#Peter Capell

[letterboxd-loggd]

One, Two, Three (1961) Billy Wilder

May 13th 2023

[nerds-yearbook]

In 1950, a small Mexican town was filled with visitors for the fiesta; however what they didn’t suspect was that some of those visitors were from the future. Two of them were vacationers from 2155, who had been enjoying things not available in the war torn future. Not wanting to return to the bleak future and their roles in weapons design, they decided to defect and stay in the past. The other visitors were hunters from the future sent to bring them back. (“To the Future” Dimension X, Radio)

[loveboatinsanity]

[streamondemand]

'The Burglar' – Dan Duryea sweats it out on Prime Video

In a genre filled with the lurid and the vicious, The Burglar (1957) is as sweaty and tawdry as they come, a pulp crime thriller set in the seedy lower depths of low-rent crooks and raw passions. Dan Duryea centers the film with an easy, almost world-weary confidence as Nat Harbin, a career criminal and veteran safecracker with so much confidence that he chats up a couple of uniform cops who…

[somebeetledude]

Establishing their dynamic is fun. To me

This is my penumbra oc, Draper! They’re a dodgy trader by trade, and dodger of many taxes. Nureyev (and by Nureyev I mean ORLANDO) sells a lot of the stuff he steals through Draper’s travelling shop.

[flammentanz]

Zehn kleine Negerlein, die tranken ein Glas Wein. Das eine, das verschluckte sich, da waren’s nur noch neun. Neun kleine Negerlein, die schliefen in der Nacht. Eins ist nicht mehr aufgewacht, da waren’s nur noch acht. Acht kleine Negerlein, die gingen Kegel schieben. Eins blieb allein zurück, da waren’s nur noch sieben. Sieben kleine Negerlein, die trafen im Wald ‘ne Hex’. Sie winkte dem einen mit der Axt, da waren’s nur noch sechs. Sechs kleine Negerlein, die liefen ohne Strümpf’. Den einen stach eine Wespe ins Bein, da waren’s nur noch fünf. Fünf kleine Negerlein, die kamen vor des Richters Tür. Der schickt den einen aufs Schafott, da waren’s nur noch vier. Vier kleine Negerlein, die kamen am Strand vorbei. Ein Nixlein sah sie lockend an, da waren’s nur noch drei. Drei kleine Negerlein, die liebten die Jägerei. Das eine fraß der wilde Bär, da waren’s nur noch zwei. Zwei kleine Negerlein, die letzten des Vereins. Das eine schoss das andere um, da gab es nur noch eins. Ein kleines Negerlein blieb ganz allein o Graus. Da hängte es sich selber auf, und das Lied ist aus.

“Und ich sage euch, keiner von uns wird diese Insel je wieder verlassen.” (General John Gordon McKenzie)

“Wir kommen alle um hier in diesem Haus - bis auf einen.” (Dr. Edward George Armstrong) “Es hat doch alles keinen Zweck. Wir kommen hier niemals mehr raus.” (Vera Claythorne)

“Zehn kleine Negerlein” (1969)

Ein glänzend aufgelegtes Schauspielensemble macht diese Fernsehfassung von Agatha Christies “Und dann gab es keines mehr” - nach wie vor der weltweit am meisten verkaufte Kriminalroman - zu einem unbedingten Sehvergnügen. Besonders bemerkenswert ist die Zahl der außer Richter Wargrave (Alfred Schieske) ebenfalls verdächtig erscheinenden Personen wie der mysteriöse Philipp Lombard (Rolf Boysen), der schmierige Privatdetektiv Blore (Werner Peters), die eiskalte Miss Brent (Nora Minor) sowie der sarkastische Butler Rogers (Günther Neutze).

[rubenista]

Peter Lely, The Carnarvon Family: Group portrait of Charles Dormer, 2nd Earl of Carnarvon (1632-1709), his wife Elizabeth, née the Hon. Elizabeth Capel (1633-1678), and their children Charles, Viscount Ascott (1652-before 1673) and Elizabeth, later Elizabeth Stanhope, Countess of Chesterfield (1653-1677) (detail), 17th century. Oil on canvas, 156.2 x 217.8 cm. Private Collection.

