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Anton Chekhov Racconti Pdf To Jpg. 4/2/2017 0 Comments Ivanoff: A Play by Anton Pavlovich Chekhov. Download PDF: note-book-of-anton-chekhov.pdf. Anton chekhov racconti pdf download sony lpm 770bp pdf download. Anton Chekhov Misery Pdf Headwords, Joseph Conrad. Apple Pie 1 Workbook Italian, K JULI F LEMARCHAND9. Anton Chekhov has long been regarded as the master of the Russian short story and one of the leading exponents of the genre in world literature. This volume comprises the classic selection edited by Birkett and Struve, in Russian, here furnished with a new bibliography, and complements the stories.

Beautiful Yugoslavia-born (now Croatia) actress Sylva Koscina (August 22, 1933 - December 26, 1994), in Federico Fellini's 'Juliet of the Spirits.' The film's original title, in Italian, is 'Giulietta degli spiriti.'

Published in Life magazine, August 27, 1965 - Vol. 59, No. 9

Fair use/no known copyright. If you use this photo, please provide attribution credit; not for commercial use (see Creative Commons license).

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German postcard by Krüger, no. 900/300. Photo: Georg Michalke.

In the late 1950’s blonde, German Elke Sommer (1940) was a European sex symbol before conquering Hollywood in the early 1960’s. With her trademark pouty lips, high cheek bones and sky-high bouffant hair-dos, Sommer made 99 film and television appearances between 1959 and 2005. The gorgeous film star was also one of the most popular pin-up girls of the sixties, and posed twice for Playboy.

Elke Sommer was born Elke Schletz in 1940 in Berlin to a Lutheran Minister and his wife. The family was forced to evacuate in 1942 to Erlangen, a small university town in the southern region of Germany. Her father's death in 1955 when she was only 14 interrupted her education. In 1957 she worked as an au-pair girl in Chigwell and Hampstead, two expensive residential areas of London. She entertained plans to become a diplomatic translator for the United Nations, but instead decided to try modeling. After winning the title Miss Viareggio Turistica in 1958 while on vacation in Italy with her mother, she caught the attention of renowned film actor/director Vittorio De Sica and began performing on screen. Her debut film was in the Italian feature Uomini e nobiluomini/Men and Noblemen (1959, Giorgio Bianchi), which starred De Sica. Following a few more Italian pictures, which included her first starring role in Femmine di lusso/Love, the Italian Way (1960, Giorgio Bianchi) with Ugo Tognazzi. Within two years Elke made five films in Italy and also two in Germany, the adventure Das Totenschiff/Ship of the Dead (1959, Georg Tressler) with Horst Buchholz, and the interesting noir crime drama Am Tag, als der Regen kam/ The Day It Rained (1959. Gerd Oswald) starring Mario Adorf. She gradually upgraded her status to European sex symbol, and appeared in such films as the sexy Zarte Haut in schwarzer Seide/Daniella by Night (1961, Max Pécas), Douce violence/Sweet Ecstasy (1962, Max Pécas), the drama Das Mädchen und der Staatsanwalt/The Girl and the Prosecutor (1962, Jürgen Goslar) and her first English-speaking picture Don't Bother to Knock (1961, Cyril Frankel) with Richard Todd. Most of the publicity photographs for the latter production showed her in a bikini, and revealed that although she was nothing like as buxom as Sophia Loren, Elke had a flat stomach and superb legs.

Elke Sommer moved to Hollywood in the early 1960’s to try and tap into the foreign-born market. Her sexy innocence made a vivid impression in the all-star, war-themed drama The Victors (1963, Carl Foreman). She received considerable publicity when it was reported that she filmed her scenes twice, with a sexier version made for the European market. Elke played a German girl who sexually gratifies her American boyfriend (George Hamilton) with the full knowledge of her parents because he brings chocolate to the family home. In 1964 she won the Golden Globe as Most Promising Female Newcomer for The Prize (1963, Mark Robson), an espionage thriller with Paul Newman. In the classic bumbling comedy A Shot in the Dark (1964, Blake Edwards), the second entry in the hilarious Pink Panther series, she proved a shady and sexy foil to Peter Sellers' Inspector Clouseau. A scene with Sellers and Elke in a nudist camp received enormous publicity, and the film was a huge hit. Besides becoming one of the top film stars of the mid-1960’s, she also was one of the most popular pin-up girls of the time. She posed for several pictorials in Playboy Magazine (September 1964, December 1967).

Elke Sommer was the leading lady opposite hunky sixties stars like James Garner, Robert Vaughn and Dean Martin in such Hollywood productions as the crime melodrama The Art of Love (1965, Norman Jewison), The Money Trap (1965, Burt Kennedy), The Oscar (1966, Russell Rouse), The Venetian Affair (1967, Jerry Thorpe), and the Matt Helm spy spoof The Wrecking Crew (1969, Phil Karlson). The blonde and beautiful Sommer proved irresistible to American audiences whether adorned in lace or leather, or donning lingerie or lederhosen. She continued to make films in Europe as well as America. In 1966 she returned to England to work on the Bulldog Drummond extravaganza Deadlier Than the Male (1967, Ralph Thomas), a film that has minor cult status, mainly because Richard Johnson gives a superb James Bond-like performance, but also because Elke and Silva Koscina were so eye-catching as two sexually-charged assassins. Always a diverting attraction in spy intrigue or breezy comedy, she was too often misused and setbacks began to occur when the quality of her films began to deteriorate. Her title role in the tasteless Cold War comedy The Wicked Dreams of Paula Schultz (1968, George Marshall) proved her undoing.

Elke Sommer benefitted from speaking seven languages fluently and her career took her to scores of different countries over time. In 1972, she starred in two low-budget Italian horror films directed by Mario Bava, which have both become cult classics: Gli orrori del castello di Norimberga/Baron Blood (1972) with Joseph Cotten and Lisa e il diavolo/Lisa and the Devil (1973) with Telly Savalas. The latter film, was later re-edited to make a very different film called Casa dell'esorcismo/House of Exorcism, an Exorcist rip-off. In 1975 Elke went back to Italy to appear in additional scenes inserted by the producer, against the wishes of the director. In those scenes a demonic Elke swears obscenities at her exorcist, and in typical Linda Blair style spits out pea soup and actually vomits live frogs and insects. In England she good-naturedly appeared in the ‘comedy’ films Percy (1971, Ralph Thomas) and its equally cheeky sequel Percy's Progress (1974, Ralph Thomas), which starred Hywel Bennett (later Leigh Lawson) as the first man to have a penis transplant. She also showed up in one of the later ‘Carry On’ farces entitled Carry on Behind (1975, Gerald Thomas) as the Russian Professor Anna Vrooshka. In Germany she appeared in Edgar Reitz’s Die Reise nach Wien/The Trip To Vienna (1973) with Hannelore Elsner, and in Wolfgang Petersen’s thriller Einer von uns beiden/One or the Other (1974) opposite Klaus Schwarzkopf and Jürgen Prochnow.

