#Jeanne De Casalis

[mostlybritishactors]

Jeanne de Casalis

[camisoledadparis]

THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … January 20

c.275 AD. – St. Sebastian was born in the 3rd century AD. We know the date, but not the year. He is the patron saint of archers because he was bound to a stake and shot with arrows. He is also the patron saint of soldiers. As a beautiful young man he was the favorite of the emperor Diocletian who turned against him for embracing Christianity.

Some tales speculate that the Emperor Diocletian made romantic advances upon Sebastian and was enraged when Sebastian rejected him on Christian grounds. Other stories actually refer to Sebastian as the emperor's lover. Whether or not such accounts are legitimate, the image of St. Sebastian has been linked to homoeroticism.

According to the Church's official Acta Sanctorum, Sebastian, serving under the emperors Diocletian and Maximian, came to the rescue of Christian soldiers, Marcellinus and Mark, and thereby confessed his own Christianity. Diocletian insisted that Sebastian be shot to death by his fellow archers; these orders were followed, and Sebastian was left for dead.

These details—based on accounts written centuries after Sebastian's death and therefore largely apocryphal—may have helped form Sebastian's subsequent reputation as a homosexual martyr since his story constitutes a kind of "coming out" tale followed by his survival of an execution that may be read symbolically as a penetration.

In the Renaissance, Sebastian emerged as an extraordinarily popular subject for painters, perhaps rivaled only by Jesus and Mary; he was especially prized by artists who saw in the young saint a figure of Hellenic loveliness. Numerous painters—Tintoretto, Mantegna, Titian, Guido Reni, Giorgione, Perugino, Botticelli, Bazzi ("Il Sodoma")—recast Sebastian as a martyr beatifically receptive to his arrow-ridden fate.

It was primarily the Renaissance depiction of Sebastian that served a later, explicitly homosexual cult of St. Sebastian that took hold with remarkable force beginning in the nineteenth century, with Sebastian as an modern emblem of both a homoerotically charged object of desire and a source of solace for the rejected homosexual.

1900 – British actor Colin Clive (d.1937) is born in Saint-Malo, France to an English colonel, Colin Philip Greig, and his wife, Caroline Margaret Lugard Clive. He attended Stonyhurst College and subsequently Royal Military Academy Sandhurst, where an injured knee disqualified him from military service and contributed to his becoming a stage actor. Clive studied acting, and replaced Laurence Olivier in the stage play, Journey’s End, in 1927.

James Whale was the director of Journey's End. The two struck up an intimate relationship, and Clive played the lead in Journey’s End when it moved to the Savoy Theater in London in 1928. Clive was embraced by Whale’s theatrical friends including actress Elsa Lanchester. He followed Whale to New York City and Whale facilitated the casting of Clive in the movie version of the play.

Journey’s End was Clive’s first of 18 feature films. Clive appeared on Broadway in Overture. When the play closed, he went to London and starred with Elsa Lanchester in The Stronger Sex.

Clive is perhaps best known for playing the role of Dr. Henry Frankenstein in the James Whale-directed Frankenstein (1931) and in the Bride of Frankenstein (1935) with his friend Elsa Lanchester.

Though Clive was gay, he married actress Jeanne de Casalis in 1929, but the marriage was one of convenience, and they separated a short time later.

Clive was a member of the Brit ex-patriot actors in Hollywood including Lanchester, Karloff and Charles Laughton, and remained close with Whale.

The actor struggled with his sexual identity and suffered alcoholism and depression from an early age. His drinking became more and more problematic professionally. He often came to work drunk and passed out on the set. He was even fired from a starring role in a film when he suffered a breakdown.

Clive’s final film was in 1937, The Woman I Love. Colin Clive died on June 25, 1937, of tuberculosis complicated by chronic alcoholism. He was 37 years old. Actress Mae Clarke, one of his leading ladies, said, "Colin was the handsomest man I ever saw and also the saddest."

1945 – Gianni Amelio is an Italian film director.

Amelio was born in San Pietro di Magisano, province of Catanzaro, Calabria. His father moved to Argentina soon after his birth. He spent his youth and adolescence with his mother and his grandmother. The absence of a paternal figures will be a constant in Amelio's future works.

During his university studies of philosophy in Messina, Amelio got interested in cinema, writing as film critic for a local magazine. In 1965 he moved to Rome, where he worked as operator and assistant director for figures such as Liliana Cavani and Vittorio De Seta. He also worked for television, directing documentaries and advertisements.

Amelio's first important work is the TV film La città del sole, directed in 1973 for RAI TV and inspired to Tommaso Campanella's work. This was followed by Bertolucci secondo il cinema (1976) a documentary about shooting the movie 1900, and the thriller Effetti speciali. Two years later he directed the mystery La morte al lavoro, which won prizes at Locarno and Hyères festivals. The Little Archimedes (Il piccolo Archimede) of 1979 was also critically acclaimed.

In 1982 he debuted for cinema proper with Blow to the Heart (Colpire al cuore), about Italian terrorism, presented at the Venice Film Festival. In 1987 Amelio released I ragazzi di via Panisperna, about the lives of 1930 Italian physicists Enrico Fermi and Edoardo Amaldi, which won the award for best screenplay at the Bari Film Festival. 1989's Open Doors (Porte aperte), featuring Gian Maria Volonté, confirmed Amelio's status as one of Italy's best film directors and won a nomination as Best Foreign Film at 1991 Academy Awards. The film received also four Felix, two Silver Ribbon, four David di Donatello and three Golden Globes awards.

Also successful was The Stolen Children (Il ladro di bambini) in 1992, which won the Special Prize of Jury at the 1992 Cannes Film Festival plus two Silver Ribbon and 5 David di Donatello. In 1994 Lamerica, about Albanian immigration in Italy, repeated the fate and the success, with 2 Silver Ribbons and 3 Davids. Four years later, The Way We Laughed (Così ridevano) won the Golden Lion at the Venice Film Festival. Amelio gained another Silver Ribbon as best director for The Keys to the House (Le chiavi di casa), inspired to a novel by Giuseppe Pontiggia, of 2004.

Amelio was a member of jury at the Cannes Film Festival in 1995. In 2006 he released his eighth feature film, The Missing Star (La stella che non c'è), featuring Sergio Castellitto. From 2009 to 2012 he was director of Torino Film Festival, Turin.

