position:actress

  • You Can’t Go Home Again, by Thomas Wolfe : 41. Five Passengers for Paris
    https://ebooks.adelaide.edu.au/w/wolfe/thomas/you-cant-go-home-again/chapter41.html

    The train gathered speed. The streets and buildings in the western I part of the city slipped past — those solid, ugly streets, those massive, ugly buildings in the Victorian German style, which yet, with all the pleasant green of trees, the window-boxes bright with red geraniums, the air of order, of substance, and of comfort, had always seemed as familiar and as pleasant to George as the quiet streets and houses of a little town. Already they were sweeping through Charlottenburg. They passed the station without halting, and on the platforms George saw, with the old and poignant feeling of regret and loss, the people waiting for the Stadtbahn trains. Upon its elevated track the great train swept on smoothly towards the west, gathering momentum steadily. They passed the Funkturma. Almost before he knew it they were rushing through the outskirts of the city towards the open country. They passed an aviation field. He saw the hangars and a flock of shining ‘planes. And as he looked, a great silver-bodied ‘plane moved out, sped along the runway, lofted its tail, broke slowly from the earth, and vanished.
    And now the city was left behind. Those familiar faces, forms, and voices of just six minutes past now seemed as remote as dreams, imprisoned there as in another world — a world of massive brick and stone and pavements, a world hived of four million lives, of hope and fear and hatred, of anguish and despair, of love, of cruelty and devotion, that was called Berlin.
    And now the land was stroking past, the level land of Brandenburg, the lonely flatland of the north which he had always heard was so ugly, and which he had found so strange, so haunting, and so beautiful. The dark solitude of the forest was around them now, the loneliness of the kiefern-trees, tall, slender, towering, and as straight as sailing masts, bearing upon their tops the slender burden of their needled and eternal green. Their naked poles shone with that lovely gold-bronze colour which is like the material substance of a magic light. And all between was magic, too. The forest dusk beneath the kieferntrees was gold-brown also, the earth gold-brown and barren, and the trees themselves stood alone and separate, a polelike forest filled with haunting light.
    Now and then the light would open and the woods be gone, and they would sweep through the level cultivated earth, tilled thriftily to the very edges of the track. He could see the clusters of farm buildings, the red-tiled roofs, the cross-quarterings of barns and houses. Then they would find the haunting magic of the woods again.
    George opened the door of his compartment and went in and took a seat beside the door. On the other side, in the corner by the window, a young man sat and read a book. He was an elegant young man and dressed most fashionably. He wore a sporting kind of coat with a small and fancy check, a wonderful vest of some expensive doelike grey material, cream-grey trousers pleated at the waist, also of a rich, expensive weave, and grey suede gloves. He did not look American or English. There was a foppish, almost sugared elegance about his costume that one felt, somehow, was Continental. Therefore it struck George with a sense of shock to see that he was reading an American book, a popular work in history which had the title, The Saga of Democracy, and bore the imprint of a well-known firm. But while he pondered on this puzzling combination of the familiar and the strange there were steps outside along the corridor, voices, the door was opened, and a woman and a man came in.
    They were Germans. The woman was small and no longer young, but she was plump, warm, seductive-looking, with hair so light it was the colour of bleached straw, and eyes as blue as sapphires. She spoke rapidly and excitedly to the man who accompanied her, then turned to George and asked if the other places were unoccupied. He replied that he thought so, and looked questioningly at the dapper young man in the corner. This young man now spoke up in somewhat broken German, saying that he believed the other seats were free, and adding that he had got on the train at the Friedrich-strasse station and had seen no one else in the compartment. The woman immediately and vigorously nodded her head in satisfaction and spoke with rapid authority to her companion, who went out and presently returned with their baggage — two valises, which he arranged upon the rack above their heads.
    They were a strangely assorted pair. The woman, although most attractive, was obviously much the older of the two. She appeared to be in her late thirties or early forties. There were traces of fine wrinkles at the corners of her eyes, and her face gave an impression of physical maturity and warmth, together with the wisdom that comes from experience, but it was also apparent that some of the freshness and resilience of youth had gone out of it. Her figure had an almost shameless sexual attraction, the kind of naked allure that one often sees in people of the theatre — in a chorus girl or in the strip-tease woman of a burlesque show. Her whole personality bore a vague suggestion of the theatrical stamp. In everything about her there was that element of heightened vividness which seems to set off and define people who follow the stage.
    Beside her assurance, her air of practice and authority, her sharply vivid stamp, the man who accompanied her was made to seem even younger than he was. He was probably twenty-six or thereabouts, but he looked a mere stripling. He was a tall, blond, fresh-complexioned, and rather handsome young German who conveyed an indefinable impression of countrified and slightly bewildered innocence. He appeared nervous, uneasy, and inexperienced in the art of travel. He kept his head down or averted most of the time, and did not speak unless the woman spoke to him. Then he would flush crimson with embarrassment, the two flags of colour in his fresh, pink face deepening to beetlike red.
    George wondered who they were, why they were going to Paris, and what the relation between them could be. He felt, without exactly knowing why, that there was no family connection between them. The young man could not be the woman’s brother, and it was also evident that they were not man and wife. It was hard not to fall back upon an ancient parable and see in them the village hayseed in the toils of the city siren — to assume that she had duped him into taking her to Paris, and that the fool and his money would soon be parted. Yet there was certainly nothing repulsive about the woman to substantiate this conjecture. She was decidedly a most attractive and engaging creature. Even her astonishing quality of sexual magnetism, which was displayed with a naked and almost uncomfortable openness, so that one felt it the moment she entered the compartment, had nothing vicious in it. She seemed, indeed, to be completely unconscious of it, and simply expressed herself sensually and naturally with the innocent warmth of a child.
    While George was busy with these speculations the door of the compartment opened again and a stuffy-looking little man with a long nose looked in, peered about truculently, and rather suspiciously, George thought, and then demanded to know if there was a free seat in the compartment. They all told him that they thought so. Upon receiving this information, he, too, without another word, disappeared down the corridor, to reappear again with a large valise. George helped him to stow it away upon the rack. It was so heavy that the little man could probably not have managed it by himself, yet he accepted this service sourly and without a word of thanks, hung up his overcoat, and fidgeted and worried around, took a newspaper from his pocket, sat down opposite George and opened it, banged the compartment door shut rather viciously, and, after peering round mistrustfully at all the other people, rattled his paper and began to read.
    While he read his paper George had a chance to observe this sour-looking customer from time to time. Not that there was anything sinister about the man — decidedly there was not. He was just a drab, stuffy, irascible little fellow of the type that one sees a thousand times a day upon the streets, muttering at taxi-cabs or snapping at imprudent drivers — the type that one is always afraid he is going to encounter on a trip but hopes fervently he won’t. He looked like the kind of fellow who would always be slamming the door of the compartment to, always going over and banging down the window without asking anyone else about it, always fidgeting and fuming about and trying by every crusty, crotchety, cranky, and ill-tempered method in his equipment to make himself as unpleasant, and his travelling companions as uncomfortable, as possible.
    Yes, he was certainly a well-known type, but aside from this he was wholly unremarkable. If one had passed him in the streets of the city, one would never have taken a second look at him or remembered him afterwards. It was only when he intruded himself into the intimacy of a long journey and began immediately to buzz and worry around like a troublesome hornet that he became memorable.
