#duel of 1945

[the-greater-good-1899]

The dawn of November 1, 1945.

With the chaos of a recently graduated Tom Riddle sent out into the world, and the ministry breathing that much more down Albus Dumbledore's neck for the last few weeks after he'd been forced on "administrative leave" by the ministry while he was in their custody for the last several weeks, beaten and tortured until he gave into their demands to duel Gellert Grindelwald once more. He knew his husband's actions had grown more horrific over the years that even he could not ignore, and between that, the torture...

He had accepted.

The ministry was unaware of his possession of the resurrection stone, given to him by Flamel in case things turn for the worst in that duel. He's made enough potion to live out the next fifty years with himself and his wife- Should Albus not come home from this. Days before, he had sent out a letter. Part of him hoped it did not make it to him, or he would simply ignore his ridiculous quest for a final duel, to see who would finally come out on top. Or, in the ministries eyes.. If good would triumph over evil.

For the greater good.

Days later, he had anxiously arrived at that location, dressed in his usual attire. His wand was grasped tightly in his hand, other shoved in his pocket, wrapped tightly around the stone in his pocket. He had used illusion charms to hide what a wreck he really looked like, after what the ministry had put him through for the last several weeks. In his weakened state he might've still been quite the formidable opponent- But the ministries underestimated Grindelwald when it came to Dumbledore. He truly didn't know who would triumph this time. He hoped so desperately that the letter had not made it, or he would refuse.

But when was luck ever on Albus Dumbledore's side? @magicblooms

(template/layout credit to @seekingabettergood tysm <33)

[teamhangaround]

The duel

I like to imagine that their surroundings were totally annihilated...

[apicelladonna]

I get it now....why they didn't make Mads!Gellert have long hair and braid it.....I wouldn't survive it on screen...

[myreia]

Sketches of Times Lost

ao3 | tumblr tag | my writing

short stories include spoilers from a realm reborn to endwalker. all stories are set in aureia malathar's canon. [❤] = fave entry/fic that I am proud of [g] = general (all audiences), [t] = teen (some language, more difficult themes), [m] = mature (implied sex, sensuality, strong language, and/or violence), [e] = explicit (mature themes, explicit sex scenes)

Week I

— 01. Steer | [G] Ryne x Gaia | 943 words — 02. Horizon | [G] Alisaie x Tesleen | 2298 words [❤] — 03. Tempest | [M] Sadu x Y'shtola | 1489 words — 04. Reticent | [G] Minfilia x Aureia | 964 words — 05. Stamp | [T] Fordola x Aureia | 1945 words [❤] — 06. Halcyon | [E] Igeyorhm x Iphigeneia (Azem) | 5424 words — 07. Morsel | [G] Alisaie x Tesleen | 967 words

Week II

— 08. Collapse [FREE DAY] | [T] Thancred POV | 1561 words — 09. Lend an Ear | [T] Aymeric x Aureia | 1617 words — 10. Stable | [T] Sidurgu x Aureia, Rielle | 2086 words [❤] — 11. Surrogate | [E] Thancred x Hilda | 2306 words [❤] — 12. Quarry | [G] Thancred & Ryne | 1408 words [❤] — 13. Butte | [T] Aureia & Avi'li | 820 words — 14. Telling | [T] Aymeric & Artoirel | 1600 words

Week III

— 15. Replacement [FREE DAY] | [G] Emet-Selch POV | 973 words — 16. Third-rate | [G] Lyse & Fordola | 1864 words [❤] — 17. Sally | [T] Rielle POV | 2200 words [❤] — 18. Hackneyed | [G] Thancred x Aureia | 1868 words — 19. Taken | [G] Thancred x Aureia | 1219 words — 20. Duel | [G] Alisaie & Aureia | 2189 words — 21. Shade | [M] Sidurgu x Aureia | 2015 words [❤]

Week IV

— 22. Threshold [FREE DAY] | [M] Aymeric x Aureia | 1273 words [❤] — 23. On Cloud Nine | [E] Aymeric x Aureia | 2504 words — 24. Bar | [E] Fordola x Aureia | 1522 words [❤] — 25. Perpetuity | [T] Hythlodaeus & Iphigeneia (Azem) | 1589 words — 26. Zip | [G] Thancred POV | 1294 words — 27. Memory | [T] Meteion & Aureia | 2135 words [❤] — 28. Deleterious | [G] Venat & Iphigeneia (Azem) | 1409 words — 29. Evaporate | [E] Thancred x Aureia | 2010 words — 30. Two Heads Are Better Than One | [M] Sidurgu x Aureia | 2795 words