Amelio came out as gay late in life, shortly before the release of his 2014 documentary Happy to be Different.

1974 – Michael Stabile is an American journalist and documentary filmmaker best known for his work in and about the pornography industry. His work has appeared in Playboy, The Daily Beast, Buzzfeed and Salon.com. In 2004, he and Jack Shamama co-created the gay pornographic soap opera Wet Palms for which they won a GayVN Award for Best Screenplay. He has also written several other GayVN-nominated movies including Spokes III, Cross Country, and Master of the House. Two of the films were included in "Top 10 Gay Porn Movies of the Decade" by Gawker Media's Fleshbot with credit given to the writing team of Stabile and Shamama.Since 2003, Stabile has edited Gay Porn Blog and in 2005 became producer of The Tim and Roma Show, a web-based talk show about the gay adult industry. In 2008, Stabile launched gay news site TheSword.com. He has been named "an arbiter of taste for gay porn" by the Village Voice.

Stabile has also been featured in the San Francisco Bay Guardian, the San Francisco Chronicle, Gay.com, Time Out, Cybersocket, and the Huffington Post.Stabile is working with Shamama and cinematographer Ben Leon on Seed Money, a documentary about Falcon Studios' founder and GLBT philanthropist Chuck Holmes, currently in production. Their documentary short, Smut Capital of America premiered at the 2011 Tribeca Film Festival on April 24, 2011. In late 2011, Stabile began working with Warhol Superstar Holly Woodlawn on a documentary about her life.

1976 – Mathieu Klein is a French politician serving as Mayor of Nancy since 2020. A member of the Socialist Party since 1992, he is also President of the Departmental Council of Meurthe-et-Moselle. After the 2020 French municipal elections, he became the first socialist Mayor of Nancy since the end of the second World War.

Mathieu Klein was born into a family of teachers in Phalsbourg, Moselle. Alongside his two brothers, he was brought up in Holving, before pursuing his secondary education at Sarreguemines. He moved to Nancy, France in 1993 to study history and sociology. He then continued his university studies in Paris.

Mathieu Klein has been a member of the Socialist Party since 1992 and his gave support in favour of a positive result in the French referendum on the Maastricht Treaty. He then became a student member of the National Union of Students of France in Nancy, then in Paris, becoming a member of its national bureau in charge of health matters.

In 1994 in Nancy he founded an LGBT association dedicated to the promotion of equality and fighting against homophobia.

In the 2020 French municipal elections in Nancy, Klein headed the Socialist Party, which took the first place in the first round on 15 March 2020, with 37.9% of the vote. Following this result, Klein merged with Europe Ecology – The Greens. In the second round, held on 28 June 2020, Klein prevailed with 54.5% of the vote. He was confirmed as Mayor on 15 July 2020 by 43 votes in the municipal council of Nancy, becoming the first left-wing person to exercise this mandate since the end of the second World War.

Mathieu Klein is homosexual and works in associations which are engaged in the fight against homophobia. He is married to a family doctor and the couple have three children.

1979 – Will Young is an English singer and actor. He catapulted to fame in 2002 after winning the inaugural UK Pop Idol contest. He has continued to work in music, and also as an actor.

Contrary to popular belief, Will did not come from behind to win the contest. After having beaten the widely-accepted frontrunner Gareth Gates in the final show, it emerged that he had in fact gained the most votes in six out of the nine weeks of the live show.

Young's first single was a double A-side featuring Evergreen and Anything Is Possible. In March 2002 this became the fastest-selling debut in UK chart history, selling 403,027 copies on its day of release (1,108,659 copies in its first week). It went on to sell over 1.7 million copies, and in the official list of the all-time best-selling singles in the UK issued later that year it was 11th. On 31 December 2009, Radio 1 confirmed that Anything Is Possible/Evergreen was the biggest selling single of the 2000s decade in the United Kingdom.

Young subsequently revealed that he was gay, in order to pre-empt a tabloid newspaper that was preparing to run a story 'outing' him. He also stated that he had never hidden, and was comfortable with, his sexuality.

Later in the year, Young met comedian David Walliams and the pair became good friends, with Young appearing at the Little Britain live stage show in Manchester, and later recording a podcast with Walliams, in which they chatted about various aspects of Young's career.

Will added acting to his repertoire when he accepted a role in the BBC film Mrs Henderson Presents, starring Judi Dench and Bob Hoskins. The film was released in the UK in November 2005 to excellent reviews — not least for Young's performance as both actor and singer in the film.

1980 – Yusaf Mack is an American professional boxer. He has held regional titles from the USBA (Now the IBF), NABA, UBA, and NABF. Mack has fought several former world champions, including Alejandro Berrio, Glen Johnson and Carl Froch.

Mack made his professional boxing debut at middleweight on November 17, 2000 in Biloxi, Mississippi. In his first 24 fights, Mack compiled a record of 22-0 with two draws. Throughout his early fights Mack moved between the middleweight, super middleweight, and light heavyweight divisions.

Mack is a father of ten children and was engaged to a woman. In 2015, he appeared in a Dawgpoundusa.com production titled Holiday Hump'n along with gay pornographic actors Bamm Bamm and Young Buck under the name Philly. He initially claimed he had been drugged by the film's producers and had no recollection of making the film, but later told WTXF-TV that he was gay and had lied to cover that up.

Yusaf later had a "coming out party" at Rage nightclub in Weho, a longtime landmark on the L.A. gay scene.

2012 – Three Muslim men from Derby, UK, were convicted of inciting hatred on the grounds of sexual orientation after they distributed leaflets calling for gay people to be killed.

In a landmark case, a jury at Derby Crown Court ruled the three had breached hate crime legislation by handing out the leaflets outside the Jama mosque, in Rosehill Street, Derby, in July 2010 in advance of a gay pride parade, as well as putting them through nearby letterboxes.One of the leaflets, entitled "The Death Penalty?," depicted a mannequin hanging by the neck from a noose. "The death sentence is the only way this immoral crime can be erased from corrupting society and act as a deterrent for any other ill person who is remotely inclined in this bent way," the leaflet read, as it discussed various methods of carrying out the death penalty for homosexuals.

