#madame hollywood (2002)

[gradexmovies]

[jaspers47]

I watched 154 movies in 2022

Five Stars

Apollo 10 1/2: A Space Age Childhood (2022) Bergman Island (2021) Blonde Crazy (1931) Blow-Up (1966) Cryptozoo (2021) Decision to Leave (2022) Everything Everywhere All at Once (2022) Glass Onion (2022) The Hunger (1983) It Came from Hollywood (1982) Marcel the Shell with Shoes On (2022) Minari (2020) Mona Lisa (1986) Never Let Me Go (2010) Night on Earth (1991) Nope (2022) Pearl (2022) Tár (2022) Turning Red (2022) Wolfwalkers (2020) The Worst Person in the World (2021)

Four Stars

Bad Luck Banging or Loony Porn (2021) The Banshees of Inisherin (2022) Black Swan (2010) Blackmail (1929) Bullet Train (2022) Captain Blood (1935) Christmas in Connecticut (1945) CODA (2021) Confess, Fletch (2022) Doctor Sleep (2019) Dune (2021) Encanto (2021) The Fabelmans (2022) The Firemen's Ball (1967) First Blood (1982) Five Came Back (1939) Flee (2021) Gentleman's Agreement (1947) Gilda (1946) The Gospel of Eureka (2018) Guillermo Del Toro's Pinocchio (2022) Harvey (1950) House/Hausu (1977) The Hustler (1961) Hustlers (2019) Kajillionaire (2020) The Killing (1956) Kimi (2022) Kiss of Death (1947) The Menu (2022) Moonwalker (1988) The Mouse That Roared (1959) My Dinner with Andre (1981) The Northman (2022) Parallel Mothers (2021) The Personal History of David Copperfield (2019) Predator (1987) Prey (2022) The Punk Singer (2013) Quatermass II/Enemy From Space (1957) Relaxer (2018) Saint Maud (2019) The Seven-Ups (1973) Thelma (2017) Watcher (2022) We're All Going to the World's Fair (2022) Wristcutters: A Love Story (2006) X (2022)

Three and a Half Stars

The Adventures of Prince Achmed (1926) The Bob's Burgers Movie (2022) The Booksellers (2019) Blade II (2002) Gunpowder Milkshake (2021) Honk for Jesus. Save Your Soul (2022) Hush, Hush, Sweet Charlotte (1964) My Name is Julia Ross (1945) Onibaba (1964) The Party (1968) Pygmalion (1938) The Quatermass Xperiment/The Creeping Unknown (1955) The Song Remains the Same (1976) Three Thousand Years of Longing (2022) Wendell & Wild (2022) Yours, Mine and Ours (1968)

Three Stars

Amistad (1997) The Bank Dick (1940) The Batman (2022) Cha Cha Real Smooth (2022) Creature from the Black Lagoon (1954) Cries and Whispers (1972) Crimes of the Future (2022) Drive My Car (2021) The Earrings of Madame de... (1953) Emily the Criminal (2022) The Funhouse (1981) Hannah and Her Sisters (1986) Inland Empire (2006) Jennifer's Body (2009) Jubilee (1978) Ladies and Gentlemen, the Fabulous Stains (1982) Life of Pi (2012) Linda Linda Linda (2005) Love Finds Andy Hardy (1938) Lucy and Desi (2022) Nobody (2021) Opening Night (1977) Pretending I'm a Superman: The Tony Hawk Video Game Story (2020) Repeat Performance (1947) See How They Run (2022) Something Wicked This Way Comes (1983) Strawberry Mansion (2022) Tick, Tick... Boom! (2021) The Tragedy of Macbeth (2021) A Woman is a Woman (1961) Weird: The Al Yankovic Story (2022) Welcome to the Dollhouse (1995) White Zombie (1932) WNUF Halloween Special (2013)

Two and a Half Stars

Babylon (2022) Crock of Gold: A Few Rounds with Shane MacGowan (2020) Scotty and the Secret History of Hollywood (2017) Thunderball (1965)

Two Stars

Doctor Mordrid (1992) Doctor Strange in the Multiverse of Madness (2022) Enchanted (2007) Hardcore Henry (2015) The House (2022) My Fair Lady (1964) My Name is Emily (2015) The Princess (2022) Raya and the Last Dragon (2021) Rosaline (2022) Strange World (2022) Thor: Love and Thunder (2022) Treasure of the Amazon (1985) Werewolves Within (2021) Willy's Wonderland (2021) Winnie the Pooh (2011)

One Star

Beyond Atlantis (1973) Chip 'n Dale: Rescue Rangers (2022) Chuck E. Cheese in the Galaxy 5000 (1999) The Crawling Hand (1963) Daddy-O (1958) Demon Squad (1999) Hello Again (1987) Indestructible Man (1956) Munchie (1992) Operation Kid Brother (1967) The Rebel Set (1959) Santo in the Treasure of Dracula (1969) Robot Jox 2: Robot Wars (1993) Shadow in the Cloud (2020) The She-Creature (1956)

[paskvilnet]

Felix da Housecat - Madame Hollywood

Existuje ještě jiná verze videa.

[hawks-gender]

here's the original 2009 article where DOS comes out as gay! source link and full article under the cut, interview with DOS is the second half of the article

GOSSIP BOY EXCLUSIVE! TELEVISION ICON DAVID OGDEN STIERS OFFICIALLY COMES OUT

By Wayne Fuller March 11, 2009

BACKSTORY: DAVID OGDEN STIERS

Few would believe that the stodgy appearing actor David Ogden Stiers (DOS to many friends) is a flower child at heart. From his work and general appearance most would describe him as uptight, humorless, conservative, religious, cold, and judgmental. 

Now replace those adjectives with their opposite and you have the real DOS – fun loving, witty, liberal, atheistic, warm and accepting.

Abandoning a harsh Illinois farm boy life, Stiers migrated to Oregon where he flunked out of the University of Oregon and then headed to San Francisco. There he entered the world 1960’s world of Bay Area hippies and began acting with local improv group The Committee with Rob Reiner and Howard Hesseman.

Eventually he became intimate with an Academy-award winning director, who saw Stiers’ budding talent and after a few strings were pulled the Midwesterner found himself on another coast; this time in New York City as a student at Juilliard where he began to be mentored by the prestigious actor John Houseman. Soon after, he started making appearances on shows like Mary Tyler Moore, Rhoda, and the pilot for Charlie’s Angels. Yet in 1977 it was the fortuitous departure of leading character Major Frank Burns in the top program M*A*S*H that would make DOS a star and television legend, as he was brought in to play antagonist to the show’s stars.  

For his role as Major Charles Emerson Winchester THE III, a pompous Bostonian aristocratic surgeon, Stiers obtained two best supporting actor Emmy nominations in one of television’s most critically acclaimed and honored shows. He continued with M*A*S*H for seven seasons and brought new dimensions to his character, who had been written strictly as a foil for Alan Alda’s Hawkeye, but grew into a beloved television icon himself. 

In addition to his acting DOS is a professional conductor and magician. He has been a guest conductor for over 75 orchestras nationwide; often donating his services for a charitable event. If you see him on stage with longtime friend Patty Duke doing the play Love Letters or Together Again for the First Time it will be for the benefit of a local theater needing operational funds or just because they can’t wait to work together again.

Gal pal Patty is most famous for her TV stint playing identical cousins in The Patty Duke Show of the 1960s and her Oscar-winning role as Helen Keller in The Miracle Worker.  Duke, the mother of actor Sean Astin, now does a lot of stage work after a prolonged battle with bipolar disorder. In 2002 she did the part of Aunt Eller in a Broadway revival of Oklahoma!. Starting this month she will be seen as Madame Morrible in the San Francisco production of Wicked.

The esteemed actor, who is known as much for his voice as his face, has never been married, which has led many in Hollywood to assume he is gay. Stiers is now ready to lay those rumors to rest.

Due to professional fears, mostly relating to a substantial body of voice work for a less-gay-friendly-environment-than-you-thought Walt Disney and various children’s programs, DOS has spent his entire life residing in the closet. He’s never been to a gay bar, participated in a Pride event, or any thing that would raise questions about his sexuality. That’s about to change.

INTERVIEW

GB: First thing David we need to let the readers know why you chose Gossip Boy to come out.

DOS: Gossip Boy? I thought you were with the Advocate!

GB: Now.

DOS: Well, you certainly are aware of my lengthy friendship with your associate James. We’ve had a long time conversation over my sexuality and how I’ve kept it close to my chest. There have been questions over the years and I now feel a tad more comfortable in discussing my personal life.

GB: You are gay. Right, David?

DOS: Yes, I am. Very proud to be so.

GB: You are over 66 years old, so why have you waited so long to confirm what many in Hollywood always knew about you?

DOS: There are two reasons really. One is that I enjoy working and even though many have this idealistic belief that the entertainment industry and studios like Walt Disney are gay friendly. For the most part they are, but that doesn’t mean for them that business does not come first. It’s a matter of economics. Most of my more notable work in the last two decades has been as a voice actor. Certainly, I’ve done television appearances, be they recurring or guest roles, and numerous motion picture and documentary stints, but a lot of my income has been derived from voicing Disney and family programming. What they might allow in a more known actor, they prefer not having to deal with in minor players.

GB: Could you name some of the studios and execs who made you fear coming out?

DOS: I won’t. There is no animosity between us and I don’t wish to create any. Simply, they were protecting their business interests. I should say in regards to this that many of my fears were in modern times self-invented. I’ve been working internally on whether they were the problem or if I just continued using them as an excuse long after the call for conservative private lives passed. In that, I mean from the late 1980’s until about seven or eight years ago, you would find certain individuals coming up to you, me, and advocating the position that since we were doing family fare that it would be best were the actors to maintain a certain palatability to parents. These parties likely had heard rumors or harbored suspicions about me and wanted to make sure no embarrassing incidents were forthcoming. Cogsworth, the character I did on Beauty and the Beast could be a bit flamboyant on screen, because basically he is a cartoon, but they didn’t want Cogsworth to become Disney’s gay character, because it got around a gay man was playing him. I haven’t witnessed such things occurring in a long, long time.

GB: Is this why you’re now willing to come out?

DOS: In part. Likely, the biggest part. Yet I wish to spend my life’s twilight being just who I am. I could claim noble reasons as coming out in order to move gay rights forward, but I must admit it is for far more selfish reasons. Now is the time I wish to find someone and I do not desire to force any potential partner to live a life of extreme discretion with me.