From the mid-1970’s Elke Sommer worked more and more for tv where she appeared as a guest star in popular series as The Six Million Dollar Man (1976), Fantasy Island (1981) and The Love Boat (1981, 1984). She played in the mini-series Inside the Third Reich (1982, Marvin J. Chomsky), Jenny's War (1985, Steve Gethers), Anastasia: The Mystery of Anna (1986, Marvin J. Chomsky) and Peter the Great (1986, Marvin J. Chomsky, Lawrence Schiller). Sommer also made appearances as a cabaret singer and in time put out several albums. She found a creative outlet on stage too with such vehicles as Irma la Douce and Born Yesterday, eventually becoming director. Since the 1990’s, she has concentrated more on book writing and painting than on acting. Her artwork shows a strong influence from Marc Chagall. She even hosted a tv-series on painting. Nevertheless, on occasion she tackles an acting role, often in her native Germany, like in the tv film Ewig rauschen die Gelder (2005, Rene Heinersdorff). Divorced from writer and journalist Joe Hyams, she has been married since 1993 to hotelier Wolf Walther. Sommer had a long-running feud with Zsa Zsa Gabor that culminated in a libel suit. She now lives in Los Angeles, California.

Sources: Gary Brumburgh (IMDb), Wikipedia, Love Goddess, Cult Sirens, Brian’s Drive-in Theater and IMDb.

3344 T Ohrabrena pjesmom ranjenika partizanka Danica Silva Košćina - Sylva Koscina poziva svoje drugove na juriš WWII Bitka na Neretvi

Zagreb 1969 Izdavački zavod JAZU Priredio Ranko Munitić

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German postcard by Krüger, nr. 902/407. Photo: Lothar Winkler.

Curvaceous Austrian actress Marisa Mell (1939-1992) became a cult figure of 1960’s Italian B-films. Her most famous role is criminal mastermind Eva Kant in Mario Bava’s Diabolik (1968).

Marisa Mell was born as Marlies Theres Moitzi in Graz, Austria, in 1939. She was raised by her schoolteacher mother. In 1954 she appeared in an uncredited part in the film Das Licht der Liebe (1954, Robert A. Stemmle) starring Paula Wessely. Marlies left Graz to study acting at the Max-Reinhard-Seminar in Vienna, where she graduated together with Senta Berger, Heidelinde Weis and Erika Pluhar. Her beauty and natural talent gave her plenty of stage presence. She changed her name into Marisa Mell and left Austria for Germany in the late 1950’s. A string of minor roles followed in films like Das Nachtlokal zum Silbermond (1959, Wolfgang Glück), Am Galgen hängt die Liebe (1960, Edwin Zbonek) and the Edgar Wallace adaptation Das Rätsel der roten Orchidee/Puzzle of the Red Orchid (1962, Helmut Ashley) with Christopher Lee. She played her first lead in Venusberg (1963, Rolf Thiele). Just now her career began to escalate, she was involved in a nasty car accident in France. For six hours, she lay unconscious, unaware that she nearly lost her right eye. The disfigurement extended to her lip as well. She spent two years undergoing plastic surgery. No damage remained in her face, except for a distinctive curl of her upper lip, but, according to her fan ‘Blundering Man’ at Cult Sirens, this added “even more charm to her already attractive features.” Following her recovery, Mell headed for Britain, where she easily played the role of a film star in French Dressing (1964), the first feature of Britain's bad boy Ken Russell. She next made Masquerade (1965, Basil Dearden) with Cliff Robertson. She turned down a seven-year Hollywood contract, saying that while the payment would have been great, 'the contract was a whole book. I think that even to go to the toilet I would have needed a permission.' Instead of Hollywood she chose for Rome.

Marisa Mell started her Italian film career with the Oscar-nominated comedy Casanova 70 (1965, Mario Monicelli) starring Marcello Mastroianni. Among her co-stars were other ravishing beauties like Michèle Mercier and Virna Lisi. The following year she played one of the leads in the spy thriller New York chiama Superdrago/New York Calls Super Dragon (1966, Calvin Jackson Padget aka Giorgio Ferroni). Mell's beauty and flair for comedy helped bring her career into full swing. In 1967, she was cast by American producer David Merrick for the title role in the Broadway musical Mata Hari. The director was Vincente Minelli and her co-star Pernell Roberts. Marisa got a buildup that included coverage in Vogue and McCall's, but at the Washington preview “everything from the scenery to the sound system came apart”, according to Time magazine. Mata Hari opened to “lethal reviews”, and Merrick closed the production before it could open on Broadway. Marisa returned to Italy and starred as Eva Kant in Diabolik/Danger: Diabolik (1968), directed by Mario Bava and produced by Dino De Laurentiis. The film was based on one of the longest running - and most successful - Italian comic strips. Eva Kant is the sexy and mysterious sidekick to antihero Diabolik, a criminal mastermind finding great pleasure in leading the authorities in various wild goose chases. According to Blundering Man at Cult Sirens, Bava “had preferred her over Catherine Deneuve, no less, as he was searching for a ‘comic book’ style of beauty. Danger: Diabolik remains a successful adaptation of a comic on the big screen (and maybe the ultimate role for stolid star John Philip Law) and the various super hero costumes could've been an inspiration for Tim Burton's Batman.”

For Marisa Mell then started the best and more productive years of her career. She worked mainly in Italy, with occasional stops in France and Spain. In 1969 she played the challenging dual role of an asthmatic, dying wife and a seductive stripper in Una sull'altra/One on Top of the Other (1969, Lucio Fulci). That year she had a miscarriage. Father of the child was Pier Luigi Torri with whom she lived for about three years. During that time, Torri produced one of Marisa's better (yet unsuccessful) films, Senza via d'uscita/No Way Out (1970, Piero Sciumé), co-starring Philippe Leroy. Torri had to leave Italy in 1971 after a notorious cocaine scandal to avoid prison. Another interesting film is the spaghetti western Sette orchidee macchiate di rosso/Seven Blood-Stained Orchids (1971, Umberto Lenzi) starring the father of Hollywood hunk Antonio Sabato, Antonio Sabato Sr. In 1975 she appeared in the Diana Ross musical Mahogany (1975, Berry Gordy). In Some Like It Cool/Casanova & Co. (1977, Franz Antel) Marisa was joined by Tony Curtis, Marisa Berenson, Sylva Koscina and Britt Ekland. In between Marisa found the time to pose nude for the Italian version of Playboy in the November 1976 issue. As Mell got older, femme fatale roles in good films were no longer offered to her. In the 1980’s she appeared in more and more obscure B-films, the majority being soft sex comedies, which were distributed only in Europe. In the late 1980’s, the television show Mystery Science Theater 3000 brought the actress to a new generation of B-film viewers when Danger: Diabolik was featured in an episode in 1988. The show also spoofed another of her films, New York chiama Superdrago/New York Calls Super Dragon. She wrote her autobiography Coverlove which was published in Vienna in 1990. In 1990, she appeared in Quest for the Mighty Sword/Ator III: The Hobgoblin (1990, Joe D'Amato), co-starring strongman Eric Allan Kramer and Laura ‘Black Emmanuelle’ Gemser. Her last film appearance was in the comedy I Love Vienna (1991, Houchang Allahyari). In Vienna Marisa Mell passed away from throat cancer in 1992. She was only 53 and died in poverty. Only a few friends attended her funeral. She had been married twice, to Henri Tucci and to Espartaco Santoni. In 1996 her best friend Erika Plughar published Marisa, Rückblenden einer Freundschaft (Marisa, Flashbacks of a Friendship).

