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tilbageidanmark · 6 months

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Movies I watched this week (#167)

(I've gone overboard again this week!)...

🍿

'A spectre is haunting Europe, the spectre of communism...'

The Young Karl Marx is my second film by Haitian Raoul Peck (After his 4-part documentary about colonialism 'Exterminate all the Brutes'). An historical German biography about the birth of the labor movement, with lengthy discussions of the political theories of the time. It's so refreshing to experience an unapologetic look at the revolutionary ideology of class struggle, improving and uniting the impoverished workers and taking down the exploiting bourgeoisie. Vicky Krieps is lovely as Marx's sexy and supportive wife. 7/10.

🍿

Chan is missing, my 3rd by indie filmmaker Wayne Wang (After 'Smoke' and 'The Joy Luck Club'). Made for $20,000, this detective story was his solo directorial debut, and the first 'important' film about "ABC"s ('American Born Chinese') and other Asians living in Chinatown. I lived in San Francisco in the later 80s, and this brings back very fond memories to a long-forgotten time.

🍿

2 by Tricia Cooke:

🍿 Tricia Cooke is an editor, who worked on many of the Coen Brothers' films (together with "Roderick Jaynes"). She's also been married to Ethan Coen for 30 years (in an open, "non-traditional" marriage, according to Wikipedia).

Drive away dolls, the new comedy was written by her and husband Ethan, but without brother Joel. It's a "Lesbian road trip", in the raunchy tradition of 'Faster, Pussycat! Kill! Kill!' and 'Bad Girls Go to Hell'. Andie MacDowell's foxy daughter is a free-spirit just looking for uncommitted, good time, but eventually falls in love with her girlfriend Marian. The romantic scene when it finally happens plays well to Linda Ronstadt's Blue Bayou background (but then, anything would!). The first 10 minutes were a bit confusing, but once they started driving, it got funnier (especially with the UNG soccer team 'basement party', and the Big Lebowski-style dream sequence). With time, it will earn its higher place at the Coen cultish pantheon.

"Who are you?"... "Democrats"...

🍿 Eve, (2008) an unexpectedly poignant story, Natalie Portman's directorial debut. A young woman visit her very old grandmother Lauren Bacall, only to intrude on her romantic dinner with very old beau Ben Gazzara. With score by Sufjan Stevens. 7/10.

/ Female Director

🍿

"...I'll see you in my dreams..."

First watch: First season of Twin Peaks. I've seen 4 of David Lynch's surreal films before ['Blue Velvet', 'The Elephant Man', 'Wild at Heart' and 'Mulholland Drive'] and none of these made me a fan. But I like to keep an open mind, so I gave this, his most popular work, a try. However, like many old classics you see for the first time many years after their production date, its charms were completely lost on me. I can see what a radical breakthrough it was for network television in 1990, but today it feels like the antics of a straight-forward Soap Opera with an added, pretentious 'quirk' to every move and character. The coffee fetishism, the dancing midgets and log ladies, the absurd police procedural, the eclectic twists and supernatural dreams. With every episode I hated it more. The mystery of who killed whom, or the obviousness of everybody sleeping with everybody else, were utterly uninteresting. I really wanted to like it, but after 6 arduous episodes, I had to just admit that it's not for me. 2/10.

But I always loved Angelo Badalamenti's theme, and I often listen to it on loop.

🍿

"I feel so low that I could get on stilts and walk under a dachshund"

It (1927), my first silent film with the original 'Manic Pixie Dream Girl', Clara Bow. "It" being basically sex appeal. Pre-Code, sassy and cheesy. This version is 'Colorized'.

🍿

"You notice things when you pay attention", and “We won’t be like them”.

Another frequent re-watch of my most cherished romance film, In the Mood for Love, with incomparable couple Maggie Cheung and Tony Leung. Her sad beauty, in these exquisite high-collar Qipao, and unrequited longings, are etched on my heart. With 2 different musical themes, the famous 'Yumeji's waltz', and the Nat 'King' Cole Spanish Boleros: I want to find an analysis of when and why each one was used. The 3rd act was unbearably sad. And what is exactly the meaning of the Cambodian coda? 10/10. ♻️

🍿

4 Winning and Nominated Shorts from Last Night's Oscars (plus 11 more):

🍿 The Last Repair Shop - deservedly - won the Oscar for Best Documentary Short this year. (Video Above). A quiet story about a shop that maintains and repairs the 80,000 musical instruments used by students of the Los Angeles school district. It's about mending broken things so they can be whole again, performed by people who were also broken, but are now whole.

Similar and even better than the 2017 Oscar nominee Joe's Violin. One of the best films I've seen so far this year! 10/10.

🍿 The previous short directed by Ben Proudfoot and Kris Bowers was the wonderful A Concerto Is a Conversation, about jazz pianist Kris Bowers' relationship with his grandfather. Nominated in 2021. 9/10.

🍿 The Queen of Basketball was another Ben Proudfoot short which won an Oscar in 2021. Their trade in stock is a well-told emotional human interest angle. This one is about a black woman who was college basketball superstar in the 1970's. Heart-warming.

🍿 Proudfoot's 2021 Almost Famous: The First Report told the story of a Louisiana reporter who broke the story of the Catholic church sex abuse scandal, but who did it in the 1980's. He was too early, and eventually got a mention in 'Spotlight'.

🍿 War Is Over! Inspired by the Music of John and Yoko, a lovely alternate World War One animated short about two soldiers from the opposite sides playing long distance chess with the help of a carrier pigeon. Won this year’s animated short.

Also, Dave Mullins previous story, Lou (2017), another Oscar nominated Pixar pre-feature item. It's about an anthropomorphic Lost & Found Chest, at a school yard identical to the one Adora used to go to her first 6 years. 7/10 and better than many of the later Pixar shorts.

🍿 The ABCs of Book Banning was nominated in 2023, but did not win. It features intelligent kids of 7-15 questioning the mass removal of books from schools and libraries, mostly about race, women and LGBT topics. Knowledge is power and the American Nazis who ban books have their eyes on much bigger prizes.

/ Female Director

🍿Island in Between, another terrific nominee from this year, about the Taiwanese islands of Kinmen. Made by a Taiwanese filmmaker, who reflects on his family relationship to china, Taiwan and the USA. Got me to listen to the songs of Teresa Teng again.

🍿3 by Jay Rosenblatt: "What do you want to do when you grow up? What are you afraid of? What is power? What are dreams? What is most important to you?" Nominated for the 2022 Oscars, How Do You Measure a Year? hit me very hard. New father Jay Rosenblatt started recording his daughter on her 2nd birthday, asking her about her life, and continued doing it every birthday until she was 18. My Adora Project didn't end so positively. Another 💯 score on Rotten Tomatoes. 10/10.

🍿 In Jay Rosenblatt's 1998 Human Remains, Hitler, Mussolini, Stalin, Franco and Mao share details about their intimate lives, what they like to eat and drink, their sexual preferences and bowel movements, likes and dislikes. Personally banal.

🍿 When We Were Bullies, a third reenactment by documentarian Jay Rosebnblatt, about a personal incident from his elementary school days, when he and others bullied a classmate. It gives some unpleasant ‘This American life’ vibes, but ends tenderly with a simple “I’m sorry”.

🍿 The Elephant Whisperers won the 2022 Documentary short with 💯 score on Rotten Tomatoes. An Indian 'Animal Planet' style story about an indigenous couple, caretakers of baby elephants at a large national park and elephant reserve. I wish it was me.

A couple of hundred years ago, most of the world was the space where animals lived, tigers, elephants, birds, monkeys. Then humans killed them all and took their place.

/ Female Director

🍿 The girl and the tsunami is an Argentinian animation about a 12-year-old Chilean girl who saved her island community in the 2010 tsunami.

🍿 Snif & Snüf, a little geometrical animation, by a guy who worked on 'Bojack Horseman'. It's a similar concept to Břetislav Pojar's Czeck award-winning Balablok from 1972, where squares and circles fight to the death.

🍿

Jim Jarmusch/Tom Waits/Rosie Perez X 2:

🍿 "Tasty Porcinis..."

Re-watch: The Dead Don't Die, his slow, absurdist apocalyptic comedy about flesh eatin' Coffee Zombies. Full of meta-connections and allusions to a cinematic universe: Sam Fuller, Cliff Robertson, Patterson, George Romero, and breaking the fourth wall ("Jim gave me the whole script!")

An ensemble piece with a special 'Thank you': 'Would anyone object if I gave credit to Atilla Yücer?' Such a Jarmusch thing to do! ♻️

🍿 Night on Earth (1991) is an anthology about 5 unrelated taxi drivers in 5 different cities, and the clients they pick on the same night. I found it irritating, and the rides in Los Angeles, New York, Paris and Roma couldn't end fast enough. But the last story which took place in Helsinki, as the morning was about to break, was sad and powerful. Jarmusch was a friend of Aki Kaurismäki, and this influence might have helped.

🍿

Craig Ferguson X 2:

🍿 “Congratulations, Mr. Stuart. You are tonight’s lucky Scotsman.”

Saving Grace, an well-written, well-played and funny stoner comedy, about middle aged widow Brenda Blethyn whose irresponsible husband left her in an enormous debt, forcing her to grow marijuana in her greenhouse along with her pot-loving gardener Craig Ferguson to avoid losing her large country house in Cornwall. 7/10.