[youcantspellinfinity-withoutfinn]

I’m thinking someone should just give Gigi her medical license now 😂

She’s the one who told Conrad that Peter ate roast beef which caused his protein (?) to spike so they were able to avoided cutting his brain open.

Noticing Sammie had a red tongue (which for some reason all those doctors didn’t? 😂) and they were then able to diagnose her properly and she got better.

Not really medical but knowing that Kyle meant carpel tunnel when he said “that capel thing” I mean what five year old knows that 😂

Im sure there is more smaller moments but I’m blanking at the moment.

[kwebtv]

Smuggler - ITV - April 5, 1981 - June 28, 1981

Adventure (13 episoides)

Running Time: 30 minutes

Stars:

Oliver Tobias as Jack Vincent

Lesley Dunlop as Sarah Morton

Hywel Williams-Ellis as Honesty Evans

Peter Capell  as Captain Konig

[authorbettyadams]

Optimus Prime's Face Modeled on Peter Cullen's Confirms TF ROTB Director Steven Capel Jr

#TransformersROTB #OP #Autobots #PeterCullen #Homage

[prince-toffee]

My review of Rise of the Beasts

It was... okay. I liked like 70% of it. We're inching- we're inching closer and closer to that perfect Transformers movie, but we're not there yet. I gotta say I liked Bumblebee (2018) more but that's not really fair to say because it's my favourite movie of all time, because it was the first time we had proof that live action Transformers movies can be good, the first time that they made a genuine effort and were created by decent human beings. So, this movie can't beat that in my mind. Overall, I'd give this film a 6.5 out of 10

Spoilers obvi

Not sure how to structure this, so I'll just go chronologically through the film and say whatever pops into my head. The opening is fun. Scourge is terrifying. I kind of love that he dispatches Apelink pretty much effortlessly, it's so disheartening and horrifying and it really tells the audience that the main characters are screwed. Look, the bar is so so SO low so when we see Primal sad when Apelink transfers the leadership over to him, you're like ‘Oh my God, there are people, that's great’. Voice acting in general is great, Peter Dinklage sounds great as Scourge. Ron Pearlman as Primal is phenomenal.

There wasn't much depth to Scourge, he's just evil for the sake of being evil, but he's good at being evil for the sake of being evil, but honestly I’m kind of disappointed because I thought I heard Steven Capel Jr say he wanted the villain to not just be plain evil, so I think some scenes could have been cut out. Unicron mentions that Scourge, Nightbird, and Battletrap are survivors of a world he consumed, but... why? Why did he pick them? I thought Scourge was like in a Silver Surfer situation like ‘hey don't eat my world and I'll lead you to other worlds’ and that's why he keeps serving Unicron to protect his home, that way there is a parallel there between OP and Scourge, they both want to go back to and protect their home, Scourge is what OP could be if not for the character arc he embarks on. Which would have been great. But we didn't really get that. But you have no idea how happy I was to hear that OP was getting a character arc, like I said the bar is on the floor.

Now... a major gripe here:... I noticed a plot hole. So, the Maximals use the Transwarp Key to escape through space and time and go back in time to earth, right? Airazor mentions she's from their ‘past and future’ and Primal mentions that he was named after Optimus. So, they are from the future. So... how does Scourge know them? How does Unicron know them? Shouldn't they be like WTF this weird energy signature just appeared, what is this? Who are these people? An easy fix would have been if Scourge and Co grab onto the ship and follow them through the portal and they get lost along the way somewhere in space that's why they're not on earth from the get go and then they are drawn to the planet by the key being activated and then once they get the key they call Unicron from their future by opening a portal through time.

Human stuff is good. Humans are bearable. Humans have never been better. I actually found myself tearing up at the scenes between Noah and Chris. The Sonic and Tails reference was cute. Calling Mirage Knuckles was extremely adorable too.