Sources: Mirko di Wallenberg (Marisa Mell blog), Blundering Man (Cult Sirens), Brian J. Walker (Brian’s Drive-In Theater), Time, Wikipedia and IMDb.

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Romanian postcard by Casa Filmului Acin, no. 109. Retail price: 2 Lei. Photo: publicity still for Deadlier Than the Male (Ralph Thomas, 1967).

Italian actress Sylva Koscina (1933-1994) may be best-remembered as Iole, the bride of Steve Reeves in the original version of Hercules (1958). She also starred in several Italian and Hollywood comedies of the 1950s and 1960s.

For more postcards, a bio and clips check out our blog European Film Star Postcards or follow us at Tumblr.

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French postcard by Editions P.I, no. 934, presented by Les Carbones Korès 'Carboplane'. Photo: Sam Lévin.

Italian actress Sylva Koscina (1933 - 1994) may be best-remembered as Iole, the bride of Steve Reeves in the original version of Hercules (1958). She also starred in several Italian and Hollywood comedies of the 1950´s and 1960´s.

For more postcards, a bio and clips check out our blog European Film Star Postcards or follow us at Tumblr.

Romanian postcard by Casa Filmului Acin, no. 41. Retail price: 2 Lei.

For more postcards, a bio and clips check out our blog European Film Star Postcards or follow us at Tumblr.

Scena d'altri tempi in Piazza Venezia, Roma

Il vigile: youtu.be/6UY8dpfZjoo

Il vigile è un film italiano del 1960, diretto da Luigi Zampa e interpretato da Alberto Sordi.

In un'imprecisata cittadina di provincia a qualche decina di chilometri da Roma gli (esterni sono girati a Viterbo e in prossimità di Frascati, precisamente sulla via Tuscolana) il disoccupato Otello Celletti, grazie ad un caso fortuito (suo figlio salva dall'annegamento il figlio di un assessore comunale) e alla sua ossessiva insistenza, riesce a farsi assumere come vigile motociclista del comune. L'importanza ed il fascino della nuova divisa gli danno modo di vendicarsi degli sfottò subiti e sfogare tutte le sue ambizioni represse, nonostante il rendimento sul lavoro resti modesto. Il destino riserva però a Otello una grande quanto inaspettata occasione: un giorno è chiamato a soccorrere una speciale automobilista in panne, nientemeno che la famosa attrice Sylva Koscina (nella parte di se stessa). Otello si precipita in aiuto della donna e non si fa sfuggire l'opportunità di fare sfoggio di galanteria, tanto da condonarle la contravvenzione per mancato possesso dei documenti. L'attrice parla dell'episodio durante una puntata de Il musichiere, suscitando le ire del sindaco, che solo in quanto richiamato dal Prefetto, decide di rimproverare Otello per il favoritismo. Otello lo prende alla lettera, ed inizia a mostrarsi inflessibile ed ultra-zelante; così, quando pochi giorni dopo ferma la macchina dello stesso sindaco per eccesso di velocità, lo multa nonostante le veementi proteste, credendo si tratti di una prova per testare la sua intransigenza. Il sindaco invece, infuriato perché la faccenda rischia di compromettere la segretezza di una relazione clandestina, il giorno dopo lo fa destituire. Ne nasce uno scandalo, in cui la vicenda viene utilizzata per fini politici. Al processo, Otello è però costretto a fare marcia indietro, dopo aver ricevuto minacce legate alle magagne della propria famiglia. Il vigile, reintegrato in servizio, adesso ha imparato con chi essere severo e con chi è meglio lasciar correre: infatti, quando vede sfrecciare velocissima la macchina del sindaco si guarda bene dal fermarla, ma dai rumori che si sentono subito dopo sarà la scarpata a mettere fine alla corsa.

(Fonte: it.wikipedia.org/wiki/Il_vigile)

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Vintage postcard by Studio Sombor.

Italian actress Sylva Koscina (1933 - 1994) may be best-remembered as Iole, the bride of Steve Reeves in the original version of Hercules (1958). She also starred in several Italian and Hollywood comedies of the 1950´s and 1960´s.

For more postcards, a bio and clips, see filmstarpostcards.blogspot.com/2010/04/sylva-koscina.html

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Scanned by me. Postcard by CASA FILMULUI ACIN (123), C.P.C.S.

Romanian postcard by Casa Filmului Acin, no. 33 150.

Hungarian, Romanian-born Anna Széles (1942 was a ravishingly beautiful actress, who worked with directors like Miklós Jancsó and Péter Bacsó. She also appeared in Communist musicals of the 1960’s and as a princess in East-European fairy tales of the 1970’s.

Florin Piersic (1936) is one of the most renowned Romanian film actors and a monster sacré of the National Theatre in Bucharest. During the Ceauşescu era he appeared in more than forty films, in which he often depicted heroic, masculine characters. More recently, he played in a popular soap opera.

Florin Piersic (Romanian pronunciation: [floˈrin ˈpjersik] was born in a cinema in Cluj, Romania in 1936. His parents were seeing a film, when the contractions started. His family left Cluj when it was ceded to Hungary in 1940, and moved to Cernauti after the city's occupation by Romania the following year. There, his father Ștefan Piersic was appointed to the role of chief municipal veterinary. Later they returned home, and Florin graduated from the High School for Boys No. 3 in Cluj. Later he attended in Bucharest the Institute of Theater and Cinematographic Art (IATC, now UNATC), where he graduated in 1957. He made his film debut in the French-Romanian co-production Ciulinii Bărăganului/The Thistles of the Bărăgan (1958, Louis Daquin, Gheorghe Vitanidis), starring Nuta Charlea. The film was nominated for the Golden Palm award at the 1958 Cannes Film Festival. Soon followed another film part in the fairy-tale O poveste ca-n basme/The Princess in Love (1959, Ion Popescu-Gopo) and in 1959, Piersic joined the regular cast of the Romanian National Theater and his first role was as Richard in The Devil's Disciple. He proved to directors that he could play anything .

Another international success for Florin Piersic was the spy-film S-a furat o bombă/A Bomb Was Stolen (1961 1961, Ion Popescu-Gopo), with Emil Botta. The dialogue-free film was entered into the 1962 Cannes Film Festival. The fantasy film De-aș fi.. Harap Alb/The White Moor (1965, Ion Popescu-Gopo) was entered into the 4th Moscow International Film Festival where Popescu-Gopo won the award for Best Director. In West-Germany he played in the historical drama Kampf um Rom I/The Last Roman (1968, Robert Siodmak), about Justinian's (Oson Welles) attempts to repel barbarian incursions and reclaim those parts of the empire already lost. The star cast also included Laurence Harvey and Sylva Koscina. Another historical epic was Columna/The Column (1968, Mircea Drăgan). This Romanian production also had an international cast, a.o. Richard Johnson and Antonella Lualdi. Another Romanian historical production was Mihai Viteazul/Michael the Brave (1970, Sergiu Nicolaescu), about Mihai Viteazu (Amza Pellea), the famous prince who united the three provinces: Transalpine Vallachia, Transylvania and Moldavia, into the country of Romania, at the end of the 16th century (1599-1601) against the opposition of the Ottoman and Austrian Empires. The film was released in 1970 in Romania, and worldwide by Columbia Pictures as The Last Crusade.

