#Treves

[gregor-samsung]

“ Quando una popolana napoletana non ha figli, essa non si addolora segretamente della sua sterilità, non fa una cura mirabile per guarirne, come le sposine aristocratiche, non alleva un cagnolino o una gattina o un pappagallo, come le sposette della borghesia. Una mattina di domenica ella, si avvia, con suo marito, all'Annunziata, dove sono riunite le trovatelle, e fra le bimbe e i bimbi, allora svezzati o grandicelli, ella ne sceglie uno con cui ha più simpatizzato, e, fatta la dichiarazione al governatore della pia opera, porta con sè, trionfante, la piccola figlia della Madonna. Questa creaturina, non sua, ella l'ama come se l'avesse messa al mondo; ella soffre di vederla soffrire, per malattia o per miseria, come se fossero viscere sue; nella piccola umanità infantile napoletana, i più battuti sono certamente i figli legittimi; di battere una figlia di Maria, ognuno ha un certo ritegno; una certa pietà gentilissima fa esclamare alla madre adottiva: puverella, non aggio core de la vattere, è figlia della Madonna. Se questa creatura fiorisce in salute e in bellezza, la madre ne va gloriosa come di opera sua, cerca di mandarla a scuola o almeno da una sarta per imparare a cucire, poiché certamente, per la sua bellezza, la bimba è figlia di un principe; in nessun caso di miseria o infermità, la madre adottiva riporta, come potrebbe, la figliuola all'Annunziata. E l'affezione, scambievole, è profonda, come se realmente fosse filiale; e a una certa età il ricordo dell'Annunziata scompare, e questa madre fittizia acquista realmente una figliuola. Ma vi è di più: una madre ha cinque figli. Il più piccolo ammala gravemente, ella si vota alla Madonna, perché suo figlio guarisca; ella adotterà una creatura trovatella. Il figlio muore; ma la pia madre, portando il fazzoletto nero che è tutto il suo lutto, compie il voto, lagrimando. Così, a poco a poco, la creatura viva e bella consola la madre della creatura morta, e vi resta in lei solo una dolcezza di ricordo e vi fiorisce una gratitudine grande per la figlia della Madonna. Talvolta, il figlio guarisce: il primo giorno in cui può uscire, la madre se lo toglie in collo e lo porta alla chiesa dell'Annunziata, gli fa baciare l'altare, poi vanno dentro a scegliere la sorellina o il fratellino. E fra i cinque o sei figli legittimi, la povera trovatella non sente mai di essere un'intrusa, non è mai minacciata di essere cacciata, mangia come gli altri mangiano, lavora come gli altri lavorano, i fratelli la sorvegliano perché non s'innamori di qualche scapestrato, ella si marita e piange dirottamente, quando parte dalla casa e vi ritorna sempre, come a rifugio e a conforto. “

Matilde Serao, Il ventre di Napoli. (Corsivi dell’autrice)

[Edizione originale: fratelli Treves, Milano, 1884]

[felinefractious]

Treves Som Phong of Rockinashi

🐱 Khao Manee

📸 Larry Johnson

🎨 White

[brookbee]

David Bowie as John Merrick in The Elephant Man, c. 1980 Photographer: Jim Britt

[natjennie]

I need everyone to watch this right now please

[mariocki]

New Scotland Yard: And When You're Wrong (1.13, LWT, 1972)

"You sent for me."

"I sent for you four days ago."

"I didn't get the message till yesterday."

"Right, you can put your diary down. Where have you been?"

"Busy."

"Doing what?"

"You know what I'm doing."

"I know what you're supposed to be doing, nobody seems to know what you're actually doing."

"You'll have my report when it's all wrapped up."

"I'll have it now. Whatever you were playing at before, you're now a witness in a murder case."

[ozzycide]

yoooooooo new url fuck i lost the emoji button on my laptop uhhhh thumbs up emoji. stay woke

yeaaaaa new url it's very cool and epic thank u for the thumb in return u get free thumb emoji 👍 also stay woke friend

[kitsune024]

Supernatural Fanfiction

Not All Good News by trevelies

Michael is caged inside Dean's mind for now. But there's grace leaking from the cracks, banging on the doors, and Dean knows what happens at the end of this story. With borrowed (and confusing) Archangel abilities, a group of mistrustful Apocalypse Universe Hunters, and too many Michael Monsters to deal with, Team Free Will 2.0 is ready to clean up the mess that Michael's left behind and stop another apocalypse. Not all the danger is locked inside a bar's walk-in freezer, though - and the Winchesters need to watch out for old and new enemies around every corner.