Another depicted homosexuals burning in a lake in hell. A third showed the word gay laid out as an acronym to read "God Abhors You."

Today's Gay Wisdom

For The Straight Folks Who Don't Mind Gays But Wish They Weren't So BLATANT

by Pat Parker

You know, some people got a lot of nerve.Sometimes I don't believe the things I see and hear. Have you met the woman who's shocked by two women kissing and in the same breath, tells you she is pregnant? BUT gays, shouldn't be so blatant. Or this straight couple sits next to you in a movie and you can't hear the dialogue because of the sound effects. BUT gays shouldn't be so blatant. And the woman in your office spends an entire lunch hour talking about her new bikini drawers and how much her husband likes them. BUT gays shouldn't be so blatant. Or the "hip" chick in your class rattling like a mile a minute while you're trying to get stoned in the john, about the camping trip she took with her musician boyfriend. BUT gays shouldn't be so blatant. You go in a public bathroom and all over the walls there's John loves Mary, Janice digs Richard, Pepe loves Delores, etc., etc. BUT gays shouldn't be so blatant. Or your go to an amusement park and there's a tunnel of love and pictures of straights painted on the front and grinning couples are coming in and out. BUT gays shouldn't be so blatant. Fact is, blatant heterosexuals are all over the place. Supermarkets, movies, on your job, in church, in books, on television every day day and night, every place - even in gay bars and they want gay men and woman to go and hide in the closet. So to you straight folks I say, "Sure, I'll go if you go too" BUT I'm polite, so, after you.

[dishearteningmediocrity]

Featured in today's edition of "unexpected connections to Journey's End": noted socialist/suffragist/feminist/anti-imperialist/labour organizer/future Minister of Education/all-around icon Ellen Wilkinson, MP.

This is one dinner party about which I want to know every single detail, but alas, must settle for this brief article from the Nottingham Evening Post, January 23, 1930. (Bonus irrelevant chicken-related news included; it's what R. C. Sherriff would have wanted.)

Transcript below:

MISS ELLEN WILKINSON, M. P.

THE GOOD FAIRY OF "JOURNEY'S END"

Miss Ellen Wilkinson, M.P., is the fairy godmother of "Journey’s End."

It was she who introduced Mr. Maurice Browne to Mrs. Dorothy Elmhirst, the daughter of a millionaire, and it was Mrs. Elmhirst’s interest in Mr. Browne’s theatre ideals that caused her to find the money without question when Mr. Browne made his rapid decision to present Mr. R. C. Sherriff’s famous play.

Mr. Browne spoke of those obligations at the supper following the “Journey’s End” anniversary--with the original “dug-out” scene from the Savoy Theatre as a background to the Kit-Kat festivities--in the small hours of yesterday morning. Miss Wilkinson was present.

Colin Clive, sitting beside Jeanne de Casalis, his wife, made a humorous speech in which he foresaw the need for an institute for the cultivation of infant actors to play in the interminably running “Journey’s End.”

**********************

At the London Bantam Club Show, Tooting, to-day, Mr. R. F. Hearnshaw, Burton Joyce, four firsts and cup for the best bantam in the show.

[love-midnight-sunshine]

Genre: Comedy, Mystery, Thriller, War

Language: English

IMDb Ratings: 6.8/10

Quality: 1080p Bluray

Movie Size: 1.71GB

Director: Anthony Asquith

Movie Cast: Leslie Banks, Alastair Sim, Jeanne De Casalis

Sypnosis: Allied spies and Nazi Agents insinuate themselves at a Scottish cottage (converted to a wartime hospital) with interests on an inventor's nearly perfected bomb sight.

[manualstogo]

For just $3.99 Cottage to Let Released September 6, 1941: The inventor of a new bombsight for the war effort is in danger when strangers move into the cottage next door. Directed by: Anthony Asquith Written by: Geoffrey Kerr with screenplay by Anatole de Grunwald and J.O.C. Orton. The Actors: Leslie Banks John Barrington, Alastair Sim Charles Dimble, John Mills Flight Lieutenant George Perry, Jeanne De Casalis Mrs. Marguerite Barrington, Carla Lehmann Helen Barrington, George Cole Ronald Mittsby, Michael Wilding Alan Trently, Frank Cellier Ernest Forest, Muriel Aked Miss Fernery, Wally Patch Evans the butler, Muriel George Mrs. Trimm, "Hay Petrie Dr. Truscott, Catherine Lacey Mrs. Stokes, Annie Esmond lady wrapping parcels for the bazaar, Peter Gawthorne Senior Royal Air Force Officer, Arthur Hambling Scotland Yard Inspector, Roddy Hughes German agent, Sydney King Ministry official, Brefni O'Rorke Scottish Police Inspector, Charles Rolfe German Agent, Sydney Tafler Royal Air Force Officer, Ben Williams Scottish fisherman. Runtime: 1h 30m *** This item will be supplied on a quality disc and will be sent in a sleeve that is designed for posting CD's DVDs *** This item will be sent by 1st class post for quick delivery. Should you not receive your item within 12 working days of making payment, please contact us as it is unusual for any item to take this long to be delivered. Note: All my products are either my own work, licensed to me directly or supplied to me under a GPL/GNU License. No Trademarks, copyrights or rules have been violated by this item This product complies withs rules on compilations, international media and downloadable media. All items are supplied on CD or DVD. On Dec-07-16 at 14:44:49 PST, seller added the following information:

[dimitricasali1]

Procès de l’Histoire de France Saint Louis, Colbert, Napoléon, Jules Ferry…tous victimes du politiquement correct !

Non, l’Histoire de France n’est pas un crime contre l’Humanité !

  Mise en procès par une poignée de procureurs, elle est pourtant accusée d’être à l’origine de (presque) tous les maux de notre société. Ce phénomène, appelé mouvement décolonial, nous vient des États-Unis. Des associations communautaires, au nom de la lutte pour l’émancipation, instrumentalisent l’Histoire à leur profit et réactivent l’idée de « race ». Ils exigent de déboulonner les statues des héros de notre Histoire, d’effacer leur nom de nos écoles et de nos rues. De Clovis à Mitterrand, tous nos grands personnages sont attaqués sans aucune contextualisation : Saint Louis, un croisé fanatique, envahisseur du Moyen-Orient, Jeanne d’Arc « égérie du FN », Colbert et Napoléon, des esclavagistes, Ferry un « salaud de colonialiste » et nos généraux Faidherbe, Gallieni et Lyautey des «génocidiaires». 