Another highlight in Florin Piersic’s career is Drumul oaselor/Bone Road(1982, Dorus Nastase) with Marga Barbu. In this film he played Margelatul, a criminal who helps the resistance in 1849 Romania. The huge success of the film lead to several sequels and the Romanian site Cinemania calls Margelatul one of the most beloved characters of rthe Romanian cinema. Piersic also appeared in the surreal fantasy Ramasagul (1984, Ion Popescu-Gopo) with Iurie Darie. After that the Romanian cinema went into decay. Piersic continued to perform in numerous productions of the Romanian National Theater until his retirement in 1989. He married thrice: to stage actress Tatiana Iekel (1962 - 1974), with whom he had a son, actor-director Florin Piersic Jr.; to the popular Hungarian actress Anna Széles (1975 – 1985), the mother of another son, Daniel Piersic; and from 1993, he is married to Anna Török. He made a come-back in the cinema in two films directed by his son Florin Jr., Eminescu versus Eminem (2005, Florin Piersic Jr.) and Fix Alert (2005, Florin Piersic Jr.). On TV he appeared in the popular soap opera Lacrimi de iubire/Tears of Love (2005–2006 ). Initially he was cast for a guest appearance in two episodes, but these episodes increased the ratings in such a way that the producers decided to create a new role for him. In 2006, he was voted to the 51st place on the 100 greatest Romanians list. At 2008 he became an honorary citizen of Oradea. The following year, Florin Piersic was bestowed with the lifetime achievement award at the Transylvania International Film Festival. In 2011, the cinema Republic in Cluj-Napoca was renamed Cinema Florin Piersic.

Sources: Immircea Alexandru (IMDb), Cinemagia (Romanian), Wikipedia (English and Romanian), and IMDb.

Croatian actress Sylva Koscina double knotted the blouse in order to stretch the body pleasantly. 195Os.

Italian postcard. Bromofoto, Milano, no. 1296.

Renato Salvatori (1933-1988) was a popular, good-looking Italian actor of the 1950s and 1960s. His apex he reached as Simone in Visconti’s Rocco e i suoi fratelli/ Rocco and His Brothers (1960).

Renato Salvatori was born Giuseppe Salvatori in Seravezza, near Lucca, on 20 March 1933. When he was 18 and bay-watching at a small seaside resort near Forte dei Marmi, he was discovered by Italian film director Luciano Emmer who picked him for a part in Le ragazze di Piazza di Spagna (1952). His first lead Renato Salvatori had in Jolanda la figlia del corsaro nero (1952), directed by Mario Soldati. Salvatori’s popularity grew enormously thanks to his part of Salvatore in Dino Risi’s trilogy Poveri ma belli (1956), Belle ma povere (1957) and Poveri milionari (1958), also with Maurizio Arena and Marisa Allasio. He also knew public success with the two-part comedy La nonna Sabella (1957, again Risi) and La nipote Sabella (1958, by Giorgio Bianchi), next to Tina Pica, Peppino de Filippo and Sylva Koscina. Succes was even more with the comedy I soliti ignoti/Big Deal on Madonna Street/Le pigeon (1958)by Mario Monicelli about a gang clumsy burglars (Vittorio Gassman, Marcello Mastroianni, Salvatori and others), while Claudia Cardianel played Salvatori’s girlfriend. Its success propelled the sequel Audace colpo dei soliti ignoti/Hold up à la milanaise (1960) by Nanni Loy, again with Gassman and Cardinale.

Renato Salvatori was also good as dramatic actor in films such as I magliari//The Magliari (1959) by Francesco Rosi, set in Hamburg and with Alberto Sordi and Belinda Lee co-acting, in La ciociara (1960) by Vittorio De Sica and with Sophia Loren, and in Era notte a Roma/ Blackout in Rome (1960) by Roberto Rossellini and with Giovanna Ralli, but Salvatori’s fundamental part was that of Simone in Rocco e i suoi fratelli/Rocco and his Brothers (1960) by Luchino Visconti. Simone is the eldest brother of a fatherless migrant family from the South, who struggles to cope with modern city life in Milan. When Simone’s girlfriend, the prostitute Nadia (Annie Girardot), prefers his younger brother Rocco (Alain Delon) to him, he rapes her in front of his brother. Reduced to an outcast and ridiculed by his former friends after his boxing career has faltered - while that of Rocco is summiting - Simone takes revenge on Nadia. In real life, Salvatori and Girardot treated each other quite differently. Salvatori met her on the set of the film, they fell in love and married two years after. Salvatori also became close friends with Alain Delon. Other memorable performances of Salvatori’s film career were in Un giorno da leoni (Nanni Loy 1961), La banda Casaroli (1962) by Florestano Vancini and I compagni (Mario Monicelli 1963), or polemic and counter-cultural films such as Smog (1962)by Franco Rossi, also with Girardot, the science-fiction comedy Omicron (1964) by Ugo Gregoretti, and Una bella grinta (1965)by Giuliano Montaldo, films that wanted to give an Italian answer to the French Nouvelle Vague. Salvatori’s last important roles were in Queimada (1969) by Gillo Pontecorvo and starring Marlon Brando, and in La prima notte di quiete (1972) by Valerio Zurlini, again next to Salvatori’s friend Delon.

Salvatori also played major parts in the French films Le glaive et la balance (André Cayatte 1963) with Anthony Perkins and Jean-Claude Brialy, Les grands chemins (Christian Marquand 1963) with Robert Hossein and Anouk Aimée, L’harem (Marco Ferreri 1967) with Carol Baker, and Etat de siege (1972) by Costa-Gavras and starring Yves Montand, while he had small parts in Costa-Gavras’ Z (1969) and Henri Verneuil’s Le casse (1971). In 1969 he also acted in the Mexican film Los recuerdos del porvenir by Artur Ripstein. In the early 1970s Salvatori played in a few French police films which starred Alain Delon: Les granges brûlées (Jean Chapot 1973) also with Simone Signoret, Flic Story (Jacques Deray 1975) also with Jean-Louis Trintignant, Le gitan (José Giovanni 1975) also with Girardot, and Armagueddon (Alain Jessua 1977) also with Jean Yanne. In the same years Salvatori also played in Italian films about crime & politics such as Il sospetto (Francesco Maselli 1975) also with Gian Maria Volonté and Girardot, Cadaveri eccellenti (1976) by Francesco Rosi and with Lino Ventura, and Todo modo (1976) by Elio Petri and with Volonté; but also films on sexual politics such as La dernière femme (Marco Ferreri 1976). After the mid-1970s, however, Salvatori’s parts become much smaller, even of in films of authors such as Rosi, Ferreri, Salvatore Samperi, (Ernesto, 1979) and Bernardo Bertolucci (La luna, 1979, and La tragedia di un uomo ridicolo, 1981). Salvatori’s last major parts, instead, were in the erotic drama La cicala (Alberto Lattuada 1980), the comedy Asso (Castellano & Pipolo=Franco Castellano, Giuseppe Moccia 1981) with Adriano Celentano and Edwige Fenech, and the drama Oggetti smarriti (1980) by Giuseppe Bertolucci and with Mariangela Melato and Bruno Ganz.