🍿 I’ll be there (2003) was the only film Ferguson's wrote and directed (and rather competently). A sentimental but enjoyable story of an aging has-been rock star who discovers that brilliant teenage singer Charlotte Church is a daughter he didn't know he had. A different slant on my favorite theme from 'After the Wedding'. It ends with a perfect 'Happy End' when she sings 'Summertime' on a stage, whose lyrics sums up very nicely the whole movie.

🍿

I watched Larry David's Clear history last week, but I felt like laughing at it again. David is such an unbearable asshole, but it was a solid comedy. Now I'm considering seeing 'The Fountainhead' with Gary Cooper, which is mentioned as part of the joke.♻️

🍿

"Those aren't pillows!..."

After seeing again the "I want a fucking car" clip, a re-watch: Planes, Trains and Automobiles, the classic Thanksgiving dramedy with the classic 'Odd couple' plot. ♻️

🍿

René Laloux, who directed the amazing 'La Planète sauvage', followed it up with another psychedelic, experimental movie. Together with bandes dessinées artist Moebius, they did Time Masters in 1982. I had a very hard time with this worthless science fiction story. Except of a few sparks of visual poetry here and there, it was more like a terrible, boring 'Time Wasters'. 1/10.

🍿

I watched the super-light French comedy My Best Friend's Girl from 1983, but only because it features a young Isabelle Huppert. She plays a sexy, promiscuous temptress, who seduces 2 best friends at a ski-resort, so much so, that they both go crazy over her. Nothing wrong with some frothy ménage à trois, as she was glamorously prancing in revealing negligees for most of the time, but this was terribly-written and unwatchably juvenile. 1/10.

At least, I discovered this recording of Nirvana's 'My best Friend's Girl'.

🍿

Throw-back to the "Art project”:

“War is Over” Adora.

🍿

(My complete movie list is here)

#movies #the last repair shop #oscars

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kuronekojj · 1 year

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A quelqu'un que j'adore et que je n'aurai jamais....

Hello, the coolest human ever.

So, this is the guy who's like the coolest ever, a social butterfly, and supposedly the most attractive, like, seriously! Well, it's kinda true, that's why you have so many friends. Anyway, I just wanna say thanks for being super friendly and incredibly humble. And don't you dare stop being that awesome after reading this, okay? Keep it up, 'cause there's absolutely nothing wrong with you. And don't laugh, I'm pretty sure you'll be surprised, speechless, and laugh your head off reading this peak of comedy.

At first, I thought you were just one of those regular some random ppl who wanted to be friends with me, and I'm really thankful that you're so close to me rn. Seriously, Jul, you're a good person, humble, easygoing, and natural cool. No wonder you have so many friends, 'cause you're great at making people feel comfortable around you. But, Idunno since when I kinda started catching feelings for you, and at first, I thought it was just me admiring you. It's also awesome how much I've grown to adore Jay, honestly, thanks to you. I wanna thank you for making me admire Jay so much; he's truly someone worth looking up to. But then, after a few days went by, I was always stoked when you replied to my mentions. It made me so happy when your name popped up in my notifications and mentions. Sometimes, I'd read your messages first, but I'd purposely take a bit longer to reply, you know, to not make it too obvious that I was catching feelings for you. Hahaha. I feel so stupid for getting attracted to you, and I keep denying it... but here I am, still liking you after 27 days and counting. After getting to know you, I realized that you really deserve much greater love. You're too good to be hurt by people, and I don't wonder why people around you want to protect you because you deserve the best.

I thought this would only last a few days, and I was adamant about un-crushing myself because I felt so dumb. I have some pretty strong reasons for that. I've been questioning myself why I caught feelings for someone through mere mentions; I've never been like this before. I swear, Jul. I didn't have the courage to come up to you 'cause I figured I'd never have a chance. But just talking to you like a buddy already puts a big smile on my face. Being friends with you makes me super happy. I actually feel grateful because, for the first time, I've secretly liked someone all this time, and I'm turning it into a new experience, hahaha.

But, here I am, writing this, not expecting anything... I just wanted to get it off my chest. If you feel uncomfortable around me after reading this, it's okay, I understand... thanks for taking the time to read it. I want to apologize if maybe you're reading this and you already have a s/o; I didn't know about that, I'm truly sorry for them. After this confession, I won't be chasing after you, flirty or anything. If you still wanna interact with me, I'd really appreciate it. Thank you, Julian. Stay be my friends, okay? Pretty please.. I hope you're still willing to be friends with me, and I won't burden you with this... I promise. I'll always support u here even u have a s/o already; I'm genuinely happy for your happiness. It'll sting a bit, but being avoided by u would hurt even more..

By the way, I'll never send this note, maybe I'll just leave it alone until the day I laugh and cringe reading this. I don't want to make you uncomfortable, I value our friendship and I don't want to burden you... I'm so sorry for having crush on you.. but remember, someone saw something special in you, and that's a beautiful thing. Even if you're not ready for it now, their feelings are a reflection of your worth. You did nothing wrong at all, Julian. Thank you for being you.

Until the time comes, Kilian.

October 3, 2023.

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haunted-the-vagabond · 4 months

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WHO IS THIS GUY?

Yo!

My name's Ryan, aka HAUNTED THE VAGABOND, aka HAUNTED, aka HAUNT, aka some other nickname that I have gained over the year, like... Fademan Haunt or something, call me what you like!

I'm a 28-year-old, asexual icon who goes by he/him pronouns, and I am a Canadian originally from Saskatchewan, but currently living in British Columbia.

I work as a Radio DJ by day, and I do a bunch of other stuff on the side, like streaming, podcasting, and being a pro wrestling announcer!

Big music guy, beginning to collect vinyl, hoping to get a sick setup soon. I do have a heavy leaning towards rock, metal, prog, punk, and hardcore, but I fuck with a lot of shit, and I'm always hunting for more stuff to listen to, open to all suggestions!

FIVE ALBUMS TO GET TO KNOW ME:

Pink Floyd - Wish You Were Here: Essential Floyd, everyone talks about Dark Side or The Wall, but Wish You Were Here is where it's at. Best album to put on and get lost in it

Deftones - Koi No Yokan: Top to bottom there isn't a song that isn't a bop or a banger on KNY. From "Swerve City" to "Tempest" to "Entombed", all heat

Pharoah Sanders - Pharoah: If you have a Sunday where you gotta do a bunch of housework, maybe it's raining, put on Pharoah, it's something you'll remember forever

Jessie Ware - What's Your Pleasure?: I'm not a Fantano fan by any stretch, but I gotta thank him for putting me on Jessie Ware. A modern disco album that fucks this hard? That's rare as hell!

Death Grips - Powers That B: "Black Quarterback" is my Fuck Shit Up song, "On GP" makes me emotional, great album

SPORTS

Big sports guy, I'll watch damn near anything from Hockey to Darts, if there is competition, I'm in there.

TEAMS/ATHLETES I SUPPORT:

Hockey: Vancouver Canucks (Main), Winnipeg Jets, Ottawa Senators, Philadelphia Flyers, PWHL Minnesota, Prince George Cougars (WHL)

Football: Saskatchewan Roughriders (CFL), Seattle Seahawks (NFL)

Baseball: Toronto Blue Jays (Main), LA Dodgers, St. Louis Cardinals

Basketball: San Antonio Spurs (Main), Toronto Raptors, Saskatchewan Rattlers (CEBL)

Soccer: Machester United (EPL), Vancouver Whitecaps FC (MLS)

College Sports: Michigan Wolverines (NCAA), Saskatchewan Huskies (USPORTS)

Lacross: Saskatchewan Rush

Combat Sports: Israel Adesanya (UFC), Tyson Fury (Boxing), Jon Moxley and Eddie Kingston (AEW), CM Punk, Kevin Owens, and Sami Zayn (WWE)

Golf: Tiger Woods

Video Games

I like them.

FIVE GAMES TO GET TO KNOW ME:

VA-11 Hall-A: Cyberpunk Bartending Action: Easily my favorite VN, entertaining characters, engaging world, I wanna get lost in it.

Halo 3: ODST: What if the cast of Firefly were in Halo and listened to a lot of Jazz? Yeah, peak.

Transistor: This is a beautiful game, it has a wonderful story and, a lovely soundtrack, a must-play if you love Supergiant games.

Hotline Miami: Soundtracks go a long way to elevate a game, and Hotline Miami is no different. Hotline Miami also boasts some real fast-paced, addictive gameplay. #TonyTime

Max Payne 2: The Fall of Max Payne: Gameplay of a John Woo film fantastic noir story, Max Payne is one of the great characters in the medium.

Movies

I watch them.

FIVE MOVIES TO GET TO KNOW ME:

Clerks: Kevin Smith is one of my favorite directors, and Clerks is my all-time favorite comedy.

The Raid 2: If you loved the Raid, then you owe it to yourself to watch the Raid 2, it's just the Raid with a story, and it's fantastic!

Rocky: There are a lot of Rocky films, counting Creed as well, but nothing tops the first Rocky movie, the best top-to-bottom film in the series.

Porco Rosso: Everyone loves Spirited Away or Howl's Moving Castle, and they are right to do some, Miyazaki is one of the GOATs for a reason. But in my eyes, his best film is Porco Rosso. The landscape shots showcase his love of the Adriatic and Italy, the characters are lovely, and the dub, oh my goodness Michael Keaton as Porco is *chef's kiss*

Treasure Planet: Peak Disney movie, hyper fixated on it as a kid, and still love it to this day.

Anime

They alright.