  La montée de l’ignorance, la totale méconnaissance des faits historiques se télescopent avec une actualité en constante ébullition où tout se conjugue au présent. Ces groupes communautaires (CRAN, CCIF, PIR) soutenus par des associations comme SOS racisme, des syndicats enseignant (SUD éducation), étudiant (l’UNEF) et des personnalités politiques, proposent une vision du monde binaire : d’un côté, les oppresseurs, la France et ses grands hommes, pilleurs des pays du tiers-monde, de l’autre les opprimés, eux-mêmes, les victimes. C’est vouloir imposer une Histoire en noir et blanc où l’anachronisme est maître mot. 

C’est remettre en cause les valeurs françaises de liberté d’expression, d’opinion, de tolérance et d’universalisme qui nous portent. Attaquer nos pères fondateurs, c’est attaquer ce qui constitue le socle de nos repères : Jeanne d’Arc ne démontre-elle pas dès 1429, que la femme n’est en rien inférieure à l’homme ?

Pour pouvoir assumer notre passé sans honte : enseignons et éduquons. Ce sera la clé de notre volonté de vivre ensemble. Car un pays qui n’enseigne plus son histoire est un pays perdu. Le but de cet ouvrage est de réconcilier tous les Français quelles que soient leurs origines :  « Je n’ai pas une goutte de sang français mais la France coule dans mes veines » disait un immigré, Romain Gary…

Cet article Procès de l’Histoire de France Saint Louis, Colbert, Napoléon, Jules Ferry…tous victimes du politiquement correct ! est apparu en premier sur Dimitri Casali.

from http://dimitricasali.fr/proces-de-lhistoire-de-france-saint-louis-colbert-napoleon-jules-ferrytous-victimes-du-politiquement-correct/

[colincliveforever]

Do you have any photos of Colin Clive and Jeanne de Casalis together?

Hello frankofstein,

After about four years or so being a hardcore Colin Clive fan I have been unable to find a picture of them together. I’ve done extensive internet searches but haven’t found anything. I believe if a picture of them together survives it was either destroyed or exists in a private collection. 

Sorry I couldn’t help you. If I do find anything I will post about it! 

Thank you for asking! 

-SJP

[dishearteningmediocrity]

From Picturegoer Weekly, July 29, 1933

Transcript follows:

“The Woman Who Thrilled Me, by Colin Clive”

In an interview with John Gliddon

It has become a Hollywood habit to send an urgent message to Colin Clive asking him to jump on the next boat for a rush journey to Los Angeles.

It has happened once a year since his first spectacular dash to Universal City to play his original part of Captain Stanhope in Journey’s End.

Now Colin is wise in the ways of Hollywood and has become an expert at packing his bags and leaving England at less than twenty-four hours’ notice; he packed in a hurry to star in Frankenstein: he did it again when Hollywood wanted him as Katharine Hepburn’s leading man in Christopher Strong.

That time he had two big thrills--meeting Katharine Hepburn, the Star Who Can Act, and finding out at first hand what it feels like to be in a Hollywood earthquake.

Let’s hear what Colin has to say about the Hepburn thrill before the earthquake is staged; but let me warn you about one thing. Colin Clive is one of those grand fellows who Hates Being Interviewed; he thinks going to the dentist is much better fun.

Maybe he is right. When I explained to him that we might just as well have a chat about Hollywood and not call it an interview, he brightened up a whole lot and ordered another drink.

Said Colin Clive in enthusiastic tones: “Katharine Hepburn is a grand girl. She is certainly different. There is nobody quite like her in Hollywood--or anywhere else, for that matter. What is her appeal? Certainly not beauty; she isn’t beautiful in the least, yet she has a magnetic personality and terrific vitality.”

“Katharine has got something bigger than beauty; she has got brains and above all things she is an actress, to her finger-tips.

“She is not just--a face, but a great personality. I said just now that she is not beautiful; that is true, though she understands the art of acting so amazingly that she can convey the illusion of beauty if the situation demands it.

“When you get to know Katharine Hepburn you are impressed by her natural intelligence. She can talk; I don’t mean chatter the usual Hollywood gossip, but talk like the intelligent woman she is about interesting things that happen in the bigger world beyond the Hollywood circle.

“Few stars talk interestingly on any topic--except themselves, but Katharine Hepburn is the delightful exception.

“On the set, I was impressed by her powers of tremendous concentration. She likes to rehearse, and rehearse until she feels the scene is right, even though her director may be quite satisfied by the scene as it stands.

“No, she always seems to strive after perfection in her acting.

“I have never known a star to be as painstaking as Miss Hepburn.

“In Christopher Strong, we both had the novel experience of being directed by a woman--Dorothy Arzner.

“Miss Arzner is a clever technician, but it seemed a bit queer, at first, being told what to do--by a woman!

“I got used to it after awhile, though another thing that struck me as a bit strange, until I got over the shock, was that Dorothy Arzner never lost her temper. I suppose she leaves that privilege to the male directors. She is very reserved, very gentle, very clever, and she is an ‘ace’ for angles.”

When shooting on Christopher Strong finished, a bank crash hit Hollywood, and nobody was allowed to draw out any money.

Colin wanted to return home. He took his cheques to the bank, but the banks were closed, and he had to wait until they were re-opened. He waited a few weeks and was getting tired of kicking his heels round Hollywood when the Metro-Goldwyn-Mayer studio snapped him up for Service, the screen version of Dodie Smith’s play of shop life.

The only bright spot in those weeks of waiting for the banks to resume business were some happy week-ends with Elizabeth Allan and husband Bill O’Bryan.

This young couple have made a hit with Hollywood.

Then he told me about that other big thrill--the earthquake.

“I was sitting in my hotel room writing to Jeanne (Jeanne de Casalis, Mrs. Colin Clive), when suddenly the radio started to screech and the lights flickered. Then I heard a rumble, the house quivered, my books came tumbling down, and great cracks appeared on the ceiling.

