#Elsa Bannister

[mametupa]

[acecroft]

RITA HAYWORTH as Elsa Bannister in The Lady from Shanghai (1947)

[walkermakepeacejones]

The Lady from Shanghai, Everett Sloane as Arthur Bannister. exposed on the face of Rita Hayworth as Elsa. Incredible! Directed by Orson Wells, Screenplay by Orson Welles 1947. Me photographing TCM. A flawed goddess, but aren't they all.

[filmnoirfoundation]

Here's a peek at the femme fatales (and an homme fatale for good measure) of NOIR CITY 20, January 20-29 at Oakland's Grand Lake Theatre. Intros by Eddie Muller. Full festival schedule, tickets and passports (all-access passes) at www.noircity.com

Friday, January 20

THE LADY FROM SHANGHAI

9:15 PM

Welles' dazzling and dizzying pulp poetry takes the classic femme fatale tale to globe-spanning lengths and hallucinatory heights. Hard-luck sailor Michael O'Hara (Welles) tumbles into the snare of gorgeous and mysterious Elsa Bannister (Hayworth) only to find himself caught in the murderous conspiracy of her viperous cohorts. Welles improvised a brilliant, chaotic 155‑minute noir epic, which studio editor Viola Lawrence pruned to 86 feverish minutes. What remained is one of the most startlingly inventive crime films ever released by a Hollywood studio. Featuring Everett Sloane, Glenn Anders, and Ted de Corsia. Plays with KEY LARGO. Double feature starts at 7:00 PM

Monday, January 23

SLEEP, MY LOVE

9:00 PM

Alison Courtland (Claudette Colbert) awakens on a speeding train with no memory of how she got there. Reunited with her husband Richard (Don Ameche), he proposes hypnosis to uncover the root of his wife's mental instability. Overlooked in the noir canon because it was deemed a "woman's picture," Sleep, My Love is one of Sirk's strongest 1940s pictures, deftly combining witty humor, creepy atmospherics, and genuine thrills all anchored by the sprightly chemistry of co-stars Colbert and Robert Cummings. Plays with SO EVIL MY LOVE. Double feature starts at 7:00 PM

Sunday, January 29

THE VELVET TOUCH

3:15, 8:00 PM

Following the success of 1947's A Double Life, in which Ronald Colman played a murderous Broadway actor, Rosalind Russell took her only trip into Dark City as Valerie Stanton, a revered Broadway actress who accidentally kills her producer (and former lover) during an argument. Valerie's thespian talents help cover up the crime, but when her archrival (played by Claire Trevor) becomes the prime suspect, will Valerie's guilty conscience prevail? A wonderful, if rarely screened, backstage thriller. Plays with UNFAITHFULLY YOURS, 1:00, 6:00 PM.

Friday, January 27

RAW DEAL

7:30 PM

Social worker Marsha Hunt and gangster's moll Claire Trevor duke it out for the soul of homme fatal Dennis O'Keefe in this rambunctious display of quintessential noir pulp. O'Keefe busts out of the slammer determined to get even with shyster gang-boss Raymond Burr, who wants O'Keefe dead before he reaches his San Francisco hideout. Stunning images by legendary cinematographer John Alton make this arguably the most visually stylish noir of them all. As Eddie likes to say, it's "Pure Pulp for Noir People." Plays with HE WALKED BY NIGHT, 9:15 PM

[byneddiedingo]

Orson Welles and Rita Hayworth in The Lady From Shanghai (Orson Welles, 1947)

Cast: Rita Hayworth, Orson Welles, Everett Sloan, Glenn Anders, Ted de Corsia, Erskine Sanford, Gus Schilling, Carl Frank, Louis Merrill, Evelyn Ellis, Harry Shannon. Screenplay: Orson Welles, based on a novel by Sherwood King. Cinematography: Charles Lawton Jr., Rudolph Maté, Joseph Walker. Art direction: Sturges Carne, Stephen Goosson. Film editing: Viola Lawrence. Music: Heinz Roemheld. 