    It was not long, in fact, before the elegant young gentleman in the corner by the window almost ran afoul of him. The young fellow took out an expensive-looking cigarette-case, extracted a cigarette, and then, smiling engagingly, asked the lady if she objected to his smoking. She immediately answered, with great warmth and friendliness, that she minded not at all. George received this information with considerable relief, and took a packet of cigarettes from his pocket and was on the point of joining his unknown companion in the luxury of a smoke when old Fuss-and-Fidget rattled his paper viciously, glared sourly at the elegant young man and then at George, and, pointing to a sign upon the wall of the compartment, croaked dismally:
    “Nicht Raucher.”
    Well, all of them had known that at the beginning, but they had not supposed that Fuss-and-Fidget would make an issue of it. The young fellow and George glanced at each other with a slightly startled look, grinned a little, caught the lady’s eye, which was twinkling with the comedy of the occasion, and were obediently about to put their cigarettes away unsmoked when old Fuss-and-Fidget rattled his paper, looked sourly round at them a second time, and then said bleakly that as far as he was concerned it was all right — he didn’t personally mind their smoking — he just wanted to point out that they were in a non-smoking compartment. The implication plainly was that from this time on the crime was on their own heads, that he had done what he could as a good citizen to warn them, but that if they proceeded with their guilty plot against the laws of the land, it was no further concern of his. Being thus reassured, they produced their cigarettes again and lighted up.
    Now while George smoked, and while old Fuss-and-Fidget read his paper, George had further opportunity to observe this unpleasant companion of the voyage. And his observations, intensified as they were by subsequent events, became fixed as an imperishable image in his mind. The image which occurred to him as he sat there watching the man was that of a sour-tempered Mr. Punch. If you can imagine Mr. Punch without his genial spirits, without his quick wit, without his shrewd but kind intelligence, if you can imagine a crotchety and cranky Mr. Punch going about angrily banging doors and windows shut, glaring round at his fellow-travellers, and sticking his long nose into everybody’s business, then you will get some picture of this fellow. Not that he was hunchbacked and dwarfed like Mr. Punch. He was certainly small, he was certainly a drab, unlovely little figure of a man, but he was not dwarfed. But his face had the ruddy glow that one associates with Mr. Punch, and its contour, like that of Mr. Punch, was almost cherubic, except that the cherub had gone sour. The nose also was somewhat Punchian. It was not grotesquely hooked and beaked, but it was a long nose, and its fleshy tip drooped over as if it were fairly sniffing with suspicion, fairly stretching with eagerness to pry around and stick itself into things that did not concern it.
    George fell asleep presently, leaning against the side of the door. It was a fitful and uneasy coma of half-sleep, the product of excitement and fatigue — never comfortable, never whole — a dozing sleep from which he would start up from time to time to look about him, then doze again. Time after time he came sharply awake to find old Fussand–Fidget’s eyes fixed on him in a look of such suspicion and ill-temper that it barely escaped malevolence. He woke up once to find the man’s gaze fastened on him in a stare that was so protracted, so unfriendly, that he felt anger boiling up in him. It was on the tip of his tongue to speak hotly to the fellow, but he, as if sensing George’s intent, ducked his head quickly and busied himself again with his newspaper.
    The man was so fidgety and nervous that it was impossible to sleep longer than a few minutes at a time. He was always crossing and uncrossing his legs, always rattling his newspaper, always fooling with the handle of the door, doing something to it, jerking and pulling it, half opening the door and banging it to again, as if he were afraid it was not securely closed. He was always jumping up, opening the door, and going out into the corridor, where he would pace up and down for several minutes, turn and look out of the windows at the speeding landscape, then fidget back and forth in the corridor again, sour-faced and distempered-looking, holding his hands behind him and twiddling his fingers nervously and impatiently as he walked.
    All this while, the train was advancing across the country at terrific speed. Forest and field, village and farm, tilled land and pasture stroked past with the deliberate but devouring movement of high velocity. The train slackened a little as it crossed the Elbe, but there was no halt. Two hours after its departure from Berlin it was sweeping in beneath the arched, enormous roof of the Hanover station. There was to be a stop of ten minutes. As the train slowed down, George awoke from his doze. But fatigue still held him, and he did not get up.
    Old Fuss-and-Fidget arose, however, and, followed by the woman and her companion, went out on the platform for a little fresh air and exercise.
    George and the dapper young man in the corner were now left alone together. The latter had put down his book and was looking out of the window, but after a minute or two he turned to George and said in English, marked by a slight accent:
    “Where are we now?”
    George told him they were at Hanover.
    “I’m tired of travelling,” the young man said with a sigh. “I shall be glad when I get home.”
    “And where is home for you?” George asked.
    “New York,” he said, and, seeing a look of slight surprise on George’s face, he added quickly: “Of course I am not American by birth, as you can see from the way I talk. But I am a naturalised American, and my home is in New York.”
    George told him that he lived there, too. Then the young man asked if George had been long in Germany.
    “All summer,” George replied. “I arrived in May.”
    “And you have been here ever since — in Germany?”
    “Yes,” said George, “except for ten days in the Tyrol.”
    “When you came in this morning I thought at first that you were German. I believe I saw you on the platform with some German people.”
    “Yes, they were friends of mine.”
    “But then when you spoke I saw you could not be a German from your accent. When I saw you reading the Paris Herald I concluded that you were English or American.
    “I am American, of course.”
    “Yes, I can see that now. I,” he said, “am Polish by birth. I went to America when I was fifteen years old, but my family still lives in Poland.”
    “And you have been to see them, naturally?”
    “Yes. I have made a practice of coming over every year or so to visit them. I have two brothers living in the country.” It was evident that he came from landed people. “I am returning from there now,” he said. He was silent for a moment, and then said with some emphasis: “But not again! Not for a long time will I visit them. I have told them that it is enough — if they want to see me now, they must come to New York. I am sick of Europe,” he went on. “Every time I come I am fed up. I am tired of all this foolish business, these politics, this hate, these armies, and this talk of war — the whole damned stuffy atmosphere here!” he cried indignantly and impatiently, and, thrusting his hand into his breast pocket, he pulled out a paper —“Will you look at this?”
    “What is it?” George said.
    “A paper — a permit — the damn thing stamped and signed which allows me to take twenty-three marks out of Germany. Twenty-three marks!” he repeated scornfully —“as if I want their God-damn money!”
    “I know,” George said. “You’ve got to get a paper every time you turn round. You have to declare your money when you come in, you have to declare it when you go out. If you send home for money, you have to get a paper for that, too. I made a little trip to Austria as I told you. It took three days to get the papers that would allow me to take my own money out. Look here!” he cried, and reached in his pocket and pulled out a fistful of papers. “I got all of these in one summer.”
    The ice was broken now. Upon a mutual grievance they began to warm up to each other. It quickly became evident to George that his new acquaintance, with the patriotic fervour of his race, was passionately American. He had married an American girl, he said. New York, he asserted, was the most magnificent city on earth, the only place he cared to live, the place he never wished to leave again, the place to which he was aching to return.
    And America?
    “Oh,” he said, “it will be good after all this to be back there where all is peace and freedom — where all is friendship — where all is love.”
    George felt some reservations to this blanket endorsement of his native land, but he did not utter them. The man’s fervour was so genuine that it would have been unkind to try to qualify it. And besides, George, too, was homesick now, and the man’s words, generous and whole-hearted as they were, warmed him with their pleasant glow. He also felt, beneath the extravagance of the comparison, a certain truth. During the past summer, in this country which he had known so well, whose haunting beauty and magnificence had stirred him more deeply than had any other he had ever known, and for whose people he had always had the most affectionate understanding, he had sensed for the first time the poisonous constrictions of incurable hatreds and insoluble politics, the whole dense weave of intrigue and ambition in which the tormented geography of Europe was again enmeshed, the volcanic imminence of catastrophe with which the very air was laden, and which threatened to erupt at any moment.