I have to admit when the Autobots first appear on screen I got so excited. Loved Arcee, Liza Koshy did a really good job, I really wasn't expecting her to deliver the lines so perfectly, I love the G1/Energon design. Especially the shade of pink they use for her visor it's delightful. I like this interpretation of Arcee, she's like a tech-head, she sounds like a strategist, very much G1/Animated personality. The dynamics between the Autobots are really fun. I love the fact that they actually like each other and are friends.

References to Bee (2018) are much appreciated, thank you.

Mirage is great, love him, a new fan favourite for me, he's funny, he's adorable, he sincere, Pete Davidson did a damn good job. Formula One G1 reference was fun, but that was one of those instances where the CGI wasn't great. His relationship with Noah makes the film alongside with OP's arc.

I like the reasoning behind the Autobots needing him, him being a thief and all that. I like that the humans serve a purpose and it all brilliantly ties in together. I think that the first act is the tightest by far.

So, a new concept introduced in this film is that bots can transform into any vehicle they want no matter the size, that's cool, explains the mass-shifting for others like Shockwave and Megatron, I know some people might have a problem with that, but I actually thought it was fine.

Apart from Prime (show) this is Peter Cullen's best performance yet as Optimus. Love that he distrusts humans and doesn't care for them much at the beginning, I love the guilt and shame that he feels for pretty much losing the war and getting his Autobots stranded on a backwater planet I love all of those scenes with Optimus.

Would have loved to see that deleted scene with OP killing Transit and hunting Decepticons and dumping their bodies into the Hudson, that sets the perfect tone for his journey and the mental state that he's in.

But on the other hand I like the fact that without this scene the Decepticons haven't made it to earth yet, not diminishing Bee’s victory at the end of the last film.

Humans don't see the beacon, that's cool. Explains why the police don't just show up right away.

Those BayFrenzy-looking things, hate them, once again that Bayverse garbage from the producers is leaking in. There's a lot of good stuff from Steven Caple Jr here to counterbalance that. And all the best stuff from this movie comes from him and his personal rewrites from what I can tell from his interviews. But that God damn Bayhem still pokes its head out from time to time. Like... every villain gets decapitated and is murdered gruesomely. It's completely unnecessary. It doesn't allow for these villains to grow in later sequels which is unfortunate. Stratosphere coughs up an engine, whatever, at least it wasn't a fart joke. Like I said; the bar is on the floor.

The museum fight is fun, it's good, entertaining, we can actually see what's happening. The Terrorcons are formidable. ‘Primus would be ashamed’ what a great quote. Great one liners from Scourge, you can tell that he's a psycho and that he enjoys being a psycho, good stuff.

I wish Nightbird and Battletrap talked more, I wish they had a Shatter/Dropkick relationship. Just something you know? They hate each other / they love each other / they hate but they respect each other / they are plotting against each other. Just something. Anything. But at least they look great, and unique, and you can tell them apart. The voice acting is really good, especially for Nightbird.

I love that OP wants the Transwarp Key to go home, while Noah wants to destroy it, all that stuff makes for fascinating conflict, I really love that. But it makes you wonder though why the Maximals didn't destroy the key themselves. Maybe it can't be destroyed only split, or they secretly hoped they could use it to travel the universe again one day to protect and shepherd different planets as that is their role in this continuity stated by Primal.

OP is furious over the death of Bee, his son, and that's great, the guilt he feels, that shame of losing the war, stranding his Autobots on a planet he doesn’t recognise, the same actions that lead to Bee dying, it's all excellent.

Bee being in a coma gives OP further motivation to get back to Cybertron, every event in this movie is really just hitting him over the head saying ‘you should have never come here’ ‘it's all your fault’.

We meet Wheeljack, he's still ugly, still looks like Urkel, but I actually love him, he's adorable, he actually reminds me a little bit of Earthspark Wheeljack, so I really liked him for like the three scenes he was in, there wasn't really a point to him, he doesn't do anything techy, but he was fun. Paying respect to Peru culture was delightful. The Maximals having a relationship with the indigenous native people is so heart-warming and so joyful to watch. One thing I love about this movie is that they avoid the Chariots of the Gods bullshit, Primal says ‘we cannot take credit for human ingenuity’ this movie gives so much respect and props to indigenous people and poc, it's wonderful. You know a white person did not write that.