[dnickels]

"The house is a character" goes without saying, on Ghosts and other shows about people trapped in an old crumbling house that hates them (by God, is that Julian Fellowes' music?), but Ghosts makes good use of the house as a site of contention. It is a very old pile of bricks and masonry in disrepair, that's what it is, but it means to various people-- who live in, who live around it-- is a much thornier issue. Robin, who predates it by millennia, doesn't really give a shit, and to Allison and Mike by the end of the first episode its a huge liability they would bulldoze if given the chance. A windfall, an asset, a stone around their necks etc. But to the people who lived there it was/is a world unto itself. We get to see just how much history that place has, which is a meaningless thing to say, because any square foot of Earth outside of Antarctica has untold millennia of human history, but its a history that's real and alive and present because people remember it, and live out that remembering.

Who does it belong to? Legally to Allison and Mike, by the vagaries of fortune and inheritance law. But what does it mean to try and share the place where you live, currently, with centuries of past inhabitants? The show makes the issue literal but its an ideological struggle that happens constantly when it comes to preservation. People do have to live. Not every beautiful old building can be preserved as it was forever with no changes or updates, although it doesn't stop me from wincing when a new block of 5 over 1s goes up. If you wanted to talk about the long arc of the show, its from episode one where the Ghosts can only watch in horror as the wrecking crew comes in to the last (penultimate?) episode where they make a negotiated peace with the idea of change. (I haven't! Not a golf course! Allison noooo its so bad for the environmeeeeent etc).

I am a little surprised the blue plaque issue got such a brusque treatment-- I was wondering when the Coopers would come up against whatever local heritage society objects to them putting in modern plumbing, or tearing out the old lathe-and-plaster, to say nothing of the government agencies who hand out historic protections etc. But on the other hand, maybe the history of the house feels "more important" than it is because we, the audience, got to experience it so closely. Yes it was the site of a duel, a witch-burning, a murder, a WW2-era weapons development project, a plot to murder Queen Elizabeth-- but so were lots of places. It's not, in the grand scheme of things, an especially important house and yet it means so much! What do you mean, Cap doesn't get a blue plaque for having a very minor homefront position from 1939-1945! What do you mean Fanny doesn't get a memorial for being pushed out a window! Those are my friends!

There could have been a season-arc about someone outside the house trying to 'save' it, make it into a museum etc, but maybe that would be a more byzantine and thorny issue than the half-hour penis joke format would allow. I do still cringe whenever they sell off pieces of 'the collection', or destroy a painting etc, but the point is that its not a collection-- its furniture. People are still living on it, using it, etc. i do hope that any future plans (in the canon of the show) include some kind of way for people to learn about the ghosts' stories-- Allison could write one hell of a book, though how she would source it is a nightmare to think about. But maybe its for the best that the house doesn't become a stagnant museum that's locked up at night. If nothing else, the ghosts would get bored again.

[thewaltcrew]

Chanticleer concept art by Marc Davis

Chanticleer is likely the most famous of all canceled projects at the Walt Disney Animation Studios. Although these drawings were done in the early 1960s, the studio had been trying since the late 1930s to develop a feature film based on two French stories: the play Chantecler by Edmond Rostand and the Roman de Renart or Reynard the Fox, a literary cycle first collected in 11th-century Europe. The two stories were initially developed separately. Storymen Ted Sears and Al Perkins were the first to work on them, but they quickly ran into the same problem that would constantly plague Chanticleer for its entire development existence: how to make an arrogant rooster into an appealing protagonist.

Sears: We, or any other cartoon outfit, cannot depict a likable, interesting rooster character. Good animators have told me this, and only some revolutionary change or inspiration would make a rooster character sympathetic.

Development on Reynard also ran into similar problems of having a protagonist with a less-than-admirable personality, as Reynard the Fox is one of the most famous sources that propagated the image of a fox as a sly trickster. By 1945, the idea to combine the two properties came about, likely to help alleviate the problem of Chanticleer’s arrogant character by having a villain for him to play off of. Attempts to develop it again continued on through the 1940s, but nothing ever panned out.