    And George, like the other man, was weary and sick at heart, exhausted by these pressures, worn out with these tensions of the nerves and spirit, depleted by the cancer of these cureless hates which had not only poisoned the life of nations but had eaten in one way or another into the private lives of all his friends, of almost everyone that he had known here. So, like his new-found fellow countryman, he too felt, beneath the extravagance and intemperance of the man’s language, a certain justice in the comparison. He was aware, as indeed the other must have been, of the huge sum of all America’s lacks. He knew that all, alas, was not friendship, was not freedom, was not love beyond the Atlantic. But he felt, as his new friend must also have felt, that the essence of America’s hope had not been wholly ruined, its promise of fulfilment not shattered utterly. And like the other man, he felt that it would be very good to be back home again, out of the poisonous constrictions of this atmosphere — back home where, whatever America might lack, there was still air to breathe in, and winds to clear the air.
    His new friend now said that he was engaged in business in New York. He was a member of a brokerage concern in Wall Street. This seemed to call for some similar identification on George’s part, and he gave the most apt and truthful statement he could make, which was that he worked for a publishing house. The other then remarked that he knew the family of a New York publisher, that they were, in fact, good friends of his. George asked him who these people were, and he answered:
    “The Edwards family.”
    Instantly, a thrill of recognition pierced George. A light flashed on, and suddenly he knew the man. He said:
    “I know the Edwardses. They are among the best friends I have, and Mr. Edwards is my publisher. And you”— George said —“your name is Johnnie, isn’t it? I have forgotten your last name, but I have heard it.”
    He nodded quickly, smiling. “Yes, Johnnie Adamowski,” he said. “And you? — what is your name?”
    George told him.
    “Of course,” he said. “I know of you.”
    So instantly they were shaking hands delightedly, with that kind of stunned but exuberant surprise which reduces people to the banal conclusion that “It’s a small world after all.” George’s remark was simply: “I’ll be damned!” Adamowski’s, more urbane, was: “It is quite astonishing to meet you in this way. It is very strange — and yet in life it always happens.”
    And now, indeed, they began to establish contact at many points. They found that they knew in common scores of people. They discussed them enthusiastically, almost joyfully. Adamowski had been away from home just one short month, and George but five, but now, like an explorer returning from the isolation of a polar voyage that had lasted several years, George eagerly demanded news of his friends, news from America, news from home.
    By the time the other people returned to the compartment and the train began to move again, George and Adamowski were deep in conversation. Their three companions looked somewhat startled to hear this rapid fire of talk and to see this evidence of acquaintance between two people who had apparently been strangers just ten minutes before. The little blonde woman smiled at them and took her seat; the young man also. Old Fuss-and-Fidget glanced quickly, sharply, from one to the other of them and listened attentively to all they said, as if he thought that by straining his ears to catch every strange syllable he might be able somehow to fathom the mystery of this sudden friendship.
    The cross-fire of their talk went back and forth, from George’s corner of the compartment to Adamowski’s. George felt a sense of embarrassment at the sudden intrusion of this intimacy in a foreign language among fellow-travellers with whom he had heretofore maintained a restrained formality. But Johnnie Adamowski was evidently a creature of great social ease and geniality. He was troubled not at all. From time to time he smiled in a friendly fashion at the three Germans as if they, too, were parties to the conversation and could understand every word of it.
    Under this engaging influence, everyone began to thaw out visibly. The little blonde woman began to talk in an animated way to her young man. After a while Fuss-and-Fidget chimed in with those two, so that the whole compartment was humming with the rapid interplay of English and German.
    Adamowski now asked George if he would not like some refreshment.
    “Of course I myself am not hungry,” Adamowski said indifferently. “In Poland I have had to eat too much. They eat all the time, these Polish people. I had decided that I would eat no more until I got to Paris. I am sick of food. But would you like some Polish fruits?” he said, indicating a large paper-covered package at his side. “I believe they have prepared some things for me,” he said casually —“some fruits from my brother’s estate, some chickens and some partridges. I do not care for them myself. I have no appetite. But wouldn’t you like something?”
    George told him no, that he was not hungry either. Thereupon Adamowski suggested that they might seek out the Speisewagen and get a drink.
    “I still have these marks,” he said indifferently. “I spent a few for breakfast, but there are seventeen or eighteen left. I shall not want them any longer. I should not have used them. But now that I have met you, I think it would be nice if I could spend them. Shall we go and see what we can find?”
    To this George agreed. They arose, excused themselves to their companions, and were about to go out when old Fuss-and-Fidget surprised them by speaking up in broken English and asking Adamowski if he would mind changing seats. He said with a nervous, forced smile that was meant to be ingratiating that Adamowski and the other gentleman, nodding at George, could talk more easily if they were opposite each other, and that for himself, he would be glad of the chance to look out the window. Adamowski answered indifferently, and with just a trace of the unconscious contempt with which a Polish nobleman might speak to someone in whom he felt no interest:
    “Yes, take my seat, of course. It does not matter to me where I sit.”
    They went out and walked forward through several coaches of the hurtling train, carefully squeezing past those passengers who, in Europe, seem to spend as much time standing in the narrow corridors and staring out of the windows as in their own seats, and who flatten themselves against the wall or obligingly step back into the doors of compartments as one passes. Finally they reached the Speisewagen, skirted the hot breath of the kitchen, and seated themselves at a table in the beautiful, bright, clean coach of the Mitropa service.
    Adamowski ordered brandy lavishly. He seemed to have a Polish gentleman’s liberal capacity for drink. He tossed his glass off at a single gulp, remarking rather plaintively:
    “It is very small. But it is good and does no harm. We shall have mote.”
    Pleasantly warmed by brandy, and talking together with the ease and confidence of people who had known each other for many years — for, indeed, the circumstances of their meeting and the discovery of their many common friends did give them just that feeling of old intimacy — they now began to discuss the three strangers in their compartment.
    “The little woman — she is rather nice,” said Adamowski, in a tone which somehow conveyed the impression that he was no novice in such appraisals. “I think she is not very young, and yet, quite charming, isn’t she? A personality.”
    “And the young man with her?” George inquired. “What do you make of him? You don’t think he is her husband?”
    “No, of course not,” replied Adamowski instantly. “It is most curious,” he went on in a puzzled tone. “He is much younger, obviously, and not the same — he is much simpler than the lady.”
    “Yes. It’s almost as if he were a young fellow from the country, and she ——”
    “Is like someone in the theatre,” Adamowski nodded. “An actress. Or perhaps some music-hall performer.”
    “Yes, exactly. She is very nice, and yet I think she knows a great deal more than he does.”
    “I should like to know about them,” Adamowski went on speculatively, in the manner of a man who has a genuine interest in the world about him. “These people that one meets on trains and ships — they fascinate me. You see some strange things. And these two — they interest me. I should like so much to know who they are.”
    “And the other man?” George said. “The little one? The nervous, fidgety fellow who keeps staring at us — who do you suppose he is?”
    “Oh, that one,” said Adamowski indifferently, impatiently. “I do not know. I do not care. He is some stuffy little man — it doesn’t matter . . . But shall we go back now?” he said. “Let’s talk to them and see if we can find out who they are. We shall never see them again after this. I like to talk to people in trains.”
    George agreed. So his Polish friend called the waiter, asked for the bill, and paid it — and still had ten or twelve marks left of his waning twenty-three. Then they got up and went back through the speeding train to their compartment.