I wanted more of the Maximals, because I mean the title is ‘Rise of the BEASTS’. but they kind of stand as the perfect link between the Autobots and the humans, they represent that techno-organic bond, the theme of coexistence, they represent what OP could be and becomes, so they serve their purpose in the movie perfectly fine, but still, wish they were kind of more important. Everyone's voices sound great, it all fits, I would love to hear more of these voice actors.

The Peru battle is good. OP is pissed and I love that, when Scourge is around he can't keep a cool head because of the emotional turmoil he feels inside after losing Bumblebee, I love that he finally feels emotions and isn't just monotone all the time.

Now, Scourge has some weird trackers that corrupt you and turn you evil, so... why doesn't he use them all the time? At least say he only has one, or it costs something to produce them, that's why he can't use them all the time. I guess also the reason is he enjoys killing his victims with his own hands, it's a sport to him.

I wish we had more emotional scenes with Airazor so that when she dies it would have had a bigger impact on us. It's sad, because you're getting to see Primal and Airazor as friends, but only for a little bit and it's sad because you see him crush her chest, but the transformers films still have the same problem of cutting to humans reacting dramatically to the dramatic thing happening rather than showing us it. And if it's too horrifying to focus on her chest caving in, focus on Primal’s sorrowful face or on Airazor’s face as she dies as the light leaves her eyes. Either or.

I think the movie really shines in its first and second act, and the third act is kind of the weakest. I think the third act suffers from generic Avengers faceless army syndrome. It looks great. When these CGI people are fighting in a CGI world it works and it looks like everything fits, but still it's very generic.

Also, a small rant incoming, when Mirage knocks Scourge’s ‘mask’ off, we cut away from Scourge, we see he pick up the mask and we dramatically reveal... what? Nothing. Is it Bayverse OP, because becoming a psychopath was his arc in those movies, no it's not because it's the same producers working on these films so there's no way we could make fun of the Bay films, those films bought them seven different beach houses they think that they are good films. So, is it someone OP knows from his past? No. Is it at least an Easter egg for fans, is the G1 Scourge? Is it RID 2001 Scourage? Is it Cybertron (show) Scourge? Nope! It’s just some guy. He's nobody. So many missed opportunities.

That moment with Mirage protecting Noah, the conversation with his brother, it's all super emotional and phenomenally acted by Anthony Ramos. All good stuff.

The suit CGI is unfortunately not great. I did like the whole homage to Daniel’s suit from The Transformers The Movie 1986 and to Kicker/Sari’s suit from Energy/Animated.

I wish the temptation of Unicron would last a bit longer, like maybe we see OP being tempted with a vision of his greatest desires, like he's back on Cybertron with Elita, the war is over, Megatron is defeated, you know? Just do something more with it.

Overall, I liked Bumblebee more, but it's okay I'd give it a 6.5 out of 10

[art-portraits]

Mary Capel (1630–1715), Later Duchess of Beaufort, and Her Sister Elizabeth (1633–1678), Countess of Carnarvon

Artist: Sir Peter Lely (Pieter van der Faes) (British, 1618–1680)

Date: 1731

Medium: Oil on Canvas

Collection: The Metropolitan Museum of Art, New York City, NY, United States

Description

Mary and Elizabeth Capel were the sisters of Arthur Capel (1632–1693), first Earl of Essex, who rebuilt and enlarged the house and gardens of the family seat, Cassiobury Park, beginning in 1677. This picture was installed at that time in the library along with other family portraits, eight by Lely, which remained in place until 1922, when the house and its contents were sold. Two more of those portraits are now in the Museum's collection: Sir Henry Capel by Lely (39.65.6) and George Capel, Viscount Malden, and Lady Elizabeth Capel by Reynolds (48.181).

