the film's plot. With two other Bond girls, Barbara Bach and Barbara Bouchet, she appeared in another Giallo, La Tarantola dal ventre nero/Black Belly of the Tarantula (Paolo Cavara, 1972) starring Giancarlo Giannini. That year she also co-starred with Christopher Mitchum, the son of Robert Mitchum, in the Italian action film Un verano para matar/Summertime Killer (Antonio Isasi-Isasmendi, 1972).
During the following decades, Claudine Auger kept busy in both the Italian and the French cinema. A classic is the French thriller Flic Story/Cop Story (Jacques Deray, 1975) starring Alain Delon and Jean-Louis Trintignant. She again worked with Jacques Deray on his modern noir Un Papillon sur l'Epaule/A butterfly on the shoulder (Jacques Deray, 1978) starring Lino Ventura. James Travers reviews at Films de France: “In many ways, this is one of Jacques Deray’s most sophisticated and appealing films – the cobweb intrigue is masterfully woven, the detached photography evokes the sense of an unseen deadly threat throughout, and the minimalist script emphasises the feeling of isolation and helplessness of the film’s principal protagonist. It is a satisfying and compelling work, but also a profoundly disturbing one”. In Italy she appeared in the comedy of errors Viaggio con Anita/Lovers and Liars (Mario Monicelli, 1979) starring Goldie Hawn and Giancarlo Giannini, and the domestic comedy Aragosta a Colazione/Lobster for Breakfast (Giorgio Capitani, 1979). The French comedy L'Associé/The Associate (René Gainville, 1980), featuring Michel Serrault, lead in 1996 to a less successful American remake with Whoopi Goldberg. In the UK Auger made Secret Places (Zelda Barron, Judith Lang, 1984) and the British-American production The Summer House (Waris Hussein, 1993) starring Jeanne Moreau. Her last films were the erotic drama Salt on Our Skin/Desire (Andrew Birki, 1993) with Greta Scacchi, and the Spanish comedy Los hombres siempre mienten/Men Always Lie (Antonio del Real, 1995). Later she worked incidentally for TV. After her divorce from Pierre Gaspard-Huit, Claudine Auger was married to businessman Peter Brent until his death in 2008. After a long illness, Claudine Auger passed away on 18 December 2019.
Sources: Hal Erickson (AllMovie), Robert Firsching (AllMovie), James Travers (Films de France), Thomas Staedeli (Cyranos), les Gens du Cinéma, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Spanish postcard by Postal Oscar Color, Hospitalet (Barcelona), no. 608, 1966.
French actress Claudine Auger (1941) is best known as Bond girl Domino in the James Bond film Thunderball (1965). At 17, she was Miss France 1958 and she became the first runner-up in the Miss World contest. Later she worked mostly in France and Italy.
Claudine Auger was born Claudine Oger in Paris, France in 1941. She attended St. Joan of Arc College. At the age of 16 the well-proportioned brunette earned the title of Miss France Monde and was also the first runner-up in the 1958 Miss World contest. A year later, she married the 41-year-old writer-director Pierre Gaspard-Huit. She attended the Paris Drama Conservatory, where she performed dramatic roles. Still at school, Jean Cocteau cast her as a tall ballerina in his final film Le testament d'Orphée, ou ne me demandez pas pourquoi!/The Testament of Orpheus (1960), about an aging poet who knows he is dying. She had her first leading lady role in the satirical Swashbuckler Le Masque de fer/The Iron Mask (1962, Henri Decoin) opposite Jean Marais as the aging musketeer D’Artagnan. She also starred opposite Pierre Étaix in his Tati-esque comedy Yoyo (1965, Pierre Étaix). On holiday in Nassau, she met writer-producer Kevin McClory. He recommended her for an audition for Thunderball (1965, Terence Young), the fourth 007 mission featuring Sean Connery. She auditioned for the role of Domino, the mistress of international business executive and agent of the evil SPECTRE organization Emilio Largo (Adolpho Celi). Domino was originally to be an Italian woman: Dominetta Petacchi. Auger impressed the producers so much that they re-wrote the part into a French woman, Dominique Derval. Auger later claimed that she related to her character, as she and Domino were involved with older men. Although she took lessons to perfect her English, her voice was eventually dubbed by Nikki van der Zyl. Immediate by-products of Claudine's stardom were a semi-nude Playboy spread and a guest shot on an American TV special starring Danny Thomas and Bob Hope.
