Sunday, August 29, 2010
Thursday, August 19, 2010
Sunday, August 15, 2010
What Women Think Of Shaved Gentials
Dalida, the diva of popular song
With its glittering dresses, its glitter, its catchy songs, Dalida shone at the top of the hit parade and won the heart of the European public that has reserved a fervor that few artists have experienced.
If the singer has collected the gold records both in France and Italy and Germany, it is clear she has not really shined in the film, whereas initially, the young Italian was literally fascinated by Hollywood and dreamed of becoming a star of the silver screen. However, is it not a little of the magic of Hollywood's golden age as the singer, has starred in his shows are
and television, and her long golden hair and sleeves borrowed his idol Rita Hayworth? It is this sense of spectacle and entertainment as well as tragedy and despair hidden under the paint and lights, which made it too profoundly human and probably explain the magnitude of his glory.
Born in Cairo in 1933 to parents of Italian origin, the future Dalida dream theater and glory while working in a pharmaceutical laboratory. After winning a beauty contest, she was hired as an understudy of his favorite star, Rita Hayworth American, who has a film shoot in Egypt biblical "Joseph and His Brothers" that is eventually abandoned en route by
featuring the whimsical. To console himself, Dalida gets a role in an Egyptian film directed by Niazi Mustafa, known for his flair for young talent (he was found Kamel El Chénawi, Kouka, Leila Fawzi and Samira Toufik, superstars in the Arab world). A glass, a cigarette (1955) is a musical melodrama with great belly dancer Samia Gamal to be detached from the Egyptian production of the era often very poor in spite of the wonderful singers and actors who participated. Dalida already vamp, sang in Italian, stirring her hair, as Rita Hayworth in Gilda: a gesture that will continue long. The same year, it occurs as a dancer in the spy mask of Tutankhamen, an Egyptian-French production directed by a former filmmaker talent at the time dumb Gastyne Mark, author of a remarkable Joan of Arc. It seems that a legal mess has deprived the film a real business career: in any case, he was briefly operated in France in 1955 and the journal Cinemonde poster for the opportunity to hedge Gil Vidal "the leading man who rises »Dalida and presented as" Italian singer. " 
Arriving in Paris on the advice of Gastyne, young brunette actress is struggling to win. His slight squint Is it harmful? (This handicap did not stop at Norma Shearer or Virginia Mayo to make Career Major). Disappointed, Dalida will turn to the song. Backed by the director of the new radio in vogue Europe No. 1 (her husband), who incessantly bludgeon his music on the air, she triumphs with Bambino in 1956, then a long series of adaptations of Italian songs, very popular in the late '50s (come prima, romantica ..). The dark beauty of the new feature, displayed on the covers of 45T also contributes to its success, and allows it to supplant the English Gloria Lasso, singer accent that marked the beginning of the LP. Dalida
only makes a few forays on the screen, pour y chanter quelques refrains : il s’agit de polars très datés, traitant d’un sujet un peu scabreux mais populaire : la traite des blanches. Aux médiocre « brigade des mœurs » ou « Rapt au 2ème bureau« , on préférera le film allemand « des filles
pour le mambo bar« qui a le mérite d’être bien réalisé et de dépeindre avec justesse l’atmosphère des bars louches. Dalida y chante la version allemande du jour où la pluie viendra qui fera d’elle une star en Allemagne.
Alors que l’univers de la variété populaire connaît de forts remous avec l’arrivée de la déferlante rock et yéyé, Dalida clings imperturbable year adopting the transition to new rhythms in the wind.
He finally confides in a Leading Role Speak to Me of Love (1961) Italian film music designed more to highlight the latest success for the singer to build a coherent story. She sings such as "gypsies" that made him famous in Italy.