GB: Do you feel that even with things better for gays that you could lose work for coming out? There’s been a recent controversy about Australian Olympian Matthew Mitcham not getting product endorsement spots, because of the gay perception. Might this happen to you?

DOS: Admittedly, I do have those nagging worries, but when I set back with a glass of rich cuvée and reason with my fears, I conclude that the work I do now no longer comes attached to once popular discriminations. Too, I don’t do commercials as a habit, so that concern is never prominent in my decision making.

GB: So you’re looking for a potential partner. Any one in mind or do you have a general description?

DOS: Someone both mature and youthful. Who has a good sense of who they are and where they are heading. They need to appreciate the finer things in life, as over the years I’ve developed certain tastes. The more lusty side of me seeks a man with developed arms, as that has always appealed to me. 

GB: While you were in the closet, you avoided most things associated with a wilder gay lifestyle. Any plans to change that?

DOS: I have a very fulfilling and established life and rarely do I find time to add something new to the mix. This doesn’t mean that I am against gay-related activities, but that I am of an age where everything fits comfortably, be it intimate conversations, wine tasting with my many dear friends, driving adventures into the beautiful Oregon countryside, composing, or working on a narrative. I would not be against some of the more serene gatherings of course, but doing a club circuit at my age and with these feet is a tad beyond my means. Most certainly, clubs aren’t always the only indicator of one’s being gay and I don’t wish to convey that idea, I just have the life I live and the cherished friends, both gay and not, and that’s enough.

[letterboxd]

Savage Cinema.

From anarchists and adultery to milk baths and massacres, Matthew Turner shares five of the weirdest and wildest highlights of Hollywood’s pre-Code era, as #PreCodeApril comes to a close.

Pre-Code April was directly inspired by Noirvember, a month-long celebration of noir cinema instigated by Marya Gates (Oldfilmsflicker). I did Noirvember for the first time in November 2019, really enjoyed it, and thought it would be great to do the same thing for pre-Code movies. Although I’ve watched most of the classic 1930s films, I realised there were a huge number of pre-Code films I’d never seen (of my Letterboxd list of over 900 Pre-Code films, I have only seen 200).

As a sucker for a bit of wordplay, no matter how tenuous, I picked April partly because it’s six months away from Noirvember and partly because of the shared “pr” sound in April and Pre-Code. I’ve been absolutely delighted by the response—the #PreCodeApril hashtag on Twitter is a daily treasure trove of pre-Code-related joy, but I was genuinely thrilled to see the response on Letterboxd (here is my watchlist for the month). It’s been a real pleasure to see pre-Code movies constantly popping up in my ‘new from friends’ feed. My hope is that it’ll be even bigger next year—and that maybe TCM will want to get involved, the way they do with Noirvember.

Produced between 1929 and 1934, pre-Code cinema refers to films made in a brief period between the silent era, and Hollywood beginning to enforce the Motion Picture Production Code censorship guidelines (mandatory enforcement came in from July 1934). The “Code” in question was popularly known as the Hays Code, after then MPPDA president Will H. Hays. As the depression set in and box office declined, theater owners needed fare that would drive cinema-goers to the movies. It was a wild time to be a scriptwriter; they threw everything at the page, designers added even more, and actors played out the kinds of scenes, from the suggestive to the overt, that would otherwise be banned for decades to come.

The following five films demonstrate some of Hollywood’s craziest pre-Code excesses. They’re still jaw-dropping, even by today’s standards, and notably give female characters an agency that would be later denied as the Christian morals of the Code overruled writers’ kinks.

Madam Satan (1930) Directed by Cecil B. DeMille, written by Elsie Janis, Jeanie Macpherson and Gladys Unger

A critical and commercial flop in 1930, Cecil B. DeMille’s utterly insane musical comedy stars Kay Johnson as a straight-laced wife who plots to win back her unfaithful husband (Reginald Denny) by seducing him at a costume party, disguised as a mysterious devil woman. The location of this party? Oh, nothing too fancy, just on board a giant zeppelin. (“Madam Satan or: How the Film gets Fucking Crazy on the Blimp,” as Ryan reviewed it.)

Madam Satan is not by any stretch of the imagination a good movie (the editing alone is laughably bad), but as a piece of pre-Code craziness, it really has to be seen to be believed. Co-written by a trio of women and set in just three locations, it goes from racy bedroom farce to avant-garde musical to full-on disaster movie after a bolt of lightning hits the blimp.

The film is justly celebrated (in camp classic circles, at least) for the wildly over-the-top costumes paraded in the masquerade ball sequence, but there’s weird outfit joy everywhere you look. Keep an eye out for an enterprising extra who’s come dressed as a set of triplets.

Call Her Savage (1932) Directed by John Francis Dillon, written by Tiffany Thayer and Edwin J. Burke

Adapted from a salacious novel by Tiffany Thayer, Call Her Savage was former silent star Clara Bow’s second-to-last film before her retirement at the age of 28. She plays Texas gal Nasa Springer, who’s always had a “savage” temper she can’t explain. In the space of 88 minutes she goes from wild teenager to jilted newlywed to young mother to prostitute to wealthy society girl to alcoholic before finally (it’s implied) settling down with her Native-American friend after discovering that she’s half-Native-American, something the audience has known all along.

Bow’s performance is frankly astonishing, to the point where you simply can’t believe what you’re seeing from one moment to the next. Sample scenes see her savagely whipping both a snake and her Indian friend, smashing a guitar over a musician’s head and violently wrestling her Great Dane… and that’s all in the first five minutes. She’s also frequently in a state of near undress throughout—one funny scene has her maids chasing her with a dressing gown because they’re afraid she’ll run down the street in her négligée.

The rest of the film includes alcohol, adultery, strong violence, attempted rape, murder, syphilis (not named, but heavily implied) and baby death. It’s a veritable smorgasbord of outrageous content and Bow is pure dynamite throughout. The film is also noted for being one of the first on-screen portrayals of homosexuality, when Nasa visits a gay bar in the Village frequented by “wild poets and anarchists”.

Smarty (1934) Directed by Robert Florey, written by Carl Erickson and F. Hugh Herbert

This deeply problematic sex comedy features pre-Code stars Joan Blondell and Warren William (often nicknamed ‘The King of Pre-Code’) at their absolute filthiest. Blondell plays Vicki, a capricious, happily married wife who gets an obvious kick out of taunting her husband, Tony (William). When he cracks and slaps her at a party, she divorces him and marries her lawyer, Vernon (Edward Everett Horton), whom she also goads into slapping her in a deliberate ploy to win back Tony.

Essentially, Smarty hinges on Vicki liking rough sex and it’s completely blatant about it, ending with her sighing “Hit me again” (the film’s UK title!) as they sink into a clinch on a couch, a rapturous expression on her face. It’s a controversial film because on the surface it looks like it’s condoning domestic violence, but it’s very clearly about Vicki’s openly expressed sexual desires—she wants to be punished and dominated, she just has a rather dodgy way of getting what she wants.

It might be unsophisticated, but in some ways Smarty is remarkably ahead of its time and ripe for rediscovery. To that end, it would make a fascinating double bill with Stephen Shainberg’s Secretary (2002). Oh, and it’s also chock-full of lingerie scenes (like most pre-Code films), if you like that sort of thing.

Massacre (1934) Directed by Alan Crosland, written by Sheridan Gibney, Ralph Block and Robert Gessner

Several pre-Code films (notably those made by Warner Bros) took a no-punches-pulled approach to their depiction of social issues, and star Richard Barthelmess actively sought out such projects. Here he plays Joe Thunderhorse, a Native American who’s become famous on the rodeo circuit. When he returns to his tribe to bury his father, he ends up fighting for their rights, taking on corrupt government officials and religious authorities.

Massacre is fascinating because on the one hand it’s wildly insensitive—Barthelmess and co-star Ann Dvorak are both cast as Native Americans—but on the other, it burns with a righteous fury and does more than any other Hollywood film (before or since) to champion the rights and highlight the injustices dealt out to Native Americans. That fury is encapsulated in a horrifying and rightly upsetting rape scene (it happens off-screen, but the cuts leave you in no doubt) that the film handles with surprising sensitivity.

In addition to being a passionate fight against racism and social injustice, the film also has some genuinely shocking sexual content. Most notably, Joe is seen making love to a rich white woman (Claire Dodd, who’s also in Smarty) who has an obvious sexual fetish, flaunting him in front of her friends and making a shrine in her room with Native-American paraphernalia.

The Sign of the Cross (1932) Directed by Cecil B. DeMille, written by Waldemar Young and Sidney Buchman

Yes, this is Cecil B. DeMille again, but no list of weird and wild pre-Code films would be complete without the jaw-dropping ancient Rome epic, The Sign of the Cross. Adapted from an 1895 play by Wilson Barrett, it stars Frederic March as Marcus Superbus (stop sniggering at the back there), who’s torn between his loyalty to Emperor Nero (Charles Laughton) and his love for a Christian woman (Elissa Landi), while also fending off the advances of the Emperor’s wife, Poppaea (Claudette Colbert).

The film is racy enough in its sexual content alone: highlights include the famous scene of Claudette Colbert taking a nude milk bath and an erotic “lesbian” dance sequence, where Joyzelle Joyner’s “most wicked and talented woman in Rome” does ‘The Dance of the Naked Moon’ at Frederic March’s orgy, trying to tempt Landi’s virtuous Christian, to the obvious arousal of the gathered guests.

However, it’s the climactic gladiatorial-arena sequence that will leave your jaw on the floor. Lasting around twelve minutes, it includes: someone getting eaten by a tiger, a tied-up, naked women being approached by hungry crocodiles, pygmies getting chopped up by female barbarians, elephants stomping on heads, a gorilla approaching a naked woman tied to a stake, a man getting gored by a bull, and gladiators fighting to the death, complete with blood and gory injury detail.

The whole thing is genuinely horrifying, even for 2021. Best of all, DeMille pointedly critiques the audience (ourselves included), by showing a series of reaction shots ranging from intense enjoyment to abject seen-it-all-before boredom.

Matthew Turner (FilmFan1971) is a critic, author, podcaster and lifelong film fanatic. His favorite film is ‘Vertigo’. The films in this article are also listed here: Five of the Pre-Code Era’s Most Outrageous Films.