    #Deutschand #Berlin #Geschichte #Nazis #Rassegesetze #Juden #Literatur #Bahnhof_Zoo #Kurfürstendamm #Charlottenburg

  • No, Selma Blair Shouldn’t Have To Defend Her Gray Hair | HuffPost
    http://www.huffingtonpost.com/entry/selma-blair-gray-hair-photo_us_59305625e4b010df62cc4bac

    A woman should not have to defend the natural color of her hair, but here we are.

    Paparazzi snapped photos of Selma Blair out Monday in Los Angeles for a casual afternoon of coffee and shopping. For some reason, the roots of her hair became a topic worthy of news coverage.

    The 44-year-old actress took to Instagram to post the photo that paparazzi snapped of her, and to offer the absolute perfect reply.

    #actrices

  • Pour mémoire : Wonder « Love IDF » Woman en 2014 pendant le massacre de Gaza : Wonder Woman Gal Gadot on Israel-Gaza : Israeli actress’s pro-IDF stance causes controversy
    http://www.independent.co.uk/news/people/wonder-woman-gal-gadot-on-israel-gaza-israeli-actresss-pro-idf-stance

    Israeli actress Gal Gadot – who was recently unveiled as the caped superhero in Zack Snyder’s new DC movie Batman v. Superman: Dawn of Justice – caused a stir by posting a message of support for the Israel Defence Forces via her official Facebook page, just days before a poster of her in character first debuted.

    As the conflict between Israel and Gaza worsened, she uploaded a photograph of herself praying with her daughter Alma.

    “I am sending my love and prayers to my fellow Israeli citizens,” she wrote. “Especially to all the boys and girls who are risking their lives protecting my country against the horrific acts conducted by Hamas, who are hiding like cowards behind women and children...We shall overcome!!! Shabbat Shalom! #weareright #freegazafromhamas #stopterror #coexistance #loveidf

  • Achingly Memorable : Magdalena Montezuma | Slant Magazine
    http://www.slantmagazine.com/house/article/achingly-memorable-magdalena-montezuma

    Magdalena Montezuma (nee Erika Kluge) was a German experimental film actress. A muse to New German Cinema filmmaker, Werner Schroeter, Montezuma drifted through the films of Rainer Werner Fassbinder, Ulrike Ottinger, Rosa Von Praunhiem and Frank Ripploh. She played nurses, transsexuals, kings, party guests, mothers and baroque divas. With a striking face to match her flamboyant name, Montezuma achieved a certain, cultish notoriety until her untimely death from cancer at age 41. Schroeter hastily began production on his film The Rose King for the actress, shooting in her final months, as Montezuma longed to capture this energy, “to die on the set.”

