Name	Dany Robin
Birthname	Danielle Robin
Birth date	April 14, 1927
Birth place	Clamart, Hauts-de-Seine, Île-de-France, France
Death date	May 25, 1995
Death place	Paris, Ile-de-France, France
Spouse	Georges Marchal (1951–1969)Michael Sullivan (1969–1995)
Years active	1930–1969
Occupation	Actress

Dany Robin (; born Danielle Robin, 14 April 1927 – 25 May 1995) was a French actress of the 1950s and the early 1960s who was married to fellow actor Georges Marchal.

She performed with Peter Sellers in The Waltz of the Toreadors. Robin co-starred with Connie Francis, Paula Prentiss, and Janis Paige in Follow the Boys (1963). Her last leading role was the agent's wife Nicole Devereaux in Alfred Hitchcock's Topaz (1969). Hitchcock said that Robin and Claude Jade, cast as Robin's daughter, would provide the glamour in the story.

She died with her husband, Michael Sullivan, during a fire in their apartment in Paris.

Filmography

Six heures à perdre

Elle et moi (1952)

Frou-Frou (1955)

Don't Lose Your Head (1966)

Dany Robin was the female lead in the 1953 movie "Act of Love". Kirk Douglas was the star of the movie

External links

Category:1927 births Category:1995 deaths Category:People from Hauts-de-Seine Category:French actors Category:Accidental deaths in France

Name	Alfred Hitchcock
Birth name	Alfred Joseph Hitchcock
Birth date	August 13, 1899
Birth place	Leytonstone, London, England
Death date	April 29, 1980
Death place	Bel Air, Los Angeles, California, United States
Other names	HitchThe Master of Suspense
Occupation	Film director
Years active	1921–1976
Spouse	Alma Reville (1926–1980) (his death)

Sir Alfred Joseph Hitchcock, KBE (13 August 1899 – 29 April 1980) was an English filmmaker and producer. He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in his native United Kingdom in both silent films and early talkies, Hitchcock moved to Hollywood. In 1956 he became an American citizen while remaining a British subject.

Over a career spanning more than half a century, Hitchcock fashioned for himself a distinctive and recognisable directorial style. Viewers are made to identify with the camera which moves in a way meant to mimic a person's gaze, forcing viewers to engage in a form of voyeurism. He framed shots to manipulate the feelings of the audience and maximise anxiety, fear, or empathy, and used innovative film editing to demonstrate the point of view of the characters. Many of Hitchcock's films have twist endings and thrilling plots featuring depictions of violence, murder, and crime, although many of the mysteries function as decoys or "MacGuffins" meant only to serve thematic elements in the film and the extremely complex psychological examinations of the characters. Hitchcock's films also borrow many themes from psychoanalysis and feature strong sexual undertones. Through his cameo appearances in his own films, interviews, film trailers, and the television program Alfred Hitchcock Presents, he became a cultural icon.

Hitchcock directed more than fifty feature films in a career spanning six decades. Often regarded as the greatest British filmmaker, he came first in a 2007 poll of film critics in Britain's Daily Telegraph, which said: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else." MovieMaker has hailed him as the most influential filmmaker of all time, and he is widely regarded as one of cinema's most significant artists.

Early life

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Hitchcock was born on 13 August 1899 in Leytonstone, London, the second son and youngest of three children of William Hitchcock (1862–1914), a greengrocer and poulterer, and Emma Jane Hitchcock (née Whelan; 1863–1942). He was named after his father's brother, Alfred. Hitchcock was raised Catholic and was sent to the Jesuit Classic school St Ignatius' College in Stamford Hill, London. His mother and paternal grandmother were of Irish extraction. He often described his childhood as being very lonely and sheltered, a situation compounded by his obesity.

Hitchcock said he was sent by his father on numerous occasions to the local police station with a note asking the officer to lock him away for ten minutes as punishment for behaving badly. This idea of being harshly treated or wrongfully accused is frequently reflected in Hitchcock's films. Hitchcock's mother would often make him address her while standing at the foot of her bed, especially if he behaved badly, forcing him to stand there for hours. These experiences would later be used for the portrayal of the character of Norman Bates in his movie Psycho.

Hitchcock's father died when he was 14. In the same year, Hitchcock left St. Ignatius to study at the London County Council School of Engineering and Navigation in Poplar, London. After graduating, he became a draftsman and advertising designer with a cable company.

During this period, Hitchcock became intrigued by photography and started working in film production in London, working as a title-card designer for the London branch of what would become Paramount Pictures. designing the titles for silent movies. His rise from title designer to film director took five years.

Pre-war British career

Hitchcock's last collaboration with Graham Cutts led him to Germany in 1924. The film Die Prinzessin und der Geiger (UK title The Blackguard, 1925), directed by Cutts and co-written by Hitchcock, was produced in the Babelsberg Studios in Potsdam near Berlin. Hitchcock also observed part of the making of F. W. Murnau's film Der letzte Mann (1924). He was very impressed with Murnau's work and later used many techniques for the set design in his own productions. In his book-length interview with François Truffaut, Hitchcock/Truffaut (Simon and Schuster, 1967), Hitchcock also said he was influenced by Fritz Lang's film Destiny (1921).

Hitchcock's first few films faced a string of bad luck. His first directing project came in 1922 with the aptly titled Number 13. However, the production was cancelled due to financial problems of Gainsborough Pictures gave Hitchcock another opportunity for a directing credit with The Pleasure Garden made at UFA Studios in Germany; unfortunately, the film was a commercial flop. Next, Hitchcock directed a drama called The Mountain Eagle (possibly released under the title Fear o' God in the United States). This film was also eventually lost. In 1926, Hitchcock's luck changed with his first thriller, . The film, released in January 1927, was a major commercial and critical success in the United Kingdom. As with many of his earlier works, this film was influenced by Expressionist techniques Hitchcock had witnessed first-hand in Germany. Some commentators regard this piece as the first truly "Hitchcockian" film, incorporating such themes as the "wrong man".

Following the success of The Lodger, Hitchcock hired a publicist to help enhance his growing reputation. On 2 December 1926, Hitchcock married his assistant director, Alma Reville at the Brompton Oratory in South Kensington. Their only child, daughter Patricia, was born on 7 July 1928. Alma was to become Hitchcock's closest collaborator. Alma's contribution to his films (some of which were credited on screen) had always been privately acknowledged by Hitchcock, as she was keen to avoid public attention.

In 1929, Hitchcock began work on his tenth film Blackmail. While the film was still in production, the studio, British International Pictures (BIP), decided to convert it to sound. As an early '', the film is frequently cited by film historians as a landmark film, and is often considered to be the first British sound feature film. With the climax of the film taking place on the dome of the British Museum, Blackmail began the Hitchcock tradition of using famous landmarks as a backdrop for suspense sequences. In the PBS series The Men Who Made The Movies, Hitchcock explained how he used early sound recording as a special element of the film, emphasising the word "knife" in a conversation with the woman suspected of murder. During this period, Hitchcock directed segments for a BIP musical film revue Elstree Calling (1930) and directed a short film featuring two Film Weekly scholarship winners, An Elastic Affair (1930). Another BIP musical revue, Harmony Heaven (1929), reportedly had minor input from Hitchcock, but his name does not appear in the credits.

In 1933, Hitchcock was once again working for Michael Balcon His first film for the company, The Man Who Knew Too Much (1934), was a success and his second, The 39 Steps (1935), is often considered one of the best films from his early period. This film was also one of the first to introduce the concept of the "MacGuffin", a plot device around which a whole story seems to revolve, but ultimately has nothing to do with the true meaning or ending of the story. In The 39 Steps, the Macguffin is a stolen set of design plans. Hitchcock told French director François Truffaut:

There are two men sitting in a train going to Scotland and one man says to the other, "Excuse me, sir, but what is that strange parcel you have on the luggage rack above you?", "Oh", says the other, "that's a Macguffin.", "Well", says the first man, "what's a Macguffin?", The other answers, "It's an apparatus for trapping lions in the Scottish Highlands.", "But", says the first man, "there are no lions in the Scottish Highlands.", "Well", says the other, "then that's no Macguffin."