In early 1960, Marc Davis and Ken Anderson, uninterested in any of the films in development at the time, took a trip down to the Animation Research Library to find ideas for a film they could develop on their own. Davis, being a fan of musical theater, wanted to do a big Broadway musical-style animated feature. They came across the old treatments for Chanticleer and jumped on the chance. They disregarded the original source materials (aside from the basic premises) and began to develop their own plot, envisioning it as a satiric comedy.

The story would have been about a rooster named Chanticleer who believes that his crowing makes the sun rise every morning. Everyone else in the village adores Chanticleer because they believe in his power too, and they elect him mayor of the town. However, he becomes an overbearing leader, ordering the hens to lay more and more eggs. The townsfolk come to resent him, and Reynard the fox arrives and takes advantage of the situation, wishing to exploit the village for his own benefit. He entertains the citizens, and the chickens stay up all night, becoming too tired to lay any eggs. An angry Chanticleer orders Reynard to leave, but Reynard announces that he will run for mayor against Chanticleer. Chanticleer finds himself in a duel at dawn against a Spanish rooster who works for Reynard and doesn’t realize that the sun has risen without him. Once he discovers that his crowing does not bring up the sun, he realizes his foolishness and is humbled, allowing the villagers to forgive him. Because although his crowing never made the sun come up, it did awaken the citizens for them to be able to start their days.

Cost cutting is what effectively ended Chanticleer’s chances. Walt was pressured to stop the production of animated feature films moving forward, as their already existing catalogue would have been enough for the company to profit off of during re-releases.

Davis: Walt was about ready to dump animation; then he got to thinking, “I owe these people something,” which he did. So he said, “Hell, these guys know how to make these films without me.” I don’t think the others realized how eager the members of this business gang were to get rid of animation. Everything after Dalmatians was done with a minimum of Walt’s supervision. I think he got spread very thin: he got terribly interested in the Parks, his vision of Epcot, and more.

But as preoccupied as Walt was, he didn’t have it in his heart to shut down animated film production for good. He did, however, reduce the output by setting a schedule of a new film every four years rather than every two. This meant that one of the two films in development at the time, Chanticleer and The Sword in the Stone, had to be cut. The decision was obvious, as Chanticleer would have been much more expensive to produce, and The Sword in the Stone was a simpler story with human characters and a cute underdog protagonist.

Davis: We had all the artwork up on the walls, and the money people at the studio came in like it was a funeral. We went all the way through the presentation and met with silence. Then a voice from the back of the room said, “You can’t make a personality out of a chicken!” They all filed out and that was the end of it.

Walt would soon call up Marc Davis to ask him to help out at WED (later called Imagineering), which is where Davis would stay for the remainder of his Disney career (where he would contribute to some of the most beloved Disney attractions of all time), thereby making Chanticleer the very last thing he worked on at the animation studio.

Davis: I had always kind of doubled up: I did story on an awful lot of stuff that was not made, including some damned good things. I think some of the best drawings I ever did for the Studio were for Chanticleer.

Chanticleer has grown a legacy of its own, perhaps solely because of how appealing and well-drawn Davis’ work for the project was. As animator Andreas Deja put it, “Marc designed some of the best-looking characters I’ve ever seen--those drawings want to be moved and used... The designs for Chanticleer show the same level of graphic sophistication as his paintings. When that’s combined with his very thorough knowledge of anatomy and the Disney appeal, the result is outstanding.”

Mel Shaw attempted to rework a new treatment for Chanticleer in 1981, but it was quickly squashed. In 1992, Don Bluth, an ex-Disney animator who, like everyone else, loved Marc Davis’ work on Chanticleer, tried his hand at the story himself with the film Rock-A-Doodle, though to little critical or commercial acclaim.

Although Marc Davis never worked on an animated film again after Chanticleer, some of the designs he created for that film did find their way into his WED project America Sings and later Splash Mountain, when the animatronics from America Sings were repurposed.

research sources from [x][x][x], The Disney That Never Was: The Stories and Art of Five Decades of Unproduced Animation by Charles Solomon, and Marc Davis: Walt Disney’s Renaissance Man, Chanticleer chapter by Charles Solomon photo sources [x][x][x]

[sleepyphoen1x]

Your reminder that Gellert is a seer so theres a chance of Gellert having a vision of the summer and Albus way before they met

There is also a chance of Gellert having visions of the 3-way duel in mid Summer.