FIVE ANIMES TO GET TO KNOW ME:

BECK Mongolian Chop Squad: This is the quintessential HAUNT anime. Very down-to-earth, simple but engaging story about someone finding their place in the world. In Beck's case, it's Koiyuki becoming this amazing singer/rhythm guitarist, and helping Beck become a premiere band in Japan.

Gurren Lagann: It's mother fuckin Gurren Lagann man, go watch it.

Steins;Gate: The group chat between me and some of my closest homies is called Future Gadget Labs NA, if that doesn't tell you how much this show brought me and my friends together, then I don't know what else to tell you. Never played the VN but the Anime was great!

Samurai Champloo: Life-changing anime, changed my whole perspective on music and my relationship to it. Helps that the show is GAS, with one of the hardest dubs out there.

Eden of the East: Just a straight up solid show with some good movies attached to it.

Fandom Shit

I don't really participate in a lot of Fandom discussion, I just will reblog stuff I like from my interest. An avid fan of D&D, Wrestling, Fighting Games, Hockey, Football, Anime, and a bunch of other crap I'm forgetting about.

So that's me, if you like what you see, hit me up!

#Posts that are only meant to be pinned #HAUNTEDLORE

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perpetually-sad-but-its-fine · 2 years

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chicago fire 11x11

11x11

make a wish babbyyyyy

i wish for the people in this episode to be happy

i wish for my babies to live

and just

not be traumatized

that's all

oh goodie

this recap

we already love it

so much trauma

and pain

there are only two things in this recap

and im already scared

the herrmann household

we love this start

they're great

i love them

herrman is grumpy dad

cindy and christopher are truly my otp

ik shes just sick

but my mind automatically goes to the worst case scenario

‘i got the kids’

*crash*

‘do you though?’

‘i'll just drop them all of at juvie on the way to work’

cue grumpy!dad!herrmann

we love it

comedy gold

cindy and herrmann are actually my faves

truly

they deserve the best

that's apart of my 11x11 wish

who is this visitor

ohhhh

evan’s cousin

yippee

so much pain

so so much pain

im not prepared at all for this

violet cleaning out evan’s stuff???

absolutely not

im not ready

kellyyyyyyy

stellaaaaa

oh god

immediately

i don't like this

waIT

IT SAID JIMMY NICHOLAS IN THE GUEST STARS THING

IS VIOLET GONNA HAVE SOME SORT OF FLASHBACK THING????

I DONT WANNA LOOK ANYTHING UP

IM TOO SCARED

wait

is the guy that plays hawkins jimmy nicholas or nichols?

idk

but

idk

im not ready is all i know

‘two for the price of one’

how humorous gallo

lovely time to make a joke

‘thank you ma’am, step aside’

his polite way of saying ‘shut the fuck up and get out of the way’

thE LIEUTENANTS BEING AMAZING LEADERS

THEYRE SO POWERFUL

I LOVE IT

‘this car might be the only holding this up’

of course

why not

lets just have the most unrealistically dangerous scenario ever

lovely

so lovely

so much danger

kidd and carver

actually working together without being at each other’s necks

i love it

god im too nervous

someone’s gonna get hurt

or something

oh wait

they all got out???

excuse me???

that's the most unrealistic part of this

brO?

STELLA AND CARVER BROMANCE

WE LOVE TO SEE IT

‘hey, we’re all in this together, right?’

sound like high school musical

‘i owe you one carver’

CARVER AND KELLY BROMANCE

‘oh god this is a disaster’

‘but the job is exciting and we really help people’

*stern sylvie looking*

violet my love

thank you

you are amazing

of course her paramedicine program thing is in danger

oH WAIT

THIS IS EMMA ISNT IT

WHY DO I GEEL LIKE ITS EMMA

fireboots under the pillow

gallo and ritter

we love it

‘you know that's a one-man job, right?’

*judgmental look*

‘we're multitasking’

‘mhm’

*disappointed carver look*

peak comedy

oh love the conversation of the squad table

poor carver

its going to be a different person that Schafer isn't it

its gonna be someone that boden hates

‘close the door’

‘good to see you too’

what's the point of this???

what is this conversation

pearce

i dont like you

huH????

VAN METER????

CORRUPT???

THE. FUCK.

i don't like where this is going

i really don't

why van meter?

man’s chill

like really chill

thank you kelly

god i hate this

why do I feel like this isn't gonna end well

kelly playing fire cop

lovely

pearce i fucking hate you

suck a dick

CINDYYYYY

awww

i hate this

i want them to be happy

but i know that somethings gonna happen to cindy

STELLARIDE

mY LOVES

stella being supportive and trying to find the positive of everything

we love it

violet

what're you doing

good god jacobs

fuck off

i despise you

‘thanks vi’

you call her that one more time

ill gouge your eyes out bitch

I FUCKIN KNEW IT

SHES BEHIND IT ISNT SHE

dodging the question huh jacobs???

ill murder you

ill fucking gut you

god everyone looks really fucking good in their uniform

oh mygod

wait

is this the first time we’re seeing herrmann in his uniform???

EEEKKKK

we love

I FUCKIN KNEW IT

ITS SOMEONE DIFFERENT

kylieeeee

my love

who is this guy

good god

i already hate you

i hate him

did i mention that i don't like him

BRO DIDNT EVEN GO INSIDE

‘its always been dc shafer, what happened?’

‘i don't know’

emma happened

i can feel it

she's the reason for this

fire cop!kelly severide

we love to see it

its great

sylvie and violet

my loves

this'll be fun

paramedicine coming in hot

we love to see it

sylvie takin charge

i love her

she's amazing

SHES SO SWEET

THE LOVE OF MY LIFE

SHES AMAZING

‘this isn't even my style’

we love it

THAT SCENE WAS SO HEARTFELT

power couple of the entire one chicago franchise

‘looks like we both got our work cut out for us’

‘mhm’

we love

OH MY GOD

THE APPOINTMENT

WHATS HAPPENING WITH CINDY

oh god

im so nervous

im not handling this well

doc

answer the goddamn question

comE ON

I DONT WANT ANYTHING TO HURT HER

‘doctors drive me crazy, have I told you that before?’

‘only like a gabillion times’

sweethearts

my mother and father who raised me

‘but if she calls me mrs. herrmann one more, she’s getting a knuckle sandwich.’

*proud look from christopher*

oh yippee

the writers didn’t forget about mouch and sylvie working paramedicine together

wow

that's a first

sylvie looKS SO GOOD

VIOLET LOOKS SO G O O D

STELLA LOOKS SO G O O D

gallo’s gonna forget, isn't he

pLEASE

RITTER AND VIOLET MAKING FUN OF HIM

my chaotic besties

i love y'all so much

the looks shared b/w violet and ritter are amazing

oh yippee

severide playing fire cop!!!

van meter???

bro that lowkey scared me

whaT IS THIS CONVERSATION

YOURE NOT SUPPOSED TO TELL HIM

ok but van meter has a point

ms. lawyer saw one picture of the two of them together and thought

‘yes, he is corrupt’

and then moved on

OH MY GOD WAIT

VAN METER’S BEING SET UP

bro

come on

jusT ANSWER THE QUESTION

also

this conversation could have gone a lot better

that's for sure

DOMESTIC STELLARIDE

but crappy conversation

we can't ever see them happy, can we???

AW THEY KISSED

im so fuckin giddy

OH MY GOD

SHES GONNA CLEAN OUT HIS APARTMENT

FUCK

im gonna cry

chicago fire writers take a break from hurting me challenge

S T O P

im begging you

please stop

painnnnnn

oh my goD HIS LAPTOP

its gonna have evidence against emma

i can feel it

poor poor violet

im not strong enough

this lawyer lady is probably dirty

or something

lady

do you want his help or not

i don't like you

no wait

is it peerage who’s dirty????

cleaning time

yay

god, my room is so dirty

I FUCKIN KNEW IT

HE MESSED IT UP

mouch is bailing

loving it

‘last man out, remember?’

‘and im the suck up’

yes gallo

you are

because carver and kidd went through something traumatic together

and you

well youre not great at saying no to people

ritter looking out for gallo

lovely

lady

please keep your comments to a minimum

i don't like you

fuck off

leave

I. DO. NOT. LIKE. YOU.

aw violet

my poor child

AWWWW

STOP

HIS DESKTOP SCREEN

OH MY GOD

i knew it

there would be evidence against emma

I FUCKIN KNEW IT

please get rid of her

HAWKINGS

my baby

that's why jimmy nicholas was in the guest starts thing

PLEASE GET RID OF JACOBS

KILL HER

PLEASE

oh yay

inspection

boden looks like a proud father

we love it

its not dc watts is it??

I FUCKIN KNEW IT

stella’s face after kylie admits to throwing away the liquor

lovely

arE YOU TELLING ME THAT HE ONLY GIVES GOOD REVIEWS IF HE GETS ALCOHOL?????

bodes questioning look

fantastic

boden looks like he wants to punch something

‘are you stealing liquor from molly’s?’

‘sh’

peak comedy

oh goodie

this is gonna be great

‘how goes the witch hunt’

this'll be fun

LADY SHUT THE FUCK UP

NOBODY LIKES YOU

keep your comments to ZE R O

kelly and vanmeter

the duo we never knew we needed

VIOLET AND BODEN

THE FATHER DAUGHTER DUO WE LOVE

SUCK IT JACOBS

THEYRE GONNA GET RID OF YOU

fucK YEA

YES

geT R I D OF HE R

VIOLET

i love you

youre amazing

FUCKING HELL YESS

YESSSS

YES

no dammit

i wanted to hear her get fired

oh ew

pearce

i hate you

see

van meter and kelly

they are the ultimate father-son duo

fuck off pearce

i despise you

benny was a shit father

and i hate him too

fuck off pearce

don't do this

you don't know the damage that was caused

oh god

WILL WE FIND OUT WHATS WRONG WITH CINDY????