[anonymoushouseplantfan]

Submitted by HunnyMae (Thanks!!!!):

The Makings of a Royal Mess | February 8, 2020 - Air Mail

Madame Tussauds removed its waxworks of Prince Harry and Meghan Markle from the royal-family set following the couple’s decision to remove themselves from Palace life.

Palace Out-Trigue

The Makings of a Royal Mess

What made Prince Harry so susceptible to a Hollywood influence?

By

 Vassi Chamberlain

Reading time: 8 minutes

The night before Prince Harry boarded a plane to join his wife and child in Canadian exile, he chose to spend his last hours in the company of relative strangers at a fundraising dinner for his charity, Sentebale, which supports young people affected by H.I.V. in Lesotho and Botswana. It was a devastating conclusion to a story about a lost and troubled young man who has been one of the most famous people in the world since the age of 12, when he walked down the Mall behind his mother’s coffin.

“His words were so intense and personal,” says an attendee of the prince’s speech on that night. “It was like a bomb went off the second he started speaking. He explained the position he had been put in and how he had tried to do the best for his family.” The guest, who knows Harry socially, spoke with him briefly afterward. “I congratulated him on being so brave. He hugged me and said, ‘I’m leaving tomorrow and I’m so glad to be getting away.’ It was very sad, but very impressive at the same time.”

Having lived through the Diana years, I somehow find Harry’s defection much sadder. How did this happen? In the course of trying to find an answer, I spoke with royal insiders, members of the aristocracy, and friends of the couple—all of whom have extensive, personal knowledge of the prince. Almost all unanimously agreed that this is not a story about a bellicose and power-hungry Valkyrie, but one about an immature man who had been looking for an exit from his life long before Meghan Markle came along. What became clear is that, privately, the Windsors have always blamed themselves for Diana’s death, and accordingly, they have sought to atone for it by coddling the vulnerable young prince. He has grown up into a complicated adult—outwardly lovable, charming, and funny, but inwardly tortured and diminished by suffering.

Meaning or Nothingness?

A guest at a recent shooting weekend in Scotland, which included a group of royal-family intimates, recounts a post-dinner conversation: “They were saying how Harry has always been treated with kid gloves, particularly by his father [Prince Charles], and his grandfather [Prince Philip], who in particular blames himself for his mother’s death; that Harry has always been an upstanding man who briefly found real purpose in the army but has not been himself since he was abruptly airlifted out of Afghanistan following a serious security threat. That he has since tried to create new purpose by founding the hugely successful Invictus Games for injured former servicemen, but that alone hadn’t filled the hole. Even though the family had increasingly bent over backwards to accommodate his every whim, he became increasingly spoiled and petulant. They were not surprised that when succor presented itself in the form of Meghan Markle, an outsider, he grabbed it.”

Princes Harry and William playing a charity polo match in 2002. William found out only hours before the official announcement that his brother was engaged to be married. 

Harry has hinted to friends over the years that marrying a British girl would not be the answer, because he did not want his future wife to be constrained by already entrenched conventions. So when he met Markle, he didn’t hesitate or overthink her suitability. His new American girlfriend came from a vastly different world; Meghan is an actress from a dysfunctional and broken family, whose life lessons were learned at the altar of another quasi-royal institution—Hollywood. It is well known that Harry immediately fell for the captivating, strong, and beautiful woman. He proposed hastily, even though they barely knew each other, their courtship consisting of the odd weekend and two holidays in Africa.

Oh, Brother

Prince William, Harry’s best friend and closest confidant, is well-meaning, but he took the matter more seriously—his view of the world is predicated on one day becoming King. When he was said to have warned Harry against romantic rashness, Harry reacted violently. And so Prince William found out two hours before the official announcement that his brother was engaged to be married. He had met Meghan only once before.

Meghan has been relentlessly portrayed as the villain, and it didn’t help matters that during the couple’s post-engagement televised interview she surprised many by doing most of the talking, rather than deferring to her royal husband-to-be, as is tradition. Then came the wedding, mired in an ugly family feud and where many celebrities were present, but only one member of the bride’s family—her mother, Doria Ragland. How odd that seemed. A female aristocrat told me how, when she was introduced to Oprah Winfrey on the wedding day, she asked her how she knew Markle. “Oh, I don’t know her at all” came the reply. Another noticed that at the post-wedding dinner, Hollywood types seemed to be prioritized over old friends.

A female aristocrat told me how, when she was introduced to Oprah Winfrey on the wedding day, she asked her how she knew Markle. “Oh, I don’t know her at all” came the reply.

Then there was the matter of Archie’s birth. Harry and Meghan refused to name not only the godparents, but also the attending obstetrician and the hospital. Failure to publicly thank those who have served members of the royal family was seen as ungracious. “But isn’t this what happens in countless families when a new wife from a different cadre comes on the scene?” an insider points out. “I know for a fact that Harry was complicit in all these decisions. He’s been shaking up the bottle for years. Meghan simply took the cork out.”

The rumors filtering out of Kensington Palace made matters worse. “I’ve heard she doesn’t always treat everyone well,” one person told me. Some witnessed Meghan’s domineering and pushy manner with hair and makeup artists; she was said to have insisted that her Los Angeles–based publicity team be frequently present in meetings with the Palace staff. “I don’t think either side did enough to meet in the middle,” says an observer. “She was told, ‘This is not Hollywood. It is the royal family.’ But, again, I suspect Harry encouraged her to behave this way, too. Perhaps it is time things changed anyway.”

When the Sussexes informed Prince Charles that they intended to take an extended break in Canada over Christmas, he was said to have asked them to first come to Balmoral, and leave right after church. One insider recalls, “[Charles] said to them, ‘Come for one night and go on your break—you don’t have to stay for days. It could be Granny’s last Christmas, it could be Prince Philip’s.’ The reply was ‘Absolutely not.’” Again, the Los Angeles team was brought in to broker the details.

“[Harry’s] been shaking up the bottle for years. Meghan simply took the cork out.”

But there is also Meghan’s side of the story. From day one, she and Harry were treated as secondary royals, in an intensely hierarchical system that is mired in outdated convention. As with Diana before them, the senior royals failed to recognize how much good the Sussexes could have done internationally for the future profile of the monarchy.

And then there is the matter of the popular press, which Harry has always hated intensely. “Because of the circumstances of his mother’s death, he has always reviled the deeply dysfunctional relationship the royal family has with journalists,” one of his friends told me. “I’ve heard him say, ‘They slaughter us, they are deeply intrusive and hostile, and then we invite them into Buckingham Palace as if we were all old friends.’”

Culture Shock

Has Meghan been a victim of sexism and misogyny? Absolutely. But there are other factors at play. I’ve lost count of the number of American expat friends who over the years have said to me, “I really don’t understand you Brits. You’re very polite and friendly, but you’re impossible to get close to.” There is truth in that. We suffer from a collective case of suspicion of outsiders, and this subliminally played a role in why the country chose to leave the European Union. There are all sorts of caveats and nuances attached to that statement, but largely that is the world that Meghan Markle landed in. Even if she had transmogrified into a facsimile of Kate Middleton overnight, I’m still not convinced she would have stood a chance. “I’ve met her a few times, and she was fine,” says one aristocrat. “She’s amazing at making you think you’re the best person in the world, but then she moves on. But I’m not buying into this money-grabbing Kardashian type that Piers Morgan has been portraying.”

Some say there is a more personal angle, one which Markle in particular has struggled with—that she too comes from a broken home, one perhaps even more toxic than what has been reported. “There also might be more to her past, which has yet to come out,” a journalist who had dealings with the extended Markle family tells me. “I got the impression that her father is not well, that he has his own issues. He sounded quite seriously damaged mentally and physically, and I suspect there’s a reason why she decided to distance herself from him. Don’t forget he was paid to say the things he did. The telling of it in recent court documents [a reference to the Sussexes’ suing The Mail on Sunday, for the publication of extracts of Markle’s letter to her father] is heavily one-sided and only reflects their point of view.”

Princes William and Harry in 2018. Sources say there has been a genuine rapprochement between the brothers following the negotiation of the “leave agreement.” 

But just one member of her family at the wedding? “It’s not that crazy,” one of the guests at the Scottish shooting weekend suggests. “I got the impression her mother doesn’t have an extended family. So Meghan is the circumstance of several broken families. She was effectively brought up as an only child. She was never close to her half-siblings; her mother is, and has always been, her rock. The rest are just chancing their arm. I’ve heard you’d get arrested for some of the things she [Samantha Markle] has said about Meghan.”

The pressure is now on the couple to take ownership of their future. Like the Obamas, Clintons, and Blairs, the Sussexes need to earn a very solid living, protect their reputations (and their child’s), and continue to do charitable work. The intense scrutiny will continue, although no one is certain that a life among celebrities in an unfamiliar culture will provide the peace Harry is looking for. A friend remembers a remark Harry once made during a trip to Africa. “He said, ‘I’d love to just stay here and be a park ranger.’ People thought at the time, ‘Yeah, right,’ but there was truth in that.”

No one is certain that a life among celebrities in an unfamiliar culture will provide the peace Harry is looking for.

There is one piece of good news. Despite daily rumors to the contrary, I hear that since the “leave agreement” was negotiated, there has been a genuine rapprochement between the brothers. “Their relationship is now in much better shape,” a source told me. “The media, as ever, overreacted.” Friends and family now dearly hope that their beloved Harry will finally find the lasting happiness and peace that has always eluded him. Whatever happens now, at least he has his brother.

Vassi Chamberlain is an Editor at Large for AIR MAIL based in London

Photos: Ken McKay/ITV/Shutterstock; Les Wilson/Shutterstock; Toby Melville/AFP/Getty Images

[elcinelateleymickyandonie]

Margaret O'Brien.

Filmografía

1941 Chicos de Broadway (Babes on Broadway)

1942 (Journey for Margaret)

1943 (You, John Jones!)