Hitchcock's next major success was his 1938 film The Lady Vanishes, a fast-paced film about the search for a kindly old Englishwoman Miss Froy (Dame May Whitty), who disappears while on board a train in the fictional country of Bandrika.

By 1938, Hitchcock had become known for his alleged observation, "Actors are cattle". He once said that he first made this remark as early as the late 1920s, in connection to stage actors who were snobbish about motion pictures. However, Michael Redgrave said that Hitchcock had made the statement during the filming of The Lady Vanishes. The phrase would haunt Hitchcock for years to come and would result in an incident during the filming of his 1941 production of Mr. & Mrs. Smith, where Carole Lombard brought some heifers onto the set with name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise the director. Hitchcock said he was misquoted: "I said 'Actors should be treated like cattle'."

At the end of the 1930s, David O. Selznick signed Hitchcock to a seven-year contract beginning in March 1939, when the Hitchcocks moved to the United States.

Hollywood

The suspense and the gallows humour that had become Hitchcock's trademark in film continued to appear in his productions. The working arrangements with Selznick were less than optimal. Selznick suffered from perennial money problems, and Hitchcock was often displeased with Selznick's creative control over his films. In a later interview, Hitchcock summarised the working relationship thus:

[Selznick] was the Big Producer. [...] Producer was king, The most flattering thing Mr. Selznick ever said about me — and it shows you the amount of control — he said I was the "only director" he'd "trust with a film".

Selznick loaned Hitchcock to the larger studios more often than producing Hitchcock's films himself. In addition, Selznick, as well as fellow independent producer Samuel Goldwyn, made only a few films each year, so Selznick did not always have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, only to be outbid by Selznick. Hitchcock was quickly impressed with the superior resources of the American studios compared to the financial restrictions he had frequently encountered in England.

Hitchcock's fondness for his homeland resulted in numerous American films set in, or filmed in, the United Kingdom, including his penultimate film, Frenzy.

With the prestigious Selznick picture Rebecca in 1940, Hitchcock made his first American movie, set in England and based on a novel by English author Daphne du Maurier. The film starred Laurence Olivier and Joan Fontaine. This Gothic melodrama explores the fears of a naive young bride who enters a great English country home and must adapt to the extreme formality and coldness she finds there. The film won the Academy Award for Best Picture of 1940. The statuette was given to Selznick, as the film's producer. Rebecca was the fourth longest of Hitchcock's films, at 130 minutes, exceeded only by The Paradine Case (132 minutes), North by Northwest (136 minutes), and Topaz (142 minutes).

Hitchcock's second American film, the European-set thriller Foreign Correspondent (1940), based on Vincent Sheean's Personal History and produced by Walter Wanger, was nominated for Best Picture that year. The movie was filmed in the first year of World War II and was apparently inspired by the rapidly changing events in Europe, as fictionally covered by an American newspaper reporter portrayed by Joel McCrea. The film mixed actual footage of European scenes and scenes filmed on a Hollywood back lot. In compliance with Hollywood's Production Code censorship, the film avoided direct references to Germany and Germans.

1940s films

and Ingrid Bergman in Notorious (1946)]] Hitchcock's films during the 1940s were diverse, ranging from the romantic comedy Mr. & Mrs. Smith (1941) to the courtroom drama The Paradine Case (1947), to the dark and disturbing film noir Shadow of a Doubt (1943).

In September 1940, the Hitchcocks purchased the Cornwall Ranch, located near Scotts Valley in the Santa Cruz Mountains. The ranch became the primary residence of the Hitchcocks for the rest of their lives, although they kept their Bel Air home. Suspicion (1941) marked Hitchcock's first film as a producer as well as director. Hitchcock used the north coast of Santa Cruz, California for the English coastline sequence. won Best Actress Oscar for her "outstanding performance in Suspicion". "Grant plays an irresponsible husband whose actions raise suspicion and anxiety in his wife (Fontaine)". In what critics regard as a classic scene, Hitchcock uses a light bulb to illuminate what might be a fatal glass of milk that Grant is bringing to his wife. In the book upon which the movie is based (Before the Fact by Francis Iles), the Grant character is a killer, but Hitchcock and the studio felt Grant's image would be tarnished by that ending. Though a homicide would have suited him better, as he stated to François Truffaut, Hitchcock settled for an ambiguous finale.

Saboteur (1942) was the first of two films that Hitchcock made for Universal, a studio where he would continue his career during his later years. Hitchcock was forced to use Universal contract players Robert Cummings and Priscilla Lane, both known for their work in comedies and light dramas. Breaking with Hollywood conventions of the time, Hitchcock did extensive location filming, especially in New York City, and depicted a confrontation between a suspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty.

Shadow of a Doubt (1943), Hitchcock's personal favourite of all his films and the second of the early Universal films, was about young Charlotte "Charlie" Newton (Teresa Wright), who suspects her beloved uncle Charlie Oakley (Joseph Cotten) of being a serial murderer. Critics have said that in its use of overlapping characters, dialogue, and closeups it has provided a generation of film theorists with psychoanalytic potential, including Jacques Lacan and Slavoj Žižek. Hitchcock again filmed extensively on location, this time in the Northern California city of Santa Rosa, California, during the summer of 1942. The director showcased his own personal fascination with crime and criminals when he had two of his characters discuss various ways of killing people, to the obvious annoyance of Charlotte.

Working at 20th Century Fox, Hitchcock adapted a script of John Steinbeck's that chronicled the experiences of the survivors of a German U-boat attack in the film Lifeboat (1944). The action sequences were shot on the small boat. The locale also posed problems for Hitchcock's traditional cameo appearance. That was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer". While at Fox, Hitchcock seriously considered directing the film version of A.J. Cronin's novel about a Catholic priest in China, The Keys of the Kingdom, but the plans for this fell through. John M. Stahl ended up directing the 1944 film, which was produced by Joseph L. Mankiewicz and starred Gregory Peck, among other luminaries.

Returning to England for an extended visit in late 1943 and early 1944, Hitchcock made two short films for the Ministry of Information, Bon Voyage and Aventure Malgache. Made for the Free French, these were the only films Hitchcock made in the French language, and "feature typical Hitchcockian touches". In the 1990s, the two films were shown by Turner Classic Movies and released on home video.

In 1945, Hitchcock served as "treatment advisor" (in effect, a film editor) for a Holocaust documentary produced by the British Army. The film, which recorded the liberation of Nazi concentration camps, remained unreleased until 1985, when it was completed by PBS Frontline and distributed under the title Memory of the Camps.

Hitchcock worked for Selznick again when he directed Spellbound, which explored psychoanalysis and featured a dream sequence designed by Salvador Dalí. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past. The dream sequence as it actually appears in the film is considerably shorter than was originally envisioned, which was to be several minutes long, because it proved to be too disturbing for the audience. Some of the original musical score by Miklós Rózsa (which makes use of the theremin) was later adapted by the composer into a concert piano concerto.

Notorious (1946) followed Spellbound. According to Hitchcock, in his book-length interview with François Truffaut, Selznick sold the director, the two stars (Grant and Bergman) and the screenplay (by Ben Hecht) to RKO Radio Pictures as a "package" for $500,000 due to cost overruns on Selznick's Duel in the Sun (1946). Notorious starred Hitchcock regulars Ingrid Bergman and Cary Grant, and features a plot about Nazis, uranium, and South America. It was a huge box office success and has remained one of Hitchcock's most acclaimed films. His use of uranium as a plot device led to Hitchcock's being briefly under FBI surveillance. McGilligan writes that Hitchcock consulted Dr. Robert Millikan of Caltech about the development of an atomic bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news stories of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August 1945.