‘what's that rash that i saw on his neck this morning?’

‘those are hickeys, christopher’

‘what?’

‘he was out with Lana last night.’

‘th-that is horrifying’

*cute cindy snort*

‘wait so they’re just out there mauling each other?’

‘you might be overreacting a bit’

well

herrmann is nothing if not dramatic

clueless herrmann is a national treasure

OH MY GOD

the look on the doctors face

stop

im not ready

oh no

oh noooo

nonononono

shit

what's happening

LUNG CANCER

WHAT????

god fucking dammit

‘im the one who’s supposed to get lung cancer’

why must you hurt me like this

goddammit

herrmann

trying to find a way out

stop

this

cindy’s gentle nodding

STOP HURTING ME

THE TEARS IN HERRMANNS EYES

COME ON

STOP THIS

WHY CANT THEY JUST BE HAPPY

WHY

WH YYYYYYYY

im hurt

#Chicago Fire 11x11 #christopher hermann #stella kidd #kelly severide #violet mikami #sylvie brett #sam carver #chicago fire #*kissy kissy* watches chicago fire

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kpopmakesmequestionmylifechoices · 3 years

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Kingdom Round 3, pt. 2: How to discourage idols and kill versatility in K-pop - a guide by "experts".

As in my last post I'll talk about my thoughts on the performances, but mostly I'll question the freaking ranking because wth those experts should really reveal themselves at this point (I'm salty). Anyways, let's get into it.

1. A small "disappointment" and two big surprises.

ATEEZ: Oh guys the beginning made me emotional because it reminded me hardcore of Block B Very Good hahaha. Generally I must say, ATEEZ rearrangements are always good. It just sounded very ATEEZ-ish, and that's cool. I personally prefer the original Rhythm Ta over the rearrangement tho. About the performance, I don't have any criticism I think. I personally found that rope scene a bit strange tho, and overall I just wasn't impressed by that stage. Possibly because nothing can top the Symphony Nr.9 for me hahaha.

BTOB: First of all, SKZ X BTOB interactions are peak comedy I loved this so much. Minhyuk fangirling on SKZ back door stage is me tho. And "Kingdom is 15+ right?" Oh man I love those dudes.

About the concept, totally loved it because it was super fun to watch. I was worried beforehand because I couldn't imagine anyone pulling off SKZ' powerful rap. They didn't tho. They did it their own way and I was surprised. The meaning change to a more uh...mature sorta concept was also quite interesting. The moment Eunkwang knocked and opened the door: chefkiss. Those lyrics? Rude but chefkiss. I in general really liked the rearrangement, but in the end it lost its power a bit. Maybe also because I have the original Back Door burned into my brain and the ending just rocks af. But honestly, my brain also was fried by THIS:

[*my edit/gif - I made a full gifset in that style now]

Stray Kids: I must say, I was a bit scared before because anyone having to do a BTOB cover must have absolutely stable vocals. This was the stage I was most concerned about when I heard about the song choices. Without a reason. Because SKZ absolutely killed it. Sure, I.N didn't hit that note as it was planned but let me tell you, it didn't affect my enjoyment of this stage at all. The stage setting? Fantastic. Changbin's rap sounded as if he's in utter pain and despair, Felix added to that with his hyper low tone part which was ABSOLUTELY cool. This was just great, full of feels, and I have NO criticism, bye.

Recap: When thinking about the past 6 performances, I feel that ATEEZ and iKON did the best job with making the others' song their own. In my eyes, SF9 and TBZ both stayed in their comfort zone with their song choices, while BTOB and SKZ took on the extreme challenge to pick songs that are basically the opposite of what they usually do. As I Iove versatility and surprises, SKZ and BTOB have a special place in my heart with those two stages.

Hence, my personal ranking looks as follows:

1. BTOB & SKZ (tied): For me those were the biggest surprises and caused the biggest enjoyment and entertainment for me. If I HAD TO choose a first place, I'd pick BTOB - because Back Door is one of my FAVOURITE songs of all time, and solely evaluating the songs, I heavily prefer Back Door over I'll be your man. Anyways, with that ranking, SKZ jumped from my personal lowest rank in the first round to my personal highest rank.

2. SF9: After seeing SF9's stage last week, I was sure that I'll have them as #1 in today's post. I loved everything about the performance (besides the weird gun dance sry), and I especially loved how they stepped up their game without making the perfomance too huge and too overwhelming. Nevertheless, due to the fact they stayed pretty close to their usual style, I'll rank them 2nd because I was more impressed by the others' style change.

3. iKON / ATEEZ: The performances were good, but to me personally they were absolutely not memorable. It's a matter of taste after all.

4. TBZ: I know, I again rank them last. And again, no I don't hate them. I simply neither am touched by their stages, nor do I understand their plots. So I once again rank them last. I don't find their performances bad tho, because as all groups, they're doing an amazing job. The stages are simply not my cup of tea.

2. Oh you prove that you're a versatile artist? That must be punished!

↑ That's how I imagine the experts' thoughts. Expert ranking was as follows: ATEEZ / TBZ / iKON / SF9 / BTOB / SKZ.

Okay I must say. Which freaking expert would place SKZ last??? I'm not biased in the slightest, if I'm biased then for SF9 and BTOB, but bruh. SKZ last? That's like, ridiculous. Considering the immense challenge SKZ had from switching from their usual style to freaking I'll be your man?

I don't know man, I can't take this ranking seriously. I really wish we'd know what the criteria is...It's a mystery to me how this could happen. Those boys get punished for stepping out of their comfort zone and doing an amazing job? Literally same story with BTOB. Both groups completely stepped outta their comfort zone and that's what they got for it...Well done, experts, well done. This is how you destroy versatility in K-pop, but sure, go on.

Honestly at this point I hope stays and melodies work together to catapult both groups up in the ranking because this is just utter nonsense...

3. Ya all groups, why don't you support your exchange partners :')))))))

↑ This is me hysterically laughing and crying at the same time at the fact that they don't vote for each other. Groups' ranking was as follows: ATEEZ / SF9 / BTOB / iKON / SKZ / TBZ.

Honestly my only explanation for this result is that the groups don't vote for those people they see as their biggest opponents? It's weird man. I personally for example don't understand why the groups which exchange songs don't vote for each other? None of the performances was bad, and I think it's low-key a matter of respect to give the group you exchanged songs with one of your votes? Because after all they tried their best to present your song in a presentable way even tho it's not their own? Idk man. I don't like this weird feeling of "hostility". But might only be my own feeling idk hahahahaha.

Honestly I wish we'd get to see the groups' evaluation and reasoning behind their choices...

That was it from my side this week...As always, thanks for reading! As for next episode, I'm super excited to see proper interactions and them finally having fun...ouf and after all those years Minhyuk going back to vault jumping I'm hyped hahahah. And now I'll go rewatch SKZ and BTOB lol.

#mnet kingdom #kingdom legendary war #btob #stray kids #sf9 #ateez #ikon #the boyz #*mine

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timeless-hollywood-classics · 4 years

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Veronica Lake (born Constance Frances Marie Ockelman; November 14, 1922 – July 7, 1973) was an American film, stage, and television actor. Lake was best known for her femme fatale roles in film noirs with Alan Ladd during the 1940s and her peek-a-boo hairstyle. By the late 1940s, Lake's career began to decline, due in part to her alcoholism. She made only one film in the 1950s, but made several guest appearances on television. She returned to the big screen in 1966 in the film Footsteps in the Snow (1966), but the role failed to revitalize her career.

Lake's memoir, Veronica: The Autobiography of Veronica Lake, was published in 1970. Her final screen role was in a low-budget horror film, Flesh Feast (1970). Lake died in July 1973 from hepatitis and acute kidney injury at the age of 50.

Lake was born Constance Frances Marie Ockelman in the New York City borough of Brooklyn. Her father, Harry Eugene Ockelman, was of German and Irish descent, and worked for an oil company aboard a ship. He died in an industrial explosion in Philadelphia in 1932. Lake's mother, Constance Frances Charlotta (Trimble; 1902–1992), of Irish descent, married Anthony Keane, a newspaper staff artist, also of Irish descent, in 1933, and Lake began using his surname.

The Keanes lived in Saranac Lake, New York, where young Lake attended St. Bernard's School. She was then sent to Villa Maria, an all-girls Catholic boarding school in Montreal, Quebec, Canada, from which she was expelled. Lake later claimed she attended McGill University and took a premed course for a year, intending to become a surgeon. This claim was included in several press biographies, although Lake later declared it was bogus. Lake subsequently apologized to the president of McGill, who was simply amused when she explained her habit of self-dramatizing. When her stepfather fell ill during her second year[vague], the Keane family later moved to Miami, Florida. Lake attended Miami High School, where she was known for her beauty. She had a troubled childhood and was diagnosed with schizophrenia, according to her mother.

In 1938, the Keanes moved to Beverly Hills, California. While briefly under contract to MGM, Lake enrolled in that studio's acting farm, the Bliss-Hayden School of Acting (now the Beverly Hills Playhouse). She made friends with a girl named Gwen Horn and accompanied her when Horn went to audition at RKO. She appeared in the play Thought for Food in January 1939. A theatre critic from the Los Angeles Times called her "a fetching little trick" for her appearance in She Made Her Bed.