1943 (Dr. Gillespie's Criminal Case)

1943 El desfile de las estrellas

1943 Madame Curie (Madame Curie)

1943 ... (Lost Angel)

1944 Alma rebelde (Jane Eyre)

1944 El fantasma de Canterville (The Canterville Ghost)

1944 Cita en San Luis (Meet Me in St. Louis)

1944 Al compás del corazón

1945 El sol sale mañana

1946 Bascomb, el Zurdo (Bad Bascomb)

1946 ... (Three Wise Fools)

1947 La danza inconclusa (The Unfinished Dance)

1948 ... (Big City)

1948 ... (Tenth Avenue Angel)

1949 Mujercitas (Little Women)

1949 El jardín secreto (The Secret Garden)

1951 ... (Her First Romance)

1952 ... (Futari no hitomi)

1956 ... (Glory) Clarabell Tilbee

1960 El pistolero de Cheyenne (Heller in Pink Tights)

1965 Operación Rubí Negro

1974 ... (Annabelle Lee, o Diabolique Wedding)

1974 Érase una vez en Hollywood (That's Entertainment!)

1981 Walt Disney Productions El secreto de Amy (Amy)

1996 ... (Sunset After Dark)

1998 ... (Creaturealm: From the Dead)

2000 ... (Child Stars: Their Story)

2002 ... (Dead Season)

2004 El misterio de Natalie

2005 ... (Boxes) Margaret

2006 ... (Store) Margaret

2009 ... (Dead in Love)

2009-2011 ... (Project Lodestar Sagas.

Premios

1944 Ganadora del Óscar al Intérprete Juvenil

1960 Obsequiada con una Estrella de cine en el Paseo de la Fama de Hollywood. (6606 Hollywood Blvd.)

1960 Obsequiada con una Estrella de televisión en el Paseo de la Fama de Hollywood. (1634 Vine Street.)

1990 Ganadora del Premio Young Artist.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Margaret_O%27Brien

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

[mistikfir]

Meet the seductive Mr. Dancy  by Catherine O’Brien

YOU Magazine (11/2002)  Photographs: Sean Cook  (2000)

He's handsome, sexy and extremely bright and to our eyes the most fanciable man on the small screen. Now we are all about to witness his charms in a major BBC adaptation of Daniel Deronda. How can we resist?

Nothing is so famously difficult as making it big as an actor, yet every once in a while somebody comes along who makes the transition from obscurity to superstardom seem effortless. This years new kid on the block is Hugh Dancy, whose abundant talent, brooding Colin Firth-esque looks and Oxford-educated brains have made him seriously hot property. Not something he would have expected five years ago when he was a 22-year-old English graduate working as a waiter in a West London bar.  One afternoon while at work, Dancy found himself eavesdropping on a couple chatting across separate tables. It was obvious from their conversation that they both worked in the film industry. 'They were probably trying to chat each other up,' he recalls. 'And I thought, I have got to talk to them.' Before he summoned the nerve to approach, the woman left. But the man gave him some advice and the number of a casting director. The casting director agreed to meet him, and then pointed him in the direction of an agent. Within days, Dancy was on the books of Dallas Smith, who looks after, among others, Kate Winslet, Catherine McCormack and Meera Syal. 'It was incredible and remarkable week, he says.  Smith says Dancy is one of just two actors he has taken on without seeing them perform. 'Instinct told me as soon as he walked into my office that he had something a completely seductive charisma.' In the past five years, that instinct has paid off with an eclectic array of roles for his protégé. "Cold Feet" fans will remember Dancy as Danny, who seduced Rachel (Helen Baxendale) in the second series, while, as Leon Dupuis in the BBC's 2000 production of "Madame Bovary," he confirmed his burgeoning reputation as the nation's favourite toy boy by ravishing the doctor's wife in the back of a hansom cab. He has since broken through the Hollywood barrier, starring in "Black Hawk Down" alongside Ewan McGregor and Josh Hartnett, and established his stage presence at London's Donmar Theatre under Sam Mendess direction.  Next month, Dancy returns to TV in "Daniel Deronda," a major BBC adaptation of George Elliot's novel. He plays the emotionally intense Daniel - a lead role that could quite easily do for him what "Pride and Prejudice's" Mr. Darcy did for Colin Firth. 'It is a big number,' he concedes, 'but I tried not to think too hard about that when we were filming.'  Ambling into our photographic studio in an oversized shirt, crumpled chinos and trainers, Dancy's manner is confident but pleasantly unassuming. There is also something Hugh Grant-ish about those big, mild eyes and slightly halting voice. So, are those floppy curls that frame his face natural? 'Yes,' he says, blushing. 'I mean it's just there, it is, that is the way it grows.'  Dancy, now 27, is one of the few actors to emerge from a family steeped in academia. His grandfathers were both classicists at leading public schools, his father is a professor of moral philosophy at Reading University, and his mother edits academic manuscripts. He remembers a childhood that was happy and stable, but also challenging. He and his younger brother and sister would often be faced with philosophical conundrums over supper. 'Dad would come up with hypothetical situations, wherein you have to kill one person to save 40 others. You might say,' "I wouldn't do either," but you had to do one or the other, and we had to learn how to come to grips with those sorts of arguments. We knew that Dad could run rings around us, but you had that sense that one day you might just win. He was constantly making us aware of how much there is that we don't know, yet did so without denting our confidence. I would say that is the key to a good upbringing, and I benefited from that absolutely.'  When he was ten, Dancy left the family home in Newcastle-under-Lyme, Staffordshire, for boarding school in Oxford, moving to Winchester College at 13. There, in a school fortunate enough to have not one but two theatres, he discovered his passion for drama which, with the guidance of an inspiring teacher, Simon Taylor, he was able to develop. 'He put on really meaty productions.'  At 18, given the option of drama school or a degree course, there was really no contest. 'With my family background, it would have been a big decision not to go to university.' So he went up to Oxford to study English, at the same time as his father was on a visiting professorship. Three years later, having achieved a 2:1, he was considering the possibility that he might go to drama school after all when he had that chance meeting in a Holland Park café.  'My agent said he would give me six months,' he recalls. Before the six months was up, Lynda La Plante had cast him in her TV thriller "Trial and Retribution II," and there was no looking back. 'Once you are working, I don't think it makes any difference whether you have any formal training or not,' he says. 'To me, drama school would have only been a means to an end a device to get noticed.'  He admits to having been paralysed with fear when working two years ago with Sam Mendes in "To the Green Fields Beyond," a play about a First World War tank crew. But he was less daunted by Ridley Scott, director of "Black Hawk Down," in which he plays an army medic in the story of the US Army's Somalia mission. 'That film was such a massive affair that it wasn't like I was dealing with Ridley Scott everyday. Working with someone genuinely good may be demanding, but it is also reassuring. The frightening thing is to be in the hands of someone who is not on top of their game,' he says.  Earlier this year he found himself working opposite Melanie Griffith, who plays his lover in the yet-to-be-release crime thriller, "Tempo." Another toy-boy role, then? 'There is a disparity in age between us, but it is not a theme Im actively pursuing,' he laughs.  His elfin features may have contributed to his casting in "Daniel Deronda," but, in truth, the eponymous role is hugely challenging and I suspect it was Dancy's intellectual grasp that secured him the part. It was a text he knew, having studied it at Oxford. 'I did it because it was slightly shorter than "Middlemarch," but I don't know what I can have been thinking at the time because it is incredibly complex,' he says. The novel- Elliot's last - is a psychological masterpiece, which centres on a love triangle between Daniel, the vivacious Gwendolen Harleth (played by Romola Garai) and a young Jewish woman, Mirh Lapidth (Jodhi May). He thinks it has adapted well to television. There are so many big moments romantic, passionate, tragic. It was a very dramatic story.  Having barely paused for breath, Dancy is now filming "Ella Enchanted" a modern-day Cinderella story. (He plays Prince Charming, natch, and Anne Hathaway Cinderella.) He is lucky, he says, in that he has not had to endure long periods out of work. 'Rejection is hard, but its having the time to dwell on it that is the killer.'  His relentless work pace appears to be proving a convenient distraction from his personal life, too. He has recently split from his non-actress girlfriend, 'which has been a long saga in itself,' although, loyally, not one that he is about to tell. 'I suppose the great advantage of acting is that you can run away its escapism par excellence. Not very good for relationships, but very good for when they are over.'  He is in no hurry to hitch up with someone else. 'I like being on my own; I don't need the structure of sharing my day. Whenever you are with someone, it is a balancing act.'  This is, I think, his unfailingly polite way of saying that he's not yet prepared to make compromises with his career. Working alongside Griffith and on 'Black Hawk Down' has given him a taste for Hollywood. 'I have been dipping a toe in the water rather than plunging in,' he says. 'I don't have a major game plan because, frankly, I'm not yet in a position to make big plans. But I do think, whatever you do, it is important to be able to do it knowing you have stayed true to yourself.' 

[i-heart-records-and-cassettes]

Madonna on vinyl records and cassettes.

Madonna [1983], Like A Virgin [1984], True Blue [1986], Like A Prayer [1989], Cosmic Climb [1992], Erotica [1992], Bedtime Stories [1994], Ray Of Light [1997], Music [2000].

American Life [2003], Confessions On A Dance Floor [2005], Hard Candy [2008], MDNA [2012], Rebel Heart [2015], Madame X [2019], Madonna Mix [1985], Like A Virgin And Other Big Hits [1985], It's That Girl [1987].

She's Breathless [1990], The Immaculate Collection [1990], The Very Best Of Madonna [1992], Something To Remember [1995], Greatest Hits [1997], GHV2 [2001], Celebration (4xLP) [2009], You Can Dance [1984], Holiday/Over And Over Remixes Single [1987].

The Look Of Love Single [1987], Causing A Commotion Remixes/Jimmy Jimmy Single [1987], Remixed Prayers [1989], Keep It Together Remixes Single [1990], Justify My Love/Express Yourself (1990) Remixes Single [1990], Rescue Me Remixes Single [1991], Erotica Remixes Single [1992], Deeper And Deeper Remixes Single (2x12") [1992]., Bye Bye Baby Remixes Single [1992].

Fever Remixes Single (2x12") [1992], Rain Remixes Single (2x12") [1992], Wild Dancing {Remixes And More} [1992], Take A Bow Remixes Single [1994], I'll Remember Remixes Single [1994], Secret: The Remixes Single [1994], Human Nature Remixes Single [1994], Bedtime Story Remixes Single [1994], Don't Cry For Me Argentina Remixes Single [1996].