And also there is a chance, after 1945, Gellert having visions of how Albus died and that's why he refused to say where is the elder wand to voldemort...

[capriddle]

Voldemort Vs Grindelwald

I often see fans wondering who is more powerful between Voldemort and Grindelwald. Honestly, I have never asked myself this question because the answer seems too obvious to me. First of all, Voldemort is defined as the greatest dark wizard of all time, which would be enough to close the question but I will try to address it in points:

1 Magical Abilities: We know Grindelwald was a great wizard, sure, but could he have created 7 horcruxes? Would he be able to create an Inferi army? Would he be able to create a killing curse for Dumbledore too or a potion that he couldn't counteract? Would he have been able to fly without support? The point goes to Voldemort.

2 Confrontation with Dumbledore: Grindelwald faces Dumbledore in 1945, in a duel that remains in history, where he loses. Then he had the allegiance of the Elder Wand, and was up against an experienced but relatively young wizard. Voldemort duels with Dumbledore years later, when the latter had the allegiance of the wand. Dumbledore fails to defeat him. I've heard many say it's because Dumbledore was older, but magic doesn't work like that, you gain experience over time, so Dumbledore was even stronger than when he fought Grindelwald. Another point for Voldemort.

3 School: It may seem superfluous but Grindelwald was expelled from school, so he had less time to learn magic from professionals. Tom, as we know, was a model student, whose value was recognized by all. He again defeats Voldemort.

Bonus, Charisma: I've heard a lot of people define Grindelwald as more charismatic after seeing Fantastic Beasts. I'm not saying it's not true, just that they shouldn't be so quick to judge Grindelwald as more charismatic. First of all because we did not see Voldemort in the recruitment period, but only in the post Harry Potter period. In any case, we have addresses. First he gets the support of most pureblood families, despite being a halfblood himself, then he gets followed by various notoriously dangerous magical creatures such as giants and dementors. In his youth, when he chose to focus on his charm, he had the whole of Hogwarts at his feet and when he worked at Borgin and Burkes all the most particular clients were entrusted to him. He managed to approach Helena Ravenclaw, who was certainly known for her open character. And, finally, even when she was in Albania without a body he managed to get Raptor on her side. If this isn't charisma!

So, to conclude, for me Voldemort is undoubtedly more powerful and in an equal duel he would certainly win against Grindelwald.

[captain-price-unofficially]

The La Gleize Tiger II, one of the vehicles left by Peiper's 1st SS Panzer Regiment in 1944 when it had to withdraw from la Gleize. The Americans dueled the Tiger II (turret number 213) with their M4 Shermans and M10 Tank Destroyers during the siege of La Gleize and managed to shoot the gun barrel in half with a fluke shot.

When the Americans came to clean up all wreckage from the battlefield in 1945, Ms. Jenny Geenen-Dewez exchanged the tank for a bottle of cognac in July 1945.

[apicelladonna]

Hi! I am the same anon who said that Albus & Newt has got me more invested in your fic.

I just wanted to say that I agree that Grindelwald is more dangerous and powerful than Voldemort. At least we know that Grindelwald's followers are there because they genuinely believe in the cause and not because they are scared of him (though maybe the fear plays a little factor). Anyways, Grindelwald made me more scared than Voldy ever did.

Have a lovely day!

Hi there!!! (this is going to be long, bear with me friend)

This is such a personal take and I know perhaps not everyone agrees with it. So I'm really happy hell hasn't broke loose with me saying this outloud-

Both of Grindelwald and Voldemort have their own strengths on why they earned of title being Dark Lords, powerful wizards of their times that caused mayhem, destruction and fear into the wrath of the devil.

I suppose am biased with how much deeper and more lore rooted Grindelwald's era of terror was. His character development shows a mix of idealism and fanaticism, making him a more multifaceted villain.

His belief in his cause, however misguided, is portrayed with a level of sincerity that can be unsettling and thought-provoking. There are moments where Grindelwald displays a degree of empathy and understanding, which adds complexity to his character and sometimes blurs the line between right and wrong.