“I rushed downstairs and out into the street. There was tremendous excitement. People looked scared. Two girls fainted just in front of me. For a few moments there was panic.

“Then, though it seemed longer at the time, a few seconds later it was all over. There followed a series of small shocks but I wasn’t taking any chances and went back to my room and stood in the archway of the open door. That is the safest place I was told to stand when an earthquake is on.

“Coming home, I dreamt about that ‘quake and woke up in my cabin, having forgotten I was safely at sea, and jumped out of bed to stand in the archway of the cabin.

“Then I woke up--properly, and realized it was only a dream. You see, they are nasty things--earthquakes!

I gave Colin Clive a minute or two to get the impression of that earthquake out of his mind before asking him to talk about two other interesting members of the cast of Service, Lionel Barrymore and Lewis Stone.

“I have never met an actor with less personal pride than Lionel Barrymore,” he told me. “He is an extraordinarily well-read and intelligent man. When he talks it is always about something worth while, though I think he likes sleeping better than anything else.

“I have seen Lionel Barrymore enjoying a sound sleep in his chair at the side of the ‘set,’ yet the instant his cue comes he is wide awake and ready for the ‘shot.’

“Lewis Stone is another very delightful man; in fact he is one of the nicest men I have ever met. Reserved, cultured, charming and courteous to everybody, he certainly seems to know all there is to know about picture acting, yet, with all his experience, he never questions his director, or make suggestions of his own about how the scene should be played.

“Lewis Stone always does what he is told, and how well he does it!

“It was certainly an interesting experience, playing in Service with such splendid actors as Lionel Barrymore and Lewis Stone, though--what pleased me most of all--was the knowledge that ‘Liz’ Allan is regarded as one of the most promising of all Hollywood’s younger stars.

“It’s a grand break for an English girl to win personal popularity in Hollywood. But ‘Liz’ Allan seems everybody’s favourite.”

At the end of Service, James Whale offered Colin Clive the leading part in The Invisible Man, but as it meant waiting two months for the picture to begin, Clive felt he could not accept, though the part appealed to him as being “down his street.”

Colin Clive gets a kick out of playing parts like his grim role in Frankenstein; he certainly does not see himself as a leading man or a romantic lover. He wants the strong stuff.

When Colin Clive is home in England you will have to look for him right in the heart of the country.

Somewhere in Kent, he and Jeanne de Casalis have a small cottage where they spend as much time as possible, winter or summer.

“I have no use for parties,” Colin said to me, “I never go to them, and the only life I really enjoy is away from London, pottering about in the garden at the cottage.

“I suppose it may sound a bit queer for a fellow to say that there is no spot on the earth to compare with England when you want the joy of the simple life. Well, I have yet to discover anything better than English country life.”

That is a true portrait of Colin Clive, the star Hollywood always wants--in a hurry.

[love-midnight-sunshine]

Genre: Comedy, Mystery, Thriller, War

Language: English

IMDb Ratings: 6.8/10

Quality: 720p Bluray

Movie Size: 1.08GB

Director: Anthony Asquith

Movie Cast: Leslie Banks, Alastair Sim, Jeanne De Casalis

Sypnosis: Allied spies and Nazi Agents insinuate themselves at a Scottish cottage (converted to a wartime hospital) with interests on an inventor's nearly perfected bomb sight.

[dimitricasali1]

Macron: « il n’y a pas de culture française… »

Emmanuel Macron a provoqué trois polémiques d’affilée en attaquant, la culture française, (il n’y a pas de culture française, l’histoire de France en parlant de la colonisation en Algérie comme d’un « crime contre l’humanité » et enfin à Londres dernièrement il a déclaré qu’il ne savait pas ce qu’était l’art français… Ces propos sont insupportables parce que faux. Emmanuel Macron vient de prouver qu’il était ignorant de l’Histoire du pays, de la culture et des arts du pays qu’il voudrait gouverner. Rien d’étonnant malheureusement puisque cette histoire n’est plus enseignée à l’école, puisque cette culture n’est plus promue par l’Etat. Dire cela c’est refuser aux jeunes et aux immigrés d’accéder à la culture Française de la Chanson de Roland à Romain Gary. Or partout dans le monde on connaît la culture Française on aime la France pour sa culture. Chaque année 84 millions de touristes viennent dans notre beau pays pour voir le Louvre Versailles ou les Invalides. Ce qui en fait la première destination touristique planétaire. Dans la « France hollandaise » ou tout a été déconstruit, sali, détruit, piétiné, il ne reste plus rien ni la culture ni les arts… Certes la culture Française n’est pas figée et continue à s’enrichir ou même pourrait-on dire de s’appauvrir… Les gloires de la France sont devenues des hontes, la mémoire de nos ancêtres et de nos morts est saccagée et piétinée comme lors de la commémoration du centenaire de la bataille de Verdun en 2016. Les institutions républicaines sont détournées a des fins partisanes par la gauche médiatique in carné par ce jeune et fringuant ex ministre de l’économie à la culture d’énarque. les énarques savent parler de tout sur tout mais creusez en profondeur, ils ne savent rien sur rien. Avec Benoit Hamon, l’essentiel pour eux est que la France en tant que Nation disparaisse…Macron renie toute spécificité de la France et se soumet à la domination anglo-saxonne de la mondialisation.