Ray Of Light Remixes Single (2x12") [1998], The Power Of Goodbye Remixes Single [1998], Frozen Remixes Single [1998], Music Remixes Single (2x12") [2000] (2x12") [2000], Don't Tell Me Remixes Single (2x12") [2000], What It Feels Like For A Girl Remixes Single (2x12") [2000], GHV2 Remixed (The Best Of 1991-2001)[2001], Die Another Day Remixes [2002], American Life Remixed [2003].

Hollywood Remixes Single (2x12") [2003], Hung Up Remixes Single (2x12") [2005], Jump Remixes Single (2x12") [2005], Get Together Remixes Single (2x12") [2005], Sorry Remixes Single (2x12") [2005], Confessions Remixed [2006], 4 Minutes (featuring Justin Timberlake And Timbaland) Remixes Single [2008], Miles Away Remixes Single (2x12") [2008], Celebration Remixes Single (2x12") [2009].

Revolver Remixes Single [2009], Give It To Me Remixes (2x12") [2012], MDNA: Nightlife Edition Remixes (2x12") [2012], I Rise: The Remixes [2019].

Broken Single [2013].

[gabandgoldie-blog]

On vous a déjà raconté la fois où nous avons chanté sur le strip, LA fameuse avenue de Las Vegas (Nevada) ? 

Une sacrée aventure avec son lot de surprises, notamment la rencontre avec Sylvie Tellier (Miss France 2002, actuellement directrice du comité Miss France). Alors que nous chantions devant le casino Planet Hollywood, où allait se dérouler l’élection de Miss Univers, elle est passée devant nous, accompagnée de cameramen et s’est retournée lorsque Goldie l’a reconnue et lui a demandé dans son micro : “Madame, vous êtes Française, n’est-ce pas ?” Elles ont échangé quelques mots, puis après nous avoir souhaité bonne chance pour notre projet musical, elle s’est fondue dans la foule qui marchait le long du strip, mais la camera, elle, est restée le temps d’une chanson pour nous filmer. Nous ne verrons probablement jamais ce footage de Gab & Goldie interprétant  La Foule d’Edith Piaf... 

Ce qui vient confirmer l’adage : what happens in Vegas, stays in Vegas...

With love & music

G&G

[documentaryoncinema]

Inside  Hollywood

'Besos de Hollywood' ('Kisses'), VOSE.

'Hollywood´s children', Gene Feldman, Suzette Winter, 1982, VO.

‘Their unique journey inside Hollywood’, Anthony Terracciano, 2013, VO.

'Death in Hollywood', Nick Bougas, 1990, VO.

Hollywood, Tinseltown, tierra de las estrellas. Una ciudad en la que un actor puede llegar a las mayores alturas y descender con la misma rapidez.

Algunas veces las estrellas han dejado un legado de tristeza, dolor y decepción por suicidio, abuso de drogas y alcohol, enfermedad, e incluso asesinato.

'Los 20 asesinatos mas terribles de Hollywood', VE.

'Hollywood y la mafia', VE.

‘Smash his camera’, Leon Gast, HBO, 2010, VO.

Presenta la vida y trabajo de Ron Galella examinando la naturaleza y efecto de los paparazzi.

En el Sundance Film Festival 2010 ganó el Premio Mejor Director en la categoría Documental.

Ron Galella website.

'He is a viper, a parasite, a stalker, a vermin. He is also, I have decided, a National Treasure.'

- Roger Ebert, Chicago Sun-Times.

'El nacimiento de Hollywood', VE.

'El glamour del Hollywood clásico', VE.

'Los diez de Hollywood' ('The Hollywood ten'), John Berry, 1950, VOSE.

Ofrece una mirada cercana sobre los diez guionistas y directores incluidos de la Lista Negra que se negaron a testificar durante los interrogatorios de la HUAC anticomunista. John Berry, director del documental, también apareció en la citada Lista al terminar su realización. Wikipedia.

‘Hollywood's quicksand fetish’, Vice, 2015, VO, SE en YouTube.

‘Hollywood without make-up’, Rudy Behlmer, Loring d'Usseau, Ken Murray, 1963, VO, SE en YouTube.

Se compone de imágenes de archivo de numerosas estrellas de Hollywood, y al tratarse de películas caseras presenta a las estrellas como son sin interpretar un papel delante la cámara. Wikipedia.

‘Heidi Fleiss: Hollywood Madam’, Nick Broomfield, BBC, 1995, VO.

Trata sobre Heidi Lynne Fleiss, hija de un famoso doctor de Los Angeles, atractiva, inteligente, eventualmente call-girl de lujo y más conocida como La madame de Hollywood por el negocio millonario de prostitución que regentó en la ciudad, al que no pocos famosos acudieron.

A mediados de la década de los noventa, ganando más de 300.000 dólares al mes, fue acusada por evasión de impuestos y proxenetismo hasta que en 1993 acabó en la cárcel. Wikipedia.

En 2004 Heidi vendió los derechos de su historia a Paramount por cinco millones de dólares y en el mismo año se realizó:

'Call Me: The rise and fall of Heidi Fleiss’, McDougall, 2004, VO.

'Las grandes catástrofes de Hollywood', Shelley Lyons, 2000, VE.

‘Hollywood and the stars’, NBC, United Artists Television, 1963, VO - VO, SE en YouTube.

‘The odyssey of Rita Hayworth’.

‘In search of Kim Novak’.

‘The one & only bing’.

‘The man called Bogard’.

‘The immortal Jolson’.

‘Funny men’.

’The swashbucklers’.

‘The western’.

‘Hollywood goes to War’.

‘Those fabulous musicals’.

’Anatomy of a movie’.

‘How to succeed as a gangster’.

'The Oscars: Moments of greatness'.

'The fabulous era'.

'The wild and wonderful thirties'

‘Monsters we´ve known and loved’. ★ Vídeo activo.

‘Imaginary witness. Hollywood and the Holocaust’ ('Hollywood y el Holocausto'), Daniel Anker, 2004, VO.

Examina el tratamiento del Holocausto en las películas de Hollywood durante el período de los años sesenta, y el impacto de las películas sobre la percepción del público y viceversa.

‘Hollywood entre la paranoia y la ciencia ficción’ ('Science-fiction et paranoïa. La culture de la peur aux Etats-Unis’), Clara Kuperberg, Julia Kuperberg, 2011, VE.

Con guionistas y cineastas como George Lucas, Steven Spielberg, Vivian Sobchack o David Scarpa entre otros presenta la ciencia ficción del cine norteamericano, desde su desarrollo histórico y sus películas más famosas hasta sus vínculos con la realidad.

‘From Russia to Hollywood: The 100 year odyssey of Chekhov and Shdanoff’, Frederick Keeve, 2002, VO.

‘Como conseguir un papel en Hollywood’, Gonzalo Cabrera, 2007, VE.

‘Hollywood prohibido’ (’Thou shalt not: Sex, in and censorship in Pre-Code Hollywood’), Steven Smith, 2008, VOSE.

'El código de censura en Hollywood' (Código Hays)', Julia y Clara Kuperberg, 2015, VOSE.

’Mujeres liberadas’ (‘Complicated women’), Hugh M. Neely, 2003, VOSE, en "Documentales, 2".

‘Hollywood’s golden age’, VO, SE en YouTube.

‘America the beautiful’, Darryl Roberts, 2007, VO.

Analiza la obsesión de muchas estrellas de Hollywood por la belleza.

‘Así es Hollywood’ (’That's Hollywood’), 20th Century Fox Television, 1976-1982, VE.

01. Actrices de Oscar.

02. Estrellas invisibles.

03. Fantasmas y espíritus.

04. Las chicas de la Fox.

05. Los cachorros de la Fox.

06. Los sex symbols.

07. Cine y deporte.

08. Los actores secundarios.

09. Tyrone Power.

10. De Broadway a Hollywood.

11. Grandes persecuciones.

12. Las grandes bandas sonoras.

13. Las rubias platino.

14. Películas de Oscar.

15. El nacimientos de las estrellas.

16. El tortuoso sendero del amor.

17. Hijos de la ciencia ficción.

18. Las grandes superproducciones.

19. Los efectos especiales.

20. Melodramas de mujeres.

21. Gregory Peck.

22. Encuentros extraños.

23. Películas de adolescentes.

24. Monos de cine.

25. Marilyn Monroe.

26. Las películas de monstruos.

27. Los héroes del cómic.

28. Chico conoce chica.

29. Henry Fonda.

30. Películas navideñas.

31. Los grandes compositores.

32. El cine biográfico.

33. Los Zanuck.

34. Las pin ups.

35. Chicas malas.

36. Test de cámara y finales alternativos.

37. Escenas eliminadas.

‘El poder de las estrellas: La creación de United Artists’ ('El nacimiento de la United’) 'Star Power: The creation of United Artists’, Hugh Munro Neely, 1998, VE.

Corría el año 1919 cuando cuatro famosos artistas de cine decidieron unirse para crear una organización que iba a establecer la posición de las estrellas del celuloide en lo más alto de la pirámide de Hollywood.

'Alienígenas y monstruos de Hollywood', Kevin Burns, 1997, VE.

'Los grandes villanos de Hollywood' ('Great Hollywood villains'), Michael Emerson, 2005, VE.

'Hollywood and the war machine', Al Jazeera, Empire, 2010, VO.  

Presenta una relación entre las producciones de Hollywood y su entorno en ambas Guerras Mundiales.

'La guerra de Hollywood' ('La guerre d´Hollywood 1939 - 1945'), Michel Viotte, 2013, VE.

'La guerra en Hollywood' ('Five came back'), Laurent Bouzereau, 2007, VE.

'1939, el mejor año de Hollywood', VOSE.

[imran16829]

Who is Jeffrey Epstein New Accuser: Teala Davies Biography, Wiki, Age, Family, Net Worth, Twitter, Instagram, Facebook, Fast Facts You Need to Know

Teala Davies Biography, Wiki

Teala Davies now is 34 years old. She was sexual abuse by Jeffrey Epstein when she was 17 years old has sued his estate, joining the growing list of women who have sued the late disgraced financier. This is the picture of #JefffeyEpstein with his accuser Teala Davies just revealed that shows them flying over the US Virgin Islands during the time the alleged abuse took place, about 17 years ago. She was “a little girl” Teala says at a presser in NY. pic.twitter.com/7R783DtADH — Marta Dhanis (@MartaDhanis) November 21, 2019 According to court records, Epstein raped her at his properties in New York, Florida, New Mexico and the Virgin Islands before he “cast her out” when she developed an eating disorder.