Salvatori had one daughter with Girardot: Giulia, who became actress as well. In later years the couple separated but kept good relations. Salvatori had a son Nils from his second marriage with German photo model Danka Schroeder. In the 1970s Salvatori started to have drinking problems, possibly caused by his delusion over his shrinking career. In 1984 Salvatori entered politics while working for the external relations of the Ministry of Transport, but by now he was physically declining because of liver cirrhosis, which eventually killed him on 27 March 1988. Renatl Salvatori lies buried in Rome, cemetery of Campo Sestio.

Sources: Italian, French and and English Wikipedia, IMDB.

Soviet postcard by Molot, no. 34, 1959. This postcard was printed in an edition of 75.000 cards. Retail price: 75 K.

Film director, co-producer, writer, and actor Sergei Bondarchuk (1920 –1994) was one of the most important filmmakers of the Soviet Union and had a career that spanned over five decades. The theme of war ran through many of the films he directed. He won an Oscar for his spectacular epic Voyna i mir/War and Peace (1967), in which he also starred as Pierre Bezukhov.

Sergei Fedorovich Bondarchuk (Russian pronunciation: Серге́й Фё́дорович Бондарчу́к; Ukrainian: Сергі́й Фе́дорович Бондарчу́к) was born in the village of Belozerka, in the Kherson Governorate, Ukraine (now Bilozerka, Kherson Oblast, Ukraine) in 1920. Bondarchuk spent his childhood in Southern Ukraine, then in Southern Russia in the cities of Yeysk and Taganrog. Young Bondarchuk was fond of theatre and books by such authors as Anton Chekhov and Leo Tolstoy. As a schoolboy in Taganrog, he made his acting debut in 1937 on the stage of the Chekhov Drama Theatre. From 1938 on he studied at the Rostov-on-Don theater school. In 1942 his studies were interrupted by the Nazi invasion during WWII. Bondarchuk was recruited for the Red Army to fight against Nazi Germany and served for four years. After being discharged from the army in 1946, in the acting department at the All-Union State Institute of Cinematography (VGIK) in Moscow, where he studied under Sergey Gerasimov., graduating as an actor from the class of Sergei Gerasimov. In 1948 he made his film debut in the war drama Povest o nastoyashchem cheloveke/Story of a Real Man (1949, Aleksandr Stolper) then co-starred in another war drama Molodaya gvardiya/The Young Guard (1949, Sergei Gerasimov). In 1949 he married actress Inna Makarova. They had two children, including the actress Natalya Bondarchuk, but they divorced in 1956. For his title role in Taras Shevchenko (1952, Aleksandr Alov, Vladimir Naumov, Igor Savchenko), Bondarchuk won the Stalin Prize, and was also designated People's Artist of the USSR. At the age of 32, he was the youngest Soviet actor ever to receive this honor. Then he played the title role in the internationally renowned adaptation of William Shakespeare's Otello/Othello (1956, Sergei Yutkevich). Irina Skobtseva appeared opposite him as Desdemona, and four years later, the two actors married. Bondarchuk expressed his own experience as a soldier of WWII when he starred in Sudba cheloveka/Destiny of a Man (1959, Sergei Bondarchuk) about an ordinary, unheroic soldier struggling to survive in a German POW camp. He had played the role before in a televised version of a short story by Mikhail Sholokhov, but he was so unhappy with the result that he decided to direct a film version himself. His compelling performance and internationally acclaimed directorial debut earned him the top prize at that year's Moscow Film Festival and the prestigious Lenin Prize of the USSR in 1960.

Sergei Bondarchuk shot to international fame with the astonishing epic Voyna i mir/War and Peace (1965-1967, Sergei Bondarchuk), based on the famous novel by Leo Tolstoy. He both directed and played Pierre Bezukhov opposite a very impressive Lyudmila Savelyeva as Natasha Rostova. The film took seven years to complete (from 1961 till 1968) and on original release it totaled more than ten hours of cinema. The Russian release was in two mammoth parts, totaling 507 minutes. For the US cinemas, the film was edited in four parts with a total of seven hours. The film involved over three hundred professional actors from several countries and also tens of thousands extras from the Red Army in filming of the 3rd two-hour-long episode about the historic Battle of Borodino against the Napoleon's invasion. The film was shot in 70mm wide-screen and color and Bondarchuk made history by introducing several remote-controlled cameras that were moving on 300 meter long wires above the scene of the battlefield. Remarkable were also his extensive pans, sometimes 360 degrees. With an estimated cost of $100,000,000 (over $800,000,000 adjusted for inflation in 2010, according to Steve Shelokhonov at IMDb), it was the most expensive project in film history. It won Bondarchuk the Academy Award for Best Foreign Language Film in 1969, and a reputation of one of the finest directors of his generation. After this victory, he starred with Yul Brynner, Hardy Krüger, Franco Nero, Sylva Koscina and Orson Welles in the Yugoslav epic Bitka na Neretvi/Battle of Neretva (1969, Veljko Bulajic). Although he was now the most awarded actor and director in the Soviet Union, he was not a member of the Soviet Communist Party. Soon Bondarchuk received an official recommendation to join the Communist Party. To prevent running into hurdles with the Soviet government, he joined the Party in 1970. A year later, he was appointed president of the Union of Cinematographers, a semi-government post in the Soviet system of politically controlled culture. In 1970 he also began teaching drama at VGIK while continuing to direct and act.

Sergei Bondarchuk’s first English language film was the big-budget Russian-Italian co-production Waterloo (1970, Sergei Bondarchuk), co-produced by Dino De Laurentiis. In the cast were Rod Steiger as Napoleon, Christopher Plummer, Jack Hawkins, and several Russian actors including Sergo Zaqariadze, Yevgeni Samojlov and Oleg Vidov. Orson Welles made a cameo as the old King Louis XVII of France. The result was remarkable for its masterly reconstruction of the final battle of Napoleon, but the film failed at the box office although it got favorable reviews. In 1975 Bondarchuk directed another war drama, Oni srazhalis za rodinu/They Fought for Their Country (1975, Sergei Bondarchuk) with Vasili Shukshin, which was entered into the Cannes Film Festival. Then followed the two-part Krasnye kolokola/Red Bells (1982-1983, Sergei Bondarchuk) starring Franco Nero and Ursula Andress. This chronicle about the 1917 Russian Revolution was based on Ten Days that Shook the World, by American journalist John Reed, who had been portrayed a year earlier by Warren Beatty in Reds (1981, Warren Beatty). Bondarchuk’s next film, Boris Godunov (1986, Sergei Bondarchuk) based on the play by Alexander Pushkin, was also screened at Cannes, but the cultural climate had changed. It was now the time of the liberalization of the Soviet Union under Mikhail Gorbachev. In the Russian cinema Bondarchuk had become a symbol of conservatism. Steve Shelokhonov writes at IMDb that through the 1970’s and 1980’s Bondarchuk had “evolved into a politically controlled figure and turned to making such politically charged films”. So he was voted out as president of the Union of Cinematographers in 1986. Bondarchuk's last feature film was an epic TV version of Tikhiy Don/Quiet Flows the Don (2006, Sergei Bondarchuk) based on the eponymous novel by Nobel Prize winner Mikhail Sholokhov, starring Rupert Everett. It was filmed in 1992-1993 but premiered on the Russian television only in November 2006. At the end of filming, just before post-production, Bondarchuk learned about unfavorable clauses in his contract. It lead to a bitter dispute with the producers over the rights to the film. Amidst this legal battle the production was stopped and the film remained unedited in a bank vault, even after his death. Bondarchuk suffered a heart attack in 1994 and died in Moscow at the age of 74. His death caused a considerable mourning in Russia. Bondarchuk was survived by his second wife, actress Irina Skobtseva and their children, actress Alyona Bondarchuk, and actor/director Fyodor Bondarchuk. His eldest daughter, actress Natalya Bondarchuk is best known for her role in Andrei Tarkovsky's masterpiece Solaris. His son, Fyodor who had appeared with him in Boris Godunov, dedicated his directorial debut, 9 rota/The 9th Company (2005, Fyodor Bondarchuk) to his father. The film is set in war-torn Afghanistan, whereas Sergei's directorial debut was set in WWII. In 2007, his ex-wife Inna Makarova unveiled a bronze statue of Sergei Bondarchuk in his native Yeysk.