She also appeared as an extra in a number of movies. Keane's first appearance on screen was for RKO, playing a small role among several coeds in the film Sorority House (1939). The part wound up being cut from the film, but she was encouraged to continue. Similar roles followed, including All Women Have Secrets (1939), Dancing Co-Ed (also 1939), Young as Your Feel (1940), and Forty Little Mothers (also 1940). Forty Little Mothers was the first time she let her hair down on screen.

Lake attracted the interest of Fred Wilcox, an assistant director, who shot a test scene of her performing from a play and showed it to an agent. The agent, in turn, showed it to producer Arthur Hornblow Jr., who was looking for a new girl to play the part of a nightclub singer in a military drama, I Wanted Wings (1940). The role would make Lake, still in her teens, a star. Hornblow changed the actress's name to Veronica Lake. According to him, her eyes, "calm and clear like a blue lake", were the inspiration for her new name.

It was during the filming of I Wanted Wings that Lake developed her signature look. Lake's long blonde hair accidentally fell over her right eye during a take and created a "peek-a-boo" effect. "I was playing a sympathetic drunk, I had my arm on a table ... it slipped ... and my hair — it was always baby fine and had this natural break — fell over my face ... It became my trademark and purely by accident", she recalled.

I Wanted Wings was a big hit. The hairstyle became Lake's trademark and was widely copied by women.

Even before the film came out, Lake was dubbed "the find of 1941". However, Lake did not think this meant she would have a long career and maintained her goal was to be a surgeon. "Only the older actors keep on a long time ... I don't want to hang on after I've reached a peak. I'll go back to medical school", she said.

Paramount announced two follow-up movies, China Pass and Blonde Venus. Instead, Lake was cast in Preston Sturges's Sullivan's Travels with Joel McCrea. She was six months pregnant when filming began.

Paramount put Lake in a thriller, This Gun for Hire (1942), with Robert Preston as her love interest. However, she shared more scenes with Alan Ladd; the two of them were so popular together that they would be reteamed in lead roles for three more films. Both had cameos in Star Spangled Rhythm (1942), an all-star Paramount film.

Lake was meant to be reunited with McCrea in another comedy, I Married a Witch, (also 1942) produced by Sturges and directed by René Clair, but McCrea refused to act with her again, reportedly saying, "Life's too short for two films with Veronica Lake". Production was delayed, enabling Lake to be reunited with Ladd in The Glass Key (again 1942), replacing Patricia Morison. The male lead in I Married a Witch was eventually played by Fredric March and the resulting movie, like The Glass Key, was successful at the box office. René Clair, the director of I Married a Witch, said of Lake, "She was a very gifted girl, but she didn't believe she was gifted."

Lake was meant to co-star with Charles Boyer in Hong Kong for Arthur Hornblow, but it was not made. She received acclaim for her part as a suicidal nurse in So Proudly We Hail! (1943). At the peak of her career, she earned $4,500 a week.

Lake had a complex personality and acquired a reputation for being difficult to work with. Eddie Bracken, her co-star in Star Spangled Rhythm, in which Lake appeared in a musical number, was quoted as saying, "She was known as 'The Bitch' and she deserved the title." However, Lake and McCrea did make another film together, Ramrod (1947). During filming of The Blue Dahlia (1946), screenwriter Raymond Chandler referred to her as "Moronica Lake".

During World War II, Lake changed her trademark peek-a-boo hairstyle at the urging of the government to encourage women working in war industry factories to adopt more practical, safer hairstyles. Although the change helped to decrease accidents involving women getting their hair caught in machinery, doing so may have damaged Lake's career. She also became a popular pin-up girl for soldiers during World War II and traveled throughout the United States to raise money for war bonds.

Lake's career faltered with her unsympathetic role as Nazi spy Dora Bruckman in The Hour Before the Dawn (1944), shot in mid 1943. Scathing reviews of The Hour Before the Dawn included criticism of her rather unconvincing German accent. She had begun drinking more heavily during this period, and a growing number of people refused to work with her. Lake had a number of months off work, during which time she lost a child and was divorced.

In early 1944 she was brought back in Bring On the Girls (1945), Lake's first proper musical, although she had sung in This Gun for Hire and Star Spangled Rhythm. She was teamed with Eddie Bracken and Sonny Tufts. The movie was not a financial success.

In June 1944, Lake appeared at a war bond drive in Boston, where her services as a dishwasher were auctioned off. She also performed in a revue, with papers saying her "talk was on the grim side". Hedda Hopper later claimed this appearance was responsible for Paramount giving her the third lead in Out of This World (1945), supporting Diana Lynn and Bracken, saying "Lake clipped her own wings in her Boston bond appearance ... It's lucky for Lake, after Boston, that she isn't out of pictures".

Lake had a relatively minor role in a film produced by John Houseman, Miss Susie Slagle's (also 1945), co starring Sonny Tufts; Lake was top billed but her part was smaller than Joan Caulfield. In November 1944 she made a third film with Bracken, Hold That Blonde (1945). She liked this part saying "it's a comedy, rather like what Carole Lombard used to do ... It represents a real change of pace".

Lake then made a second film produced by John Houseman, The Blue Dahlia (1946), which reunited her with Ladd. While waiting for the films to be released in 1945, she took stock of her career, claiming, "I had to learn about acting. I've played all sorts of parts, taken just what came along regardless of high merit. In fact, I've been a sort of general utility person. I haven't liked all the roles. One or two were pretty bad".

Lake expressed interest in renegotiating her deal with Paramount:

The studio feels that way about it too. They have indicated they are going to fuss more about the pictures in which I appear. I think I'll enjoy being fussed about ... I want this to be the turning point and I think that it will. I am free and clear of unpleasant characters, unless they are strongly justified. I've had a varied experience playing them and also appearing as heroines. The roles themselves haven't been noteworthy and sometimes not even especially spotlighted, but I think they've all been beneficial in one way or another. From here on there should be a certain pattern of development, and that is what I am going to fight for if necessary, though I don't believe it will be because they are so understanding here at Paramount.

Since So Proudly We Hail only The Blue Dahlia had been a hit. She made her first film outside Paramount since she became a star, a Western, Ramrod (1947), directed by her then-husband Andre DeToth, which reunited her with Joel McCrea, despite his earlier reservation. It was successful.

Back at her home studio she had a cameo in Variety Girl (1947) then was united with Ladd for the last time in Saigon (1948), in which she returned to her former peek-a-boo hairstyle; the movie was not particularly well received. Neither was a romantic drama, Isn't It Romantic (also 1948) or a comedy The Sainted Sisters (1948). In 1948 Paramount decided not to renew Lake's contract.

Lake moved to 20th Century Fox to make Slattery's Hurricane (1949), directed by DeToth. It was only a support role and there were not many other offers.

In 1950 it was announced she and DeToth would make Before I Wake (from a suspense novel by Mel Devrett) and Flanagan Boy. Neither was made.

She appeared in Stronghold (1951), which she later described as "a dog", an independent production from Lippert Pictures shot in Mexico. She later sued for unpaid wages on the film. Lake and DeToth filed for bankruptcy that same year.

The IRS later seized their home for unpaid taxes. On the verge of a nervous breakdown and bankrupt, Lake ran away, left DeToth, and flew alone to New York.

"They said, 'She'll be back in a couple of months,'" recalled Lake. "Well I never returned. Enough was enough already. Did I want to be one of the walking dead or a real person?"

She performed in summer stock theatre and in stage roles in England. In October 1955, she collapsed in Detroit, where she had been appearing on stage in The Little Hut.

After her third divorce, Lake drifted between cheap hotels in New York City, and was arrested several times for public drunkenness and disorderly conduct. In 1962, a New York Post reporter found her living at the all-women's Martha Washington Hotel in Manhattan, working as a waitress downstairs in the cocktail lounge. She was working under the name "Connie de Toth". Lake said she took the job in part because "I like people. I like to talk to them".

The reporter's widely distributed story led to speculation that Lake was destitute. After the story ran, fans of Lake sent her money which she returned as "a matter of pride". Lake vehemently denied that she was destitute and stated, "It's as though people were making me out to be down-and-out. I wasn't. I was paying $190 a month rent then, and that's a long way from being broke". The story did revive some interest in Lake and led to some television and stage appearances, most notably in the 1963 off-Broadway revival of the musical Best Foot Forward.

In 1966, she had a brief stint as a television hostess in Baltimore, Maryland, along with a largely ignored film role in Footsteps in the Snow. She also continued appearing in stage roles. She went to Freeport in the Bahamas to visit a friend and ended up living there for a few years.

Lake's memoirs, Veronica: The Autobiography of Veronica Lake, which she dictated to the writer Donald Bain, were published in the United Kingdom in 1969, and in the United States the following year. In the book, Lake discusses her career, her failed marriages, her romances with Howard Hughes, Tommy Manville and Aristotle Onassis, her alcoholism, and her guilt over not spending enough time with her children. In the book, Lake stated to Bain that her mother pushed her into a career as an actress. Bain quoted Lake, looking back at her career, as saying, "I never did cheesecake like Ann Sheridan or Betty Grable. I just used my hair". She also laughed off the term "sex symbol" and instead referred to herself as a "sex zombie".