Marcon et le crime contre l’humanité Il faut cesser d’employer des termes à la signification très précise hors de leur contexte historique ! Selon la Chartre du TPI (article 7) on peut parler de « crime contre l’humanité » lorsqu’il y a une attaque systématique dirigée contre toute une population civile désignée, qu’elle se fasse par le meurtre, l’esclavage ou la déportation. Ce n’est absolument pas le cas de la colonisation en Algérie, ni même de l’esclavage par ailleurs. Ces faits historiques peuvent être dramatiques ou épouvantables mais ils ne sont pas des crimes contre l’humanité. Par ailleurs, Emmanuel Macron oublie un peu vite qu’il y a dans toute colonisation une œuvre civilisatrice, même s’il y a aussi des destructions. Que serait la France sans la colonisation romaine ? L’Algérie n’a pas été capable de faire fructifier ce que la France a laissé alors que c’est un grand pays… De qui est-ce la faute ? Ce n’est certainement pas à la France de s’excuser pour cela. Il faut également rappeler, parce que c’est là aussi un fait historique, que l’Algérie n’existait pas lorsque nous sommes arrivés en 1830. La création de l’État algérien date de l’indépendance, et ces terres étaient précédemment occupées par les Turcs. Quand on se tourne du côté de l’Angleterre, on constate que les Anglais assument tout à fait leur passé colonial. La France n’a jamais été capable de le faire, par peur. Il faut que cela cesse. Il ne s’agit pas de nier que la conquête de l’Algérie s’est faite dans le sang, mais il est impossible d’oublier par ailleurs les œuvres sanitaire, éducative et économique de la France. Les médecins français ont éradiqué là-bas toutes les maladies infectieuses, il ne s’agit pas exactement d’un crime contre l’humanité ! C’est d’ailleurs ce qui explique que la population locale soit passée de 2 millions à notre arrivée à 10 millions lorsque nous sommes partis. Emmanuel Macron dit tout simplement n’importe quoi, et se fait le porte-parole d’une vision totalement déséquilibrée et culpabilisante de notre Histoire. Emmanuel Macron avait d’ailleurs lui-même parlé des œuvres civilisatrices dans une autre interview et prouvé ainsi qu’il est un homme sans convictions réelles, puisqu’elles sont sans cesse contradictoires. On ne peut aller aux fêtes de Jeanne d’Arc à Orléans, au Puy du Fou, puis déclarer qu’il n’y a pas de culture française ou affirmer des choses aussi malhonnêtes sur la colonisation, sans vision de long terme ! Cette déclaration remet en question tout son discours basé sur le fait qu’il serait un homme nouveau, au-dessus des partis… Il vient de faire exactement la même chose que François Hollande en allant docilement faire pénitence à Alger, dans le but de se faire adouber par Abdelaziz Bouteflika ! Il s’agit là d’un pur calcul électoral : Emmanuel Macron a lui aussi cherché à séduire la communauté des Français d’origine algérienne, peu soucieux de la vérité historique de son propre pays. L’Histoire est souvent tordue à des fins électorales Et là, c’est évident. Mais c’est d’autant plus grave que c’est extrêmement dangereux pour notre pays. Quel homme d’État peut avoir assez peu de scrupules pour ainsi humilier son propre pays à l’heure où le feu couve dans nos banlieues ? Est-ce vraiment le moment de diviser encore un peu plus les Français par électoralisme ? Il est urgentissime d’apprendre ce qu’est la France à tous les petits Français, et donc aussi à tous ces enfants déracinés qui sont une proie facile pour l’islam radical. Ce n’est certainement pas en répétant ce genre de contre-vérité historique que la France va devenir aimable dans nos banlieues. Je rappelle que, selon l’Institut national d’études démographiques (Ined) et le ministère de l’Intérieur, 37% des jeunes d’origine étrangères ne se sentent pas Français ! Ce genre de déclaration ne fait qu’envenimer les choses. La Liberté religieuse totale promise par Macron au nom de la diversité culturelle constitue la fin de la laïcité C’est en plus, à mon avis, un très mauvais calcul parce qu’Emmanuel Macron se met ainsi à dos les anciens combattants, les quatre millions de Français rapatriés, leurs descendants ainsi que tous les Harkis…

Cet article Macron: « il n’y a pas de culture française… » est apparu en premier sur Dimitri Casali.

from http://dimitricasali.fr/2017/02/25/macron-ny-a-de-culuture-francaise/

[dishearteningmediocrity]

Well heck, why not post this one as well. I had seen excerpts before, but just recently found the whole thing. From Picturegoer Weekly, June 27, 1931.

Transcript below:

“The Strange Case of Colin Clive” by Randolph Carroll Burke

By his astonishing performance as Captain Stanhope in the talkie version of Journey’s End, Colin Clive made a great name in filmdom, despite the fact that previous to this he had never even set foot inside a film studio.

Journey’s End enjoyed a world-wide release. Mr. Clive’s mail-bag was laden to bursting-point with requests for signed photographs.

I sat back and waited with enthusiasm for his next picture.

Nothing happened for quite a considerable time. Then one day I read that the Gainsborough Company had signed him up to act in a talkie called The Stronger Sex.

At last, I thought, we shall be able to see some more of the man who made Stanhope a living personality.

The Stronger Sex was made in 1930. Colin Clive has done no more movies.

Determined to investigate the strange case of the film star who disappeared, I went along to the Playhouse Theater recently, where Mr. Clive is acting in a legitimate play, The Crime at Blossoms. I waited in his dressing room for him. On a side-board reposed a photo-frame. In the photograph were two photographs, both of Jeanne de Casalis, the actor’s wife.

The Clive-de Casalis marriage has existed for quite a long time. In fact, no pukka film star would dare to flout convention by such outrageous marital endurance!

Colin Clive entered, looking very much younger than Captain Stanhope. He proceeded to crack a bottle of beer.

“Why haven’t you done any more films after Journey’s End and The Stronger Sex?” I asked him.

“Because I am not the least bit interested in motion pictures,” he told me.

I pointed out that many filmgoers all over the world were inquiring about him. That after his portrayal of Stanhope he had fired the popular imagination. In short, the public were waiting to see more of his work.

Then he told me the truth about himself.

Journey’s End, he said, was a fluke. Any fairly capable actor could have got away with the part of Stanhope. The cameraman was also responsible for a lot of his success.

When he finished the war film he made up his mind that nothing would induce him to act in another talkie.

An English company approached him with a big money offer to take part in a picture called The Stronger Sex. As he wanted money at that time, he took the job.

I asked him whether his distaste for films was due to any dissatisfaction he had for Jouney’s End. He confessed he had never even seen it. He hates films because they are unreal. He can’t bring himself to act the final scene of a picture on the first day of production. Or the beginning of the story in the middle or at the end of production time.

Films are shot in this hap-hazard style to facilitate set-striking.

Colin Clive would rather have two lines to speak on stage than a star part in the biggest super film that ever came out of Hollywood.

He is seriously considering returning to California to do a film, but only because the terms are so fat that it would be folly to refuse the offer.

Then he plans to come back post haste to this little berg to act on the stage and thereby wash the taste of canned drama out of his mouth!