Mary's first marriage was in 1648 to Henry Seymour, Lord Beauchamp, who died in 1654. In 1657 she married Henry Somerset, Lord Herbert. This portrait may have been painted on the occasion of her second marriage, when she would have been twenty-seven. Lord Herbert succeeded as third Marquess of Worcester in 1667 and was created Duke of Beaufort in 1682. The couple devoted themselves to enlarging Badminton House, his family estate in Gloucestershire, and to developing extensive walks and formal gardens modeled on those at Versailles. The duchess was especially interested in botany and propagated exotic plants. Her younger sister Elizabeth married Charles Dormer, second Earl of Carnarvon, in or before 1653. She was an amateur artist, and Lely shows her with a small picture of her own, a study of a tulip inscribed with her name under a coronet (Whinney and Millar 1957 and Millar 1963).

[sporadiceagleheart]

This is a tribute birthday edit to Judith Eva Barsi 1978-1988 10 years old of age and those from gta vice city, poltergeist poltergeist III, Jaws 2 Jaws The Revenge, All Dogs go to heaven, Land before time rest in peace Dominick DeLuise, Burton Leon Reynolds Jr., Charles Nelson Reilly, Victor Tayback, Anna Maria Manahan, Godfrey Quigley, Jack Angel, Harald Juhnke, Michel Modo, Jacques Frantz, Ernest Borgnine, Tony Jay, Hamilton Camp, Pat Cleo Corley, Wlodzimierz Bednarski, Vadim Kurkov, Edeltraud Schubert, William Ryan, Martin Patterson Hingle, Bill Erwin, Joseph Henry Ranft, Roger Carel, Linda Grey, Andrei Yaroslavtsev, Henri Virlogeux, Sven Erik Herman Vikström, Melvin Van Peebles, Elizabeth Lee Fierro, Fritzi Jane Courtney, Jan Rabson, Naomi Ruth Stevens, Marilyn Sue Schreffler, Murray Hamilton, Barbara Alston, Roy Richard Scheider, Marc Gilpin, April Gilpin, Gary Michael Dubin, Susan French Moultrie, Collin Wilcox Paxton, Charlton Heston, Anne Baxter, Forrest Meredith Tucker, Gilbert Roland, Thomas Lester Tryon, Joseph Peter Mascolo, Barry S. Coe, Herb Muller, Heather Michele O'Rourke, Zelda May Rubinstein, Nathan Davis, Richard Fire, Jane Alderman, John Garfield, Dominique Ellen Dunne, Julian Beck, Beatrice Whitney Straight, Will Sampson, Louis Byron Perryman, Sonny Landham, James Karen, Robert Houston Broyles, Noble Henry Craig Jr., Geraldine Mary Fitzgerald, Fred Rogers, Susan Peretz, Avicii, Michael Jackson, Alan Rickman, Gene Wilder, Jack Albertson, Richard Belzer, Michael Gambon, Matthew Perry, Raymond Burr, Brittany Murphy, Denise Marie Nickerson, Roy Mitchell Kinnear, Nora Denney, Leonard Stone, Diana Mae Sowle, Lisa Loring, Raul Julia, David John Battley, Günter Meisner, Aubrey Woods, Ursula Reit, Robbie Coltrane, Peter Capell, Roberts Blossom, Billie Bird, Judy Garland, Margaret Hamilton, Clara Blandick, Shirley Temple, Baby LeRoy, Baby Peggy Montgomery, Werner Heyking, Walker Edmiston, Anthony Newley, Michael Goodliffe, Yevgeny Vesnik, Georgiy Vitsin, Roberto Del Giudice, Manlio Guardabassi, Sergey Aleksandrovich Martinson, Judith Barsi, Maria Agnes Virovacz Barsi, Agnes “Agi” Barsi Lidle, Barna Barsi, John Ingle, we will miss you all stars

[kikotapasando]