Teala Davies Personal L

According to her Facebook profile, Davies still lives in Lake Havasu, Arizona, with her two daughters and works at ChaBones Steakhouse and Tapas Bar. She says her daughters the biggest motivation in her decision to come forward.

Teala Davies Age

She is 34 years old.

Teala Davies Facebook

Teala Davies Lawsuit against Jeffrey Epstein Sexual Abuse

Teala Davies filed her lawsuit in Manhattan federal court on Thursday and appeared at a news conference with attorney Gloria Allred. In the news conference, she called herself “the perfect victim” for a predator who took advantage of vulnerable underage teenagers and young women. Allred said her client had a difficult childhood that included being homeless for a year at age 11. According to the lawsuit, Davies was raped and sexually abused by Epstein at his residences in New York, Paris, Florida, New Mexico and the US Virgin Islands. “It took me a long time to break free from his mind control and abuse,” Davies said in her statement. “I still have flashbacks. It still hurts.” The lawsuit seeks unspecified damages. Davies becomes one of about a dozen women suing the late financier’s estate for alleged sexual abuses.

Teala Davies Sister

The harrowing lawsuit details how Epstein manipulated Davies and made her completely dependent on him before sexually abusing her. Davies was introduced to Epstein by her sister, who was being abused by the billionaire at the time. “Teala was unaware that Epstein had been manipulating and sexually abusing her sister, as Epstein’s total power and control over Teala’s sister made it impossible for her to say anything about it,” the suit reads.

Fast Facts You Need to Know

Teala Davies filed a lawsuit for damages Thursday in New York She says that Epstein helped her through her sister when she was 17 in 2002 They met at the Bel Air Hotel when he was in Los Angeles, he said. Davies says he brought her to their homes in the United States and abroad. She claims that he has raped and sexually abused her in other ways. The woman says she once "offered" it to an unknown Hollywood producer She doesn't name the man, but says she barely escaped him. She claims that she only stopped when she was entrusted with an eating disorder Epstein, he said, then threw it aside, dropping it into alcoholism and other unspecified self-harm. She is the sixteenth person to file a lawsuit against the estate of the deceased pedophile. According to lawyers, dozens of other women are likely to bring their own cases. Related Articles:- Billionaire Commits Suicide: Jeffrey Epstein wiki Jeffrey Epstein’s Female Fixer: Sarah Kellen Biography Trump Epstein Video Scandal: Faith Daniels Biography Epstein Accuser Said ‘He forcefully raped me’: Jennifer Araoz Bio Jeffrey Epstein Suicide: Nicholas Tartaglione Biography Jeffrey Epstein Accuser in Court: Annie Farmer Bio Jeffrey Epstein Accuser in Court: Courtney Wild Bio Who is Jeffrey Epstein’s Alleged Madam?: Ghislaine Maxwell Biography Jeffrey Epstein Accuser: Virginia Roberts Giuffre Wiki Jeffrey Epstein Former Girlfriend: Nadia Marcinkova Bio Jeffrey Epstein Assistant: Lesley Groff Bio Jeffrey Epstein Sex Scandal: Adriana Ross Bio Jeffrey Epstein Scandal: Rinaldo Rizzo Biography Jeffrey Epstein Scandal: Glenn Dubin Bio Read the full article

[elcinelateleymickyandonie]

RICARDO MONTALBÁN.

Filmografía

En México

1942 - Los tres mosqueteros

1942 - La Virgen que forjó una patria

1942 - El verdugo de Sevilla

1942 - La razón de la culpa

1942 - Cinco fueron los escogidos

1943 - La fuga

1943 - Santa

1943 - Fantasía ranchera

1944 - Nosotros

1944 - La hora de la verdad

1944 - Cadetes de la naval

1945 - La casa de la zorra

1945 - Pepita Jiménez / Duelo a muerte

1954 - Sombra verde

1964 - ¡Buenas noches, Año Nuevo!.

En Estados Unidos

1942 - Five Were Chosen

1947 - Fiesta / Fiesta brava

1948 - On an island with you

1948 - The Kissing Bandit

1949 - Neptune's Daughter

1949 - Battleground

1949 - Border Incident

1950 - Mystery Street

1950 - Right Cross

1950 - Two Weeks with Love

1951 - The Mark of the Renegade

1951 - Across the Wild River

1952 - My Man and I

1953 - Sombrero

1953 - Latin Lovers

1954 - The Saracen Blade

1955 - A Life in the Balance

1956 - Three for Jamie Dawn

1960 - Let No Man Write My Epitaph

1962 - Hemingway's Adventures of a Young Man

1962 - The Reluctant Saint

1963 - Love Is a Ball

1964 - Cheyenne Autumn

1965 - The Money Trap

1966 - Madame X / La Mujer X

1967 - The Longest Hundred Miles

1968 - El Gran Chaparral: Episodio:''El tigre por la cola

1968 - Sol Madrid

1968 - Blue (EUA)

1969 - Sweet Charity

1971 - The Deserter

1971 - Escape from the Planet of the Apes

1972 - Conquest of the Planet of the Apes

1973 - The Train Robbers

1975 - A matter of honor

1976 - Won Ton Ton: The Dog Who Saved Hollywood

1976 - Joe Panther

1977 - Mission to Glory: A True Story

1982 - Star Trek II: The Wrath of Khan

1984 - Cannonball Run II

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

2002 - Spy Kids 2: Island of Lost Dreams

2003 - Spy Kids 3-D: Game Over

2006 - The Ant Bully.

En Italia

1954 - La cortigiana di Babilonia

1961 - Gordon, il pirata nero.

En España

1957 - Los amantes del desierto.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Ricardo_Montalb%C3%A1n

[marianajacqueline45]

Hoy cumpliría años Marion Cotillard 42 años es una actriz y cantante francesaganadora de los premios Óscar, BAFTA, Césary Globo de Oro por su interpretación de Édith Piaf en la película La vida en rosa. Es la única mujer que ha ganado un Óscar a la mejor actriz por una película francesa. También es ambientalista y portavoz de Greenpeace.En 2012, recibió numerosos elogios por su actuación como Stéphanie en De óxido y hueso, y fue galardonada con el Premio Globo de Cristal, Premio Étoile d'Or, Premio Sant Jordi, Irish Film & Television Award y el Premio de la Mejor Actriz en el Hawaii International Film Festival, además del hecho de que recibió nominaciones para el premio Globo de Oro, para el Premio BAFTA, para el Screen Actors Guild Award, para el Premio de la Crítica Cinematográfica, para el Premio AACTA, para el Premio Lumière y para el Premio César. Ella es el rostro oficial de los bolsos Lady Diordesde el 2008, y ha aparecido en más de 200 portadas de revistas de todo el mundo.Entre ellas, se encuentran: Vogue, Elle, Marie Claire, Variety, Harper's Bazaar, Vanity Fair, Madame Figaro, Glamour, W, The Hollywood Reporter y Wall Street Journal Magazine. También apareció en la portada del primer número de la revista Dior, en septiembre del 2012., Monica Bellucci 53 años es una actrizy modelo italiana. Comenzó a trabajar como modelo a los 16 años de edad, cuando cursaba bachillerato de Letras. Sus primeros pasos profesionales se encaminaron a ejercer la abogacía, aunque decidió trabajar como modelo para pagar sus estudios en la Universidad de Perugia. El estilo de vida de la moda la llevó a abandonar su carrera de Derecho. Se casó con el fotógrafo de moda Claudio Carlos Basso en 1990, pero luego se divorciaron al año siguiente. Posteriormente su siguiente marido fue el actor francés Vincent Cassel, con quien coincidió en numerosas películas, y cuya separación se hizo pública el 26 de agosto de 2013. Tuvieron dos hijas en común: Deva (nacida el 12 de septiembre de 2004) y L��onie (nacida el 21 de mayo de 2010). Tras su divorcio, numerosas revistas de la prensa rosa, la relacionaron con Telman Ismailov, un multimillonario ruso de 56 años con orígenes en Azerbaiyán. Habla tres idiomas con fluidez: italiano (su lengua materna), francés e inglés; y algo de español. Ha interpretado papeles hablando todos esos idiomas, además de arameo para su papel como María Magdalena en La Pasión de Cristo y serbio el la úlima película de Emir Kusturica "On the Milky Road" (2016). En 2004, mientras estaba embarazada de Deva, Bellucci posó desnuda para la edición italiana de la revista Vanity Fair como protesta en contra de las leyes italianas que prohíben la donación de esperma. Volvió a aparecer embarazada y semidesnuda para la revista en abril de 2010, durante su segunda gestación. En el documental The Big Question, sobre la película La Pasión de Cristo, comentó: "Soy agnóstica, aunque respeto y me interesan todas las religiones. Si hay algo en lo que creo es en la misteriosa energía; esa que llena los océanos durante los oleajes, esa que une la naturaleza con los seres". Trayectoria profesional Modelaje En 1988, se trasladó a uno de los puntos neurálgicos de la moda europea, Milán, firmando para la prestigiosa firma Elite Model Management. En 1989 ya era una modelo reconocida en París e incluso al otro lado del Atlántico, en Nueva York. Posó para Dolce & Gabbana y para la marca francesa Elle, entre otras. Ese mismo año, Monica Bellucci se ve atraída por el cine, toma clases de interpretación, para convertirse en actriz. En febrero de 2001 apareció en la portada de la revista Esquire y en 2003 en Maxim. En 2004 ocupó el primer puesto en la lista anual de las 100 mujeres más hermosas del mundo de AskMen. La carrera de Bellucci como modelo es manejada por Elite+ en Nueva York. Es considerada un sex symbol italiano. Actualmente es la cara de la línea Dior Cosmetics. Cine Monica Bellucci en el Festival de Cannes de 2002. Su carrera en el cine comenzó a principios de los años 1990. Interpretó breves papeles en La Riffa (1991) y Drácula de Bram Stoker(1992). En 1996 fue nominada al premio César como mejor actriz de reparto por su rol de Lisa en L'appartement y afianzó su posición como actriz. En 1998 participó en un filme de la española Isabel Coixet: A los que aman. Su popularidad aumentó en todo el mundo después de sus papeles en varios filmes europeos de repercusión, como Malèna(2000) de Giuseppe Tornatore, El pacto de los lobos (2001) e Irreversible (2002). Desde entonces ha trabajado en varias películas europeas y norteamericanas como Bajo sospecha (2000), con Gene Hackman y Morgan Freeman; Astérix y Obélix: Misión Cleopatra (2002), con Gérard Depardieu; Lágrimas del sol (2003), donde trabajó con Bruce Willis; The Matrix Reloaded (2003) de los hermanos Wachowski, La pasión de Cristo(2004) dirigida por Mel Gibson, Los hermanos Grimm (2005) de Terry Gilliam, Le Deuxième souffle (2007), Shoot 'Em Up (2007), con Clive Owen; Ne te retourne pas (2009) y El aprendiz de brujo (2010). Bellucci ha participado fundamentalmente en varios filmes de cine negro como es el caso del controvertido Irreversible, donde se expone una violación explícita y violenta, y En el punto de mira. También ha incursionado en películas de ciencia ficción como Matrix Revolutions y de acción como es el caso de Lágrimas del sol, junto a Bruce Willis. En 2007 interpreta con José Fidalgo Heart Tango, cortometraje publicitario de la firma de lencería Intimissimi dirigido por Gabriele Muccino (ver cortometraje). Bellucci iba a interpretar a la política india Sonia Gandhi en el biopic Sonia, en un principio planeada a estrenarse en 2007, pero el proyecto fue cancelado. Bellucci dobló su propia voz para las versiones de Francia e Italia de la película Shoot 'Em Up (2007). Además prestó su voz a Kaileena en la videojuego Prince of Persia: Warrior Within e hizo la voz en francés de Cappy en el doblaje de la película animada Robots (2005). Una de las grandes bellezas del cine europeo actual, Bellucci ha sido considerada en este sentido una digna sucesora de las grandes divas del cine italiano como Sophia Loren y Claudia Cardinale, y todavía a edad madura mantiene una espléndida imagen. En 2015 intervino en Spectre, la 24.ª película de la saga James Bond, junto con Daniel Craig. Con su papel, se convirtió en la chica Bond de más edad (50 años).