Like most of Orson Welles's Hollywood work, The Lady From Shanghai is the product of clashing wills: Welles's and the studio's -- in this case, Columbia under its infamous boss Harry Cohn. And as usual, the clash shows, sometimes in Welles's brilliance, such as the celebrated shootout in a hall of mirrors at the film's end, and sometimes in his indifference to the material: Is there any real excuse for the farcical courtroom scene that so violates any sense of consistency in the film's tone? Welles miscast himself as the protagonist, Michael O'Hara, a two-fisted Irish seaman, complete with an accent that he must have picked up in his youthful days in the Dublin theater. His soon-to-be ex-wife, Rita Hayworth, was forced upon him by Cohn, whom he angered by having her cut her hair and dye it blond. Her Elsa Bannister is the epitome of the treacherous film noir femme fatale, but it's hard to say whether the screenplay -- mostly by Welles -- or Hayworth's limited acting ability prevents the character from coming into focus. The real casting coup of the film is Everett Sloane as as Elsa's crippled husband, Arthur, and Glenn Anders as his partner, George Grisby. I use the word "partner" intentionally, because the film dodges around the Production Code in its hints that Bannister and Grisby are more than just law-firm partners, evoking the stereotypical catty and mutually destructive gay couple. Welles insisted on filming on location, which means we get some fascinating glimpses of late-1940s Acapulco and San Francisco, shot by Charles Lawton Jr. and the uncredited Rudolph Maté and Joseph Walker. In short, the movie is a mess, but sometimes a glorious mess.

[hwdownandout]

Rita Hayworth as Elsa Bannister in The Lady from Shanghai, 1947.

[o-the-mts]

Noirvember Movie Review: The Lady from Shanghai (1947)

Title: The Lady from Shanghai Release Date: December 24, 1947 Director: Orson Welles Production Company: Mercury Productions Main Cast: Rita Hayworth as Elsa “Rosalie” Bannister Orson Welles as Michael O’Hara Everett Sloane as Arthur Bannister Glenn Anders as George Grisby Ted de Corsia as Sidney Broome Erskine Sanford as judge Gus Schilling as “Goldie” Goldfish Synopsis (via Letterboxd): A…

[mallmarrdlc]

Cassandra entered the basement. Walking down the stairs was quite difficult for her stiff joints, especially with no bannister to lean on.

She was shocked to find Elsa casually mixing some potions as if nothing happened. As if Cassandra hadn't just been in a fight and as if their prisoner hadn't been freed.

'How could you do this to me?!' Cassandra approached the ghost and yelled at her.

'Ugh.' Elsa rolled her eyes and turned around to face the witch.

'How could you abandon me like that?! I needed your help! Together we would have won!' Cassandra continued to complain.

'Stop yelling.' Elsa interrupted her. 'And I didn't abandon you. I was watching from afar. I was even cheering you on.'

'Don't play stupid! You distracted me! I almost had her, but then you made me lose my focus and you gave her an advantage.'

'Please, stop talking.' Elsa rolled her eyes again. 'Frankly, I didn't care if you would win that fight or not. I wanted you to duel Rapunzel alone. I wanted you to see for yourself what you are up against. She kicked your ass and rightfully so!'

'What sort of mentor are you?!' Cassandra scoffed.

'One that doesn't sugarcoat the truth. You are not good enough to fight Rapunzel. I expected you to lose. That's why you need to practise more! You need to learn more! Now you know where you are lacking. Go and do some spells!'

[mcbastardsmausoleum]

THE LADY FROM SHANGHAI (1948), THE ACCLAIMED ORSON WELLES CLASSIC COMES TO 4K ULTRA HD JULY 23RD

Baffling murders, fascinating plot twists, and remarkable camerawork all contribute to this spellbinding, time-honored film noir written, directed by, and starring Orson Welles. Hired to work on a yacht belonging to the disabled husband of femme fatale Elsa Bannister (Rita Hayworth), Michael O’Hara (Welles) is an innocent man drawn into a dangerous web of intrigue and murder.

The subject of great controversy and scandal upon its initial release, THE LADY FROM SHANGHAI shocked 1948 audiences by presenting Hayworth with her flaming red hair cut short and dyed champagne blonde. THE LADY FROM SHANGHAI is now considered vintage Welles, with his famous hall-of-mirrors climax hailed as one of the greatest scenes in cinematic history.