More than a singer (whose talent is a matter of taste: I think in a similar genre Italian Mina has more vocal potential and versatility), Dalida has become a public figure whose audience follows the lower doings: his turbulent life made the headlines for scandalous
on: his divorce, his loves and sorrows will make the joy of some magazines throughout his life. The suicide of her lover, promising singer Luigi Teno, will be the first drama of a long succession. Listed
cinema, still nothing remarkable: the unknown in Hong Kong cinema is under 63 "a mediocre thriller that tries in vain to play on the local color." The director Poitrenaud recognize that Dalida was less good at comedy than singing. Yet fans will delight in her duet with Serge Gainsbourg. It's also found in two Italian films that are not operated
home: cleaning the Italian (1965) (very inspired by the comedy "She's terrible" by Luciano Salce, where Dalida not singing) and a novel photo rosewater Io ti amo, directed by Anthony Dawson , specialist and peplum horror film (1967), now available on video.
In any event, these inconclusive trials will not capture public favor, however, continues to flatter the singer who aligns further success in the decade 70 (Gigi l'amoroso, the theme from the godfather, a recovery disco wait). With the popular disco singer dons more ever sequins and colors, and the futility of his songs made a curious contrast with a succession of misfortunes: the suicide of her first husband and her lover Richard St Germain. In the early 80s, the artist is experiencing a certain decline that began with the birth of free radio and a younger audience. Prey of comedians, artists find it difficult to succeed. His attempts to adopt a less easy directory are commercial failures.
The Egyptian director Youssef Chahine offered him to play in the 6th day
o (1986): a non-musical drama in 1000 locations itsi bitsi small bikini Kalimba de luna or other. The star has always dreamed of a beautiful screen role and accepts the challenge: the critics applauded his amazing interpretation of a washerwoman
Cairo. Without artifice or frills, Dalida was beautiful and moving in this dramatic role that will be acclaimed in Egypt but did not meet with popular success in France.
Very depressed and probably skeptical about the possible evolution of his career, Dalida committed suicide in 1987. His brother Orlando has been very successful in maintaining the myth of his famous sister out regularly compiled and marketing operations. Derided in his lifetime, the singer is now respected by the younger generation of the music world and remains popular with the public, particularly the gay community: a social phenomenon that is probably based more on sympathy,
humanity and fragility of the intrinsic character of his repertoire.
If the singer has collected the gold records both in France and Italy and Germany, it is clear she has not really shined in the film, whereas initially, the young Italian was literally fascinated by Hollywood and dreamed of becoming a star of the silver screen. However, is it not a little of the magic of Hollywood's golden age as the singer, has starred in his shows are
and television, and her long golden hair and sleeves borrowed his idol Rita Hayworth? It is this sense of spectacle and entertainment as well as tragedy and despair hidden under the paint and lights, which made it too profoundly human and probably explain the magnitude of his glory. Born in Cairo in 1933 to parents of Italian origin, the future Dalida dream theater and glory while working in a pharmaceutical laboratory. After winning a beauty contest, she was hired as an understudy of his favorite star, Rita Hayworth American, who has a film shoot in Egypt biblical "Joseph and His Brothers" that is eventually abandoned en route by
featuring the whimsical. To console himself, Dalida gets a role in an Egyptian film directed by Niazi Mustafa, known for his flair for young talent (he was found Kamel El Chénawi, Kouka, Leila Fawzi and Samira Toufik, superstars in the Arab world). A glass, a cigarette (1955) is a musical melodrama with great belly dancer Samia Gamal to be detached from the Egyptian production of the era often very poor in spite of the wonderful singers and actors who participated. Dalida already vamp, sang in Italian, stirring her hair, as Rita Hayworth in Gilda: a gesture that will continue long. The same year, it occurs as a dancer in the spy mask of Tutankhamen, an Egyptian-French production directed by a former filmmaker talent at the time dumb Gastyne Mark, author of a remarkable Joan of Arc. It seems that a legal mess has deprived the film a real business career: in any case, he was briefly operated in France in 1955 and the journal Cinemonde poster for the opportunity to hedge Gil Vidal "the leading man who rises »Dalida and presented as" Italian singer. " 
Arriving in Paris on the advice of Gastyne, young brunette actress is struggling to win. His slight squint Is it harmful? (This handicap did not stop at Norma Shearer or Virginia Mayo to make Career Major). Disappointed, Dalida will turn to the song. Backed by the director of the new radio in vogue Europe No. 1 (her husband), who incessantly bludgeon his music on the air, she triumphs with Bambino in 1956, then a long series of adaptations of Italian songs, very popular in the late '50s (come prima, romantica ..). The dark beauty of the new feature, displayed on the covers of 45T also contributes to its success, and allows it to supplant the English Gloria Lasso, singer accent that marked the beginning of the LP. Dalida only makes a few forays on the screen, pour y chanter quelques refrains : il s’agit de polars très datés, traitant d’un sujet un peu scabreux mais populaire : la traite des blanches. Aux médiocre « brigade des mœurs » ou « Rapt au 2ème bureau« , on préférera le film allemand « des filles
pour le mambo bar« qui a le mérite d’être bien réalisé et de dépeindre avec justesse l’atmosphère des bars louches. Dalida y chante la version allemande du jour où la pluie viendra qui fera d’elle une star en Allemagne. Alors que l’univers de la variété populaire connaît de forts remous avec l’arrivée de la déferlante rock et yéyé, Dalida clings imperturbable year adopting the transition to new rhythms in the wind.