Kamer stemt in met benoeming Peter Oskam tot Griffier

12 december 2023 De Tweede Kamer heeft op dinsdag 12 december ingestemd met de benoeming van Peter Oskam tot Griffier van de Tweede Kamer. De beëdiging van Oskam vindt naar verwachting plaats op dinsdag 19 december in de plenaire zaal van de Tweede Kamer. Peter Oskam is sinds 4 januari 2016 burgemeester van het Zuid-Hollandse Capelle aan den IJssel. Eerder was hij lid van de Tweede Kamer namens…

[alexlacquemanne]

Juillet MMXXIII

Films

Indiana Jones et le Cadran de la destinée (Indiana Jones and the Dial of Destiny) (2023) de James Mangold avec Harrison Ford, Phoebe Waller-Bridge, Mads Mikkelsen, John Rhys-Davies, Thomas Kretschmann et Boyd Holbrook

Un mariage de rêve (Easy Virtue) (2008) de Stephan Elliott avec Jessica Biel, Ben Barnes, Kristin Scott Thomas, Colin Firth, Kimberley Nixon, Katherine Parkinson et Kris Marshall

Douze Heures d'horloge (1959) de Géza von Radványi avec Lino Ventura, Laurent Terzieff, Hannes Messemer, Eva Bartok, Lucien Raimbourg, Suzy Prim, Gert Fröbe et Guy Tréjan

Dies iræ (2003) d'Alexandre Astier avec Tony Saba, Thomas Cousseau, Lionnel Astier, Alexis Hénon, Nicolas Gabion, Franck Pitiot, Jean-Christophe Hembert, Alexandre Astier, Jean-Robert Lombard et Jacques Chambon

La Vérité sur Bébé Donge (1952) d'Henri Decoin avec Jean Gabin, Danielle Darrieux, Gabrielle Dorziat, Claude Génia, Marcel André, Jacques Castelot et Daniel Lecourtois

Sorcerer (1977) de William Friedkin avec Roy Scheider, Bruno Cremer, Francisco Rabal, Amidou, Ramon Bieri, Peter Capell, Karl John et Friedrich von Ledebur

La moutarde me monte au nez (1974) de Claude Zidi avec Pierre Richard, Jane Birkin, Claude Piéplu, Jean Martin, Danielle Minazzoli, Vittorio Caprioli, Julien Guiomar et Henri Guybet

Mission impossible : Dead Reckoning, partie 1 (Mission: Impossible – Dead Reckoning Part One) (2023) de Christopher McQuarrie avec Tom Cruise, Simon Pegg, Rebecca Ferguson, Ving Rhames, Vanessa Kirby, Hayley Atwell et Pom Klementieff

Demain ne meurt jamais (Tomorrow Never Dies) (1997) de Roger Spottiswoode avec Pierce Brosnan, Jonathan Pryce, Michelle Yeoh, Teri Hatcher, Ricky Jay, Götz Otto et Joe Don Baker

Plus dure sera la chute (The Harder They Fall) (1956) de Mark Robson avec Humphrey Bogart, Rod Steiger, Nehemiah Persoff, Mike Lane, Jan Sterling et Max Baer

La Guerre des polices (1979) de Robin Davis avec Claude Brasseur, Claude Rich, Marlène Jobert, Georges Staquet, Jean-François Stévenin, Étienne Chicot, David Jalil, Gérard Desarthe, Jean Rougerie et Jean-Pierre Kalfon

Oppenheimer (2023) de Christopher Nolan avec Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek et Kenneth Branagh

L'Odyssée de Pi (Life of Pi) (2012) d'Ang Lee avec Suraj Sharma, Irrfan Khan, Ayush Tandon, Tabu, Adil Hussain, Ayan Khan, Vibish Sivakumar et Rafe Spall

L'Histoire d'Adèle H. (1975) de François Truffaut avec Isabelle Adjani, Bruce Robinson, Sylvia Marriott, Joseph Blatchley, Ivry Gitlis et Ruben Dorey

Meurs un autre jour (Die Another Day) (2002) de Lee Tamahori avec Pierce Brosnan, Halle Berry, Toby Stephens, Rosamund Pike et Rick Yune