    She pops up in the first Fassbinder film I ever saw: Beware of a Holy Whore. The film assembles a slew of Fassbinder regulars (Hanna Schygulla, Kurt Raab, Ingrid Caven, Ulli Lommel) and some very fine German auteurs (Margarethe Von Trotta, Schroeter) as they act, drink, and collapse on a film shoot in Spain. There’s a lot of displacement going on—Fassbinder is in the autobiographical film about filming, though he plays the production manager, Sascha. And Montezuma, playing actress Irm (Hermann, one presumes), shoulders the blow of Fassbinder’s vehement misogynies. Heavily painted (as was her custom) Montezuma springs from Schroeter’s arms, throwing herself upon the Fassbinder surrogate: Jeff (Lou Castel). He strikes her repeatedly and she collapses into an abject bundle, howling as she falls to the tiled floor.

    As this character, Montezuma manages to embody Fassbinder’s crew of “happily victimized” women. A more quintessential Montezuma can be glimpsed in her final scene in the film, as she rides away from some Spanish isle in shame, cast away from the production. Swaying in the boat and giving the picturesque landscape a run for its money, Montezuma’s architectural face becomes pliable, bursting with tremulous emotions. Opera music blares—it’s the only kind that really suits her. She slowly rocks back and forth. Her performance in that film made a lasting impact on me, though I mistook her for a minor actor, since she appeared in few other Fassbinder films.

    When I began to recognize her in other experimental German films of the period, I started to connect the dots. Ottinger made her her Freak Orlando, in the film of the same name, where Montezuma dithers between genders and lovers, rallying armies and snuggling up with Siamese twins whilst covered in scales. Nefarious bad boy Rosa Von Praunhiem gave Montezuma a role respective of her histrionic caliber—the Lady Macbeth in his 1971 opera staging. I can think of no less of a nurturing figure, so it’s with an ironic arch of those painted-on eyebrows that Montezuma nurses Frank Ripploh, as he straddles gynecological stirrups in Taxi Zum Klo. Inspecting his recent outbreak of anal warts, the doctor inserts a metal probe inside the actor/director and Montezuma assures/glares, “You see, nothing to it.”

    But Montezuma’s true platform was Schroeter’s non-linear, elegiac films where her sculptural face conveyed a kind of semiotic narrative. Each curled lip and trembling eyebrow imbued meaning into these lush tableau vivants. She is the eponymous diva in his breakthrough The Death of Maria Malibran, singing to an out-of-sync tune, disembodied from speech, even time itself. With her unique features and severe acting style, she steals the scene from her fabulous co-stars—Fassbinder regular Ingrid Caven and Candy Darling. Hers is a strange kind of stardom—made all the more esoteric now that these films suffer from a lack of distribution, but her Germanic countenance is achingly memorable in every inch of vintage celluloid.

    Bradford Nordeen

    #film #Allemagne

  • Bertolucci Wasn’t the First Man to Abuse a Woman and Call It Art and He Won’t Be the Last
    http://www.elle.com/culture/career-politics/a41293/bertolucci-abuse-art

    Women," Pablo Picasso once proclaimed, “are machines for suffering.” Throughout his lifetime, he did his best to prove that true. Compulsively unfaithful, Picasso collected models, slept with them, and brutalized them, alternating icy control — he demanded submissiveness in all things, and warned one woman, Francoise Gilot, that as far as he was concerned, women were “either goddesses or doormats” — with horrific physical violence. Picasso pinned Gilot to a bridge railing and threatened to throw her into the river for seeming “ungrateful;” when she tried to leave, he held a lit cigarette to her cheek to brand her. He forced Dora Maar to physically fight Marie-Therese Walter, the mother of his child, for his affections — he stayed in the room throughout the brawl, painting — and beat Maar into unconsciousness himself on at least one occasion.

    Yet, even though we know all this about Picasso, his violence is often downplayed or indirectly excused. On MoMA’s Dora Maar page, she is labeled “Picasso’s muse and lover” and “the subject for many of his paintings,” not his victim.

    #grands_hommes via @mona

    • In the case of Tippi Hedren, Hitchcock had already sexually assaulted her off set. Replacing the safe prop birds with panicked, clawing live ones was a punishment for Hedren’s refusal to sleep with him, not a cinematic masterstroke aimed at helping Hedren to convey the complex and subtle emotion that is “ouch, a bird.”

    • #groumpf un autre :(

      Chilean director Alejandro #Jodorowsky, for example, has been teasing the idea of an unsimulated rape scene in his cult classic film El Topo for decades. ("I really raped [the actress]. And she screamed," he said in 1974, though he’s elsewhere described the unsimulated sex in that scene as consensual.) This has not endangered his status as an avant-garde icon.

      nightmarealleys.blogspot.com/2009_06_01_archive.html

      extrait du livre de jodorowski sur El topo :

      “When I wanted to do the rape scene, I explained to [Mara Lorenzio] that I was going to hit her and rape her. There was no emotional relationship between us, because I had put a clause in all the women’s contracts stating that they would not make love with the director. We had never talked to each other. I knew nothing about her. We went to the desert with two other people: the photographer and a technician. No one else. I said, ’I’m not going to rehearse. There will be only one take because it will be impossible to repeat. Roll the cameras only when I signal you to.’ Then I told her, ’Pain does not hurt. Hit me.’ And she hit me. I said, ’Harder.’ And she started to hit me very hard, hard enough to break a rib...I ached for a week. After she had hit me long enough and hard enough to tire her, I said, ’Now it’s my turn. Roll the cameras.’ And I really...I really...I really raped her. And she screamed.”

    • J’en suis a me demander si ce qui distingue un artiste genial d’un artiste qui ne l’est pas c’est cette utilisation de la violence contre les femmes et les domine.e.s. L’art qui fait rêver les dominants c’est l’expression de ce droit à dominer et la magnification de ce droit en action.
      Le sublime c’est cette dose de sévices reeles mie en oeuvre dans l’œuvre pour satisfaire les dominants dans leur exercise de la domination.

      Comme dit Jodo, « coucher avec les actrices, c’est mieux pour l’art » et Picassso ou Hamilton dirons « coucher avec le model, c’est mieux pour l’art ». En fait ils ont raison, l’Art c’est mieux si il y a une femme ou une fille vraiment humilié, baisée, brutalisée, dominée... Dedans. Ca staisfait spirituellement les dominants, et en remerciement ces Genis reconnus bénéficient d’un permis de dominer sans limite.