[xmichaeljacksonx]

100 Michael Jackson Facts

1. Michael Jackson's favorite animated character was Pinocchio

2. When he was a child his favorite books included Rip Van Winkle and The Old Man and the Sea

3. Michael Jackson was very ticklish

4. Saint Vincent, an island in the Caribbean, once issued Michael Jackson stamps

5. The singer once owned a boa constrictor called “Muscles”

6. As a youngster he used to put spiders in sister La Toyah’s bed

7. He played a scarecrow in The Wiz, a movie version of the Wizard of Oz

8. He has two stars on the Hollywood Walk of Fame (one for himself and one as part of the Jackson Five)

9. Quincy Jones nicknamed him “smelly” – a slang term similar to “funky”

10. Jackson described his own voice on early Jackson 5 records as “like Minnie Mouse”

11. He was a big fan of The Three Stooges

12. He is an Exeter City fan

13. He had two llamas called Louis and Lola

14. Thriller spent 37 weeks at number one in the US Billboard chart.

15. In 1984 he won eight Grammys – the joint highest amount ever won by one person in a single year

16. He gave his first public performance at the age of 5 singing Climb Every Mountain

17. He had eight brothers and sisters

18. His marriage to Lisa-Marie Presley lasted only 19 months

19. Jackson paid $47 million for the publishing rights to the Beatles back catalogue in 1985 and sold a share of to Sony in 1995 for $95 million

20. His middle name was Joseph

21. He was born on Aug 29, 1958

22. At the Brit Awards in 1996 Pulp frontman Jarvis Cocker took exception to his bombastic performance of Earth Song and ran on to the stage

23. Jackson was very fond of Mexican food

24. In 1993 Jackson’s dermatologist said he had a rare skin disease called vitiligo, which causes sufferers to lose pigmentation in their skin

25. Thriller is the world’s best-selling record of all time with an estimated 150 million copies sold worldwide

26. Two of his other albums – Bad and Dangerous – are also among the world’s best-selling records

27. He popularised dance moves including the robot and the moonwalk

28. He was inducted into the Rock and Roll Hall of Fame twice

29. He won 13 Grammy Awards

30. Billie Jean was the first video by a black artist to air on MTV.

31. Jackson owns the rights to the South Carolina State Anthem, South Carolina on My Mind.

32. He has waxworks in five Madame Tussauds museums across the world. Only Elvis Presley and Madonna have more.

33. He has sold more than 300 million records worldwide

34. His favourite superhero is Morph from X-Men

35. He had a pet ram called Mr Tibbs

36. His total lifetime earnings from music are estimated at $500 million

37. Jackson regularly wore a black armband to remind people of children suffering around the world.

38. The moonwalk was picked up from street dancers

39. Little Richard wanted to be played by Jackson in a biopic

40. Jackson had a pet python called Crusher

41. In 1984 a French fan committed suicide because he couldn’t have surgery to look like Jackson

42. The video for Scream was the most expensive ever at £3.8 million.

43. A library once accused the singer of owing $1 million in overdue book fines

44. Jackson was a vegetarian

45. He won an MTV award for Best Movie Song in 1994. It was for Will You Be There from the movie Free Willy

46. HIStory was the biggest selling double album ever released in the United States

47. Jackson was given a royal title in the Ivory Coast in 1992

48. Before concerts he would drink Ricola candy dissolved in hot water

49. His birthplace Gary, Indiana, is planning a museum in his honour

50. The singer patented a shoe device that allowed dancers to lean forward at gravity defying angles

51. He was a best man at Liza Minnelli’s wedding to David Gest

52. The largest television audience in US history watched him perform at half time during the 1993 Super Bowl

53. Martin Scorcese once directed a Jackson video

54. A survey in 1997 declared him the Most Famous Person in the World

55. He paid $1.5 million in 1999 to buy for the 1939 Oscar for best film won by Gone With The Wind

56. Jackson once described Elizabeth Taylor as “a warm cuddly blanket that I love to snuggle up to”

57. He recorded a voice-over on The Simpsons

58. Macauley Culkin is godfather to two of Jackson’s children

59. Jackson co-wrote We Are The World with Lionel Richie

60. He is godfather to Nicole Richie

61. He is also godfather to Bee Gees singer Barry Gibb’s son Michael

62. Jackson shares a birthday with Sir Richard Attenborough and actress Rebecca DeMornay

63. At the time of his death Jackson was rehearsing for his greatest comeback, with 50 shows scheduled in London

64. He was four years old when he began singing with his brothers Marlon, Jermaine, Jackie and Tito in the Jackson 5

65. The Jackson 5’s number one hits included “I Want You Back,” “ABC” and “I’ll Be There”

66. In 2002 Jackson caused controversy when he playfully dangled his infant son, Prince Michael II, over a hotel balcony in Berlin in front of fans

67. MC Hammer once challenged Jackson to a dance off

68. In a TV documentary he acknowledged sharing his bed with children but described the practice as sweet, and not sexual

69. During production of a 1984 Pepsi advertisement Jackson sustained burns when an explosion set his hair on fire

70. Jackson’s 13 number one hits on the US Billboard charts put him behind only Elvis Presley, the Beatles and Mariah Carey

71. Jackson’s father Joseph worked in a steel mill

72. Joseph Jackson and his brother Luther were in an R&B band called The Falcons

73. Michael was raised as a Jehovah’s Witness by his mother

74. In a 1993 interview with Oprah Winfrey the singer spoke of a traumatic childhood including suffering from loneliness

75. Jackson showed his singing talent at the age of five when he performed at a Christmas recital

76. The family band was originally called the Jackson Brothers

77. Michael was promoted to joint lead vocals at the age of eight and the band became the Jackson 5

78. They toured extensively in the US Midwest from 1966 to 1968

79. Hestrongly disliked the “Wacko Jacko” nickname

80. Wild stories about him included that he slept in an oxygen chamber and that he bought the bones of The Elephant Man.

81. During the world tour for Bad he performed to 4.4 million people

82. His first autobiography, Moonwalk, took four years to complete

83. The book reached the top of The New York Times best sellers’ list

84. Jackson had 8 siblings; 5 brothers and 3 sisters

85. He suggested weight loss and a strict vegetarian diet had contributed to the change in his appearance

86. He paid $17 million in 1988 for the land in California that became the Neverland Ranch

87. The 2,700-acre property had a theme park, a menagerie, and a movie theatre.

88. Its grounds were protected by a security staff of 40

89. Neverland was valued at $100 million in 2003

90. The profits from his single “Man in the Mirror” went to charity

91. In 1991 he signed a contract with Sony worth $65 million

92. In 1992 he founded the Heal the World Foundation which brought underprivileged children to Neverland and made donations worldwide

93. When he visited the African country of Gabon 100,000 people turned out to see him

94. Jackson’s most famous pet was Bubbles the chimpanzee

95. Bubbles was adopted at the age of three from a cancer research clinic in Texas.

96. Bubbles sat in on recording sessions for the Bad album and accompanied Jackson to Tokyo

97. The artist Jeff Koons made a series of sculptures of Jackson and Bubbles

98. Jackson fathered two children with Deborah Jeanne Rowe – Michael Joseph Jackson Junior (also known as “Prince”) and a daughter, Paris Michael Katherine Jackson

99. The couple divorced in 1999 and Rowe gave full custody rights to Jackson

100. Vitiligo, the skin disease from which he suffered, affects 1 to 2 percent of the population

~Courtesy of The Telegraph

[caveartfair]

The Future of Art Fairs Is in a Hotel on Hollywood Boulevard

The Hotel Roosevelt. Image courtesy of Felix.

Amid the tourist-thronged block of Hollywood Boulevard across from the TCL Chinese Theatre, where tourists skip along sidewalks speckled with stars as they pass a Hooters, a Madame Tussauds, and a TMZ Celebrity Tour kiosk, an unlikely new neighbor opened Thursday afternoon: a contemporary art fair.

As the art industry scrambles to find new fair models that let mid-tier galleries participate without driving them to bankruptcy with booth fees and travel costs, three prominent figures in the Los Angeles art scene—collector Dean Valentine and dealers Alberto and Mills Morán—proposed a radical idea. They would return to the hotel fair model, a throwback to the Gramercy International Art Fair held at the Chateau Marmont in L.A. in the 1990s, where booth prices could be kept low due minimal infrastructure-building costs. For dealers who are really hard-up for cash, they could always sleep in their booth—there’s an option to keep the bed in the room.