4K ULTRA HD DISC

- Feature restored from the original camera negative and presented in 4K resolution with Dolby Vision

- English Mono

Special Features:

- Commentary with Peter Bogdanovich

- A Conversation with Peter Bogdanovich

- Theatrical Trailer

CAST AND CREW

Screenplay and Production By: Orson Welles

Story Based on a Novel By: Sherwood King

Cast: Rita Hayworth, Orson Welles, Everett Sloane, Glenn Anders

SPECS

- Run Time: Approx. 87 minutes

- Rating: Not Rated

- 4K UHD Feature Picture: 2160p Ultra High Definition, 1.37:1

- 4K UHD Feature Audio: English, French (PAR), Spanish Mono DTS-HD MA

[filmes-online-facil]

Assistir Filme A Dama de Shanghai Online fácil

Assistir Filme A Dama de Shanghai Online Fácil é só aqui: https://filmesonlinefacil.com/filme/a-dama-de-shanghai/

A Dama de Shanghai - Filmes Online Fácil

Elsa 'Rosalie' Bannister é uma mulher que é salva de um grupo de ladrões pelo jovem Michael O'Hara. Como agradecimento, ela o convida para trabalhar no iate de seu milionário marido. Michael aceita o emprego, mas não pelo dinheiro, e sim para ficar mais próximo de Elsa e, assim, tentar fugir com ela - pois agora ele está completamente apaixonado pela moça.

[mametupa]

[violetren]

So I was taking notes for the part of the lecture that explained what the fuck was up with the 4 pronged narrative of the movie we had to watch for class, and fuck did I need to the movie felt me feeling so disorientated, and turns out the whole thing can be wrapped up as

(to the tune of "It Was Agatha All Along")

Which is amazing because by the end about the most we know about Elsa's motivation is that she wanted money.

Don't know why she wanted money. For power? For freedom? For luxury? Some combo thereof?

No we get left to guess that because Elsa is a femme fatale and obviously all we need to know is that she lured in and emasculated the MC by making him an unwitting pawn in her scheme to acquire Money, because this is a film noir movie and that's Hollywood baybey!

[peggy-elise]

Rita Hayworth as Elsa Bannister in The Lady from Shanghai 1947 🤍

[elsanna-shenanigans]

April Contest Submission #23: 9A1F

Words: 824 Setting: mAU Lemon: no Content: bad parenting Song: Overthinkin’ by Carly Bannister

###

“Home is where your heart is?” Elsa scoffed at the thought. It was a stupid quote she came across in one of her English novels.

Her parents taught her that home isn’t a place. It’s a feeling. A feeling you can live without and still be successful in life. And she believed them because they never had the time to show her otherwise. Her parents were always working, so she was always alone growing up. She didn’t know what it felt like to have a family, so she built walls around herself and locked everyone out. She became detached from everything and everyone.

When she turned 12, Elsa started living with a nanny while her parents worked in the office. And even when they were finally home at the end of the day, they’d just collapse on the couch and watch TV until bedtime. Elsa didn’t know what it was like to have parents who would help her prepare for her big class presentation or take her to an amusement park on a sunny Saturday afternoon. She grew up knowing that she was better off without them and could do everything herself without needing anyone’s help. She excelled in school, sports, and everything else because she strived to be on top of the game. Still, when it came to love and relationships, Elsa failed miserably every time.

Anna changed that for her, though. She and Anna met during their senior year. Anna’s family had just moved to town, and Elsa was immediately attracted to Anna’s outgoing personality.

When they were paired up to work on an English paper together, Elsa found herself getting lost in Anna’s eyes and her caring nature. After spending countless hours together working on research for their paper, the two became good friends. Elsa found herself opening up to Anna in ways she never did with anyone else before and started falling for her.

During one of their working sessions, Elsa asked Anna what she thought about the idea of home.

“What does that mean?” Anna asked.

“Well, you know,” Elsa said. “It’s a place where children are told they are supposed to feel safe and secure. Or like a place where I’d wait for my parents to come home and spend time with me…”

Anna considered this for a moment. She thought back to her childhood and how much she had loved it. And then she realized: a home is not a place but a feeling.

“It makes you feel safe and warm,” Anna said slowly. “And when you leave it, you always know you can come back.”

Anna’s words made Elsa feel like she was missing something important.

“I’m not sure I understand,” she said.

“What do you mean? Do you not feel the same about your home? "Anna asked.

Elsa shook her head slowly as she looked down. "I’ve never felt any warmth there.”

There were so many things Elsa wanted to say, but all of them seemed too complex for such a simple, concrete concept like “home.”