And at the end of it all, Dean needs to decide how far he'll go to get rid of Michael once and for all.

Chapters 52/?

[hms-tardimpala]

Paul Ready played a victorian-era doctor at least twice (Harry Goodsir, The Terror, and Mr. Treves, Ripper Street) and the characters are actually quite different. I love Goodsir, and I lowkey want to slap Treves across the face

[kwebtv]

Game, Set and Match - ITV - October 3, 1988 - December 19, 1988 / PBS - March 23, 1989 - June 8, 1989

Drama (13 Episodes)

Running Time: 60 minutes

Stars:

Ian Holm as Bernard Samson

Mel Martin as Fiona Samson

Michael Culver as Dicky Cruyer

Michael Degen as Werner Volkmann

Gottfried John as Eric Stinnes

Anthony Bate as Bret Renssalaer

Frederick Treves as Frank Harrington

Amanda Donohoe as Gloria Kent

Hugh Fraser as Giles Trent

Gail Harrison as Tessa Kozinski

Gary Whelan as George Kozinski

Brigitte Karner as Zena Volkmann

Alan MacNaughtan as Sir Henry Clevemore DG

Michael Aldridge as Silas Gaunt

Peter Vaughan as David Kimber-Hutchinson

Eva Ebner as Frau Lisl Hennig

Jeremy Child as Henry Tiptree

Ralf Wolter as Juri Rostov

[sanguinewolves]

I’m pretty sure dw is an aardvark

oh yippee ‼️ they call me boy who knows thingns

[gracie-bird]

Salvador "Sass" Treves - founder of Sass Cafe and former junior member of the Monegasque Red Cross, presented a magic trick to Princess Grace of Monaco during the inauguration of the junior's work exhibition (unknown date, probably circa 1963).

[gregor-samsung]

“ Del miracolo di san Gennaro, fate le alte meraviglie? Quelle vecchie abitanti del Molo che si pretendono sue discendenti, che invadono l'altare maggiore, che non lasciano accostarsi nessuno, gridano il Credo, mentre si attende il miracolo, e ogni volta che ricominciano, alzano il tono, sino all'urlo, che si dimenano come ossesse, che lo gratificano di vecchio dispettoso, vecchio impertinente, faccia verde; vi stupiscono? Vi è il piede di sant'Anna che si mette sul ventre delle partorienti, che non possono procreare il figlio; vi è l'olio che arde nella lampada, innanzi al corpo di san Giacomo della Marca, nella chiesa di Santa Maria la Nuova, che fa guarire i mali di testa; vi è il Crocifisso del Carmine che ha fatto sangue dalle piaghe; vi è il bastone di san Pietro che si venera  nella chiesa sotterranea di Sant'Aspreno, primo vescovo di Napoli, ai Mercanti; vi è l'acqua benedetta di San Biagio ai Librai che guarisce il mal di gola; vi sono le panelle, pagnottine di pane benedette di San Nicola di Bari, che buttate in aria, nel temporale, scampano dalle folgori. Vi sono centinaia di ossicini, di pezzetti di velo, di pezzetti di vestito, di frammenti di legno, che sono reliquie. Ogni napoletana porta al collo o sospeso alla cintura, o ha sotto il cuscino, un sacchettino di reliquie, di preghiere stampate: questo sacchettino si attacca alle fasce del bimbo, appena nato. Credete che al napoletano basti la Madonna del Carmine? Io ho contati duecentocinquanta appellativi alla Vergine, e non sono tutti. Quattro o cinque tengono il primato. Quando una napoletana è ammalata o corre un grave pericolo, uno dei suoi, si vota a una di queste Madonne. Dopo scioglie il voto, portandone il vestito, un abito nuovo, benedetto in chiesa, che non si deve smettere, se non quando è logoro. Per l'Addolorata il vestito è nero, coi nastri bianchi; per la Madonna del Carmine, è color pulce coi nastri bianchi; per l'Immacolata Concezione, bianco coi nastri azzurri; per la Madonna della Saletta, bianco coi nastri rosa. Quando non hanno i danari per farsi il vestito, si fanno il grembiule; quando mancano di sciogliere il voto, aspettano delle sventure in casa. “

Matilde Serao, Il ventre di Napoli. (Corsivi dell’autrice)

[Edizione originale: fratelli Treves, Milano, 1884]

[infosisraelnews]

Netanyahu et Galant n'ont pas été prévenu par Tsahal sur la trêve dans le sud de la bande de Gaza

Réactions houleuses suite à l’annonce ce matin (dimanche) du porte-parole de Tsahal selon laquelle l’armée tiendrait une “trêve militaire tactique” dans les combats dans la zone de Rafah, au sud de la bande de Gaza, tous les jours de 8h00 à 19h00, afin d’augmenter la portée de l’aide humanitaire entrant dans la bande de Gaza. Selon une source politique, lorsque le Premier ministre a entendu dans…

[gameofthunder66]

'The Elephant Man' (1980) film

-watched 6/5/2024- 4 stars- on Pluto tv (free)

92% Rotten Tomatoes

I don't guess I've ever watched this movie before, but I do remember it was highly regarded whenever it first came out.