    • Découvrir ces aspects d’une personne qu’on admire c’est là que ca deviens compliqué et désagréable. En général chez moi ca fini par un dégoût complet du personnage et de son œuvre car je suis assez binaire. Pour Jodo et les autres artistes mentionné dans ces échanges j’avoue que j’en ai jamais apprécié aucun alors j’ai pas ce problème ici.
      Et j’avoue que pour Picasso, je le vomis depuis toute gosse, il m’a toujours fait pensé à un anthropophage avec un pinceau.

  • Quand la réalité rattrappe la fiction
    http://asylumeclectica.com/morbid/archives/morb198.htm

    Al Adamson directed a number of ’B’ horror movies in the 60s and 70s. His death mimicked the ghoulish nature of his films. His decomposed body was found on August 2, 1995, wrapped in linens and buried beneath the newly tiled floor of his whirlpool tub. No time of death could be determined, but Adamson had last been seen alive five weeks earlier. Fred Fulford, a live-in contractor, was charged with homicide.

    Al Adamson - The Grindhouse Cinema Database
    https://www.grindhousedatabase.com/index.php/Al_Adamson

    Black Heat (1976)
    https://www.youtube.com/watch?v=DaoIAghrjEA

    C’est un film de l’époque quand la libération sexuelle et la décolonialisation sont récupérées et transformées en sexisme et fétichisme ...
    https://en.wikipedia.org/wiki/Black_Heat_(film)

    Kicks Carter is a streetwise policeman whose beat is Las Vegas. A crime gang is running guns, selling drugs, loan-sharking, and running a prostitution ring out of an upscale hotel in the city and Kicks is trying to put them out of business. But the interference of a woman reporter is making his job more difficult.

    ... mais la musique du film est splendide. Dans cet extrait elle accompagne une des « meilleures » scènes du film.
    https://www.youtube.com/watch?v=Bp11VEiLWJk

    Paul Lewinson - Black Heat - 1977 - Shake A Leg
    https://www.youtube.com/watch?v=UPUdC_kruMQ

    Le titre du film est sans doute inspiré de White Heat de 1949
    https://en.wikipedia.org/wiki/White_Heat
    La qualité du film ne justifie pas cette allusion au chef d’oeuvre inconnu du grand public. Les distributeurs n’avaient alors aucun mal à rebâtiser le film en Girl’s Hotel (c’est vrai, il y a plein de jeune femmes noires de préférence et Regina Carrol la femme du producteur qui est très blonde) et en Murder Gang (c’est assez gore, il y a un bras tranché et des bagarres franchement mauvaises).

    Regina Carrol
    https://en.wikipedia.org/wiki/Regina_Carrol


    Dans Black Heat elle chante « No More Mail ’til Tomorrow » , une performance moins impressionnante que le reste de la musique du film.
    http://www.findagrave.com/cgi-bin/fg.cgi?page=pv&GRid=10508771&PIpi=115421324

    The Grindhouse Cinema Database nous apprend sur sa mort À 49 ans :

    Adamson quit the movie business in 1983 and had a second and quite successful career in real estate. He was married to actress/dancer Regina Carrol - a frequent star in his films from 1972 until her death from cancer in 1992.

    Le business de film de série b est une monde dangereux peuplé de personnage tragiques.

    #USA #cinéma #série-b #film #blaxploitation #voitures

  • Nina Simone biopic bombs with critics amid Zoe Saldana race controversy
    http://www.factmag.com/2016/04/20/nina-simone-biopic-bombs-critics-zoe-saldana-race-controversy

    Controversial Nina Simone biopic Nina has been savaged by critics following preview screenings in the States.

    The film was heavily criticised due to the casting of lead actress Zoe Saldana, who is of Dominican and Puerto Rican descent, with many feeling Saldana was too petite and light-skinned to play the iconic singer.

    Last month, the release of the first trailer prompted the estate of Nina Simone to tweet: “Please take Nina’s name out your mouth. For the rest of your life” at Saldana after the actress responded to criticism with a quote from Simone.

    The Root say the film is as “horrible as you thought it could be”, complaining that Saldana’s attempts at singing Simone’s songs further hold the film back: “The acting is questionable, but at least viewers could have enjoyed the music. But nope! Saldana can hold an all right note, but not a candle to Simone.” According to Entertainment Weekly, meanwhile, “Nina is a by-the-numbers musical biopic riddled with every conceivable cliché about the tortured artist” that bizarrely glosses over her years as a prominent voice in the Civil Rights Movement in a five-minute montage. Maybe most damning is Indie Wire’s verdict, who claim the film “isn’t just racially insensitive, it’s also ineptly told.”

    #bam

  • Ghanaian Facebook Proverbs
    http://africasacountry.com/2016/04/ghanaian-facebook-proverbs

    Surely the American actress Marilyn Monroe never quoted the Akan proverb: “Never laugh at the sloppiness of your mother-in-law’s breast; your wife’s may turn out to be just like that when she grows older”; neither did a young Angela Merkel, long before becoming German Chancellor, ever retort that “Fermented sobolo never got anyone drunk” at […]

    #CULTURE ##WhatWouldMagufuliDo #Books #Ghana #GHCoats #Literature #POETRY #social_media #web

  • Actress Kangana Ranaut has been signed in by Lifestyle International Pvt. Ltd. as the brand ambassador for their contemporary ethnic wear brand Melange by Lifestyle.

    The “Queen” actress is scorching in the latest “Rethink Ethnic” campaign by the brand that challenges the conventional and is inspired by her fearless, bold and strong individualistic style.

    With modern silhouettes, classy cuts and vibrant patterns, Melange by Lifestyle’s latest Spring Summer collection redefines ethnic wear and is crafted for the independent woman of today whose sense of style reflects her individuality. “Melange is a brand that gives a contemporary twist to traditional Indian-wear and adds a chic vibe to ethnic looks, much like my free-spirited sense of fashion. The way the brand marries Indian aesthetics with fun, modern nuances makes me rethink ethnic and fall in love with it. Hence, the endorsement,” Kangana said.

    The collection takes inspiration from the actress’ strong individuality and interplays the latest season’s trends highlighting eclectic designs, patterns and global accents while bringing forth the brand’s new philosophy — Rethink Ethnic.

    “Melange by Lifestyle has emerged as a preferred contemporary ethnic wear brand for modern women who have a keen sense of style and dress in a manner that amplify their individuality. Kangana wholly embodies the Melange Woman with her effortless style, fierce personality and independent persona,” Kabir Lumba, managing director, Lifestyle International Pvt. Ltd. said.