Anna sensed that there was more to what Elsa was saying, and she gently took Elsa’s hands in hers. “Well, you know where else feels like home?” Elsa looked up at Anna with curiosity, and Anna smiled warmly at her. “Right here.”

###

The more time Elsa spent with Anna, the more attached she became to Anna’s presence and realized that maybe home is a place after all… So Elsa decided to take a chance and ask Anna out on a date before their graduation.

###

Dear Anna,

I wanted to write you this letter because I didn’t want to seem too forward when I asked you out. And also because I’m scared. You have no idea how much courage it took me to write this letter to you. This has been on my mind for a while now, and I thought that I should make the moment happen instead of just waiting for the right moment.

I don’t know if you feel the same way, but since the day we met, something just clicked between us. We got along so well, and we were comfortable with each other. To be honest, I had never felt like that with anyone before.

Before meeting you, I was so cold and lonely. My parents were always busy, so I grew up without anyone in my life, which is why I built a wall around myself. But you’ve given me a whole new outlook on what it means to feel at home; it’s not about having a bedroom or a bathroom or even a kitchen. It’s about feeling loved for who you are and accepted for the person you’re trying to become—and there’s no one else who makes me feel that way the way you do.

What I’m trying to say is that… I’ve got two tickets to the game on Sunday, would you wanna take a chance and come with me?

Love, 

Elsa

[let-it-show]

A Surprise for Anna

I wanted to participate somehow in Elsanna Week. Idk if I will have time or energy to do more than one prompt but...here we go for Reunion. So- Elsa does something special for Anna!

Getting Anna to agree to her plans for the day was difficult. Elsa understood, she got it, but she really needed Anna to go. She had a surprise for her little sister that she knew she would love.

Anna was a grown woman, a queen alongside her, but she still dug her heels in, crossed her arms and shook her head like a stubborn child. She was having none of it and Elsa had been ready to encase her in ice and have Sven drag her. Fingers were pointed, voices were raised, and threats -  none of which were very serious - were made. It only lasted so long before Anna managed to crack herself up, smile, and laugh. She kissed Elsa on the cheek and said if she made it worth her while later in the bedroom, she'd go.

That didn't mean she would stop whining, though.

Elsa had readily agreed to the terms. She already looked forward to whatever 'revenge' Anna might cook up for later. It was getting to the Ice Palace that was rough.

"We're almost there, Anna," she told her as they rode on a wagon hauled by one of Elsa's big ice bears. "We're almost there and...Anna..."

To her dismay, Anna had balled herself up a bit next to her as they went on an incline. Her eyes were wet and she simply looked ahead. Elsa knew why she didn't like going there. For some while the palace had remained empty, none of the crazy laughter and fun that they would walk into when they visited before Elsa was called by the North Wind. Marshmallow might have been grumpy now and then but the snowgies were always up for some chaos. Usually, Olaf encouraged it.

"We really have to go? Is this surprise worth it?" Anna asked in a small voice. Even the whining she'd been doing was somewhat lighthearted, with moaning about being hungry or her butt falling asleep.

"Anna..." Elsa put her arm around her and tried to bring her closer. It wasn't really working, so she moved her own body, brushing one of Anna's braids out of her way. "It's well worth it. I know you will love it. You'll have the biggest smile you've had in forever," she said quietly, stroking Anna's freckled cheek with her finger. Her skin was warm despite the cold temperature of the breeze around them. The North Mountain was always cold.

"Everyone live in Ahtohallan now. It just...it just makes me think and makes me feel alone, even when I'm in there with you," Anna said with a sniffle, adjusting herself to hug her knees to her chest, fingers digging into into her beige dress. "We go in and it's empty. I don't want to go, Elsa."

She should tell her. Elsa knew she really should tell her. And yet...she knew the joy Anna would feel when they went inside would be incredible. When she saw the surprise she would be so, so happy. At the same time, Anna was clearly upset. She didn't want to be reminded of the period of time they were apart and nothing was as it ever was. While it wasn't truly terrible, according to Anna herself, it'd been a struggle.

Elsa hugged her and kissed her head. Her reaction was yet another sign that she played down how she'd felt in those months. Thinking about it made Elsa's heart hurt.