He finally confides in a Leading Role Speak to Me of Love (1961) Italian film music designed more to highlight the latest success for the singer to build a coherent story. She sings such as "gypsies" that made him famous in Italy.
More than a singer (whose talent is a matter of taste: I think in a similar genre Italian Mina has more vocal potential and versatility), Dalida has become a public figure whose audience follows the lower doings: his turbulent life made the headlines for scandalous
on: his divorce, his loves and sorrows will make the joy of some magazines throughout his life. The suicide of her lover, promising singer Luigi Teno, will be the first drama of a long succession. Listed cinema, still nothing remarkable: the unknown in Hong Kong cinema is under 63 "a mediocre thriller that tries in vain to play on the local color." The director Poitrenaud recognize that Dalida was less good at comedy than singing. Yet fans will delight in her duet with Serge Gainsbourg. It's also found in two Italian films that are not operated
home: cleaning the Italian (1965) (very inspired by the comedy "She's terrible" by Luciano Salce, where Dalida not singing) and a novel photo rosewater Io ti amo, directed by Anthony Dawson , specialist and peplum horror film (1967), now available on video. In any event, these inconclusive trials will not capture public favor, however, continues to flatter the singer who aligns further success in the decade 70 (Gigi l'amoroso, the theme from the godfather, a recovery disco wait). With the popular disco singer dons more ever sequins and colors, and the futility of his songs made a curious contrast with a succession of misfortunes: the suicide of her first husband and her lover Richard St Germain. In the early 80s, the artist is experiencing a certain decline that began with the birth of free radio and a younger audience. Prey of comedians, artists find it difficult to succeed. His attempts to adopt a less easy directory are commercial failures.
The Egyptian director Youssef Chahine offered him to play in the 6th day
o (1986): a non-musical drama in 1000 locations itsi bitsi small bikini Kalimba de luna or other. The star has always dreamed of a beautiful screen role and accepts the challenge: the critics applauded his amazing interpretation of a washerwoman Cairo. Without artifice or frills, Dalida was beautiful and moving in this dramatic role that will be acclaimed in Egypt but did not meet with popular success in France.
Very depressed and probably skeptical about the possible evolution of his career, Dalida committed suicide in 1987. His brother Orlando has been very successful in maintaining the myth of his famous sister out regularly compiled and marketing operations. Derided in his lifetime, the singer is now respected by the younger generation of the music world and remains popular with the public, particularly the gay community: a social phenomenon that is probably based more on sympathy,
humanity and fragility of the intrinsic character of his repertoire. Friday, August 13, 2010
Noma Programmable Thermostat Installation
Leuwerik Ruth, the noble heroine of postwar melodramas
The talent Ruth Leuwerik grande dame of German cinema of the 50s sentimental has not often been appreciated at its true value because of the tear and very feminine aspect of melodramas that have brought glory and past contempt of moviegoers to the German cinema of this period often considered archi-conventional and uninteresting. However, it should rediscover this feverish and tormented sensitive interpreter who could shine in the frescoes of the high romantic as Stormwind or Jane Eyre. Far from being a "crybaby doll salon" to resume some scathing criticisms French, German Deborah Kerr was a great actress: she was also the interpreter of the very first version (a big commercial success across Europe) of the Sound of Music, which fully justifies its presence in this blog.