Sources: Steve Shelokhonov (IMDb), Hal Erickson (Rovi), Encyclopaedia Brittanica, TCM, Wikipedia, and IMDb.

Lucca is a city and comune in Tuscany, Central Italy, situated on the river Serchio in a fertile plain near the Tyrrhenian Sea. It is the capital city of the province of Lucca. It is famous among other things for its intact Renaissance-era city walls.

Ancient and medieval city.

Lucca was founded by the Etruscans (there are traces of a pre-existing Ligurian settlement) and became a Roman colony in 180 BC. The rectangular grid of its historical centre preserves the Roman street plan, and the Piazza San Michele occupies the site of the ancient forum. Traces of the amphitheatre can still be seen in the Piazza dell'Anfiteatro.

At the Lucca Conference, in 56 BC, Julius Caesar, Pompey, and Crassus reaffirmed their political alliance known as the First Triumvirate.

Piazza Anfiteatro and the Basilica di San Frediano.

Frediano, an Irish monk, was bishop of Lucca in the early 6th century. At one point, Lucca was plundered by Odoacer, the first Germanic King of Italy. Lucca was an important city and fortress even in the 6th century, when Narses besieged it for several months in 553. Under the Lombards, it was the seat of a duke who minted his own coins. The Holy Face of Lucca (or Volto Santo), a major relic supposedly carved by Nicodemus, arrived in 742. During the 8th - 10th centuries Lucca was a center of Jewish life, the Jewish community being led by the Kalonymos family (which at some point during this time migrated to Germany to become a major component of proto-Ashkenazic Jewry). Lucca became prosperous through the silk trade that began in the 11th century, and came to rival the silks of Byzantium. During the 10–11th centuries Lucca was the capital of the feudal margraviate of Tuscany, more or less independent but owing nominal allegiance to the Holy Roman Emperor.

First republic.

After the death of Matilda of Tuscany, the city began to constitute itself an independent commune, with a charter in 1160. For almost 500 years, Lucca remained an independent republic. There were many minor provinces in the region between southern Liguria and northern Tuscany dominated by the Malaspina; Tuscany in this time was a part of feudal Europe. Dante’s Divine Comedy includes many references to the great feudal families who had huge jurisdictions with administrative and judicial rights. Dante spent some of his exile in Lucca.

In 1273 and again in 1277, Lucca was ruled by a Guelph capitano del popolo (captain of the people) named Luchetto Gattilusio. In 1314, internal discord allowed Uguccione della Faggiuola of Pisa to make himself lord of Lucca. The Lucchesi expelled him two years later, and handed over the city to another condottiere, Castruccio Castracani, under whose rule it became a leading state in central Italy. Lucca rivalled Florence until Castracani's death in 1328. On 22 and 23 September 1325, in the battle of Altopascio, Castracani defeated Florence's Guelphs. For this he was nominated by Louis IV the Bavarian to become duke of Lucca. Castracani's tomb is in the church of San Francesco. His biography is Machiavelli's third famous book on political rule. In 1408, Lucca hosted the convocation intended to end the schism in the papacy. Occupied by the troops of Louis of Bavaria, the city was sold to a rich Genoese, Gherardino Spinola, then seized by John, king of Bohemia. Pawned to the Rossi of Parma, by them it was ceded to Mastino II della Scala of Verona, sold to the Florentines, surrendered to the Pisans, and then nominally liberated by the emperor Charles IV and governed by his vicar. Lucca managed, at first as a democracy, and after 1628 as an oligarchy, to maintain its independence alongside of Venice and Genoa, and painted the word Libertas on its banner until the French Revolution in 1789.

After Napoleonic conquest.

Lucca had been the second largest Italian city state (after Venice) with a republican constitution ('comune') to remain independent over the centuries.

In 1805, Lucca was conquered by Napoleon, who installed his sister Elisa Bonaparte Baciocchi as 'Queen of Etruria'.

From 1815 to 1847 it was a Bourbon-Parma duchy. The only reigning dukes of Lucca were Maria Luisa of Spain, who was succeeded by her son Charles II, Duke of Parma in 1824. Meanwhile, the Duchy of Parma had been assigned for life to Marie Louise, Duchess of Parma, the second wife of Napoleon. In accordance with the Treaty of Vienna (1815), upon the death of Marie Louise, Duchess of Parma in 1847, Parma reverted to Charles II, Duke of Parma, while Lucca lost independence and was annexed to the Grand Duchy of Tuscany. As part of Tuscany, it became part of the Kingdom of Sardinia in 1860 and finally part of the Italian State in 1861.

City Walls

The walls around the old town remained intact as the city expanded and modernized, unusual for cities in the region. As the walls lost their military importance, they became a pedestrian promenade which encircled the old town, although they were used for a number of years in the 20th century for racing cars. They are still fully intact today; each of the four principal sides is lined with a different tree species.

The Academy of Sciences (1584) is the most famous of several academies and libraries.

The Casa di Puccini was re-opened to the public on 14 September 2011.At the nearby town of Torre del Lago, there is a Puccini opera festival every year in July/August. Puccini had a house there as well

There are many richly built medieval basilica-form churches in Lucca with rich arcaded façades and campaniles, a few as old as the 8th century.

Main sites include:

Piazza dell'Anfiteatro

Piazzale Verdi

Piazza Napoleone

Piazza San Michele

The Ducal Palace, built on the location of Castruccio Castracani's fortress. The original project was begun by Bartolomeo Ammannati in 1577–1582, and continued by Filippo Juvarra in the 18th century.

The ancient Roman amphitheatre

Torre delle ore ('The Clock Tower')

Casa and Torre Guinigi - The Guinigi Tower with oak trees on top

National Museum of Villa Guinigi

National Museum of Palazzo Mansi

Orto Botanico Comunale di Lucca, a botanical garden dating from 1820

Palazzo Pfanner

Villa Garzoni, noted for its water gardens.