Thunderball launched Claudine Auger into a successful European film career, but it did little for her otherwise in the United States. In Europe, she reunited with her James Bond director Terence Young for the British-French spy film Triple Cross (1966) with Christopher Plummer. Other trendy sixties films in which she starred were the French-Spanish-Italian thriller L'Homme de Marrakesh/That Man George! (1966, Jacques Deray), the Italian-French-German caper comedy Operazione San Gennaro/Operation San Gennaro (1967, Dino Risi), the Italian-French sex comedy Le Dolci Signore/Anyone Can Play (1967, Fausto Saraceni, Luigi Zampa) opposite Ursula Andress, the French satire Jeu De Massacre/The Killing Game (1967, Alain Jessua) and the Italian fantastic comedy L'Arcidiavolo/The devil in Love (1968, Ettore Scola) starring Vittorio Gassman. One of her best films was Reazione a catena/Bay Of Blood (1971, Mario Bava). This Giallo - an Italian genre of bloody horror-thrillers Italian – is often cited as the grandfather of the modern slasher film. Robert Firsching synopsis t AllMovie: “the film's style influenced countless American slasher films of the 1970’s and 1980’s. Bava also includes a strangulation by telephone cord, a gory axe decapitation, a man speared to a wall, and five other murders. Antefatto was a trendsetting film, and paved the way for literally hundreds of graphically violent imitations.” Auger is the scheming daughter of a murdered Countess (played by film legend Isa Miranda). Her staged suicide forms the basis of the film's plot. With two other Bond girls, Barbara Bach and Barbara Bouchet, she appeared in another Giallo, La Tarantola dal ventre nero/Black Belly of the Tarantula (1972, Paolo Cavara) starring Giancarlo Giannini. Opposite Christopher Mitchum, the son of Robert Mitchum, she co-starred in the Italian action film Un verano para matar/Summertime Killer (1972, Antonio Isasi-Isasmendi).
During the following decades, Claudine Auger kept busy in both the Italian and the French cinema. A classic is the French thriller Flic Story/Cop Story (1975, Jacques Deray) starring Alain Delon and Jean-Louis Trintignant. She again worked with Deray on his modern noir Un Papillon sur l'Epaule/A butterfly on the shoulder (1978, Jacques Deray) starring Lino Ventura, James Travers reviews at Films de France: “In many ways, this is one of Jacques Deray’s most sophisticated and appealing films – the cobweb intrigue is masterfully woven, the detached photography evokes the sense of an unseen deadly threat throughout, and the minimalist script emphasises the feeling of isolation and helplessness of the film’s principal protagonist. It is a satisfying and compelling work, but also a profoundly disturbing one”. In Italy she appeared in the comedy of errors Viaggio con Anita/Lovers and Liars (1979, Mario Monicelli) starring Goldie Hawn and Giancarlo Giannini, and the domestic comedy Aragosta a Colazione/Lobster for Breakfast (1979, Giorgio Capitani). The French comedy L'Associé/The Associate (1980, René Gainville), featuring Michel Serrault, lead in 1996 to a less successful American remake with Whoopi Goldberg. In the UK Auger made Secret Places (1984, Zelda Barron, Judith Lang) and the British-American production The Summer House (1993, Waris Hussein) starring Jeanne Moreau. Her last films were the erotic drama Salt on Our Skin/Desire (1993, Andrew Birkin) with Greta Scacchi, and the Spanish comedy Los hombres siempre mienten/Men Always Lie (1995, Antonio del Real). Later she worked incidentally for TV. After her divorce from Pierre Gaspard-Huit, Claudine Auger was married to businessman Peter Brent until his death in 2008.
Sources: Hal Erickson (AllMovie), Robert Firsching (AllMovie), James Travers (Films de France), Thomas Staedeli (Cyranos), Wikipedia, and IMDb.