[rastronomicals]

10:29 PM EDT June 2, 2024:

Peer Raben - "L'Amour Sans Treve" From the album Fassbinder - Peer Raben (1993)

Last song scrobbled from iTunes at Last.fm

File under: New German Cinema Soundtrack

[claudia1829things]

"SILAS MARNER" (1985) Review

"SILAS MARNER" (1985) Review

I have seen a handful of television and movie adaptations of novels written by George Eliot. But the very first adaptation I ever saw was "SILAS MARNER", the 1985 version of Eliot's third novel published back in 1861. My recent viewing of the production led me to reassess it.

"SILAS MARNER" begins with an English weaver living with a small Calvinist congregation in Lantern Yard, a slum street in a Northern England city. His life falls apart when he is framed for stealing the church's funds, while watching over the congregation's ill deacon. Worse, his fiancee leaves him for his so-called best friend, the very man who may have framed him. Shattered and embittered, Silas leaves Lantern Yard and arrives at a rural village in the Midlands called Raveloe. Although he resumes his trade as a weaver, Silas' traumatized past leads him to achieve a reputation as a miser and a loner in the community.

Silas' move to Raveloe eventually leads him to cross paths with the community's leading citizens, the Cass family. The head of the latter is the elderly Squire Cass who has two sons - Godfrey and Dunstan. Godfrey, who is the squire's heir is secretly married to one Molly Farren, a lower-class woman and opium addict from another town, who has given birth to his young daughter. Godfrey is also engaged to a young middle-class woman named Nancy Lammeter. Dunstan is a dissolute wastrel who constantly loses money via excessive gambling. One night, a drunken Dunstan breaks into Silas' cottage, steals the gold coins that the latter has been hoarding and disappears. Through a series of events, Molly plots to expose her marriage to Godfrey and their child during the Cass family's New Year party, but dies in the snow before she can reach it. Silas, who is emotionally upset over the loss of his coins, finds both the dead Molly and the child. Although he informs the partygoers of Molly's death and the child, he assumes guardianship of the latter (renamed Hephzibah "Eppie"), much to the relief of Godfrey, who can now legally marry Nancy. All goes well until Godfrey and Nancy's failure to have children threaten Silas' newfound happiness as Eppie's father years later.

What can I say about "SILAS MARNER"? I can honestly say that it was not one of the best adaptations of a George Eliot novel. Then again, I do not consider the 1861 novel to be one of her best works. I realized that Eliot had set the story either around the end of the 18th century or around the beginning of the 19th century. It was her prerogative. But both the novel and the movie seemed to reek of Victorian melodrama that I found myself feeling that Eliot or any adaptation could have set the story around the time it was originally written and published - the mid 19th century. The story is, at best, a good old-fashioned Victorian melodrama. I would never consider it as particularly original in compare to the likes of "MIDDLEMARCH" or "DANIEL DERONDA".

"SILAS MARNER" tries its best to be profound on the same level as the other two Eliot stories I had mentioned. But I had a few problems with the narrative. What was the point behind Dunstan Cass' disappearance and theft? Yes, he stole Silas' hard earned money before he disappeared. I got the feeling that the stolen coins seemed to serve as a prelude to Silas' emotional attachment to Eppie. But why have Dunstan take it? How else did his disappearance serve the story . . . even after his dead remains were found close by, years later? In Eliot's novel, the discovery of Dunstan led brother Godfrey to form a guilty conscience over his own secret regarding young Eppie and confess to his wife. But in the movie, it was Godfrey and Nancy's inability to conceive a child that seemed to finally force the former to confess. Unless my memories have played me wrong. Frankly, Dunstan struck me as a wasted character. Anyone else could have stolen Silas' money.