Grindelwald operates in a morally gray area. His belief that his actions are for the "greater good" adds a layer of moral ambiguity to his character.

This makes his followers and some of the audience question whether his vision, however twisted, might have some merit.

This ambiguity can make him more intriguing and relatable as a villain, as he presents a challenge not just to the heroes' physical safety but to their ethical beliefs as well.

His time and movement was the catalyst for what was to come.

He’s not just about brute force; he uses propaganda, manipulation, and political maneuvering to achieve his goals. This makes him a more sophisticated and more of a people's champion.

He is more fleshed out in his ideology, more human than Voldemort's desire of deathless power.

Voldemort’s primary motive is a lust for power and immortality. His actions are driven by a desire for domination and fear of death, making him a more straightforward villain. Grindelwald’s motives are driven by a vision of a world order he genuinely believes in, adding depth to his character.

Why I am delving into this whilst fury and hatred for the author, surprises me but also merits a lovely introspection of the presented villains which mirrors the issues of their time.

This complexity allows for a richer narrative exploration of themes like power, morality, and the greater good-

Thank you for this opportunity to lay out my thoughts on this topic and I hope you are having a great day over there, anon!!! Dw Newt's going to be fine...for the next 1-2 chapter before hell breaks loose :D

[ourgreatergood]

⭐star⭐

Thank you so much! <3

So, let me tell you about the evolution of "The Life and Lies of Albus Dumbledore"

Even though "all too well" is definitely more popular and also close second in my favorite stories, its older sister is still even closer to my heart.

I literally started writing Life and Lies almost ten years ago. I wrote it in German (my first language) and I wrote it in the span of one summer. I wrote it after I experienced terrible heartbreak and (at least emotionally) the whole impact of my dysfunctional family dynamics came crashing down on me and honestly it just felt like my world was collapsing - in short, I was suffering from severe depression and adjustment disorder. And I did what I've done my whole life to survive: I started living in my head even more than usually and I wrote to stay some kind of sane. And what did I write? Which fictional character had to suffer for me? Of course Albus. Always Albus.

You have to imagine at this point in time all the grindeldore information I have is from the HP books and from a couple interviews with the author. No CC in sight, not even dreaming of FB ever happening.

In the beginning it was three parts: Summer of 1899, Ariana incident and the Duel in 1945 and they were actually written in that order. Only much later I put them together and filled the blanks to form one cohesive story.

Now, in the very first version of the summer of 1899 Albus and Gellert kissed exactly once. I was still going by the whole unsure if Gellert returned Albus's feelings kind of vibe - I always believed he did, but at this point I believed he was only going to be aware of it much much later in life. (At this point shout out to some exceptionally inspiring fanfic, a character study of Gellert in Nurmengard. It's German, but if you understand that, give it a read! Nebel über Nurmengard)

I wrote Albus very in love and Gellert being very manipulating.

And there's more: The first version of the 1945 duel? Albus was almost ready to confront Gellert, after years of everyone begging him. Almost. He went to meet him and he still tried to talk Gellert out of his whole war one last time. Gellert, in turn, offered Albus to join him again and when Albus declined, what was the breaking point for Albus to get his courage up to fight? It was Gellert telling him that he had been manipulating him all along - and believe me, he was cruel at that. (Of course it was always up to the reader to decide whether to believe Gellert or not and the story was always going to end with making it clear that at least in later life Gellert realised that he'd loved Albus all along.)

I swear to you I think I have never written anything as painful as those early versions of Life and Lies. I remember very well that I cried writing some of it, but I'd sworn I would stay true to canon (at the time) and just fill in the missing scenes. I think, looking back now, that it was very cathartic for me, that I needed exactly that but, boy, am I glad that I get to write a different story today - canonically!

That story was edited so many times over the years, I can't even count and tbh I would have to edit it again with FB and all, but I won't. That's what it's got its sister for now.

(Honestly, feel free to ask further questions about this. I'm not sure I've still got the early versions, but I remember them so well lol.)