After completing his final film for Selznick, The Paradine Case (a courtroom drama that critics found lost momentum because it apparently ran too long and exhausted its resource of ideas), Hitchcock filmed his first color film, Rope, which appeared in 1948. Here Hitchcock experimented with marshalling suspense in a confined environment, as he had done earlier with Lifeboat (1943). He also experimented with exceptionally long takes — up to ten minutes long. Featuring James Stewart in the leading role, Rope was the first of four films Stewart would make for Hitchcock. It was based on the Leopold and Loeb case of the 1920s. Somehow Hitchcock's cameraman managed to move the bulky, heavy Technicolor camera quickly around the set as it followed the continuous action of the long takes.

Under Capricorn (1949), set in nineteenth-century Australia, also used the short-lived technique of long takes, but to a more limited extent. He again used Technicolor in this production, then returned to black and white films for several years. For Rope and Under Capricorn, Hitchcock formed a production company with Sidney Bernstein called Transatlantic Pictures, which became inactive after these two unsuccessful pictures. Hitchcock continued to produce his own films for the rest of his life.

1950s: Peak years

and Grace Kelly in Rear Window (1954)]]

In 1950, Hitchcock filmed Stage Fright on location in the UK. For the first time, Hitchcock matched one of Warner Bros.' biggest stars, Jane Wyman, with the sultry German actress Marlene Dietrich. Hitchcock used a number of prominent British actors, including Michael Wilding, Richard Todd, and Alastair Sim. This was Hitchcock's first production for Warner Bros., which had distributed Rope and Under Capricorn, because Transatlantic Pictures was experiencing financial difficulties.

With the film Strangers on a Train (1951), based on the novel by Patricia Highsmith, Hitchcock combined many elements from his preceding films. Hitchcock approached Dashiell Hammett to write the dialogue but Raymond Chandler took over, then left over disagreements with the director. Two men casually meet and speculate on removing people who are causing them difficulty. One of the men takes this banter entirely seriously. With Farley Granger reprising some elements of his role from Rope, Strangers continued the director's interest in the narrative possibilities of blackmail and murder. Robert Walker, previously known for "boy-next-door" roles, plays the villain.

MCA head Lew Wasserman, whose client list included James Stewart, Janet Leigh and other actors who would appear in Hitchcock's films, had a significant impact in packaging and marketing Hitchcock's films beginning in the 1950s.

Three very popular films starring Grace Kelly followed. Dial M for Murder (1954) was adapted from the popular stage play by Frederick Knott. Ray Milland plays the scheming villain, an ex-tennis pro who tries to murder his unfaithful wife Grace Kelly for her money. When she kills the hired assassin in self-defense, Milland manipulates the evidence to pin the death on his wife. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams), work urgently to save her from execution. Hitchcock experimented with 3D cinematography, although the film was not released in this format at first. However, it was shown in 3D in the early 1980s. The film marked a return to Technicolor productions for Hitchcock.

Hitchcock then moved to Paramount Pictures and filmed Rear Window (1954), starring James Stewart and Kelly again, as well as Thelma Ritter and Raymond Burr. Stewart's character, a photographer based on Robert Capa, must temporarily use a wheelchair; out of boredom he begins observing his neighbours across the courtyard, and becomes convinced one of them (Raymond Burr) has murdered his wife. Stewart tries to sway both his glamorous model-girlfriend (Kelly) and his policeman buddy (Wendell Corey) to his theory, and eventually succeeds. Like Lifeboat and Rope, the movie was photographed almost entirely within the confines of a small space: Stewart's tiny studio apartment overlooking the massive courtyard set. Hitchcock used closeups of Stewart's face to show his character's reactions to all he sees, "from the comic voyeurism directed at his neighbors to his helpless terror watching Kelly and Burr in the villain's apartment". It was Hitchcock's last film with Kelly. She married Prince Rainier of Monaco in 1956, and the residents of her new land were against her making any more films.

Hitchcock successfully remade his own 1934 film The Man Who Knew Too Much in 1956, this time starring Stewart and Doris Day, who sang the theme song, "Que Sera, Sera (Whatever Will Be, Will Be)" (which won the Oscar for "Best Original Song" and became a big hit for Day). They play a couple whose son is kidnapped to prevent them from interfering with an assassination.

and Kim Novak in Vertigo (1958)]]

The Wrong Man (1957), Hitchcock's final film for Warner Brothers, was a low-key black-and-white production based on a real-life case of mistaken identity reported in Life Magazine in 1953. This was the only film of Hitchcock's to star Henry Fonda. Fonda plays a Stork Club musician mistaken for a liquor store thief who is arrested and tried for robbery while his wife (newcomer Vera Miles) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes.

Vertigo (1958) again starred Stewart, this time with Kim Novak and Barbara Bel Geddes. Stewart plays "Scottie", a former police investigator suffering from acrophobia, who develops an obsession with a woman he is shadowing (Novak). Scottie's obsession leads to tragedy, and this time Hitchcock does not opt for a happy ending. Though the film is widely considered a classic today, Vertigo met with negative reviews and poor box office receipts upon its release, and marked the last collaboration between Stewart and Hitchcock. The film is ranked second (behind Citizen Kane) in the 2002 Sight & Sound decade poll. It was premiered in the San Sebastián International Film Festival, where Hitchcock won a Silver Seashell.

Late 1950s, 1960s and 1970s

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By this time, Hitchcock had filmed in many areas of the United States. He followed Vertigo with three more successful films. All are also recognised as among his very best films: North by Northwest (1959), Psycho (1960) and The Birds (1963).

In North by Northwest, Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent. He is hotly pursued by enemy agents across America, one of them Eve Kendall (Eva Marie Saint), who turns out to really be an American double agent.

Psycho is considered by some to be Hitchcock's most famous film. Produced on a highly constrained budget of $800,000, it was shot in black-and-white on a spare set. The unprecedented violence of the shower scene, the early demise of the heroine, the innocent lives extinguished by a disturbed murderer were all hallmarks of Hitchcock, copied in many subsequent horror films. After completing Psycho, Hitchcock moved to Universal, where he made the remainder of his films.

The Birds, inspired by a Daphne Du Maurier short story and by an actual news story about a mysterious infestation of birds in California, was Hitchcock's 49th film. He signed up Tippi Hedren as his latest blonde heroine opposite Rod Taylor. The scenes of the birds attacking included hundreds of shots mixing actual and animated sequences. The cause of the birds' attack is left unanswered, "perhaps highlighting the mystery of forces unknown".

The latter two films were particularly notable for their unconventional soundtracks, both orchestrated by Bernard Herrmann: the screeching strings played in the murder scene in Psycho exceeded the limits of the time, and The Birds dispensed completely with conventional instruments, instead using an electronically produced soundtrack and an unaccompanied song by school children (just prior to the infamous attack at the historic Bodega Bay School). These films are considered his last great films, after which it is said his career started to lose pace (although some critics, such as Robin Wood and Donald Spoto, contend that Marnie, from 1964, is first-class Hitchcock, and some have argued that Frenzy is unfairly overlooked).

Failing health took its toll on Hitchcock, reducing his output during the last two decades of his career. Hitchcock filmed two spy thrillers. The first, Torn Curtain (1966), with Paul Newman and Julie Andrews, was a Cold War thriller. Torn Curtain displays the bitter end of the twelve-year collaboration between Hitchcock and composer Bernard Herrmann. Herrmann was fired when Hitchcock was unsatisfied with his score. In 1969, Topaz, another Cold War-themed film (based on a Leon Uris novel), was released. Both received mixed reviews from critics.