La Tulipe noire (1964) de Christian-Jaque avec Alain Delon, Virna Lisi, Dawn Addams, Akim Tamiroff, Adolfo Marsillach, Robert Manuel et Francis Blanche

Séries

Friends Saison 10

Celui qui n'arrivait pas à se confier - Celui qui allait très bien - Celui qui avait décidé de bronzer - Celui qui transformait le gâteau d'anniversaire - Celui qui écrivait une lettre de recommandation - Celui qui a failli avoir la subvention - Celui qui bluffait l'assistante sociale - Celui qui ratait Thanksgiving - Ceux qui rencontraient la mère biologique - Celui qui se faisait coincer - Celui qui trahissait le pacte - Celui qui jouait le rôle du père - Celui qui baragouinait - Celui qui n'aimait pas la maison - Celui qui faisait tout pour retenir Rachel - Celui qui n'aimait pas les adieux - Ceux qui s'en allaient

Inspecteur Barnaby Saison 10

Danse avec la mort - L'Oncle d'Amérique - La Chasse au trésor - Le Blues de l'assassin - Le Flash de la mort - Le Télescope de la mort

Coffre à Catch

#122 : Finlay prend la trique et Ichtou jette l'éponge ! - #123 : Finlay à domicile pour le titre ECW ! - #124 : Les Survivor Series : Des bangers en veux-tu en voilà! - #125 : Beliaroth INFILTRE l'Univers d'Agius! - #126 : MVP et Matt Hardy: de partenaires à adversaires !

Kaamelott Livre I

Le Duel - L'Invasion viking - La Bataille rangée - La Romance de Perceval - Les Funérailles d'Ulfin - Le Chevalier femme - La Carte - Le Repas de famille - Le Répurgateur - Le Labyrinthe - Heat - Les Tartes aux myrtilles - La Table de Breccan - Le Chevalier mystère - Le Fléau de Dieu - Le Garde du corps - Des nouvelles du monde - Codes et Stratégies - Le Maître d’armes - Le Négociateur - Dîner dansant - Le Sixième Sens - Arthur et la Question - Monogame - Les Défis de Merlin - Le Banquet des chefs - Le Signe - En forme de Graal - Le Repos du guerrier - La Dent de requin - La Taxe militaire - La Queue du scorpion - La Potion de fécondité - L’Interprète - Le Sacrifice - À la volette - De retour de Judée - La Botte secrète - L’Assassin de Kaamelott - Le Trois de cœur - Basidiomycètes - L’Imposteur - Compagnons de chambrée - La Grotte de Padraig - Ambidextrie - Raison d’argent - La Romance de Lancelot - Merlin et les Loups - Le Cas Yvain - L’Adoubement - Arthur et les Ténèbres - Le Zoomorphe - La Coccinelle de Madenn - Patience dans la plaine - Le Oud - Le Code de chevalerie - Létal - Azénor - Le Sort de rage - Les Nouveaux Frères - Enluminures - Haunted - Le Secret de Lancelot - Le Serpent géant - Guenièvre et les Oiseaux - Le Dernier Empereur - Perceval relance de quinze - Le Coup d’épée - La Jupe de Calogrenant - Le Prodige du fakir - Un bruit dans la nuit - Feu l’âne de Guethenoc - Goustan le Cruel - Le Chaudron rutilant - La Visite d’Ygerne - Les Clandestins - La Kleptomane - Le Pain - La Mort le Roy Artu - Le Problème du chou - Un roi à la taverne - Les Fesses de Guenièvre - Le Billet doux - Guenièvre et l’Orage - Eunuques et Chauds Lapins - Choc frontal - Le Forage - Le Discobole - L’Expurgation de Merlin - Les Volontaires - Polymorphie - Décibels nocturnes - La Fête de l’hiver - Gladiator - La Blessure mortelle - Le Dragon des tunnels - Retour de campagne - L’Escorte - Tel un chevalier - La Pâte d’amande - La Fureur du dragon - Vox populi - Unagi - L’Éclaireur - Lacrimosa - La Quête des deux renards - Agnus Dei - Le Tourment - La Retraite - La Vraie Nature du Graal