Born in 1924, Ruth Leuwerik first worked as a typist before working at the end of the war in a munitions factory. With his meager income, the young woman takes acting lessons.
dint of perseverance, Ruth will make his passion a profession. It was at Bremen in 1947 that his theatrical career really started: she played Shakespeare and Pirandello.
In the early 50s, the actress assures some German dubbing of American stars (including Maureen O'Hara), before landing a few roles that will quickly make it very popular as "the great temptation" a very mediocre melodrama taking place in hospitals (which curiously has always fascinated readers of novels in rose water) or "love is not a game", particularly the plot fantastic. It is unknown whether off Kleenex delivered at intermission but these monuments Marshmallow and tears filled cinemas and made Ruth Leuwerik the first star of German cinema. Strong and fragile at times, courageous and patient, she played the female audience for a real model. Yet it would be a pity to confuse the actress and these two songs in, not always well-crafted.
sensitive and subtle actress, Ruth Leuwerik has more opportunity to prove his talents in
historical films: it embodies a fragile and worthy Empress Sissi in the baroque version of Ludwig II of Bavaria (1954) Helmut signed kautner the best post-war German director; This is a film visually stunning, brilliantly colored and strangely glossy charm. To better appreciate the film, it would be liked a little more than hubris and folly. Similarly, homosexuality is almost never the king hinted (when required), while still partially explains the anxiety of the sovereign and his failed marriage with the sister of Sissi. In any event, the interpretation of Ruth and Leuwerik OW Fischer is impeccable, and the film is bathed in a dreamlike Wagnerian very addictive.
Elegant and jaded, the actress is less at home in Queen Louise of Prussia, Napoleon begging to save his country.
Leuwerik Ruth sings for the first time in Portrait of an unidentified woman, a mash of Helmut
Kautner, which certainly did not fingering a Max Ophuls or
George Cukor, but a subtlety that allows him to well handle the melodramatic universe and feminine.
The role of Effi Briest, a sort of German cousin Emma Bovary, seemed built for the actress: she is perfectly in "Autumn Roses" as the great old Marianne Hoppe. Boasting a superb photograph Agfacolor, this lavish melodrama mériretait really being rediscovered. The queen of melodrama will experience the pinnacle of his fame in 1956 with family
Trapp, fictionalized biography of the Baroness von Trapp, a novice nun dispatched as a governess in a family of seven children she will introduce music and singing . This nice melodic music is signed Wolfgang Liebeneiner entirely on his shoulders. Its composition is astonishing: it seems stressed, hyper-emotive, engaging and far left and the recklessness of the luminous Julie Andrews, who will reprise his role in the American remake. But that is precisely what makes the charm and interest of this version and I suspect that neither stars were like the real Maria Von Trapp, who was much less sweet in reality! Musically, it is surprising
not hear famous tunes by Rodgers and Hammerstein who make up the splendor of American operetta and film of 1965 and is expected at each stage. Here, the children sing hymns and Bach ... as in real life also and I know that will not complain! . Music by Franz Grothe (a close friend of Ruth Leuwerik) including the main air are very good.
So obviously the film by excessive fishing especially in its second marshmallow game, which earned him a few scratches from the French press (one newspaper described as the most infamous movie ever seen for a long time!) ... but do not prevent it from making a hit in France, especially in sponsorships! A suite
completely useless (from Ruth's own admission) will be touring in 1958: Trapp Family in America .., which will be well received by the magazine Cinema that she "go to hell! .
Adorned by such great success, Ruth Leuwerik even received proposals from Hollywood: Curtis Berhardt wants to hire for a remake of Anna Karenina. Doubtful, actress
prefer to decline the offer than face comparisons with Garbo (which does not prevent him from playing in 1965 in a televised remake of Ninotchka).