[alexlacquemanne]

2023 in 12 movies (1 per months)

January

The Horse Whisperer (1998) directed by Robert Redford with Robert Redford, Kristin Scott Thomas, Scarlett Johansson, Sam Neil, Chris Cooper and Cherry Jones

[First Time]

February

L'Horloger de Saint-Paul (1974) directed by Bertrand Tavernier with Philippe Noiret, Jean Rochefort, Jacques Denis, Yves Afonso, Julien Bertheau and Jacques Hilling

[First Time]

March

The Fabelmans (2022) directed by Steven Spielberg with Gabriel LaBelle, Michelle Williams, Paul Dano, Seth Rogen, Keeley Karsten, Julia Butters and Judd Hirsch

[First Time]

April

The Third Man (1949) directed by Carol Reed with Joseph Cotten, Alida Valli, Orson Welles, Trevor Howard and Bernard Lee

[First Time]

May

The World, The Flesh and the Devil (1959) directed by Ranald MacDougall with Harry Belafonte, Inger Stevens and Mel Ferrer

[First Time]

June

La ciociara (1960) directed by Vittorio De Sica with Sophia Loren, Eleonora Brown, Jean-Paul Belmondo, Carlo Ninchi, Andrea Checchi and Pupella Maggio

[First Time]

July

Oppenheimer (2023) directed by Christopher Nolan with Cillian Murphy, Robert Downey Jr., Emily Blunt, Matt Damon, Florence Pugh, Josh Hartnett and Casey Affleck

[First Time]

August

Heat (1995) directed by Michael Mann with Al Pacino, Robert De Niro, Val Kilmer, Tom Sizemore, Diane Venora, Amy Brenneman, Dennis Haysbert, Donald Breedan and Ashley Judd

[First Time]

September

Catch Me If You Can (2002) directed by Steven Spielberg with Leonardo DiCaprio, Tom Hanks, Christopher Walken, Nathalie Baye, Amy Adams, Martin Sheen, James Brolin and Brian Howe

[First Time]

October

Le Grand Bain (2018) directed by Gilles Lellouche with Mathieu Amalric, Guillaume Canet, Benoît Poelvoorde, Jean-Hugues Anglade, Philippe Katerine, Félix Moati, Alban Ivanov, Balasingham Thamilchelvan, Virginie Efira et Leïla Bekhti

[First Time]

November

Fools Rush In (1997) directed by Andy Tennant with Matthew Perry, Salma Hayek, Jon Tenney, Carlos Gómez, Tomás Milián, Siobhan Fallon et John Bennett Perry

[First Time]

December

The Great Race (1965) directed by Blake Edwards with Tony Curtis, Natalie Wood, Jack Lemmon, Peter Falk, Keenan Wynn et Ross Martin

[First Time]

Honourable Mentions :

Airplane! (1980)

Duel (1972)

Les Sentiments (2003)

The Carpetbaggers (1964)

Scoop (2006)

Mon crime (2023)

To Have and Have Not (1944)

The Super Mario Bros. Movie (2023)

The Man Who Shot Liberty Valance (1962)

臥虎藏龍 (2000)

The Glenn Miller Story (1954)

Le Dernier Voyage (2020)

Dead Men Don't Wear Plaid (1982)

L'ingorgo (1979)

Indiana Jones and the Last Crusade (1989)

Adieu Gary (2008)

Conflict (1945)

Fahrenheit 451 (1966)

La Nuit américaine (1973)

Sorcerer (1977)

La Guerre des polices (1979)

Life of Pi (2012)

The Big Short (2015)

Le Hussard sur le toit (1995)

Excalibur (1981)

The Naked Gun: From the Files of Police Squad! (1988)

Bridget Jones’s Diary (2001)

Le Procès Goldman (2023)

Enter the Dragon (1973)

Matrimonio all'italiana (1964)

Chaplin (1992)

La Vie de château (1966)

Escape from Alcatraz (1979)

Au-delà des grilles (1949)

Second Tour (2023)

Le Couteau dans la plaie (1962)

The Eiger Sanction (1975)

JFK (1991)

Le Fugitif (1993)

Chef (2014)

Quai des Orfèvres (1947)

Appointment with Death (1988)

Bridget Jones: The Edge of Reason (2004)

Wallace & Gromit: The Curse of the Were-Rabbit (2005)

River of No Return (1954)

L'Assassinat du père Noël (1941)

Dances with Wolves (1990)

Die Glasbläserin (2016)

The Lion in Winter (1968)

Les Mystères de Paris (1962)

[chopinski-official]

Good day, Monsieur.