Felix LA has gone from a germ of an idea to a full-fledged art fair in less than a year, and opened on Thursday at the Hollywood Roosevelt, a storied Tinseltown hotel—it hosted the first Academy Awards ceremony in 1929—recently restored to its Art Deco splendor.

“There’s a lot of conversations going around about how to make a more viable economic model for the younger galleries which have huge overhead and very erratic revenue,” said Valentine, sitting in a basement room of the Hollywood Roosevelt. “This is an attempt to answer part of that. At a hotel, part of the overhead is already built in.”

Jonas Lipps, Untitled, 2018. Courtesy of the artist and Tanya Leighton, Berlin.

“And we aren’t building any walls,” added Mills Morán, who, with his brother, runs the Hollywood-based gallery Morán Morán.

The two were preparing for the fair’s first edition as a crew of organizers hauled boxes of Felix-branded T-shirts, buttons, and beer koozies, while art handlers carted wooden crates to some of the hotel’s bungalows, which also serve as fair booths. We were speaking two days before the fair was set to open alongside the first edition of Frieze Los Angeles, which held its preview on Thursday at Paramount Pictures Studios—a quick Uber ride away, even in the city’s notoriously bad traffic. Already, Hollywood Boulevard was getting ready for its art-world close-up. For the first time since the art market became a global, pop-cultural phenomenon—with the creation of Art Basel in Miami Beach and the advent of Instagram turning art fair-hopping into a lifestyle—there is a critical mass of the world’s biggest dealers and collectors in the world’s entertainment capital.

The Hotel Roosevelt. Image courtesy of Felix.

The Hotel Roosevelt. Image courtesy of Felix.

“Everybody’s converging in L.A.,” Mills Morán said. “This has never happened in Los Angeles. I can already feel that buzz—and this is where I’m from. Usually I have to travel to go find this, and now I can just go home at the end of the night.”

The talk that Frieze would expand to Los Angeles had been at a volume just under deafening since April 2016, when Endeavor, the talent agency co-founded by Ari Emanuel, bought a stake in the fair juggernaut that started as a small magazine in 1991, expanding into the art fair business in 2003. (The exact size of Endeavor’s stake in Frieze—said to be between 50 percent and 70 percent—and the price paid both remain undisclosed.) But Felix was conceived less than a year before its first edition. Valentine, a longtime TV executive who has been collecting art since the early 1990s—he was an early proponent of superstar artists such as John Currin, Takashi Murakami, and Mark Grotjahn—was at the 2018 Armory Show in New York when he realized he wasn’t having a good time.

Woody De Othello, In Control, 2018. Courtesy of the artist and Jessica Silverman Gallery.

“It was slushy, and it was wet, and it was cold, and people were pissed at each other about their booth placement, and collectors were pissed off,” he said. “There was a lot of negative energy around it.”

Over dinner with trailblazing dealers such as Berlin’s Tanya Leighton and New York’s Anton Kern, Valentine floated an idea: Why not go back to the good old days of the Gramercy International Art Fair, which eventually became the Armory Show, but initially took place at the Gramercy Park Hotel in New York and the Chateau Marmont in L.A. These were fairs for an art market in uncertain times that, Valentine said, gave rise to a new generation of artists.

“You walk into a room and it would be Marian Goodman’s room, and there’d be Thomas Schütte sculptures,” Valentine recalled, “or you’d walk into Patrick Painter’s room, and there would be some of the first Glenn Brown paintings. And Anton said, ‘Wouldn’t it be great if we could find something like that again?’ And I said, ‘Yeah, it would be great.’ And Anton said, ‘So why don’t you do it?’ And I said, ‘I’m not a fair guy, I have a life!’”

The next month, Valentine stopped by Morán Morán and happened to mention the dinner and the dream. Alberto Morán countered with an idea for a venue: the Hollywood Roosevelt Hotel. It checks off all the boxes in the Tinseltown glamour department. Marilyn Monroe supposedly haunts the suite she once stayed in; Errol Flynn distilled bootleg gin in the barbershop; and Leonardo DiCaprio sauntered through its red-velvet hallways in the 2002 film Catch Me If You Can. It also has enough suites, bungalows, and available rooms to host a major art fair.

“There was no other place,” Mills Morán said.

The founding team fell into place seamlessly. Valentine knows galleries in L.A. and globally from decades of buying art. The brothers Morán know the art fair business, having scored booths in fairs such as Art Basel in Basel and Frieze New York. But timing was of the essence. The fair would have to open in tandem with the recently announced Frieze L.A. in order to have enough collectors in town to get galleries to agree to sign on. And the fact that Frieze would be a fraction of its usual size—70 galleries instead of the roughly 160 that showed in London last year—meant that many of the galleries accustomed to doing Frieze in London and New York but shut out of the L.A. edition would be looking for another way to get in on the action.

Sherman Beck, Untitled, 2014. Courtesy of Kavi Gupta.

And the cost for the hotel fair would be much lower. Booths at Frieze start at $8,277.50 for the smallest booth, a paltry 215 square feet. For a large booth, mega-galleries have to pay more than $75,000. Meanwhile, a gallery at Felix LA can get a booth for just $4,000, and the most expensive booth, at $10,000, is a small uptick from the low barrier at Frieze—but that fee gets you all 1,200 square feet of the hotel’s over-the-top Roosevelt Suite, more than five times the size of a small booth at Frieze.

The fact that Felix LA is free and open to the public will allow participating galleries to introduce would-be collectors—many of whom may not be willing to fork over as much as $250 for a ticket to Frieze L.A.—to work by emerging artists who wouldn’t have a place at a major fair stuffed with work already validated by the market.

“It’s a response to the market now, where the market starts concentrating on blue-chip art because it’s a nervous-making world,” Valentine said. “What that means is that the new art, the emerging art, the younger art that hasn’t had time to marinate in the world—the only way that art can get absorbed into the system is for people to talk about it. We’re not anti-capitalistic, we’re not anti-market, we just want to create a safe haven for certain kinds of art and artists.”

To assemble an inaugural exhibitor list, Valentine looked to dealers he’s worked with closely over the years, such as Kern and Leighton. The final roster includes long-established heavy-hitters such as Canada in New York, Jessica Silverman Gallery in San Francisco, and Kavi Gupta in Chicago, as well as international galleries from Europe, Asia, and South Africa. But Valentine and the Moráns also stayed true to the youthful spirit of the fairs at the Chateau Marmont—which were co-organized by Matthew Marks when he was in his early thirties, and had Jay Jopling and Maureen Paley showing in some of their first fairs—and invited outfits such as New York’s Bridget Donahue and 56 Henry, a tiny Chinatown space run by the dealer Ellie Rines.

“You want that gallery that’s going to be a bigger gallery 20 years from now,” Mills Morán said. “I’d love for Ellie Rines to have a much stronger program—and that she showed at our fair way back when. That, to me, is important. And that brings the energy to what happened in the 1990s, and trying to recreate that.”

Monique Mouton, Night/Day, 2018. Courtesy of the artist and Bridget Donahue, New York City.

Installation at the Hollywood Roosevelt began late Wednesday afternoon. The hotel’s 11th floor had been turned over completely to galleries, with art handlers ducking into suites carrying large canvases, while hotel staff removed beds and couches from the rooms.

The “booth” of Clearing, a gallery with spaces in Manhattan, Brooklyn, and Brussels, was in room 1101, with windows that revealed the full splendor of the Hollywood sign and mansions in the Hollywood Hills dotting the landscape. “It’s quite a view, isn’t it?” said gallery founder Olivier Babin, as his staff unwrapped works by Calvin Marcus and Aaron Garber-Maikovska. Paintings by Zak Kitnick would be installed horizontally, as tables, and visitors to the fair are welcome to use them as backgammon boards.

Down the hall, Kate Werble, who has had a gallery in New York since 2008, was unwrapping works by Melanie Schiff, who was on hand to install herself. Werble cut open a box to reveal a black basketball sculpture by Christopher Chiappa, an appropriate contribution to a fair in the NBA-obsessed new home of LeBron James.

“This is my first hotel fair,” Werble said, standing in front of a window revealing the palm tree–lined streets. “I feel like I missed that whole thing—I went to the Gramercy International when I was an intern.”

One Felix LA participant who did show at a previous Gramercy International is Kenny Schachter, a dealer, writer, and practicing artist. A show of new video, sculpture, and paintings that draw from his columns about the art market opened this week at Kantor Gallery in Beverly Hills. His booth mixed work made by his sons with works from some of the most prominent artists of the last few decades, including a rare Cady Noland work involving a photo of Patty Hearst and her one-time fiancé, Steven Weed, in a metal frame made by the artist. Leaning against the bed was a Robert Colescott piece and a small but potent black-and-white work by Wade Guyton. Propped against a table was a brilliant Chris Burden work from the 1970s, part of a series consisting of his cancelled checks—some to his phone company, some to the company heating his studio—arranged in a grid.

Aaron Garber-Maikovska, Untitled, 2018. Courtesy of the artist and Clearing, New York/Brussels.

“The most valuable ones are the ones with a cancelled check to his pot dealer,” Schachter said.

Anton Kern was installing down the hall in a suite that was big enough to put many traditional fair booths to shame. A quick elevator ride led me to the galleries taking over poolside bungalows on the ground floor. Bridget Donahue was in the room that would house her “booth,” overseeing the installation of a video by Martine Syms and lounging on one of Jessi Reaves’s touching-is-encouraged works that blur the line between sculpture and furniture, when Reaves walked into the bungalow.

“I have so many of my artists here in Los Angeles,” Donahue said, noting that it was her first time doing a fair in the city—there just wasn’t one for her to do before Felix LA.

There was no way to be sure that sales would be solid for the galleries in this first edition, and a rainy opening day was certainly a curveball for collectors who’d flocked to the perpetually sunny city. But the funky vibe at the Hollywood Roosevelt seemed to put dealers in a better-than-usual mood during installation.

Valentine mentioned that they had anticipated 150 RSVPs, but received 750. The apparent surge of interest begged the question: If Felix LA is a runaway success, could it be replicated in other cities?

“It’s been discussed, and we always come back to: ‘Let’s get through this week,’” Mills Morán said. “But it’s fun to think about.”

from Artsy News