In 1958, Ruth played under the direction of Robert Siodmak, U.S. income, the pastor's daughter Dorothea, naturalistic drama which depicts the descent into hell of an ignorant old daughter. The director hopes to shake and image of the chaste and angelic singing nun. It will be a total failure: a melodrama winded and boring that even the actress can not save.
Fortunately, the following year, she catches up with "she has not howled with the wolves "biography successful but not very realistic Renate Muller, musical artist of the 30s (Victor Victoria) whose tragic fate will one day be told in our columns. A déafut to resemble the vivacious and exuberant actress of the 30s, the dignified and reserved Ruth is vibrant with emotions in this character in love with a Jewish star whose life is turned upside down in horror: a victim of Nazi persecution, she died in a mental asylum in conditions remain poorly understood.
The film includes stunning
scenes, including a heartbreaking farewell great emotional intensity that Ruth runs on the station platform. However, the actress seems less comfortable (especially vocally) in scenes from musicals.
In 1962, she addressed under the leadership of Helmut Kautner turning difficult embodying the Redhead (with Rossano Brazzi) a jaded woman who leaves her husband and her lover to take stock of his life: an intimate and introspective melodrama s inspires new wave of films, and that will leave Marble critics of the Venice festival, which will judge the result of "under Antonioni". TV replays, however, have shown that this intelligent film was widely better than had been said and is among the best performances of the star. However, it will be fatal to the career of Ruth Leuwerik.
Although the actress has often made the magazine of the 50s, she never effused about his love life, nor relied on any scandal to revive his career. We know just as his marriage with an actor met his debut
then the great baritone Dietrich Fischer-Dieskau turned short, before she married a doctor.
Since the 60s, Ruth Leuwerik became quiet as the cinema and television (where it was seen in episodes of Inspector Derrick). During his interviews the artist surprised by his modesty. When asked why after playing classical pieces in the theater, it erred in popular cinema, Ruth Leuwerik recalls the 7th art must remain foremost entertainment. A great lady who deserves to be rediscovered: a reissue of his best films France would be welcome in particular the Trapp family, often claimed by moviegoers at the turn of specialized forums. (The film is in Germany and without subtitles).
Born in 1924, Ruth Leuwerik first worked as a typist before working at the end of the war in a munitions factory. With his meager income, the young woman takes acting lessons.
dint of perseverance, Ruth will make his passion a profession. It was at Bremen in 1947 that his theatrical career really started: she played Shakespeare and Pirandello. In the early 50s, the actress assures some German dubbing of American stars (including Maureen O'Hara), before landing a few roles that will quickly make it very popular as "the great temptation" a very mediocre melodrama taking place in hospitals (which curiously has always fascinated readers of novels in rose water) or "love is not a game", particularly the plot fantastic. It is unknown whether off Kleenex delivered at intermission but these monuments Marshmallow and tears filled cinemas and made Ruth Leuwerik the first star of German cinema. Strong and fragile at times, courageous and patient, she played the female audience for a real model. Yet it would be a pity to confuse the actress and these two songs in, not always well-crafted.
sensitive and subtle actress, Ruth Leuwerik has more opportunity to prove his talents in
historical films: it embodies a fragile and worthy Empress Sissi in the baroque version of Ludwig II of Bavaria (1954) Helmut signed kautner the best post-war German director; This is a film visually stunning, brilliantly colored and strangely glossy charm. To better appreciate the film, it would be liked a little more than hubris and folly. Similarly, homosexuality is almost never the king hinted (when required), while still partially explains the anxiety of the sovereign and his failed marriage with the sister of Sissi. In any event, the interpretation of Ruth and Leuwerik OW Fischer is impeccable, and the film is bathed in a dreamlike Wagnerian very addictive. Elegant and jaded, the actress is less at home in Queen Louise of Prussia, Napoleon begging to save his country.