Passeggiata delle Mura Urbane, a street all over the city on the bastions. It passes from these balconies: Santa Croce, San Frediano, San Martino, San Pietro/Battisti, San Salvatore, La Libertà/Cairoli, San Regolo, San Colombano, Santa Maria, San Paolino/Catalani, and San Donato; also pass over these gates: Porta San Donato, Porta Santa Maria, Porta San Jocopo, Porta Elisa, Porta San Pietro, and Porta Sant'Anna.

The fortified city is surrounded by the streets of: Piazzale Boccherini, Viale Lazzaro Papi, Viale Carlo Del Prete, Piazzale Martiri della Libertà, Via Batoni, Viale Agostino Marti, Viale G. Marconi (vide Guglielmo Marconi), Piazza Don A. Mei, Viale Pacini (vide Pacini), Viale Giusti, Piazza Curtatone, Piazzale Ricasoli, Viale Ricasoli, Piazza Risorgimento (vide Risorgimento) and Viale Giosuè Carducci (vide Giosuè Carducci).

Churches.

Duomo di San Martino: St Martin's CathedraL

San Michele in Foro church

San Giusto: Romanesque church

Basilica di San Frediano

Sant'Alessandro church,[8] an example of medieval classicism

Santa Giulia church with Lombard origins, but remade in the 13th century.

San Michele church at Antraccoli. Founded in 777, it was enlarged in the 12th century and modified again in the 16th century with the introduction of a portico.

San Giorgio church in the locality of Brancoli, built in the late 12th century. It has a nave and two aisles with a single apse, and a bell tower in Lombard-Romanesque style ranked among the most beautiful in northern Italy. The interior houses a massive ambo (1194) with four columns mounted on notable sculptures of lions. Also having notable medieval decoration is the octagonal baptismal fount. The altar is supported by six small columns with human figures

Culture.

Lucca is the birthplace of composers Giacomo Puccini (La Bohème and Madama Butterfly), Nicalao Dorati, Francesco Geminiani, Gioseffo Guami, Luigi Boccherini, and Alfredo Catalani. It is also the birthplace of Bruno Menconi and artist Benedetto Brandimarte.

Events.

Lucca annually hosts the Lucca Summer Festival. The 2006 edition saw Eric Clapton, Placebo, Massive Attack, Roger Waters, Tracy Chapman and Santana play live in the Piazza Napoleone.

Lucca hosts the annual Lucca Comics and Games festival, Italy's largest festival for comics and related subjects.

Other events include:

Lucca Film Festival

Lucca Digital Photo Fest

Procession of Santa Croce, on 13 of September. Costume procession through the town's roads.

Lucca Jazz Donna

Film and television

Mauro Bolognini's 1958 film Giovani mariti with Sylva Koscina is set and was filmed in Lucca.

Lucca was featured on Top Gear during a Hot Hatch comparison in Episode 2 of Season 17. The city's narrow and one-way street layout played a large role in the segment.

]

See also: List of twin towns and sister cities in Italy

Lucca is twinned with:

United Kingdom Abingdon, United Kingdom

France Colmar, France

Poland Gogolin, Poland

Germany Schongau, Germany

Belgium Sint-Niklaas, Belgium

Argentina Buenos Aires, Argentina

Italy Lucca Sicula, Italy

Italy Panther's Contrade, Siena

United States South San Francisco, United States of America

People from Lucca.

Vincenzo Lunardi.

St. Anselm of Lucca, (1036–1086), bishop of Lucca

Giovanni Arnolfini, merchant and arts patron

Pompeo Batoni, painter

Simone Bianchi, comics artist[12]

Luigi Boccherini, musician and composer

Elisa Bonaparte, ruler of Lucca

Giulio Carmassi, composer

Castruccio Castracani, ruler of Lucca (1316–1328)

Alfredo Catalani, composer

Gusmano Cesaretti, photographer and artist

Mario Cipollini, cyclist

Matteo Civitali, sculptor

Ivan Della Mea, singer-songwriter

Theodor Döhler, composer and pianist; lived in Lucca from 1827–1829

Ernesto Filippi, football referee

Saint Frediano

St. Gemma Galgani, mystic and saint

Tejay van Garderen, cyclist

Francesco Geminiani, musician and composer

Credibility: The Pivot Point of Persuasion.5. The New Principles of Influence.6. Introduction to Omega Strategies.7. The Delta Model of Influence.4. The First Four Seconds.3. How to get anyone to say yes in 8 minutes or less pdf.

Agostino Giuntoli, nightclub owner and entrepreneur

Gioseffo Guami, composer

Pope Lucius III

Vincenzo Lunardi, pioneer aeronaut [13]

Felice Matteucci, engineer

Leo Nomellini, athlete

Marcello Pera, politician and philosopher

Giacomo Puccini, composer

Marco Rossi, athlete

Renato Salvatori, actor

Rinaldo and Ezilda Torre, founded the Torani syrup company in San Francisco using Luccan recipes from their hometown

Rolando Ugolini, athlete

Giuseppe Ungaretti, poet

Antonio Vallisneri, scientist and physician

Alfredo Volpi, painter

Saint Zita

Zita of Bourbon-Parma, last Empress of Austria

5 27

Guardate le facce di questi signori, non le dimenticherete facilmente.

State attenti se li incontrate; le espressioni che hanno dipinte sul viso dovrebbero vastare a farvi capire con che tipo di gente vi troverete a che fare.

La notte in cui furono scattate queste piccole foto, si trovavano in un pub di Trieste e avevano appena finito di maltrattare selvaggiamente un cameriere sloveno che non aveva idea di come si facesse una carbonara, tentando di spacciarla prima per una pizza e poi per un piatto di pasta servito con 'del pane sotto, del pomodoro e spezie varie'.

Da sinistra in senso orario: Il Topo, Il Guercio, er dui e il Di Gangi.

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www.MadMenArt.com The Vintage Ad Art Collection

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Pdf To Jpg Converter Free Download

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(Photo by Marisa Rastellini/Mondadori Portfolio via Getty Images)

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French postcard by Editions P.I., licency holder in France for Ufa, no. FK 4506. Photo: Ufa.

Charming and beautiful Jacqueline Sassard (1940) had a short but successful career in the European cinema of the late 1950s and 1960s.

Jacqueline Sassard was born in Nice, France in 1940. She started her career as a teenager in the French thriller Je plaide non coupable/Guilty? (Edmond Gréville, 1956). The following year, she played the title role of the Italian comedy Guendalina (Alberto Lattuada, 1957), with Sylva Koscina and Raf Vallone as her parents. The film was produced by Dino De Laurentiis and Carlo Ponti, and the latter offered her another lead role in the comedy Nata di marzo/Born in March (Antonio Pietrangeli, 1958) opposite Gabriele Ferzetti. For her role she won the Zuleta Prize at the San Sebastián International Film Festival 1958. In Italy she also appeared as a young woman with family and economical troubles in Il magistrato/The Magistrate (Luigi Zampa, 1959), a co-production with Spain and France. The Spaniard José Suárez stars in the film, and other roles were played by François Périer and a 21-year-old Claudia Cardinale. In the award-winning drama Estate violenta/Violent Summer (Valerio Zurlini, 1959), her character is left by Jean Louis Trintignant for Eleonora Rossi Drago. She also played one of the three sisters who take revenge on playboy Alain Delon in the comedy Faibles femmes/Three Murderesses (Michel Boisrond, 1959), co-starring Mylène Démongeot and Pascale Petit.