Affaires Sensibles

Le Tour de France fantôme - Tom Simpson : une funeste passion - Lance Armstrong, le héros déchu - 21 juillet 1969 : objectif Lune

Castle Saison 2

Une rose pour l’éternité - Le Contrat - Le Troisième Homme - Le Batteur battu - Journal d'une dominatrice - Messages par balles - La Mort de Nikki - La Malédiction de la momie

Orgueil et Préjugés

Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6

Raison et Sentiments

Episode 1 - Episode 2 - Episode 3

Spectacles

John Fogerty : Premonition (1997)

Eddy Mitchell au Casino de Paris (1990)

Livres

Pourquoi vous faisez ça ? de Pablo Mira

Gaston , Tome 2 de André Franquin et Jidékeur

Le péplum, un mauvais genre de Claude Aziza

Hero Corp, Tome 2 : Chroniques de Simon Astier, Louis et Stéphane Créty

[byneddiedingo]

Kirk Douglas and Adolphe Menjou in Paths of Glory (Stanley Kubrick, 1957) Cast: Kirk Douglas, Ralph Meeker, Adolphe Menjou, George Macready, Wayne Morris, Richard Anderson, Christiane Kubrick, Jerry Hausner, Peter Capell, Emile Meyer, Bert Freed, Kem Dibbs, Timothy Carey, Fred Bell, John Stein, Harold Benedict. Screenplay: Stanley Kubrick, Calder Willingham, Jim Thompson, based on a novel by Humphrey Cobb. Cinematography: Georg Krause. Art direction: Ludwig Reiber. Film editing: Eva Kroll. Music: Gerald Fried. Kirk Douglas gives an uncharacteristically restrained performance in Paths of Glory, but the real star of the film is director Stanley Kubrick, who lends the big battle scene a kind of choreographed intensity. Kubrick had begun his career as a photographer for Look magazine and had been his own cinematographer on his early short films and his features Fear and Desire (1953) and Killer's Kiss (1955). Although the cinematographer for Paths of Glory is Georg Krause, it's easy to sense Kubrick's direction as he anticipates the battle scene's relentless motion with long takes and tracking shots in the earlier parts of the film, when the camera observes Gen. Broulard (Adolphe Menjou) persuading Gen. Mireau (George Macready) to commit his troops to the suicidal assault on the German-held "Ant Hill." We follow Broulard and Mireau as they move through the opulent French headquarters (actually the Schleissheim Palace in Bavaria), circling each other as Broulard plays on Mireau's ambition and overcomes his resistance, Then we move to the trenches, a sharp contrast in setting from the palace, where the camera tracks Mireau as he walks down the long narrow ditch, greeting soldiers in a stiff, formulaic way and berating one who is stupefied by shell shock as a coward. The tracking shot of Mireau's tour of the trenches is then repeated with Col. Dax (Douglas) in the moments before the suicidal assault on the Ant Hill, although this time the air is full of smoke and debris from the shelling. Then Dax goes over the top, blowing a shrill whistle to lead his troops, and we have long lateral tracks punctuated by explosions and falling men. Film editor Eva Kroll's work adds to the power of the sequence. If the acting and the screenplay were as convincing as the camerawork, Paths of Glory might qualify as the masterpiece that some think it is. Douglas, Menjou, and Macready are fine, and Wayne Morris and Ralph Meeker have a good scene together as members of a scouting party on the night before the battle, in which the drunkenness and cowardice of Morris's character has fatal consequences. But the scenes in which the three soldiers court-martialed for the failure of the assault face the prospect of the firing squad go on much too long, and are marred by the overacting of Timothy Carey as the "socially undesirable" Private Ferol and the miscasting of Emile Meyer, who usually played heavies, as Father Dupree. (Carey was actually fired from the film, and a double was used for some scenes.) And the film ends with a mawkish and unconvincing scene in which a captured German girl (the director's wife-to-be, Christiane Kubrick) reduces the French troops to tears with a folk song. Paths of Glory has to be described as a flawed classic.