Leuwerik Ruth sings for the first time in Portrait of an unidentified woman, a mash of Helmut
Kautner, which certainly did not fingering a Max Ophuls or
George Cukor, but a subtlety that allows him to well handle the melodramatic universe and feminine. The role of Effi Briest, a sort of German cousin Emma Bovary, seemed built for the actress: she is perfectly in "Autumn Roses" as the great old Marianne Hoppe. Boasting a superb photograph Agfacolor, this lavish melodrama mériretait really being rediscovered. The queen of melodrama will experience the pinnacle of his fame in 1956 with family
Trapp, fictionalized biography of the Baroness von Trapp, a novice nun dispatched as a governess in a family of seven children she will introduce music and singing . This nice melodic music is signed Wolfgang Liebeneiner entirely on his shoulders. Its composition is astonishing: it seems stressed, hyper-emotive, engaging and far left and the recklessness of the luminous Julie Andrews, who will reprise his role in the American remake. But that is precisely what makes the charm and interest of this version and I suspect that neither stars were like the real Maria Von Trapp, who was much less sweet in reality! Musically, it is surprising
not hear famous tunes by Rodgers and Hammerstein who make up the splendor of American operetta and film of 1965 and is expected at each stage. Here, the children sing hymns and Bach ... as in real life also and I know that will not complain! . Music by Franz Grothe (a close friend of Ruth Leuwerik) including the main air are very good. So obviously the film by excessive fishing especially in its second marshmallow game, which earned him a few scratches from the French press (one newspaper described as the most infamous movie ever seen for a long time!) ... but do not prevent it from making a hit in France, especially in sponsorships! A suite
completely useless (from Ruth's own admission) will be touring in 1958: Trapp Family in America .., which will be well received by the magazine Cinema that she "go to hell! .
Adorned by such great success, Ruth Leuwerik even received proposals from Hollywood: Curtis Berhardt wants to hire for a remake of Anna Karenina. Doubtful, actress
prefer to decline the offer than face comparisons with Garbo (which does not prevent him from playing in 1965 in a televised remake of Ninotchka). In 1958, Ruth played under the direction of Robert Siodmak, U.S. income, the pastor's daughter Dorothea, naturalistic drama which depicts the descent into hell of an ignorant old daughter. The director hopes to shake and image of the chaste and angelic singing nun. It will be a total failure: a melodrama winded and boring that even the actress can not save.
Fortunately, the following year, she catches up with "she has not howled with the wolves "biography successful but not very realistic Renate Muller, musical artist of the 30s (Victor Victoria) whose tragic fate will one day be told in our columns. A déafut to resemble the vivacious and exuberant actress of the 30s, the dignified and reserved Ruth is vibrant with emotions in this character in love with a Jewish star whose life is turned upside down in horror: a victim of Nazi persecution, she died in a mental asylum in conditions remain poorly understood.
The film includes stunning
scenes, including a heartbreaking farewell great emotional intensity that Ruth runs on the station platform. However, the actress seems less comfortable (especially vocally) in scenes from musicals. In 1962, she addressed under the leadership of Helmut Kautner turning difficult embodying the Redhead (with Rossano Brazzi) a jaded woman who leaves her husband and her lover to take stock of his life: an intimate and introspective melodrama s inspires new wave of films, and that will leave Marble critics of the Venice festival, which will judge the result of "under Antonioni". TV replays, however, have shown that this intelligent film was widely better than had been said and is among the best performances of the star. However, it will be fatal to the career of Ruth Leuwerik.
Although the actress has often made the magazine of the 50s, she never effused about his love life, nor relied on any scandal to revive his career. We know just as his marriage with an actor met his debut
then the great baritone Dietrich Fischer-Dieskau turned short, before she married a doctor. Since the 60s, Ruth Leuwerik became quiet as the cinema and television (where it was seen in episodes of Inspector Derrick). During his interviews the artist surprised by his modesty. When asked why after playing classical pieces in the theater, it erred in popular cinema, Ruth Leuwerik recalls the 7th art must remain foremost entertainment. A great lady who deserves to be rediscovered: a reissue of his best films France would be welcome in particular the Trapp family, often claimed by moviegoers at the turn of specialized forums. (The film is in Germany and without subtitles).
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