In the early 1960’s. Jacqueline Sassard mainly worked in Italy in less prestigious films than before. It was the period of the Peplum spectacles and she was seen as Antiope in Arrivano i titani/The Titans (Duccio Tessari, 1962) with Pedro Armendáriz and Giuliano Gemma. Hal Erickson at AllMovie: “My Son the Hero started out in 1961 as a straightforward Italian sword and sandal affair titled Arrivano i Titani, all about the quest for a magic helmet in ancient Thebes. Well cast (Pedro Armendariz is the star) and extremely well photographed, the original film was still not sufficient different from all the other Italian strongman films glutting the American market in 1963. Thus the American distributors hit upon the notion of transforming the film into a satire, by redubbing all the actors and hoking up the sound effects. What resulted was a heady mixture of Yiddish accents, Borscht-belt one-liners and rippling pecs.” Sassard also appeared in a small part opposite Steve Reeves in the adventure film Sandokan, la tigre di Mompracem/Sandokan the Great (Umberto Lenzi, 1963). In between, she played opposite Freddy Quinn in the German Schlagerfilm Freddy und das Lied der Südsee/Freddy and the Song of the South Seas (Werner Jacobs, 1962). She had a supporting part in the Italian-French sex comedy Le voci bianche/Counter Tenors (Pasquale Festa Campanile, Massimo Franciosa, 1964) with Sandra Milo and Anouk Aimée.

One of Jacqueline Sassard’s best films is the Italian drama Le stagioni del nostro amore/Seasons of Our Love (Florestano Vancini, 1966) with Enrico Maria Salerno and Anouk Aimée. Sassard then played an Austrian princess in the prestigious British film Accident (Joseph Losey, 1967), based on a script by Harold Pinter and starring Dirk Bogarde. At the 1967 Cannes Film Festival, the film won the Grand Prix Spécial du Jury. Gavin Jones at IMDb: “One of the best films ever made, this movie oozes atmosphere. The cinematography is impeccable, the script disturbingly brilliant.” Her last credited screen appearance was opposite Stéphane Audran and Jean-Louis Trintignant in the sensual and sexy thriller Les Biches/The Does/Girlfriends (1968), directed by Claude Chabrol. It was one of the first films subtly dealing with bisexuality. James Travers at Films de France: “All the time, we, the audience, are seduced by the beautiful cinematography, the captivating, sensual performances, most notably from the Sphinx-like Stéphane Audran, and Chabrol's masterful direction. This is a deliciously seductive work, but one which is also profoundly disturbing.” Then Jacqueline Sassard retired and disappeared from public view. In Brazil, she had met Gianni Lancia, the Italian former automobile engineer, industrialist and racing enthusiast. They married and have one son, Lorenzo. Today, Jacqueline Sassard lives in Saint-Jean-Cap-Ferrat.

Sources: Hal Erickson (AllMovie), James Travers (Films de France), Gavin Jones (IMDb), Wikipedia and IMDb.

Clásicos del Cine. Año V número 58. Septiembre 1 de 1961. Editada por Novaro Sea México. Capítulo: Hércules sin Cadenas. Steve Reeves y Sylva Koscina. FFB

--------- beach photography ---------

Starring Steve Reeves, Sylva Koscina, Luciana Paluzzi, Ivo Garrani, Gianna Maria Canale, Arturo Dominici, Mimmo Palmara, Lidia Alfonsi, Gabriele Antonini, Aldo Fiorelli, Andrea Fantasia, Fabrizio Mioni. Directed by Pietro Francisci.

Heralding a decade of Italian-made sword-and-sandal films, Hercules -- as it's been known in the United States since its 1959 release -- draws most of its plot from the legend of Jason and the Golden Fleece. Hercules, the half-immortal son of Jupiter (or Zeus) rescues Iole, the daughter of Pelias, the king of Jolco, when the horses pulling her chariot run wild. Returning her to the court, he is engaged by Pelias to train his vain, arrogant son in the use of arms, that he may one day become a warrior king. Pelias' hold on power is very uncertain, owing to the way he became king -- his brother, the previous monarch, was murdered by persons unknown in the palace -- and he looks to leave a dynasty. The prince is later killed through his own foolishness, however, and the blame falls on Hercules. In order to win back the grieving heart of Iole, Hercules surrenders his immortality and manages to triumph in a savage test of his strength against the Cretan Bull. One day, a stranger arrives in Jolco claiming to be Jason, Pelias' nephew, and son of the murdered king -- and the rightful king. To prove his claim, he vows to sail to the ends of the Earth and reclaim the Golden Fleece, the symbol of rightful rule in Jolco, which was stolen on the night that his father was murdered. A crew is assembled that includes various legendary figures out of Greek mythology, with Hercules at the head of the list. They survive encounters with sea storms and a predatory race of women, the machinations of a traitor in their ranks, and Pelias' treachery, and Jason slays the dragon guarding the Golden Fleece. On their return, however, the Fleece is stolen and Hercules is imprisoned. Jason and his men are surrounded by Pelias' soldiers and a battle ensues. Iole frees Hercules, who comes to the aid of Jason and restores him to the throne that's rightfully his. This battle features one of the best action sequences in the film as Hercules, his wrists still in the shackles and chains that bound him in Pelias' dungeon, first kills the man who murdered the old king and then, faced with mounted cavalry charging him on the steps of the palace, pulls down the pillars supporting the facade and wipes out the cavalry. Pelias, unable to contain his own guilt, commits suicide and Iole, seeing the truth about her father, goes to Hercules and accepts him as her husband. Ray Harryhausen's Jason and the Argonauts, made six years later, told the same story with far superior effects and a less conclusive ending, but Hercules is a fun movie in its own right, and Steve Reeves cuts a stunning figure, even if his voice is dubbed. Curiously, there are two different dubbed versions of Hercules in circulation, one of which (the one that was on television in the early '60s, and was on the VidAmerica videocassette) features a simpler range of English dialogue that works better. The other version occasionally uses more florrid language (and appeared on the Image Entertainment letterboxed laserdisc), which doesn't really resonate well. The giveaway comes in the scene where Hercules prays to Jupiter at the temple, surrendering his powers. The simpler, better track has the echoed voice come back 'the Cretan Bull awaits.'

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Spanish poster for Italian film. Giulietta degli spiriti / Juliet of the Spirits, Federico Fellini, 1965.

Judex (1963) @ IMDb

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Judex (1963 film) @ Wikipedia

en.wikipedia.org/wiki/Judex_(1963_film)

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Judex …ou la Danse des Spectres = Judex .. or the Dance of the spectra

@ DBCult Film Institute

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WATCH ONLINE >> Judex (1963) Full Movie

[From 16mm.]

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