In 1972, Hitchcock returned to London to film Frenzy, his last major triumph. After two only moderately successful espionage films, the plot marks a return to the murder thriller genre that he made so many films out of earlier in his career. The basic story recycles his early film The Lodger. Richard Blaney (Jon Finch), a volatile barkeeper with a history of explosive anger, becomes the prime suspect for the "Necktie Murders", which are actually committed by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes the victim and villain twins, rather than opposites, as in Strangers on a Train. Only one of them, however, has crossed the line to murder. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the longtime head of Hollywood's Production Code. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such things and were actually amused as well as alarmed by Hitchcock's "inescapable inferences". Beginning with Torn Curtain, Hitchcock was finally able to blatantly include plot elements previously forbidden in American films and this continued for the remainder of his film career.

Family Plot (1976) was Hitchcock's last film. It related the escapades of "Madam" Blanche Tyler played by Barbara Harris, a fraudulent spiritualist, and her taxi driver lover Bruce Dern making a living from her phony powers. William Devane, Karen Black and Cathleen Nesbitt co-starred. It was the only Hitchcock film scored by John Williams.

Last film work and death

Near the end of his life, Hitchcock had worked on the script for a projected spy thriller, The Short Night, collaborating with screenwriters James Costigan and Ernest Lehman. Despite some preliminary work, the story was never filmed. This was due primarily to Hitchcock's own failing health and his concerns over the health of his wife, Alma, who had suffered a stroke. The script was eventually published posthumously, in a book on Hitchcock's last years.

Hitchcock died on 29 April 1980, 9:17AM. He died peacefully in his sleep due to renal failure in his Bel Air, Los Angeles, California home at the age of 80, survived by his wife and their daughter. His funeral service was held at Good Shepherd Catholic Church in Beverly Hills. Hitchcock's body was cremated and his ashes were scattered over the Pacific Ocean.

Themes, plot devices and motifs

Hitchcock returned several times to cinematic devices such as suspense, the audience as voyeur, and his well-known "McGuffin", an apparently minor detail serving as a pivot upon which the narrative turns.

Technical innovations

Hitchcock seemed to delight in the technical challenges of film making. In the film Lifeboat, Hitchcock stages the entire action of the movie in a small boat, yet manages to keep the cinematography from monotonous repetition (his trademark cameo appearance was a dilemma, given the limitations of the setting; so Hitchcock appears in a fictitious magazine for a weight loss product). Similarly, the entire action in Rear Window either takes place in or is seen from a single apartment. In Spellbound, two unprecedented point-of-view shots were achieved by constructing a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-coloured red on some copies of the black-and-white print of the film.

Rope (1948) was another technical challenge: a film that appears to have been shot entirely in a single take. The film was actually shot in 10 takes ranging from four and a half to 10 minutes each; a 10 minute length of film being the maximum a camera's film magazine could hold. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place.

Hitchcock's 1958 film Vertigo contains a camera technique developed by Irmin Roberts that has been imitated and re-used many times by filmmakers, wherein the image appears to "stretch". This is achieved by moving the camera in the opposite direction of the camera's zoom. It has become known as the Dolly zoom or "Vertigo Effect."

Signature appearances in his films

Hitchcock appeared briefly in many of his own films, usually playing upon his portly figure in an incongruous manner, for example, seen struggling to get a double bass onto a train, or walking dogs in the background.

Psychology of characters

Hitchcock's films sometimes feature characters struggling in their relationships with their mothers. In North by Northwest (1959), Roger Thornhill (Cary Grant's character) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds (1963), the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself of a clinging mother (Jessica Tandy). The killer in Frenzy (1972) has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflictual relationship with his mother, who is (correctly) suspicious of his new bride Alicia Huberman (Ingrid Bergman). Norman Bates has troubles with his mother in Psycho.

Hitchcock heroines tend to be lovely, cool blondes who seem proper at first but, when aroused by passion or danger, respond in a more sensual, animal, or even criminal way. The famous victims in The Lodger are all blondes. In The 39 Steps, Hitchcock's glamorous blonde star, Madeleine Carroll, is put in handcuffs. In Marnie (1964), the title character (played by Tippi Hedren) is a kleptomaniac. In To Catch a Thief (1955), Francie (Grace Kelly) offers to help a man she believes is a burglar. In Rear Window, Lisa (Grace Kelly again) risks her life by breaking into Lars Thorwald's apartment. The best known example is in Psycho where Janet Leigh's unfortunate character steals $40,000 and is murdered by a reclusive psychopath. Hitchcock's last blonde heroine was — years after Dany Robin and her "daughter" Claude Jade in Topaz — Barbara Harris as a phony psychic turned amateur sleuth in his final film, 1976's Family Plot. In the same film, the diamond smuggler played by Karen Black could also fit that role, as she wears a long blonde wig in various scenes and becomes increasingly uncomfortable about her line of work.

Some critics and Hitchcock scholars, including Donald Spoto and Roger Ebert, agree that Vertigo represents the director's most personal and revealing film, dealing with the obsessions of a man who crafts a woman into the woman he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death than any other film in his filmography.

Hitchcock often said that his favourite film (of his own work) was Shadow of a Doubt.

Style of working

Writing

Hitchcock once commented, "The writer and I plan out the entire script down to the smallest detail, and when we're finished all that's left to do is to shoot the film. Actually, it's only when one enters the studio that one enters the area of compromise. Really, the novelist has the best casting since he doesn't have to cope with the actors and all the rest." In an interview with Roger Ebert in 1969, Hitchcock elaborated further: }}

In Writing with Hitchcock, a book-length study of Hitchcock's working method with his writers, author Steven DeRosa noted that "Although he rarely did any actual 'writing', especially on his Hollywood productions, Hitchcock supervised and guided his writers through every draft, insisting on a strict attention to detail and a preference for telling the story through visual rather than verbal means. While this exasperated some writers, others admitted the director inspired them to do their very best work. Hitchcock often emphasised that he took no screen credit for the writing of his films. However, over time the work of many of his writers has been attributed solely to Hitchcock’s creative genius, a misconception he rarely went out of his way to correct. Notwithstanding his technical brilliance as a director, Hitchcock relied on his writers a great deal."

Storyboards and production

Hitchcock's films were strongly believed to have been extensively storyboarded to the finest detail by the majority of commentators over the years. He was reported to have never even bothered looking through the viewfinder, since he didn't need to do so, though in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternate takes to consider.

However, this view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by the book Hitchcock At Work, written by Bill Krohn, the American correspondent of Cahiers du cinéma. Krohn, after investigating several script revisions, notes to other production personnel written by or to Hitchcock alongside inspection of storyboards, and other production material, has observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his movies was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. A great example would be the celebrated crop spraying sequence of North by Northwest which was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film and Hitchcock in turn hired an artist to match the scenes in detail.

Even on the occasions when storyboards were made, the scene which was shot did differ from it significantly. Krohn's extensive analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something which, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz. While Hitchcock did do a great deal of preparation for all his movies, he was fully cognizant that the actual film-making process often deviated from the best laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines utilised during many other film productions.

Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, a practice which he notes often sent many of his films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternate takes of scenes. This differed from coverage in that the films weren't necessarily shot from varying angles so as to give the editor options to shape the film how he/she chooses (often under the producer's aegis). Rather they represented Hitchcock's tendency of giving himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock.

His fastidiousness and attention to detail also found its way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—and kept them busy with countless rounds of revision until he felt that the single image of the poster accurately represented his entire film.