Pertinaceous questioning revealed the fact that he never visits a kinema. People who rave about montage and other technical points strike Mr. Clive as ridiculous.

True dramatic art can only be successfully accomplished by living people before a living audience, with the footlights intervening.

Regarding the fans who are craving more of his work, Mr. Clive was a little sceptical.

“True, I still get letters from all parts of the world,” he told me, “but my consistent absence from the screen will cause the public to forget all about me and pin their affections on some other player.”

When he went to Hollywood, he stayed at the Hotel Roosevelt, on the Sunset Boulevard. He really isn’t sure whether he did or not. Frankly, he wants to forget all about the film capital.

When he wasn’t working he went to bed.

He went to a few parties because he didn’t want to appear churlish.

The people he met at these functions were pretty decent, but the fact that they were film stars thrilled him less than going around under bogey. To make Colin Clive interested you have got to talk in stymies.

I agree with him when he says that film stars are worshiped out of all proportion to their merits. Enthroning them as demi-gods is foolish he thinks.

He will kill in cold blood the very next person who asks him whether it was real whisky he drank in Journey’s End.

If he does return to Hollywood to relieve the moguls of all that money you needn’t think that motion pictures have converted Colin. He simply refuses to be overawed by the Great God Celluloid.

He will act his part before the robotesque camera and then he will set his face against Hollywood until he wants some more money.

[dimitricasali1]

« L’Histoire mondiale de la France » pensum de l’anti-France ?

L’Histoire mondiale de la France (Seuil), ouvrage collectif paru le mois dernier sous la direction de l’historien Patrick Boucheron apparait comme la dernière production effarante de cette volonté délibérée d’attaquer la connaissance et la culture qui saisit aussi les « pédagogistes » de l’Education Nationale.

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« Voilà bien ces historiens soixante-huitards crépusculaires pris en flagrant délit d’instrumentalisation politique de l’histoire… » Dimitri Casali

Cet ouvrage qui parait bien plus politique qu’historique entend livrer un récit progressiste de l’Histoire de France en montrant que la nation française n’existe pas en tant que telle mais qu’elle est un tissu mouvant en perpétuelle en évolution. Curieuse histoire de France où Napoléon, justement le Français le plus populaire au monde, y est presque absent, où Jeanne d’Arc n’a pas même pas l’honneur d’avoir une entrée à son nom, où Versailles n’est pas le génie de la France mais la réussite du multiculturalisme et où le général De Gaulle est célébré le 28 août 1940 à Brazzaville, capitale de la France libre, et non pas à Londres en juin. Étrange histoire de France où l’on ne tient pas compte de ce que la France a apporté au monde et où ne sont présents ni Rabelais, ni Molière, ni Racine, ni La Fontaine, ni Poussin, ni Monet, ni Berlioz, Debussy, ni Ravel ( le compositeur le plus joué au monde…), mais où est rendu un vibrant hommage aux Mille et nuits (très progressiste, l’épouse d’un sultan luttant pour ne pas être décapitée) et abondamment salué son traducteur, Antoine Galland, qui eut l’audace d’ajouter au récit original des contes que lui avait fait un voyageur arabe venu d’Alep. Balzac est cité, mais les auteurs déplorent qu’il ne fasse pas la place belle à l’hybridation, et lui opposent l’universalisme de Claude Fauriel, un universitaire qui occupa la première chaire de littérature étrangère à la Sorbonne et qui consacra une partie de son temps à étudier l’influence des auteurs arabes sur la littérature française. Cette histoire pénitentielle ressemble à un film comique.

Voilà bien ces historiens soixante-huitards crépusculaires pris en flagrant délit d’instrumentalisation politique de l’histoire… Le but de cet ouvrage est de prendre systématiquement l’exact opposé de ce que nous apprenions jusqu’à présent, et de sans cesse rabaisser, dénigrer tout ce qui a pu être grand dans l’histoire de notre pays. Tout ce que décrivait encore le grand historien George Duby dans son « histoire de France des origines à nos jours », publiée en 1995 il y a encore un peu plus de vingt ans…

En accumulant les références aux migrations des populations, à la mondialisation et à l’écologie, Histoire mondiale de la France souffre d’anachronismes et de paradoxes. Patrick Boucheron oublie la première leçon que tout historien apprend en première année de faculté d’Histoire : toujours replacer dans le contexte de l’époque les faits et personnages historiques. À trop retracer le passé à travers les obsessions d’aujourd’hui ces historiens prennent le risque d’être taxer de révisionnisme… On expliquera aux morts de 14-18, pourquoi on raconte leur histoire à partir d’un épiphénomène, celui de la réticence des kanaks en passant sous silence tout ce que la défense du territoire nationale représentait pour nos arrières-grands parents.

Un histoire… bien politisée

Ainsi le sens de cette entreprise est de dissoudre ce que l’histoire de France a de spécifique dans des idées dans l’air du temps que sont la diversité et le métissage. Selon la fine fleur des historiens français (122), la réponse contemporaine au terrorisme islamisme est donc d’affirmer la dette de l’Occident envers l’Islam, par une étrange auto-flagellation, ainsi du récit de l’invasion de Narbonne par les musulmans en 719 où « les cultures se sont mêlées » avant que les Francs, « hélas », n’intègrent de force cette ville à leur royaume. On est d’autant plus surpris de ce parti pris qu’aucune mention n’est faite de ces « étrangers » que sont Hérédia, Romain Gary, Troyat, Sarraute, Cioran, Ionesco, Lévinas, Kundera qui ont pourtant enrichi le patrimoine français pour qui la France était la « Patrie littéraire ». Mais sans doute n’avons-nous pas de dette coloniale envers eux à réparer.

Mondialiser l’histoire de France, c’est dissoudre son identité son génie propre dans le grand bain de la mixité. Le rejet obsessionnel de l’identité a fait place nette de la culture. La haine de toute affirmation identitaire pousse ces chercheurs à vider la France de sa substance et de son héritage. Cette histoire toute entière est consacrée au dogme du politiquement correct.

Exit Hérédia ou Ionesco et vive Lilian Thuram !