But she was back. She was back to stay and she was never leaving Anna - her Anna - ever again. Anna was hers to hold close and speak soft, love-laced words too. And she was hers to make happy.

If they could just make the last curve before they actually had to take a short walk to the stairs, it would be okay. Anna was fighting off actually crying and if she did get there Elsa knew she would have to tell her what was going on. So Elsa kissed her head again, and then her cheek. "I promise it'll be worth it. You'll be grinning from ear to ear. I know you will. You might cry from happiness," she told her, lips finding her cheek again.

Anna let out a slow, controlled breath. "Elsa..."

"I promise," Elsa repeated. "And if....if it's just too hard I'll tell you what's going on. We can stop and I'l tell you. It's just that I can't wait to see how thrilled you're going to be," she said, playing with Anna's braid.

Anna studied her quietly and then sighed. "I trust you. I know you really think whatever this is will make me happy and I-I trust you."

For a moment, Elsa simply looked at her. She didn't want to do the wrong thing. She really didn't. Keeping the surprise was a good idea...she was going to stick with it. "Thank you for that. I...thank you," Elsa whispered.

When they arrived at the stop, Elsa hopped out first and went around to offer her hand to Anna. "Come on, darling," she told her, coaxing her sister from the wagon.

Anna slowly took her hand and let Elsa help her down. She leaned into Elsa and then turned fully to wrap her arms around her, running her hands through Elsa's long, loose hair. She didn't appear to be sniffing anymore. She'd managed to swallow her sobs evidently and Elsa hoped that didn't made her feel worse. She squeezed Anna's warm body against her own.

Nothing ever felt so right as Anna did in her arms.

They held hands as they walked through the rocks, Anna's squeezing Elsa's regularly. Anna pointed out where she had tried to mountain climb years prior when searching with Kristoff. She did that each time they visited the palace in the past, and Elsa loved it. Sometimes Anna even imitated where she pushed back from the rock and knew Kristoff would catch her because he was 'a smelly guy, but a nice one'.

Then it was the ice stairs, and Anna was hesitant. With one hand on the glistening railing, Anna bit her bottom lip and stared. Elsa rubbed her back gently, and encouraged her to keep going up. As usual she followed behind her. If Anna slipped, Elsa would easily catch her. She'd done so before, and Anna had giggled and looked up at her before scampering up the stairs to go see everyone.

Elsa watched the usually optimistic girl drag her heels up the ice.

When they arrived at the door, Elsa told her to stop. "Knock!" she told her, stopping beside her. "I uh...knock."

Anna looked at her oddly but raised a fist to bang loudly on the door. Elsa never quite understood why the knocking sounded like a bang on a big wooden door, but if it sounded like ice should sound when hit, she guessed it wouldn't attract as much attention.

The door opened slowly to reveal...

Olaf.

"Olaf?" Anna asked.

The little snowman laughed and waved her in with his stick arm. "Come on in Anna! Come on!" he said and reached for her hand.

Anna took it, shooting Elsa a confused look over her shoulder. Elsa just grinned. She had felt guilty getting Anna all the way up to that door, but there she was...about to be very pleasantly surprised. She followed them both into the ice castle where everything was the same as always, just empty...

Until a figure slide down the icy bannister of the glorious staircase in front of them. One little white figure followed by another. Then another. And another and another! Olaf was giggling and snowgies started to bounce down the stairs on their heads, legs, and midsections. They were laughing and making an awful lot of noise that echoed off the walls of the palace.

"It's..oh! It's Flurry, Sludge - WILLIAM!? Is that you?" Anna squealed, and she and Olaf ran for the bottom of the stairs.

"And Powder and Ansel, even Huggy and Skate - it's everyone!" Olaf said, bouncing around and letting the snowgies take off his head to bounce it around. They were climbing on Anna already, letting her scoop them up and hug them as even more flooded down the stairs.

"Almost everyone," Elsa answered, approaching them. She snapped her fingers and on the balcony above them, heavy footsteps could be heard. Anna looked up along with the snowgies, who turned Olaf's head in the proper direction. A hush fell over the crowd and even the snowgies on the stairs slid and slammed into stops. Elsa waited, excitedly, even though she knew it was obvious who was approaching.

Then Marshmallow made his appearance, peering over the railing at them. "Now, now it EVERYONE!" he bellowed, and the snowgies started to bounce about, once again. Olaf's feet and bottom started flying in the air at random while his head cheered.