    “Her achievements as a versatile actress coupled with her quintessential confidence are inspirational to women across the country, and we are delighted to have her as our brand ambassador,” Lumba added.
    This new brand campaign will be rolled out across outdoors, print, digital and in-store this March. from https://www.trendygowns.com

  • Despite controversy over #OscarsSoWhite, Canadian actress and Revenant star Grace Dove was not invited to the Academy Awards
    http://news.nationalpost.com/arts/television/canadian-actress-and-revenant-star-grace-dove-was-not-invited-to-

    Unless you’ve been in hiding the for the last few months, it’s impossible to not be aware of Alejandro González Iñárritu’s The Revenant, starring Leonardo DiCaprio, a newly christened Oscar winner, and Tom Hardy.

    But the film also featured an appearance by Canada’s own Grace Dove, a Shuswap actress originally from Canim Lake Indian Band in Northern British Columbia, as DiCaprio’s character’s wife.

    Already a regular on the APTN series underEXPOSED, Dove made the leap to the silver screen alongside some of Hollywood’s greats, bolstering her resume.

    But while The Revenant went into Sunday night’s ceremony with the most nominees of any other picture and walked out with wins for DiCaprio and Iñárritu, it’s unusual to note that Dove was not at the ceremony celebrating alongside her colleagues. In fact, she wasn’t even invited.

    #oscars #racisme + #sexisme

  • The Winter Bay is on the move again! Whale meat vessel sets off for Japan - WDC, Whale and Dolphin Conservation
    http://uk.whales.org/blog/2015/08/winter-bay-is-on-move-again-whale-meat-vessel-sets-off-for-japan

    Winter Bay, the second-rate vessel chartered by Icelandic whaler, Kristjan Loftsson, to move an estimated 1,700 tonnes of fin whale meat to Japan, is on the move again! The vessel has been moored in Tromso since June 11th.

    • Winter Bay | Icelandmag
      http://icelandmag.visir.is/tags/winter-bay

      The Canadian Actress Pamela Anderson still hopes to persuade Russian authorities to stop the shipment of Icelandic whale meat to Japan via the north-eastern passage through the Arctic. The cargo vessel Winter Bay, registered in St Kitts and Nevis, recently left harbour in Tromsö Norway with 1,800 tons of whale products, destined for Japan.
      In a letter sent to Vladimir Putin, the president of Russia, this July Pamela urged him to stop the shipment:
      I would love to have the opportunity to meet and to discuss how, on behalf of my Foundation, I can forge a constructive relationship with the Russian government over issues related to wildlife, animals and the environment.
      I do have a voice in the international community and I would like to use my voice, as humble as it is, to help make this world a better place for all living things.

      Yesterday Pamela Anderson announced that the Russian Minister of Natural Resources and Environment had agreed to meet her at the East Russia Economic Forum in Vladivostok next month.
      In a letter to the Russian Ambassador to the US, which was published on the website of the Pamela Anderson Foundation, Pamela expresses her gratitude that the representative of the Russian government will meet with her to discuss the shipment of whale meat by Hvalur hf. Furthermore she expresses her hope that this meeting might lead to “Russia looking into banning such transits of protected species in the future”.

    • Et s’il passe par la #Route_du_Nord, c’est pour des raisons écologiques et pas du tout pour éviter les problèmes avec les écologistes lors des escales par la route du sud…

      Icelandic whale meat shipment heading to Japan worth 15 million USD | Icelandmag
      http://icelandmag.visir.is/article/icelandic-whale-meat-shipment-heading-japan-worth-15-million-usd

      The cargo vessel Winter bay, which is carrying Icelandic whale products to Japan, has left port in Tromsö Norway to sail the North-East passage through the Arctic. The ship is carrying meat and blubber from fin whales caught by ships operating from the Hvalfjörður fjord whaling station. These whales are caught in Faxaflói bay, outside the whale sanctuary inside the bay, where whale watching firms operating out of Reykjavík take their tours.

      In an interview with a Norwegian newspaper Fiskeribladet Fiskaren Kristján Loftsson, the CEO and owner of whaling firm #Hvalur, which owns the whale products being shipped to Japan, revealed that the cargo is worth two billion Icelandic Krona (15 million USD/14 million EUR).
      Kristján also argued the ship was taking the North-East passage because it was shorter than the route around the Cape of Good Hope. Last year Hvalur sent a shipment of whale products around the Cape of Good Hope which ran into considerable problems as the ship was refused permits to dock along the way, due to its controversial cargo. The North-East passage is 14,800 km (9,200 miles) shorter than the alternative route.

      As in every other interview in which Kristján Loftosson appears, he used the opportunity to blast environmentalists and conservationists, ridiculing those who wish to conserve the whales.
      They should rather congratulate us for exploiting the fin whale population in a responsible manner and for transporting this cargo over this long distance to Japan in a exceptionally environmental manner.

    • Robin des Bois - Communiqué
      http://www.robindesbois.org/communiques/animal/2015/viande-de-baleine-transite-passage-nord-est.html

      Grande première en Arctique : la viande de baleine transite par le passage du Nord-Est

      Le Winter Bay appartenant à un armateur européen vient de quitter le port de Tromsø en Norvège. Il est maintenant en mer de Barents. Il transporte environ 1800 tonnes de viande de baleine d’origine islandaise. Le Winter Bay est attendu à Osaka au Japon le 28 août. L’option arctique, 14.500 km, évite au Winter Bay les complications diplomatiques, les protestations d’ONG environnementales et les habituelles escales en Afrique de l’Ouest et en Afrique du Sud.

      Le passage du Nord-Est est entièrement libre de glace entre la mi août et la fin septembre. Le passage du Nord-Est raccourcit de moitié la trajectoire par le cap de Bonne-Espérance. La route maritime du Nord est entièrement contrôlée par l’administration et l’armée russe.

      La Russie est malheureusement complice du trafic de viande de baleine entre l’Islande et le Japon. L’Union Européenne est aussi complice puisque le Winter Bay appartient depuis quelques semaines à un armateur letton. La Directive européenne sur la conservation des habitats naturels ainsi que de la faune et de la flore sauvages stipule que les Etats-membres doivent interdire le transport de spécimens de toutes les espèces de cétacés vivants ou morts ou de toutes parties ou produits dérivés.