C’est grave car cette histoire mondiale de la France écrite sous l’égide du Collège de France est relayée par l’unanimité des médias. Si elle s’impose aujourd’hui on assistera à une véritable Désintégration Française pour reprendre le titre de mon dernier essai, ça y est ! Nous y sommes… ! Si ce bréviaire de la repentance et de la soumission s’impose, la France va perdre la mémoire de ce qu’elle a de meilleur…toute sa civilisation. Encore un autre lien avec Georges Duby et son « Histoire de civilisation française » et que l’on ne peut surtout pas le qualifier historien réactionnaire. Lui et Emmanuel Le Roy Ladurie, ont su rappeler à travers leurs œuvres que la France est une nation avec laquelle on peut s’attacher par le cœur aussi fortement que par les racines. « L’histoire Mondiale de la France » rend cet attachement impossible. À force de récuser le concept d’identité française puisque désormais il n’y a rien de spécifiquement français, la France n’est plus la France, tout intégration à la culture française semble inutile…

« Le national renvoie à une vision figée et idéologique de l’histoire, quand celle-ci, par nature, doit être libre, toujours en mouvement, sans cesse analysée et réinterprétée » malgré les précautions oratoires de Patrick Boucheron dans son introduction, tombe le masque. Sauf que la dénonciation de l’instrumentalisation des faits, exercice qui n’a jamais échappé aux historiens, est chez lui le prétexte au vagabondage culturel et ne l’exempte pas, bien au contraire, d’instrumentaliser l’histoire selon sa propre idéologie. En m’attaquant personnellement dans l’Humanité du 5 janvier en traitant d’escroquerie intellectuelle ma réédition « complétée » d’Ernest Lavisse, alors qu’il n’a même pas lu mon livre, montre sa suffisance tant il croit détenir la vérité. L’étude historique n’a rien gagné à devenir, comme l’enseignement ces dernières années, la lice des joutes politico-politiciennes ! Il est certain que quand des historiens veulent prouver quelque chose dans l’air du temps d’aujourd’hui, faciliter le vivre ensemble avec des populations qui, sociologiquement ou culturellement, veulent une autre Histoire, on risque effectivement de s’éloigner de celle qui a façonné l’esprit des Français de toutes origines jusqu’à plusieurs dizaines d’années. Pas d’histoire de France sans histoire du monde, d’accord. Mais la réciproque ? Pas d’histoire du monde sans la France il l’oublie totalement. L’idée que nous avons été le pilote du vaisseau de l’humanité peut faire sourire. Il se trouve qu’il y eut en effet de nombreux moments où la France le fut. Et un autre à partir de la Révolution où son projet universaliste

eut l’originalité de se fonder sur la liberté. On est en droit d’espérer que ces moments puissent survivre à toutes les déconstructions et toutes les repentances.

A lire Patrick Boucheron, on y décèle le contentement de soi de celui qui a enfin trouvé la martingale permettant de déconsidérer ceux qui sont attachés à une identité nationale et territoriale. Le récit national s’appuie sur des réalités : de la guerre des Gaules en passant par Jeanne d’Arc (dont nous avons les écrits de son procès et les témoignages) jusqu’aux trente glorieuses. Autant de personnages qui ont construit une identité, des valeurs, la société de partage qui a vécu jusque dans les années 80. Le patriotisme, c’est d’abord sa patrie et ensuite les autres pays, comme chacun d’entre nous fait avec ses proches : d’abord sa famille et ensuite les autres. Après, le tout est de savoir ce qu’est la « patrie » – pendant la révolution, patriotisme est quasiment synonyme de « civisme »- dans cette conception, la patrie n’est pas un univers étriqué, c’est la « res publica… ».

Patrick Bouchron

L’acharnement d’épuration post-colonialiste de ces universitaires rejoint la bêtise de ces étudiants de l’Université de Londres membres de la School of Oriental and African Studies (SOAS) qui ont récemment voulu interdire l’étude des philosophes blancs tels que : Platon, Aristote, Voltaire, Montesquieu, Kant. On est bien évidemment en présence d’un aveuglement totalitaire de la pensée, qui sous couvert de progrès rejoint en effet des archaïsmes profonds (on pense par exemple à l’Index des livres interdits par l’Eglise ou bien par les Nazis ou encore Staline). Mais là où on se dit que ces propos sont le fait d’une poignée d’étudiants illuminés, l’on se rend compte que tous les jours, en France sous la plume d’universitaires émérites du Collège de France, l’opportunisme idéologique gagne du terrain…

  Je veux bien que l’on s’inquiète du concept d’identité Française pour qu’il ne devienne pas complètement figé. Certes, mais alors remplaçons-le par le concept de civilisation qui pousse à prendre en compte toute sa culture et tous ses arts. Romain Gary – pas cité dans l’Histoire Mondiale de la France- a bien écrit : « je n’ai pas une goutte de sang français mais la France coule dans mes veines… ». Les civilisations s’élèvent et s’effondrent selon la vitalité de leurs idéaux culturels, et non seulement selon le poids de leurs richesses matérielles. L’Histoire nous apprend que la plupart des sociétés cultivent des valeurs sacrées pour lesquelles leurs peuples sont prêts à se mobiliser passionnément, sans faire de compromis. La recherche du savoir, de la connaissance, la quête de l’excellence et du progrès sont des valeurs qui nous protégeront de la barbarie et de la montée de l’ignorance. Celles-ci doivent être enseignées. Il y va de notre avenir…

Cet article « L’Histoire mondiale de la France » pensum de l’anti-France ? est apparu en premier sur Dimitri Casali.

from http://dimitricasali.fr/2017/01/30/lhistoire-mondiale-de-france-pensum-de-lanti-france/

[colincliveforever]

A Matter of Good Taste 1932

This is a relatively unheard of short film featuring Colin Clive. It isn't even listed on IMDb. Here is what I know of it from Gregory William Mank's book Hollywood's Maddest Doctors page 289)  

Released October 3, 1932; Director: George Dewhurst; Cinematography: Walter Blakely; 10 minutes

Cast: Colin Clive (Terry), Jeanne de Casalis (Daphne), Den Warren (Butler), Connie Ediss (Cook), Marguerite Allan (Girl)

MORE INFO HERE WHICH IS SLIGHTLY CONTRADICTORY.

After I posted it, a friend of mine and I decided we think that the BFI info is probably more accurate than Mank's.