When she went to the UK to promote her book in 1969 she received an offer to appear on stage in Madam Chairman. Also in 1969, Lake essayed the role of Blanche DuBois in a revival of A Streetcar Named Desire on the English stage; her performance won rave reviews. With the proceeds from her autobiography, after she had divided them with Bain, she co-produced and starred in her final film, Flesh Feast (1970), a low-budget horror movie with a Nazi-myth storyline.

After purchasing an airplane for her husband, André de Toth, Lake earned her pilot's license in 1946. She later flew solo between Los Angeles and New York when leaving him.

Lake's first marriage was to art director John S. Detlie, in 1940. They had a daughter, Elaine (born in 1941), and a son, Anthony (born July 8, 1943). According to news from the time, Lake's son was born prematurely after she tripped on a lighting cable while filming a movie. Anthony died on July 15, 1943. Lake and Detlie separated in August 1943 and divorced in December 1943.

In 1944, Lake married film director Andre DeToth with whom she had a son, Andre Anthony Michael III (known as Michael DeToth), and a daughter, Diana (born October 1948). Days before Diana's birth, Lake's mother sued her for support payments. Lake and DeToth divorced in 1952.

In September 1955, she married songwriter Joseph Allan McCarthy. They were divorced in 1959. In 1969, she revealed that she rarely saw her children.

In June 1973, Lake returned from her autobiography promotion and summer stock tour in England to the United States and while traveling in Vermont, visited a local doctor, complaining of stomach pains. She was discovered to have cirrhosis of the liver as a result of her years of drinking, and on June 26, she checked into the University of Vermont Medical Center in Burlington.

She died there on July 7, 1973, of acute hepatitis and acute kidney injury. Her son Michael claimed her body. Lake's memorial service was held at the Universal Chapel in New York City on July 11.

She was cremated and, according to her wishes, her ashes were scattered off the coast of the Virgin Islands. In 2004, some of Lake's ashes were reportedly found in a New York antique store.

For her contribution to the motion picture industry, Lake has a star on the Hollywood Walk of Fame at 6918 Hollywood Boulevard.

#veronica lake #classic hollywood #classic movie stars #classic cinema #old hollywood #1940s cinema #1940s hollywood

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timeless-hollywood-classics · 4 years

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Mickey Rooney (born Ninnian Joseph Yule Jr.; September 23, 1920 – April 6, 2014) was an American actor, vaudevillian, comedian, producer and radio personality. In a career spanning nine decades and continuing until shortly before his death, he appeared in more than 300 films and was among the last surviving stars of the silent-film era.

At the height of a career that was marked by declines and comebacks, Rooney performed the role of Andy Hardy in a series of 16 films in the 1930's and 1940's that epitomized American family values. A versatile performer, he became a celebrated character actor later in his career. Laurence Olivier once said he considered Rooney "the best there has ever been". Clarence Brown, who directed him in two of his earliest dramatic roles, National Velvet and The Human Comedy, said he was "the closest thing to a genius I ever worked with".

Rooney first performed in vaudeville as a child and made his film debut at the age of six. At 14, he played Puck in the play and later the 1935 film adaptation of A Midsummer Night's Dream. Critic David Thomson hailed his performance as "one of the cinema's most arresting pieces of magic". In 1938, he co-starred in Boys Town. At 18, he was the first teenager to be nominated for an Oscar for his leading role in Babes in Arms, and he was awarded a special Academy Juvenile Award in 1939.[4] At the peak of his career between the ages of 15 and 25, he made 43 films, which made him one of Metro-Goldwyn-Mayer's most consistently successful actors and a favorite of MGM studio head Louis B. Mayer.

Rooney was the top box-office attraction from 1939 to 1941 and one of the best-paid actors of that era, but his career would never again rise to such heights. Drafted into the Army during World War II, he served nearly two years entertaining over two million troops on stage and radio and was awarded a Bronze Star for performing in combat zones. Returning from the war in 1945, he was too old for juvenile roles but too short to be an adult movie star, and was unable to get as many starring roles although there are numerous inexpensively made but critically well-received films noir with Rooney playing the lead during the post-war period and 1950s. Nevertheless, Rooney's popularity was renewed with well-received supporting roles in films such as Breakfast at Tiffany's (1961) with Audrey Hepburn, Requiem for a Heavyweight (1962) with Anthony Quinn and Jackie Gleason, It's a Mad, Mad, Mad, Mad World (1963), and The Black Stallion (1979). In the early 1980s, he returned to Broadway in Sugar Babies and again became a celebrated star. Rooney made hundreds of appearances on TV, including dramas, variety programs, and talk shows, and won an Emmy in 1982 plus a Golden Globe for his role in Bill (1981).

Rooney was born Ninnian Joseph Yule Jr. on September 23, 1920 in Brooklyn, New York, the only child of vaudevillians Nellie W. Carter, from Kansas City, Missouri and Joe Yule, a native of Glasgow, Scotland. His mother was a former chorus girl and a burlesque performer. When Rooney was born, his parents were appearing in a Brooklyn production of A Gaiety Girl. Rooney later recounted in his memoirs that he began performing at the age of 17 months as part of his parents' routine, wearing a specially tailored tuxedo.

Rooney's parents separated when he was four years old in 1924, and he and his mother moved to Hollywood the following year from Greenpoint, Brooklyn. He made his first film appearance at age six in 1926, in the short Not to be Trusted. Rooney got bit parts in films such as The Beast of the City (1932) and The Life of Jimmy Dolan (1933), which allowed him to work alongside stars such as Joel McCrea, Colleen Moore, Clark Gable, Douglas Fairbanks Jr., John Wayne and Jean Harlow. He enrolled in the Hollywood Professional School and later attended Hollywood High School, graduating in 1938.

His mother saw an advertisement for a child to play the role of "Mickey McGuire" in a series of short films. Rooney got the role and became "Mickey" for 78 of the films, running from 1927 to 1936, starting with Mickey's Circus (1927), his first starring role. During this period, he also briefly voiced Oswald the Lucky Rabbit. He made other films in his adolescence, including several more of the McGuire films. At age 14, he played the role of Puck in the Warner Brothers all-star adaptation of A Midsummer Night's Dream in 1935. Rooney then moved to MGM, where he befriended Judy Garland, with whom he began making a series of musicals that propelled both of them to stardom.

In 1937, Rooney was selected to portray Andy Hardy in A Family Affair, which MGM had planned as a B-movie.[14] Rooney provided comic relief as the son of Judge James K. Hardy, portrayed by Lionel Barrymore (although former silent film leading man Lewis Stone played the role of Judge Hardy in subsequent pictures). The film was an unexpected success, and led to 13 more Andy Hardy films between 1937 and 1946, and a final film in 1958.

According to author Barry Monush, MGM wanted the Andy Hardy films to appeal to all family members. Rooney's character portrayed a typical "anxious, hyperactive, girl-crazy teenager", and he soon became the unintended main star of the films. Although some critics describe the series of films as "sweet, overly idealized, and pretty much interchangeable," their ultimate success was because they gave viewers a "comforting portrait of small-town America that seemed suited for the times", with Rooney instilling "a lasting image of what every parent wished their teen could be like".

Behind the scenes, however, Rooney was like the "hyperactive girl-crazy teenager" he portrayed on the screen. Wallace Beery, his co-star in Stablemates, described him as a "brat", but a "fine actor". MGM head Louis B. Mayer found it necessary to manage Rooney's public image, explains historian Jane Ellen Wayne:

Mayer naturally tried to keep all his child actors in line, like any father figure. After one such episode, Mickey Rooney replied, "I won't do it. You're asking the impossible." Mayer then grabbed young Rooney by his lapels and said, "Listen to me! I don't care what you do in private. Just don't do it in public. In public, behave. Your fans expect it. You're Andy Hardy! You're the United States! You're the Stars and Stripes. Behave yourself! You're a symbol!" Mickey nodded. "I'll be good, Mr. Mayer. I promise you that." Mayer let go of his lapels, "All right," he said.

Fifty years later, Rooney realized in hindsight that these early confrontations with Mayer were necessary for him to develop into a leading film star: "Everybody butted heads with him, but he listened and you listened. And then you'd come to an agreement you could both live with. ... He visited the sets, he gave people talks ... What he wanted was something that was American, presented in a cosmopolitan manner."

In 1937, Rooney made his first film alongside Judy Garland with Thoroughbreds Don't Cry. Garland and Rooney became close friends as they co-starred in future films and became a successful song-and-dance team. Audiences delighted in seeing the "playful interactions between the two stars showcase a wonderful chemistry".[27] Along with three of the Andy Hardy films, where she portrayed a girl attracted to Andy, they appeared together in a string of successful musicals, including Babes in Arms (1939). During an interview in the 1992 documentary film MGM: When the Lion Roars, Rooney describes their friendship:[28]

Judy and I were so close we could've come from the same womb. We weren't like brothers or sisters but there was no love affair there; there was more than a love affair. It's very, very difficult to explain the depths of our love for each other. It was so special. It was a forever love. Judy, as we speak, has not passed away. She's always with me in every heartbeat of my body.

In 1937, Rooney received top billing as Shockey Carter in Hoosier Schoolboy but his breakthrough-role as a dramatic actor came in 1938's Boys Town opposite Spencer Tracy as Father Flanagan, who runs a home for wayward and homeless boys. Rooney was awarded a special Juvenile Academy Award in 1939, for "significant contribution in bringing to the screen the spirit and personification of youth". Wayne describes one of the "most famous scenes" in the film, where tough young Rooney is playing poker with a cigarette in his mouth, his hat is cocked and his feet are up on the table. "Tracy grabs him by the lapels, throws the cigarette away and pushes him into a chair. 'That's better,' he tells Mickey." Louis B. Mayer said Boys Town was his favorite film during his years at MGM.