Approach to actors

Similarly, much of Hitchcock's supposed dislike of actors has been exaggerated. Hitchcock simply did not tolerate the method approach, as he believed that actors should only concentrate on their performances and leave work on script and character to the directors and screenwriters. In a Sight and Sound interview, he stated that, 'the method actor is OK in the theatre because he has a free space to move about. But when it comes to cutting the face and what he sees and so forth, there must be some discipline'. During the making of Lifeboat, Walter Slezak, who played the German character, stated that Hitchcock knew the mechanics of acting better than anyone he knew. Several critics have observed that despite his reputation as a man who disliked actors, several actors who worked with him gave fine, often brilliant performances and these performances contribute to the film's success.

For Hitchcock, the actors, like the props, were part of the film's setting, as he said to Truffaut:

In my opinion, the chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be utilized and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights.

Regarding Hitchcock's sometimes less than pleasant relationship with actors, there was a persistent rumor that he had said that actors were cattle. Hitchcock addressed this story in his interview with Francois Truffaut:

I'm not quite sure in what context I might have made such a statement. It may have been made...when we used actors who were simultaneously performing in stage plays. When they had a matinee, and I suspected they were allowing themselves plenty of time for a very leisurely lunch. And this meant that we had to shoot our scenes at breakneck speed so that the actors could get out on time. I couldn't help feeling that if they'd been really conscientious, they'd have swallowed their sandwich in the cab, on the way to the theater, and get there in time to put on their make-up and go on stage. I had no use for that kind of actor.

Carole Lombard, tweaking Hitchcock and drumming up a little publicity, brought some cows along with her when she reported to the set of Mr. and Mrs. Smith. Sixteen films directed by Hitchcock earned Oscar nominations, though only six of those films earned Hitchcock himself a nomination. The total number of Oscar nominations (including winners) earned by films he directed is fifty. Four of those films earned Best Picture nominations. Spellbound won the Academy Award for Best Original Music Score. Actor Joan Fontaine won the Academy Award for Best Actress for her performance in Suspicion, the only Academy Award–winning performance under Hitchcock's direction.

Six of Hitchcock's films are in the National Film Registry: Vertigo, Rear Window, North by Northwest, Shadow of a Doubt, Notorious, and Psycho; all but Shadow of a Doubt and Notorious were also in 1998's AFI's 100 best American films and the AFI's 2007 update. In 2008, four of Hitchcock's films were named among the ten best mystery films of all time in the AFI's 10 Top 10. Those films are Vertigo (at No. 1); Rear Window (No. 3); North by Northwest (No. 7); and Dial M for Murder (No. 9).

Alfred Hitchcock received the AFI Life Achievement Award in 1979.

Hitchcock was made a Knight Commander of the Order of the British Empire by Queen Elizabeth II in the 1980 New Year's Honours. Although he had adopted American citizenship in 1956, he was entitled to use the title "Sir" because he had remained a British subject. Hitchcock died just four months later, on 29 April, before he could be formally invested.

Fame

Hitchcock became famous for his expert and largely unrivaled control of pace and suspense, and his films draw heavily on both fear and fantasy. The films are known for their droll humour and witticisms, and these cinematic works often portray innocent people caught up in circumstances beyond their control or understanding.

Hitchcock began his directing career in the United Kingdom in 1922. From 1939 onward, he worked primarily in the United States. In September 1940, Hitchcock had purchased a mountaintop estate for the sum of $40,000. Known as the 1870 Cornwall Ranch or 'Heart o' the Mountain', the property was perched high above Scotts Valley, California, at the end of Canham Road. The Hitchcocks resided there from 1940 to 1972. The Hitchcocks became close friends with the parents of Joan Fontaine, after she starred in his film, Rebecca. in Los Angeles, just across from the Bel Air Country Club.

Rebecca was the only Hitchcock film to win the Academy Award for Best Picture for lifetime achievement. He never won an Academy Award for direction of a film.

Television and books

Along with Walt Disney, Hitchcock was among the first prominent motion picture producers to fully envisage just how popular the medium of television would become. From 1955 to 1965, Hitchcock was the host and producer of a television series entitled Alfred Hitchcock Presents. While his films had made Hitchcock's name strongly associated with suspense, the TV series made Hitchcock a celebrity himself. His irony-tinged voice and signature droll delivery, gallows humor, iconic image and mannerisms became instantly recognisable and were often the subject of parody.

The title-theme of the show pictured a minimalist caricature of Hitchcock's profile (he drew it himself; it is composed of only nine strokes) which his real silhouette then filled. His introductions before the stories in his program always included some sort of wry humor, such as the description of a recent multi-person execution hampered by having only one electric chair, while two are now shown with a sign "Two chairs--no waiting!" He directed a few episodes of the TV series himself, and he upset a number of movie production companies when he insisted on using his TV production crew to produce his motion picture Psycho. In the late 1980s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colorised form.

Alfred Hitchcock Presents was parodied by Friz Freleng's 1961 cartoon The Last Hungry Cat, which contains a plot similar to Blackmail.

"Hitch" used a curious little tune by the French composer Charles Gounod (1818–1893), the composer of the 1859 opera Faust, as the theme "song" for his television programs, after it was suggested to him by composer Bernard Herrmann. Arthur Fiedler and the Boston Pops Orchestra included the piece, Funeral March of a Marionette, in one of their extended play 45 rpm discs for RCA Victor during the 1950s.

Hitchcock appears as a character in the popular juvenile detective book series, Alfred Hitchcock and the Three Investigators. The long-running detective series was created by Robert Arthur, who wrote the first several books, although other authors took over after he left the series. The Three Investigators—Jupiter Jones, Bob Andrews and Peter Crenshaw—were amateur detectives, slightly younger than the Hardy Boys. In the introduction to each book, "Alfred Hitchcock" introduces the mystery, and he sometimes refers a case to the boys to solve. At the end of each book, the boys report to Hitchcock, and sometimes give him a memento of their case.

When the real Hitchcock died, the fictional Hitchcock in the Three Investigators books was replaced by a retired detective named Hector Sebastian. At this time, the series title was changed from Alfred Hitchcock and the Three Investigators to The Three Investigators.

At the height of Hitchcock's success, he was also asked to introduce a set of books with his name attached. The series was a collection of short stories by popular short-story writers, primarily focused on suspense and thrillers. These titles included Alfred Hitchcock's Anthology, Alfred Hitchcock Presents: Stories to be Read with the Door Locked, Alfred Hitchcock's Monster Museum, Alfred Hitchcock's Supernatural Tales of Terror and Suspense, Alfred Hitchcock's Spellbinders in Suspense, Alfred Hitchcock's Witch's Brew, Alfred Hitchcock's Ghostly Gallery, Alfred Hitchcock's A Hangman's Dozen and Alfred Hitchcock's Haunted Houseful. Hitchcock himself was not actually involved in the reading, reviewing, editing or selection of the short stories; in fact, even his introductions were ghost-written. The entire extent of his involvement with the project was to lend his name and collect a check.

Some notable writers whose works were used in the collection include Shirley Jackson (Strangers in Town, The Lottery), T.H. White (The Once and Future King), Robert Bloch, H. G. Wells (The War of the Worlds), Robert Louis Stevenson, Sir Arthur Conan Doyle, Mark Twain and the creator of The Three Investigators, Robert Arthur.

Hitchcock also wrote a mystery story for Look magazine in 1943, "The Murder of Monty Woolley". This was a sequence of captioned photographs inviting the reader to inspect the pictures for clues to the murderer's identity; Hitchcock cast the performers as themselves; such as Woolley, Doris Merrick and make up man Guy Pearce, whom Hitchcock identified, in the last photo, as the murderer. The article was reprinted in Games Magazine in November/December 1980.