Anna clapped her hands and bounced while the flood of snowgies continued to pile around her, lifting her up as Elsa finally made her way to her. Elsa wasn't surprised to see her cheeks were wet.

"So, Anna?" she asked as she looked up at her. "Is...was it worth it?" she asked. She felt very silly asking, but she had to be sure Anna was okay.

"Yes!" Anna answered loudly, cheer in her voice. "So worth it! Oh thank you, thank you! Are they...?"

"They're staying." Elsa smiled. "They all wanted to come back." She didn't mention how tired Nokk was of fishing wandering snowgies out of various parts of the Dark Sea.

"Oh!" Anna wiped tears from her eyes. Her mouth opened but she didn't say anything. Instead her lips morphed into a happy smile. She sniffed and wiped more tears before holding her arms out. "Elsa!"

"I-OOP!" Elsa felt herself suddenly lifted. The snowgies surrounded her heels and took the train of her white dress. They latched on and with a just plain weird amount of strength, they lifted her up and brought her to Anna, nearly throwing her on her sister.

Anna's hands and arms found her, bringing her in close for yet another hug. Elsa closed her eyes as she buried her face in Anna's neck, doing nothing but listening to the merriment around them. Olaf was laughing. Marshmallow was making his way down the stairs, the snowgies were absolutely losing their minds. Anna was giggling and the sound was music to her ears.

Everyone was home.

[mllanes2018]

Iria Sánchez del Molino identifica a estos ocho personajes como las más destacadas en la tradición de la mujer fatal en el cine negro: Alice Reed (Joan Bennett) de The Woman in the Window (La mujer del cuadro, Fritz Lang, 1944), Katharine March (Bennett) de Scarlet Street (Perversidad, Fritz Lang, 1945), Cora Smith (Lana Turner) de The Postman Always Rings Twice (El cartero siempre llama dos veces, Tay Garnett, 1946), Gilda (Rita Hayworth) de Gilda (Charles Vidor, 1946), Elsa Bannister (Hayworth) de The Lady From Shanghai (La dama de Shanghai, Orson Welles, 1947), Diane Tremayne (Jean Simmons) de Angel Face (Cara de ángel, Otto Preminger, 1952), Phyllis Dietrichson (Barbara Stanwyck) de Double Indemnity (Pacto de sangre, Billy Wilder, 1944) y Brigid O’Shaughnessy (Mary Astor) de The Maltese Falcon (El halcón maltés, John Huston, 1941).

A propósito del personaje de Astor en la cinta de Huston, Sánchez dice lo siguiente:

«Según Santamarina con El halcón maltés se introduce el arquetipo de "la mujer fatal, un personaje que, como ejemplifica Brigid en las imágenes, domina como nadie el arte de la simulación y de los nombres falsos, que tiene en la seducción y en el atractivo sexual su mejor arma y que cuestiona el predominio masculino dentro de esta clase de ficciones". Reflexión que no compartimos.

La bella Brigid O´Shaughnessy (Mary Astor), si bien es intrigante, manipuladora e independiente resulta poco sensual, insulsa y algo necia ya que intenta engañar, sin conseguirlo, a un hombre como Sam Spade (Humphrey Bogart), inteligente, experimentado y conocedor del mundo del hampa.

Poco sexual, de apariencia inocente y mostrando cínicamente una expresión angelical atrae a Sam, hombre astuto que desde el primer momento desconfía de ella y no dudará en entregarla. Brigid es una perdedora, parece admitir que merece ser castigada, con un gesto de debilidad se encamina resignada hacia el ascensor que le conducirá a la muerte.

Así pues, a nuestro juicio junto con el de algunos estudiosos, nos permitimos afirmar que la primera femme fatale del cine negro no es Brigid O'Shaughnessy sino Phyllis Dietrichson (Barbara Stanwyck), fatal de la película Double Indemnity, quien se erige en reina de la seducción y manipulación. Más astuta y calculadora que Brigid, mide todos sus pasos, elige una víctima menos inteligente que ella y no llega a enamorarse del hombre al que utiliza, algo que no le ocurre a Brigid con Sam Spade» (151-52).

Nota del 6 de septiembre de 2022: más información sobre la mujer fatal en este video, que aborda la importancia de este personaje en la pintura y el cine.