The popularity of his films made Rooney the biggest box-office draw in 1939, 1940 and 1941. For their roles in Boys Town, Rooney and Tracy won first and second place in the Motion Picture Herald 1940 National Poll of Exhibitors, based on the box office appeal of 200 players. Boys' Life magazine wrote, "Congratulations to Messrs. Rooney and Tracy! Also to Metro-Goldwyn-Mayer we extend a hearty thanks for their very considerable part in this outstanding achievement." Actor Laurence Olivier once called Rooney "the greatest actor of them all".

A major star in the early 1940s, he appeared on the cover of Time magazine in 1940, timed to coincide with the release of Young Tom Edison; the cover story began:

Hollywood's No. 1 box office bait in 1939 was not Clark Gable, Errol Flynn or Tyrone Power, but a rope-haired, kazoo-voiced kid with a comic-strip face, who until this week had never appeared in a picture without mugging or overacting it. His name (assumed) was Mickey Rooney, and to a large part of the more articulate U.S. cinema audience, his name was becoming a frequently used synonym for brat.

During his long and illustrious career, Rooney also worked with many of the screen's female stars, including Elizabeth Taylor in National Velvet (1944) and Audrey Hepburn in Breakfast at Tiffany's (1961)." With his appearing with Marilyn Monroe in The Fireball (1950) and with Grace Kelly in The Bridges at Toko-Ri (1954), Rooney is the only actor ever co-starring with four of the greatest female screen legends ever. Rooney's "bumptiousness and boyish charm" as an actor developed more "smoothness and polish" over the years, writes biographer Scott Eyman. The fact that Rooney fully enjoyed his life as an actor played a large role in those changes:

You weren't going to work, you were going to have fun. It was home, everybody was cohesive; it was family. One year I made nine pictures; I had to go from one set to another. It was like I was on a conveyor belt. You did not read a script and say, "I guess I'll do it." You did it. They had people that knew the kind of stories that were suited to you. It was a conveyor belt that made motion pictures.

Clarence Brown, who directed Rooney in his Oscar-nominated performance in The Human Comedy (1943) and again in National Velvet (1944), enjoyed working with Rooney in films:

Mickey Rooney is the closest thing to a genius that I ever worked with. There was Chaplin, then there was Rooney. The little bastard could do no wrong in my book ... All you had to do with him was rehearse it once.

In June 1944, Rooney was inducted into the United States Army, where he served more than 21 months (until shortly after the end of World War II) entertaining the troops in America and Europe in Special Services. He spent part of the time as a radio personality on the American Forces Network and was awarded the Bronze Star Medal for entertaining troops in combat zones. In addition to the Bronze Star Medal, Rooney also received the Army Good Conduct Medal, American Campaign Medal, European-African-Middle Eastern Campaign Medal, and World War II Victory Medal, for his military service.

Rooney's career slumped after his return to civilian life. He was now an adult with a height of only 5 feet 2 inches (1.57 m) and he could no longer play the role of a teenager, but he also lacked the stature of most leading men. He appeared in a number of films, including Words and Music in 1948, which paired him for the last time with Garland on film (he appeared with her on one episode as a guest on The Judy Garland Show). He briefly starred in a CBS radio series, Shorty Bell, in the summer of 1948, and reprised his role as "Andy Hardy", with most of the original cast, in a syndicated radio version of The Hardy Family in 1949 and 1950 (repeated on Mutual during 1952).

In 1949 Variety reported that Rooney had renegotiated his deal with MGM. He agreed to make one film a year for them for five years at $25,000 a movie (his fee until then had been $100,000 but Rooney wanted to enter independent production.) Rooney claimed he was unhappy with the billing MGM gave him for Words and Music.

His first television series, The Mickey Rooney Show, also known as Hey, Mulligan, was created by Blake Edwards with Rooney as his own producer, and appeared on NBC television for 32 episodes between August 28, 1954 and June 4, 1955.[46] In 1951, he made his directorial debut with My True Story, starring Helen Walker.[47] Rooney also starred as a ragingly egomaniacal television comedian, loosely based on Red Buttons, in the live 90-minute television drama The Comedian, in the Playhouse 90 series on the evening of Valentine's Day in 1957, and as himself in a revue called The Musical Revue of 1959 based on the 1929 film The Hollywood Revue of 1929, which was edited into a film in 1960.

In 1958, Rooney joined Dean Martin and Frank Sinatra in hosting an episode of NBC's short-lived Club Oasis comedy and variety show. In 1960, Rooney directed and starred in The Private Lives of Adam and Eve, an ambitious comedy known for its multiple flashbacks and many cameos. In the 1960s, Rooney returned to theatrical entertainment. He still accepted film roles in undistinguished films but occasionally appeared in better works, such as Requiem for a Heavyweight (1962) and It's a Mad, Mad, Mad, Mad World (1963).

He portrayed a Japanese character, Mr. Yunioshi, in the 1961 film version of Truman Capote's novella Breakfast at Tiffany's. His performance was criticized by some in subsequent years as a racist stereotype. Rooney later said that he would not have taken the role if he had known it would offend people.

On December 31, 1961, Rooney appeared on television's What's My Line and mentioned that he had already started enrolling students in the MRSE (Mickey Rooney School of Entertainment). His school venture never came to fruition. This was a period of professional distress for Rooney; as a childhood friend, director Richard Quine put it: "Let's face it. It wasn't all that easy to find roles for a 5-foot-3 man who'd passed the age of Andy Hardy." In 1962, his debts had forced him into filing for bankruptcy.

In 1966, Rooney was working on the film Ambush Bay in the Philippines when his wife Barbara Ann Thomason— a former model and aspiring actress who had won 17 straight beauty contests in Southern California—was found dead in her bed. Her lover, Milos Milos—who was one of Rooney's actor-friends—was found dead beside her. Detectives ruled it a murder-suicide, which was committed with Rooney's own gun.

Francis Ford Coppola had bought the rights to make The Black Stallion (1979), and when casting it, he called Rooney and asked him if he thought he could play a jockey. Rooney replied saying, "Gee, I don't know. I never played a jockey before." He was kidding, he said, since he had played a jockey in at least three past films, including Down the Stretch, Thoroughbreds Don't Cry, and National Velvet. The film garnered excellent reviews and earned $40 million in its first run, which gave Coppola's struggling studio, American Zoetrope, a major boost. It also gave Rooney newfound recognition, along with a nomination for Best Supporting Actor.

In 1983, the Academy of Motion Picture Arts and Sciences gave Rooney their Academy Honorary Award for his lifetime of achievement.

In addition to his movie roles, Rooney made numerous guest-starring roles as a television character actor for nearly six decades, beginning with an episode of Celanese Theatre. The part led to other roles on such television series as Schlitz Playhouse, Playhouse 90, Producers' Showcase, Alcoa Theatre, The Soldiers, Wagon Train, General Electric Theater, Hennesey, The Dick Powell Theatre, Arrest and Trial (1964), Burke's Law (1963), Combat! (1964), The Fugitive, Bob Hope Presents the Chrysler Theatre, The Jean Arthur Show (1966), The Name of the Game (1970), Dan August (1970), Night Gallery (1970)

In 1961, he guest-starred in the 13-week James Franciscus adventure–drama CBS television series The Investigators. In 1962, he was cast as himself in the episode "The Top Banana" of the CBS sitcom, Pete and Gladys, starring Harry Morgan and Cara Williams.

In 1963, he entered CBS's The Twilight Zone, giving a one-man performance in the episode "The Last Night of a Jockey" (1963). Also in 1963, in 'The Hunt' for Suspense Theater, he played the sadistic sheriff hunting the young surfer played by James Caan. In 1964, he launched another half-hour sitcom, Mickey. The story line had "Mickey" operating a resort hotel in southern California. His own son Tim Rooney appeared as his character's teenage son on this program, and Emmaline Henry starred as Rooney's wife. The program lasted for 17 episodes.

When Norman Lear was developing All in the Family in 1970, he wanted Rooney for the lead role of Archie Bunker.[66] Rooney turned Lear down; and the role eventually went to Carroll O'Connor.

Rooney garnered a Golden Globe and an Emmy Award for Outstanding Lead Actor in a Limited Series or a Special for his role in 1981's Bill. Playing opposite Dennis Quaid, Rooney's character was a mentally handicapped man attempting to live on his own after leaving an institution. His acting quality in the film has been favorably compared to other actors who took on similar roles, including Sean Penn, Dustin Hoffman and Tom Hanks. He reprised his role in 1983's Bill: On His Own, earning an Emmy nomination for the turn.

Rooney did voice acting from time to time. He provided the voice of Santa Claus in four stop-motion animated Christmas TV specials: Santa Claus Is Comin' to Town (1970), The Year Without a Santa Claus (1974), Rudolph and Frosty's Christmas in July (1979) and A Miser Brothers' Christmas (2008). In 1995, he appeared as himself on The Simpsons episode "Radioactive Man".

After starring in one unsuccessful TV series and turning down an offer for a huge TV series, Rooney, now 70, starred in the Family Channel's The Adventures of the Black Stallion, where he reprised his role as Henry Dailey in the film of the same name, eleven years earlier. The series ran for three years and was an international hit.