Filmography

Frequently cast actors and actresses

7 films: Clare Greet: Number 13 (1922), The Ring (1927), The Manxman (1929), Murder! (1930), The Man Who Knew Too Much (1934), Sabotage (1936), Jamaica Inn (1939)

6 films: Leo G. Carroll: Rebecca (1940), Suspicion (1941), Spellbound (1945), The Paradine Case (1947), Strangers on a Train (1951), and North By Northwest (1959)

4 films: Cary Grant: Suspicion (1941), Notorious (1946), To Catch a Thief (1955), and North By Northwest (1959)

4 films: James Stewart: Rope (1948), Rear Window (1954), The Man Who Knew Too Much (1956), and Vertigo (1958)

4 films: Edmund Gwenn: The Skin Game (1931), Waltzes from Vienna (1934), Foreign Correspondent (1940), and The Trouble with Harry (1955)

3 films: Ingrid Bergman: Spellbound (1945), Notorious (1946), and Under Capricorn (1949)

3 films: Grace Kelly: Dial M for Murder (1954), Rear Window (1954), and To Catch a Thief (1955)

3 films: Basil Radford: Young and Innocent (1937), The Lady Vanishes (1938), Jamaica Inn (1939)

3 films: John Williams: The Paradine Case (1947), Dial M for Murder, (1954), and To Catch a Thief (1955)

3 films: Patricia Hitchcock: Stage Fright (1950), Strangers on a Train (1951), Psycho (1960)

Frequent collaborators

;Actors and actresses

Sara Allgood

Murray Alper

Ingrid Bergman

Paul Bryar

Donald Calthrop

Leonard Carey

Leo G. Carroll

Edward Chapman

Hume Cronyn (also as writer)

Violet Farebrother

Bess Flowers

Cary Grant

Clare Greet

Edmund Gwenn

Gordon Harker

Tom Helmore

Patricia Hitchcock (daughter)

Ian Hunter

Isabel Jeans

Hannah Jones

Malcolm Keen

Grace Kelly

Phyllis Konstam

John Longden

Percy Marmont

Basil Radford

Jeffrey Sayre

James Stewart

John Williams

;Screenwriters

Charles Bennett

James Bridie

Joan Harrison

John Michael Hayes

Ben Hecht

Angus MacPhail

Eliot Stannard

;Film crew

Fred Ahern - Production Manager

Michael Balcon - Producer

Jack Barron - Makeup

Saul Bass - Main titles design

Robert F. Boyle - Art Director/Production Designer

Henry Bumstead - Art Director

Robert Burks - Cinematographer

Herbert Coleman - Assistant Director/Producer

Jack E. Cox - Cinematographer

Graham Cutts - Director

Lowell J. Farrell - Assistant Director

Charles Frend - Film Editor

Bill Gold - Film poster designer

Hilton A. Green - Assistant Director

Bobby Greene - First Assistant Camera

Edith Head - Costume Designer

Bernard Herrmann - Music Composer

J. McMillan Johnson - Art Director/Production Designer

Barbara Keon - Production Assistant

Emile Kuri - Set Decoration

Bryan Langley - Cinematographer/Assistant Camera

Louis Levy - Musical Director/Music Composer

Norman Lloyd - Producer/Director

John Maxwell - Producer

Daniel McCauley - Assistant Director

Frank Mills - Assistant Director

George Milo - Set Decoration

Ivor Montagu - Editor/Producer

Hal Pereira - Art Director

Michael Powell - Still Photographer/Assistant Camera

Alma Reville (wife) - Assistant Director/Writer

Rita Riggs - Costume Designer

Peggy Robertson - Assistant

Emile de Ruelle - Film Editor

William Russell - Sound Recordist

David O. Selznick - Producer

Harry Stradling - Cinematographer/Director of Photography

Lois Thurman - Script Supervisor

Dimitri Tiomkin - Music Composer

George Tomasini - Film Editor

Joseph A. Valentine - Cinematographer

Gaetano di Ventimiglia - Cinematographer

Waldon O. Watson - Sound Recordist

Franz Waxman - Music Composer

Albert Whitlock - Matte Painter

William H. Ziegler - Film Editor

See also

Alfred Hitchcock filmography

Drew Casper

List of unproduced Hitchcock projects

List of film collaborations

References

Further reading

Auiler, Dan: Hitchcock's notebooks: an authorized and illustrated look inside the creative mind of Alfred Hitchcock. New York, Avon Books, 1999. Much useful background to the films.

Barr, Charles: English Hitchcock. Cameron & Hollis, 1999. On the early films of the director.

Conrad, Peter: The Hitchcock Murders. Faber and Faber, 2000. A highly personal and idiosyncratic discussion of Hitchcock's oeuvre.

DeRosa, Steven: Writing with Hitchcock. Faber and Faber, 2001. An examination of the collaboration between Hitchcock and screenwriter John Michael Hayes, his most frequent writing collaborator in Hollywood. Their films include Rear Window and The Man Who Knew Too Much.

Deutelbaum, Marshall; Poague, Leland (ed.): A Hitchcock Reader. Iowa State University Press, 1986. A wide-ranging collection of scholarly essays on Hitchcock.

Durgnat, Raymond: The strange case of Alfred Hitchcock Cambridge, Massachusetts: MIT Press, 1974 OCLC 1233570

Durgnat, Raymond; James, Nick; Gross, Larry: Hitchcock British Film Institute, 1999 OCLC 42209162

Durgnat, Raymond: A long hard look at Psycho London: British Film Institute Pub., 2002 OCLC 48883020

Giblin, Gary: Alfred Hitchcock's London. Midnight Marquee Press, 2006, (Paperback: ISBN 978-1-887664-67-7)

Gottlieb, Sidney: Hitchcock on Hitchcock. Faber and Faber, 1995. Articles, lectures, etc. by Hitchcock himself. Basic reading on the director and his films.

Gottlieb, Sidney: Alfred Hitchcock: Interviews. University Press of Mississippi, 2003. A collection of Hitchcock interviews.

Grams, Martin, Jr. & Wikstrom, Patrik: The Alfred Hitchcock Presents Companion. OTR Pub, 2001, (Paperback: ISBN 978-0-9703310-1-4)

Haeffner, Nicholas: Alfred Hitchcock. Longman, 2005. An undergraduate-level text.

Hitchcock, Patricia; Bouzereau, Laurent: Alma Hitchcock: The Woman Behind the Man. Berkley, 2003.

Krohn, Bill: Hitchcock at Work. Phaidon, 2000. Translated from the award-winning French edition. The nitty-gritty of Hitchcock's filmmaking from scripting to post-production.

Leff, Leonard J.: Hitchcock and Selznick. Weidenfeld & Nicolson, 1987. An in-depth examination of the rich collaboration between Hitchcock and David O Selznick.

Leitch, Thomas: The Encyclopedia of Alfred Hitchcock (ISBN 978-0-8160-4387-3). Checkmark Books, 2002. A single-volume encyclopedia of all things Hitchcock.

McDevitt, Jim; San Juan, Eric: A Year of Hitchcock: 52 Weeks with the Master of Suspense. Scarecrow Press, 2009, (ISBN 978-0-8108-6388-0). A comprehensive film-by-film examination of Hitchcock's artistic development from 1927 through 1976.

McGilligan, Patrick: Alfred Hitchcock: A Life in Darkness and Light. Regan Books, 2003. A comprehensive biography of the director.

Modleski, Tania: The Women Who Knew Too Much: Hitchcock And Feminist Theory. Routledge, 2005 (2nd edition). A collection of critical essays on Hitchcock and his films; argues that Hitchcock's portrayal of women was ambivalent, rather than simply misogynist or sympathetic (as widely thought).

Mogg, Ken. The Alfred Hitchcock Story. Titan, 2008 (revised edition). Note: the original 1999 UK edition, from Titan, and the 2008 re-issue world-wide, also from Titan, have significantly more text than the 1999 abridged US edition from Taylor Publishing. New material on all the films.