I also noticed that Giles Foster, who had served as both screenwriter and director for this production, left out a few things from Eliot's novel. I have never expect a movie or television to be an accurate adaptation of its literary source. But I wish Foster had shown how Eppie's presence in Silas' life had allowed him to socially connect with Raveloe's villagers. Eliot did this by allowing her to lead him outside, beyond the confines of his cottage. The only person with whom Silas managed to connect was neighbor Dolly Winthrop, who visited his cottage to deliver him food or give advice on how to raise Eppie. I also noticed that in the movie, Silas had never apologized to another villager named Jem Rodney for his false accusation of theft. And Jem had never demanded it. How odd. I also wish that Foster could have included the segment in which Silas had revisited his former neighborhood, Lantern Yard. In the novel, Silas' visit revealed how the neighborhood had transformed into a site for a factory and its citizens scattered to other parts. Silas' visit to his old neighborhood served as a reminder of how his life had improved in Raveloe and it is a pity that audiences never saw this on their television screens.

Yes, I have a few quibbles regarding "SILAS MARNER". But if I must be really honest, I still managed to enjoy it very much. Eliot had written a very emotional and poignant tale in which a lonely and embittered man finds a new lease on life through his connection with a child. Thanks to George Eliot's pen and Giles Foster's typewriter, this story was perfectly set up by showing how Silas Marner's life fell into a social and emotional nadir, thanks to the betrayal of a "friend" and the easily manipulated emotions of his neighbors.

Once Silas moved to Raveloe, the television movie did an excellent, if not perfect, job of conveying how he re-connected with the world. It was simply not a case of Silas stumbling across a foundling and taking her in. Even though he had formed a minor friendship with Mrs. Winthrop, having Eppie in his life managed to strengthen their friendship considerably. The movie's narrative also took its time in utilizing how the Cass family dynamics played such an important role in Silas' life in Raveloe. After all, Godfrey' secret marriage to Molly Farren brought Eppie into his life. And Dunstan's theft of his funds led Silas to re-direct his attention from his missing coins to the lost Eppie. And both Godfrey and Nancy Cass proved to be a threat to Silas and Eppie's future relationship.

The production values for "SILAS MARNER" proved to be solid. But if I must be honest, I did not find any of it - the cinematography, production designs and costume designs - particularly memorable. The performances in the movie was another matter. "SILAS MARNER" featured solid performances from the likes of Rosemary Martin, Jim Broadbent (before he became famous), Nick Brimble, Frederick Treves, Donald Eccles, Rosemary Greenwood; and even Elizabeth Hoyle and Melinda White who were both charming as younger versions of Eppie Marner.

Angela Pleasence certainly gave a memorable performance as Eppie's drug addicted mother, Molly Farren. Patsy Kensit not only gave a charming performance as the adolescent Eppie, I thought she was excellent in one particular scene in which Eppie emotionally found herself torn between Silas and the Casses. Freddie Jones gave his usual competent performance as the emotional Squire Cass, father of both Godfrey and Dunstan. I was especially impressed by Jonathan Coy's portrayal of the dissolute Dunstan Cass. In fact, I was so impressed that it seemed a pity that his character was only seen in the movie's first half.

I initially found the portrayal of Nancy Lammeter Cass rather limited, thanks to Eliot's novel and Foster's screenplay. Fortunately, Nancy became more of a central character in the film's second half and Jenny Agutter did a skillful job in conveying Nancy's growing despair of her inability to have children and her desperation to adopt Eppie. I thought Patrick Ryecart gave one of the two best performances in "SILAS MARNER". He did an excellent job of conveying Godfrey Cass' moral ambiguity - his secrecy over his marriage to Molly Farren, the passive-aggressive manner in which he "took care" of Eppie through Silas and his willingness to use Eppie as a substitute for his and Nancy's failure to have children. Ryecart made it clear that Godfrey was basically a decent man . . . decent, but flawed. The other best performance in "SILAS MARNER" came from leading man Ben Kingsley, who portrayed the title character. Kingsley did a superb job of conveying Silas' emotional journey. And it was quite a journey - from the self-satisfied weaver who found himself shunned from one community, to the embittered man who stayed away from his new neighbors, to a man experiencing the joys and fears of fatherhood for the first time, and finally the loving man who had finally learned to re-connect with others.

Overall, "SILAS MARNER" is more than a solid adaptation of George Eliot's novel. I did not find its production designs particularly overwhelming. I did enjoy Eliot's narrative, along with Giles Foster's adaptation rather enjoyable . . . if not perfect. But I cannot deny that what really made this movie work for me were the first-rate performances from a cast led by the always talented Ben Kingsley. Victorian melodrama or not, I can honestly say that I have yet to grow weary of "SILAS MARNER".