Rooney appeared in television commercials for Garden State Life Insurance Company in 2002.

A major turning point came in 1979, when Rooney made his Broadway debut in the acclaimed stage play Sugar Babies, a musical revue tribute to the burlesque era costarring former MGM dancing star Ann Miller. Aljean Harmetz noted that "Mr. Rooney fought over every skit and argued over every song and almost always got things done his way. The show opened on Broadway on October 8, 1979, to rave reviews, and this time he did not throw success away. Rooney and Miller performed the show 1,208 times in New York and then toured with it for five years, including eight months in London. Co-star Miller recalls that Rooney "never missed a performance or a chance to ad-lib or read the lines the same way twice, if he even stuck to the script". Biographer Alvin Marill states that "at 59, Mickey Rooney was reincarnated as a baggy-pants comedian—back as a top banana in show biz in his belated Broadway debut."

Following this, he toured as Pseudelous in Stephen Sondheim's A Funny Thing Happened on the Way to the Forum. In the 1990s, he returned to Broadway for the final months of Will Rogers Follies, playing the ghost of Will's father. On television, he starred in the short-lived sitcom, One of the Boys, along with two unfamiliar young stars, Dana Carvey and Nathan Lane, in 1982.

He toured Canada in a dinner theatre production of The Mind with the Naughty Man in the mid-1990s. He played The Wizard in a stage production of The Wizard of Oz with Eartha Kitt at Madison Square Garden. Kitt was later replaced by Jo Anne Worley.

Rooney wrote a memoir titled Life is Too Short, published by Villard Books in 1991. A Library Journal review said that "From title to the last line, 'I'll have a short bier', Rooney's self-deprecating humor powers this book." He wrote a novel about a child star, published in 1994, The Search For Sunny Skies.

Despite the millions of dollars that he earned over the years, such as his $65,000 a week earnings from Sugar Babies, Rooney was plagued by financial problems late in life. His longtime gambling habit caused him to "gamble away his fortune again and again". He declared bankruptcy for the second time in 1996 and described himself as "broke" in 2005. He kept performing on stage and in the movies, but his personal property was valued at only $18,000 when he died in 2014.

Rooney and his wife Jan toured the country in 2005 through 2011 in a musical revue called Let's Put on a Show. Vanity Fair called it "a homespun affair full of dog-eared jokes" that featured Rooney singing George Gershwin songs.

In 2006, Rooney played Gus in Night at the Museum. He returned to play the role again in the sequel Night at the Museum: Battle of the Smithsonian in 2009, in a scene that was deleted from the final film.

On May 26, 2007, he was grand marshal at the Garden Grove Strawberry Festival. Rooney made his British pantomime debut, playing Baron Hardup in Cinderella, at the Sunderland Empire Theatre over the 2007 Christmas period, a role he reprised at Bristol Hippodrome in 2008 and at the Milton Keynes theatre in 2009.

In 2011, Rooney made a cameo appearance in The Muppets and in 2014, at age 93, he reprised his role as Gus in Night at the Museum: Secret of the Tomb, which was dedicated to him and to Robin Williams, who also died that year. Although confined to a wheelchair, he was described by director Shawn Levy as "energetic and so pleased to be there. He was just happy to be invited to the party."

An October 2015 article in The Hollywood Reporter maintained that Rooney was frequently abused and financially depleted by his closest relatives in the last years of his life. The article said that it was clear that "one of the biggest stars of all time, who remained aloft longer than anyone in Hollywood history, was in the end brought down by those closest to him. He died humiliated and betrayed, nearly broke and often broken." Rooney suffered from bipolar disorder and had attempted suicide two or three times over the years, with resulting hospitalizations reported as "nervous breakdowns".

At the time of his death, he was married to Jan Chamberlin Rooney, although they had separated in June 2012. He had nine children and two stepchildren, as well as 19 grandchildren and several great-grandchildren. Rooney had been addicted to sleeping pills, and overcame the sleeping pill addiction in 2000 when he was in his late 70s.

In the late 1970s, Rooney became a born-again Christian and was a fan of Pat Robertson.

In 1997, Rooney was arrested on suspicion of beating his wife, Jan, but charges were dropped due to lack of evidence.

On February 16, 2011, Rooney was granted a temporary restraining order against stepson Christopher Aber and Aber's wife, Christina, and they were ordered to stay 100 yards from Rooney, his stepson Mark Rooney and Mark's wife, Charlene Rooney. Rooney claimed that he was a victim of elder abuse.

On March 2, 2011, Rooney appeared before a special U.S. Senate committee that was considering legislation to curb elder abuse, testifying about the abuse he claimed to have suffered at the hands of family members. In 2011, all of Rooney's finances were permanently handed over to a conservator, who called Rooney "completely competent".

In April 2011, the temporary restraining order that Rooney was previously granted was replaced by a confidential settlement between Rooney and his stepson, Aber. Christopher Aber and Jan Rooney denied all the allegations.

In May 2013, Rooney sold his home of many years, reportedly for $1.3 million, and split the proceeds with his wife, Jan.

Rooney was married eight times, with six of the marriages ending in divorce. In 1942, he married his first wife, actress Ava Gardner, who at that time was still an obscure teenage starlet. They divorced the following year, partly because he had apparently been unfaithful. While stationed in the military in Alabama in 1944, Rooney met and married Betty Jane Phillips, who later became a singer under the name B.J. Baker. They had two sons together. This marriage ended in divorce after he returned from Europe at the end of World War II. His marriage to actress Martha Vickers in 1949 produced one son but ended in divorce in 1951. He married actress Elaine Mahnken in 1952 and they divorced in 1958.

In 1958, Rooney married model-actress Barbara Ann Thomason. She was murdered in 1966 by stuntman and actor Milos Milos, who then shot himself. Thomason and Milos had an affair while Rooney was traveling, and police theorized Milos shot her after she wanted to break off the affair. Rooney then married Barbara's best friend, Marge Lane. That marriage lasted 100 days.

He was married to Carolyn Hockett from 1969 to 1975. In 1978, Rooney married his eighth and final wife, Jan Chamberlin. Their marriage lasted until his death, a total of 34 years (longer than his seven previous unions combined), although they separated in 2012.

Rooney died on April 6, 2014 of natural causes, including complications from diabetes, in Los Angeles at the age of 93. A group of family members and friends, including Mickey Rourke, held a memorial service on April 18. A private funeral, organized by another set of family members, was held at Hollywood Forever Cemetery, where he was interred, on April 19. His eight surviving children said in a statement that they were barred from seeing Rooney during his final years.

At his death, Vanity Fair called him "the original Hollywood train wreck". He struggled with alcohol and pill addiction. Ava Gardner was his first wife, and he married an additional seven times. Despite earning millions during his career, he had to file for bankruptcy in 1962 due to mismanagement of his finances. Shortly before his death in 2014 at age 93, he accused some family members of mistreatment and testified before Congress about what he said was physical abuse and exploitation by family members. By the end of his life, his millions in earnings had dwindled to an estate that was valued at only $18,000. He died owing medical bills and back taxes, and contributions were solicited from the public.

Rooney was one of the last surviving actors of the silent film era. His film career spanned 88 years, from 1926 to 2014, continuing until shortly before his death. During his peak years from the late 1930s to the early 1940s, Rooney was among the top box-office stars in the United States.

He made forty-three pictures between the age of 15 and 25. Among those, his role as Andy Hardy became one of "Hollywood's best-loved characters," with Marlon Brando calling him "the best actor in films".

"There was nothing he couldn't do", said actress Margaret O'Brien.[109] MGM boss Louis B. Mayer treated him like a son and saw in Rooney "the embodiment of the amiable American boy who stands for family, humbug, and sentiment," writes critic and author, David Thomson.

By the time Rooney was 20, his consistent portrayals of characters with youth and energy suggested that his future success was unlimited. Thomson also explains that Rooney's characters were able to cover a wide range of emotional types, and gives three examples where "Rooney is not just an actor of genius, but an artist able to maintain a stylized commentary on the demon impulse of the small, belligerent man:"

Rooney's Puck in A Midsummer Night's Dream (1935) is truly inhuman, one of cinema's most arresting pieces of magic. ... His toughie in Boys Town (1938) struts and bullies like something out of a nightmare and then comes clean in a grotesque but utterly frank outburst of sentimentality in which he aspires to the boy community ... His role as Baby Face Nelson (1957), the manic, destructive response of the runt against a pig society.

By the end of the 1940s, Rooney's movie characters were no longer in demand and his career went downhill. "In 1938," he said, "I starred in eight pictures. In 1948 and 1949 together, I starred in only three." However, film historian Jeanine Basinger notes that although his career "reached the heights and plunged to the depths, Rooney kept on working and growing, the mark of a professional." Some of the films which reinvigorated his popularity, were Requiem for a Heavyweight (1962), It's a Mad, Mad, Mad, Mad World (1963) and The Black Stallion (1979). In the early 1980s, he returned to Broadway in Sugar Babies, and "found himself once more back on top".

Basinger tries to encapsulate Rooney's career:

Rooney's abundant talent, like his film image, might seem like a metaphor for America: a seemingly endless supply of natural resources that could never dry up, but which, it turned out, could be ruined by excessive use and abuse, by arrogance or power, and which had to be carefully tended to be returned to full capacity. From child star to character actor, from movie shorts to television specials, and from films to Broadway, Rooney ultimately did prove he could do it all, do it well, and keep on doing it. His is a unique career, both for its versatility and its longevity.

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