Paglia, Camille. The Birds. British Film Institute, January 2008 ISBN 978-0-85170-651-1

Rebello, Stephen: Alfred Hitchcock and the Making of Psycho. St. Martin's, 1990. Intimately researched and detailed history of the making of Psycho,.

Rohmer, Eric; Chabrol, Claude. Hitchcock, the first forty-four films (ISBN 978-0-8044-2743-2). F. Ungar, 1979. First book-long study of Hitchock art and probably still the best one.

Rothman, William. The Murderous Gaze. Harvard Press, 1980. Auteur study that looks at several Hitchcock films intimately.

Spoto, Donald: The Art of Alfred Hitchcock. Anchor Books, 1992. The first detailed critical survey of Hitchcock's work by an American.

Spoto, Donald: The Dark Side of Genius. Ballantine Books, 1983. A biography of Hitchcock, featuring a controversial exploration of Hitchcock's psychology.

Taylor, Alan: Jacobean Visions: Webster, Hitchcock and the Google Culture, Peter Lang, 2007.

Truffaut, François: Hitchcock. Simon and Schuster, 1985. A series of interviews of Hitchcock by the influential French director.

Vest, James: Hitchcock and France: The Forging of an Auteur. Praeger Publishers, 2003. A study of Hitchcock's interest in French culture and the manner by which French critics, such as Truffaut, came to regard him in such high esteem.

Weibel, Adrian: Spannung bei Hitchcock. Zur Funktionsweise der auktorialen Suspense. (ISBN 978-3-8260-3681-1) Würzburg: Königshausen & Neumann, 2008

Wikstrom, Patrik & Grams, Martin, Jr.: The Alfred Hitchcock Presents Companion. OTR Pub, 2001, (Paperback: ISBN 978-0-9703310-1-4)

Wood, Robin: Hitchcock's Films Revisited. Columbia University Press, 2002 (2nd edition). A much-cited collection of critical essays, now supplemented and annotated in this second edition with additional insights and changes that time and personal experience have brought to the author (including his own coming-out as a gay man).

-- Contains interviews with Alfred Hitchcock and a discussion of the making of The Man Who Knew Too Much (1934) and Secret Agent (1936), which co-starred classic film actor Peter Lorre.

External links

Wiki

Alfred Hitchcock Wiki

Hitchcock sites

HitchcockOnline - Contains a lengthy online essay and related links.

Writing with Hitchcock - includes original interviews, essays, script excerpts, and extensive material on Hitchcock's unproduced works.

Alfred Hitchcock Scholars/"MacGuffin" home page - includes news, discussion, links to site's other pages

Alfred Hitchcock Fans Online - Alfred Hitchcock fansite - with pictures, up-to-date news, and information about Hitchcock films.

A Year of Hitchcock - Weekly podcast and discussion of Hitchcock's films from the authors of A Year of Hitchcock: 52 Weeks with the Master of Suspense.

hitchcock.tv - Hitchcock history, filmography, and trivia.

Film and TV sites

Alfred Hitchcock at Rotten Tomatoes Celebrity Profile

Hitchcock's Style -- online exhibit from screenonline, a website of the British Film Institute

Hitchcock EyeGate Collection

Alfred Hitchcock Movie Trailers

Alfred Hitchcock and Anny Ondra in Sound Test for Blackmail (1929)

Profiles and interviews

Film Reference - Brief Profile on Hitchcock by Robin Wood

Senses of Cinema's "Great Directors" Alfred Hitchcock profile

EuroScreenwriters features interviews with Hitchcock, both text and video

Not For The Birds: David Sterritt Zooms In On The Mystery And Mastery Of Hitchcock's Movies

One-hour video interview with Alfred Hitchcock by Tom Snyder

Essays

Essay: The Lodger: The First 'Hitchcock' Film

Basic Hitchcock Film Techniques

Images

LIFE Presents: Alfred Hitchcock - slideshow by Life magazine

Category:19th-century English people Category:1899 births Category:1980 deaths Category:American film directors Category:American film producers Category:American people of English descent Category:American Roman Catholics Category:American television directors Category:Deaths from renal failure Category:English film directors Category:English film producers Category:English immigrants to the United States Category:English people of Irish descent Category:English television directors Category:English-language film directors Category:Knights Commander of the Order of the British Empire Category:Naturalized citizens of the United States Category:Old Ignatians Category:People from Leytonstone

Serge Reggiani (May 2, 1922 – July 23, 2004) was an Italian-born French singer and actor. He was born in Reggio Emilia, Italy and moved to France with his parents at the age of eight. For many years, he struggled with alcoholism, caused in part by the 1980 suicide of his son Stephan.

After acting school (Conservatoire des arts cinématographiques) he was discovered by Jean Cocteau and appeared in a wartime production of Les Parents terribles ("The Terrible Parents"). During World War II, he left Paris to join the French resistance.

His first feature film came in 1946 with his role in Les portes de la nuit ("The Doors of the Night"). He later went on to perform in 80 films including Casque d'or, Les Misérables (1958),Tutti a casa, Le Doulos, Il Gattopardo, La terrazza, The Pianist (1998).

In spite of never quite reaching the peak with his acting career, he did triumph in the theatre in 1959 with his performance in Jean-Paul Sartre’s play Les Séquestrés d'Altona. In the meantime, though, in 1965 he began a second career, that of a singer (at the age of 43), with the help of Simone Signoret and her husband Yves Montand and later with great assistance of the French diva Barbara. Reggiani became one of the most acclaimed performers of French "Chanson" ("song") and although he was in his 40s, his bad-boy rugged image made him popular with both young and older listeners.

His best known songs include Les loups sont entrés dans Paris ("The Wolves Have Entered Paris") and Sarah (La femme qui est dans mon lit) ("The Woman Who Is In My Bed"), the latter written by Georges Moustaki. However, one of his regular songwriters throughout his career was Boris Vian (Le Déserteur, Arthur où t'as mis le corps, La Java des bombes atomiques). His new young fans identified with his left-wing ideals and antimilitarism, most notably during the 1968 student revolts in France. With age he became more and more acclaimed as one of the best interpreters of the French chanson also bringing the poetry of Rimbaud, Apollinaire and Prévert closer to his audience. In 1995, he made a comeback to the singing stage, giving a few concerts despite his deteriorated health and personal distress, the last one being held as late as in the year of his death, in spring of 2004.

In later life he became a painter and gave a number of exhibitions of his artwork.

Serge Reggiani died in Paris of a heart attack at the age of 82, one day after the death of another well known French singer Sacha Distel. He is interred in Montparnasse Cemetery.

Selected filmography

Le voyageur de la Toussaint (1943)

''Casque d'or (1952)

The Secret People (1952)

Act of Love, aka Un acte d'amour (1953)

Paris Blues (1961)

Le Doulos (1962)

External links

Biography

Category:French stage actors Category:French film actors Category:French male singers Category:French painters Category:French people of Italian descent Category:Italian immigrants to France Category:Italian film actors Category:1922 births Category:2004 deaths Category:Deaths from myocardial infarction Category:People from Reggio Emilia Category:Burials at Montparnasse Cemetery

Name	Robin Trower
Background	non_vocal_instrumentalist
Birth name	Robin Leonard Trower
Born	March 09, 1945Catford, South East London, England
Occupation	Musician, songwriter, bandleader
Instrument	Guitar
Genre	Rock, blues, blues-rock
Years active	1962-present
Label	Chrysalis, Atlantic
Associated acts	Procol Harum, The Paramounts
Url	www.trowerpower.com
Notable instruments	Signature Model Stratocaster

Robin Trower (born Robin Leonard Trower, 9 March 1945, Catford, South East London, England) is an English rock guitarist who achieved success with Procol Harum during the 1960s, and then again as the bandleader of his own power trio.