      Winter Bay, ex-Nordvaer, ex-Victoriahamn. OMI 8601680. Transporteur frigorifique de marchandises sur palette. Longueur 79,90 m. Pavillon Saint-Kitts-et-Nevis. Société de classification Det Norske Veritas. Construit en 1986 à Rissa (Norvège) par Fosen MV. Vendu en mai 2014 par son armateur norvégien Nor Lines Rederi AS à DalriadaTortola basé aux Iles Vierges Britanniques et prête-nom du letton Aquaship Ltd. Dans la foulée il abandonne le pavillon des Iles Féroé pour celui de Saint-Kitts-et-Nevis.

      Ah, voilà le communiqué de #Robin_des_Bois

  • Spécialement pour @gonzo : les termes « série télé de ramadan » et « Haifa Wehbe » dans la même dépêche… Show me the money ! Haifa Wehbe highest paid actress this holy month
    http://www.albawaba.com/entertainment/show-me-money-haifa-wehbe-highest-paid-actress-holy-month-682216

    Lebanese actresses, taking part in TV series that will be screened in Ramadan, have topped this year’s list of the highest-paid celebrities.

    Haifa Wehbe, a Lebanese actress and pop star, came on top of the list, with LE20 million for her role in “Marium.”

    In the series, Wehbe’s character lives in Cairo with her twin sister. Alongside the Lebanese singer, the series stars Khaled al-Nabawy, Riham Abdel Ghaffour and other celebrities. The series is the second one for Wehbe, after her first one was broadcast last Ramadan.
     
    The Egyptian actress Ghada Abdel Razeq came second on the list, with LE18 million for her new series “Al-Kaboos”.

    Si j’en crois mon interwebz, ça fait 2,4 millions d’euros.

  • 6月6日のツイート
    http://twilog.org/ChikuwaQ/date-140606

    RT @bobbirok: A me mi piace vivere alla grande - F. F. : youtu.be/6C0AgEgaVQ8 posted at 08:39:34

    RT @alisonjardine: ’Light, Hidden’ 48"x60" oil on canvas... pic.twitter.com/0MmPtvaw4Y #art #painting posted at 08:24:24

    RT @lizarewind: Au Palais de Tokyo vine.co/v/MDm75YUMTB0 | ikebana ? posted at 08:20:35

    RT @CHANNINGPOSTERS: Today’s Awesome #2: spectacular color image of Chinese-American actress Anna May Wong from 1939. pic.twitter.com/JvejLftcrr posted at 08:19:01

    RT @itele: Bon anniversaire #Tetris ! bit.ly/anniversairete… pic.twitter.com/o8lYffymqU posted at 08:16:51

    Top story: Reset The Net - Privacy Pack pack.resetthenet.org, see more tweetedtimes.com/ChikuwaQ posted at (...)

  • Lupita Nyong’o and the Mexicans
    http://africasacountry.com/lupita-nyongo-and-the-mexicans

    “How much does the Oscar belong to #Mexico?” a reporter asked actress Lupita Nyong’o the day after the 2014 Academy Awards. Her answer “It all belongs to me.” A few months earlier, when “12 Years a Slave” premiered at the Toronto International #FILM Festival, she was more diplomatic. She explained that she was born in Mexico, that her […]

    #MEDIA #identity #Kenya #Lupita_Nyong'o #Oscars #racism

  • Week In Photo (8 February- 14 February)
    http://english.al-akhbar.com/photoblogs/week-photo-8-february-14-february

    Competitors take part in the ’Flugtag’ - flying day - event in Valparaiso (Photo: Martin Bernetti - AFP) Competitors take part in the ’Flugtag’ - flying day - event in Valparaiso (Photo: Martin Bernetti - AFP) US actress Uma Thurman arrives on the red carpet for the screening of the film “Nymphomaniac Volume I (Long Version)” at the 64th Berlinale Film Festival in Berlin (Photo: Johannes Eisele - AFP) US actress Uma Thurman arrives on the red carpet for the screening of the film “Nymphomaniac Volume I (Long Version)” at the 64th Berlinale Film Festival in Berlin (Photo: Johannes Eisele - AFP) A rider (...)

  • Actress says Egypt needs a Hitler figure | Mada Masr

    http://madamasr.com/content/actress-says-egypt-needs-hitler-figure

    “I hope Field Marshal Abdel Fattah al-Sisi becomes the president, and starts implementing radical solutions to fix the problems caused by ousted President Mohamed Morsi and his clan over the year that felt like a hundred for Egyptians,” she added.

    Addressing the future president, Babli advised him to “pay attention to education,” and “know that Egyptians need a man as strong as Hitler to punish citizens for any violations they commit.” Babli said she believes that this policy “will force fear into people, which will stop them from making further mistakes,” adding that “Egyptians should be obedient and observe the results.”

  • Canadian minister taunts NGO over SodaStream BDS spat
    http://english.al-akhbar.com/content/canadian-minister-taunts-ngo-over-sodastream-bds-spat

    Bottles are displayed at a SodaStream factory on January 30, 2014 in the Mishor Adumim industrial park, next to the West Bank settlement of Maale Adumim. (Photo: AFP - Menahem Kahana)

    The employment minister of #Canada, a strong supporter of #Israel, has waded into the spat over #Oxfam breaking with US actress Scarlett Johansson for endorsing an Israeli soft drink firm that operates in the occupied West Bank. Minister Jason Kenney, who is also minister of multiculturalism in Canada, extended an ironic thank you to Oxfam for bringing the Israeli firm SodaStream to his attention. Last week Johansson made headlines when she quit her role as Oxfam ambassador after the NGO said her promotion of SodaStream was “incompatible” with her role at the international aid (...)

    ##BDS #Palestine #ScarJo #Top_News

  • US actress quits #Oxfam after endorsing Israeli company
    http://english.al-akhbar.com/content/us-actress-quits-oxfam-after-endorsing-israeli-company

    Actress #Scarlett_Johansson has quit her role as an ambassador for Oxfam, the charity said on Thursday, after she fell out with group for endorsing an Israeli firm operating in the occupied #west_bank. The Hollywood star has become the public face for soda-maker SodaStream and is due to appear in an advert for the company that is set to air during the Super Bowl on Sunday. However, the multi-million dollar deal has caused a backlash among activists and humanitarian groups because SodaStream’s largest factory is based in a Jewish settlement in the occupied West Bank. read more

    #BDS #Israel #Palestine #Top_News