I have a question, simply out of curiosity: do you know movies about yourself? If soy which one is your favorite?

Ah, Fryderyk, mon petit élève!

In my little time here in the afterlife I have indeed heard of several films of myself. For my favourite, I would choose Chopin: Desire For Love as the most accurate depiction. Or I would choose Impromptu based on the fact that as a comedy, it isn’t necessarily trying to be realistic.

Here is my opinion on some of the films about me:

Impromptu— 1991

The depiction of me by Hugh Grant is flattering physically however it is not particularly flattering when it comes to my personality. I find it offensive that I would allow myself to become entangled in a duel, let alone collapse because of it. If I am to appear weak in a film, let it be because of my ill health, not because of nerves. Although I find that it is fairly realistic when it comes to my love life, my opinions when it comes to sex… But it is less convincing in terms of the content. Many of the events in the film are made up.

Also, Grant’s Polish accent kills me.

Chopin: Desire For Love— 2002

This film I feel has the most realistic depiction of my personality. I’m played by a fellow Pole and he even looks a little like me! George also looks a lot like George, and acts a fair bit like her too. However, I find that implication of romance between Solange and I is abhorrent. She was never so impertinent towards me. The actual historical facts end up a little warped too, possibly due to the fact that 29 years of my life are condensed into 2 hours.

La Note Bleue— 1991

I appreciate that my actor, Janusz Olejniczak, is a pianist and Polish but apart from that, this film is not my favourite. He looks nothing like me and I find the salacious tales of me and Solange personally offensive. They portray my personality disturbingly. I find the strange dancing figures very off putting but I suppose you could say they represent my inner demons. And, despite everything, I do like the fact that it’s filmed at Nohant.

A Song to Remember— 1945

A very unrealistic but fun film in that the truth is so bent I might as well be someone else. I may have been for the freedom of Poland but I was no revolutionary. And again, all of the events are twisted and out of order…

[scriibble-fics]

Title: London Has Fallen

Rating: M

Word count: 38,945 ; 3/? chapters [WIP]

Summary: In 1945, Gellert Grindelwald defeats Albus Dumbledore in a duel that decides the fate of the global wizarding world. Forty years later, as a new dark lord rises, a chance meeting between Lily Evans and James Potter changes that world forever.

read on ff.net

read on Ao3

[pinturas-sgm-aviacion]

1945 04 26 Fighter General - Robert Taylor

On April 26, 1945 Adolf Galland flew his last fighter mission with the rank of General. Leading his famous JV-44 Squadron of Experts, flying the remarkable Messerschmitt Me262 jet fighter, he took off from Munich-Riem and climbed to intercept a Marauder group near Neuburg high above the Danube River. After destroying one and damaging a second, his aircraft was hit by an attacking P-47 Thunderbolt. Galland was injured but managed to outrun the chasing aircraft to crash-land on the Munich airfield. So ended one of the most outstanding war-time flying careers in the history of aviation.Adolf Galland's spectacular career began with the Condor Legion in the Spanish Civil War in 1937. At the outbreak of World War II he flew in Poland, then France, and the Battle of Britain, taking command of JG-26 in June 1940. When the RAF fighters went on the offensive in early 1941, it was Galland's Me109s that dueled with Douglas Bader's Tangmere Wing in the epic aerial battles over the English Channel. By the end of that year Galland became the youngest general in the German forces, taking over the role of Commander of all day and night fighters. After increasing disagreements with the Luftwaffe supremo, Reichmarshal Hermann Goering, Galland was dismissed, only to have the order countermanded by Hitler, who briefed Galland to take command of the JV-44 jet fighter Wing.Robert Taylor, much admired by Adolf Galland, has painted a superb picture of the General in his Me262, leading JV-44 during the last few weeks of the war during the final defence of Germany. The scene is early April 1945: Having completed a successful bomber interception high above Salzburg, the Me262s are returning towards Munich-Riem at full throttle, hugging the deck to avoid the attentions of USAAF escort fighters. Below the crew of a B-24, brought down in the air-fighting, has survived a dramatic crash-landing amid spectacular surroundings.