Biography

Trower grew up in the seaside resort of Southend-on-Sea, Essex. In 1962, Trower formed a group that became The Paramounts, later including fellow Southend High School pupil Gary Brooker. The Paramounts disbanded in 1966 to pursue individual projects. During this time, Trower created a local three-piece band called 'The Jam' - not to be confused with the later group with Paul Weller. Trower then joined Brooker's new band Procol Harum in 1967, with whom he remained until 1972.

Before launching his own eponymous band, he joined singer Frankie Miller, bass player James Dewar, and former Jethro Tull drummer Clive Bunker to form the short-lived combo Jude. This outfit did not record and soon split up.

Trower retained as his bassist Dewar, who took on lead vocals as well, and recruited drummer Reg Isidore (later replaced by Bill Lordan) to form the Robin Trower Band in 1973. Other features included a custom C-shaped maple neck featuring a large headstock with a Bullet truss-rod system, locking machine heads and a maple fingerboard with narrow-spaced abalone dot position inlays and 21 frets. The Strats he plays live are an exact model of his signature guitar, which is entirely unmodified. During live performances and most of his albums, his guitar is tuned a full step down, to a DGCFAD tuning.

Trower uses between one and three 100-Watt Marshall heads with four to six cabinets on stage. While he usually uses two JCM 800s and a JCM 900, he also links 100-Watt Marshall Plexi heads. In studio sessions, Trower uses a mix of amplifiers, such as a Fender Blues Junior and Cornell Plexi Amplifers models to acquire different tonality. Recently, Trower has been using Marshall Vintage Modern 2466 heads live.

He has recently been using Fulltone pedals and effects. He favors the OCD, Distortion Pro, Fat Boost, CLYDE Deluxe Wah, Deja Vibe 2, Soul-Bender, and a BOSS Chromatic Tuner. He runs his Deja Vibe into his distortion pedal to get his famous tone. He was given his own signature Fulltone Robin Trower Overdrive in late 2008.

For his 2009 tour Robin was using his Fender Custom Shop Signature Stratocaster into a Fulltone DejaVibe 2, Fulltone Wahfull, Fulltone Clyde Standard Wah, Fulltone Full Drive, Fulltone Robin Trower Overdrive and Boss TU-2 Chromatic Tuner into two Marshall Vintage Modern 2466 heads.

Discography

With Procol Harum

1967 Procol Harum

1968 Shine on Brightly

1969 A Salty Dog

1970 Ain't Nothin' to Get Excited About (members of Procol Harum, as Liquorice John Death)

1970 Home

1971 Broken Barricades

1991 The Prodigal Stranger

1995 The Long Goodbye

With Robin Trower Band

1973 Twice Removed from Yesterday - Certified Gold by RIAA

1974 Bridge of Sighs - Certified Gold by RIAA

1975 For Earth Below - Certified Gold by RIAA

1976 Robin Trower Live

1976 Long Misty Days - Certified Gold by RIAA

1977 In City Dreams - Certified Gold by RIAA

1978 Caravan to Midnight

1979 Victims of the Fury

1983 Back It Up

1985 Beyond the Mist

1987 Passion

1988 Take What You Need

1990 In the Line of Fire

1994 20th Century Blues

1995 Live in Concert

1996 In Concert

1997 Someday Blues

1999 This Was Now '74-'98

2000 Go My Way

2004 Living Out of Time

2005 '' (Note: Also available on DVD)

2005 Another Days Blues

2008 RT@RO.08

2009 What Lies Beneath

2010 The Playful Heart

With Bryan Ferry

1993 Taxi (Bryan Ferry)

2000 Mamouna (Bryan Ferry)

2007 Dylanesque (Bryan Ferry)

With Jack Bruce

1981 B.L.T.

1982 Truce

1989 No Stopping Anytime (compilation)

2008 Seven Moons

References

External links

TrowerPower.com - Official website

ModernGuitars.com - 2006 Robin Trower Interview with Brian D. Holland, Modern Guitars magazine

NPR.org - Robin Trower on NPR

OlsenArt.com - "Funky" Paul Olsen's album cover artwork for Robin Trower

RobinTrower.net - 'Robin Trower Network' (fan site)

Shaw.ca - The complete history of The Robin Trower Band (fan site)

Category:1945 births Category:Procol Harum members Category:Living people Category:English rock musicians Category:English guitarists Category:People from Catford Category:Lead guitarists

Name	Robin Hull
Born	August 16, 1974
Birthplace	England
Nationality
Professional	1992–2008
High ranking	31
Best finish	Quarter-finals (twice)

Robin Hull (born 16 August 1974 in England) is a retired Finnish professional snooker player. For some time he was the sole Scandinavian player on the game's main tour, although his accent reflects the fact that he was largely raised in London, and his father is English.

Career

He qualified for the World Championship in 2002, knocking out Steve Davis in the final qualifying round. In the first round proper, he lost 6–10 to Graeme Dott. He twice reached ranking event quarter-finals — the 2003 Welsh Open and the 2006 Malta Cup.

Hull was a solid -builder and compiled 111 competitive during his career — as of the end of the 2007/2008 season, this is the highest amount for a player who has never featured in the elite top 16. However, he once missed the final during a 147 attempt.

A potentially-fatal viral infection kept him out of much of the 2003/2004 season. He was forced to pull out of qualifying for the 2007 World Championship, due to an irregular heartbeat thought to be linked to his past illness. After a similar problem in 2008, he decided to retire from professional competition.

Tournament wins

Amateur

IBSF World Under-21 Championship – 1992

EBSA European Championship – 1997

References

External links

Player profile on Global Snooker

Player profile and contact detail on 110sport.com

Category:1974 births Category:Living people Category:Finnish snooker players

Paul Alexandre Belmondo (born April 23, 1963 in Boulogne-Billancourt, Hauts-de-Seine) is a French racing driver who raced in Formula One for the March and Pacific Racing teams. He is the son of actor Jean-Paul Belmondo and grandson of sculptor Paul Belmondo. Around 1981, Paul gained publicity for becoming the lover of Princess Stéphanie of Monaco.

Through 1987 he participated in Formula 3 and Formula 3000, although he was never a top 10 championship finisher in either. In 1992 he joined the March F1 team as a pay driver, getting a ninth place at the Hungarian Grand Prix, but only qualifying 4 more times before he ran out of money and was replaced by Emanuele Naspetti. Two years later he became a member of the uncompetitive Pacific Grand Prix team, where he only qualified for two races and was usually behind team-mate Bertrand Gachot. Thereafter he concentrated on GT racing, at the wheel of a Chrysler Viper GTS-R. He started his own team, Paul Belmondo Racing which raced in the FIA GT Championship and Le Mans Endurance Series championship before folding in 2007.

Complete Formula One results

(key)

External links

Biography on F1 Rejects

Category:1963 births Category:Living people Category:People from Boulogne-Billancourt Category:French racecar drivers Category:French Formula One drivers Category:French people of Italian descent Category:24 Hours of Le Mans drivers Category:International Formula 3000 drivers Category:Le Mans Series drivers

Name	John Cleese
Caption	Cleese in 2008
Birth name	John Marwood Cleese
Birth date	October 27, 1939
Birth place	Weston-super-Mare, Somerset, England
Medium	Film, television, radio,stand-up comedy
Genre	Surreal comedy,dark comedy,physical comedy
Active	1961–present
Influences	Stephen Leacock, Spike Milligan, The Goons, William Shakespeare
Spouse	(divorced) (divorced) (divorced)
Domesticpartner	Barbie Orr (2008–2009)Jennifer Wade (2010–present)
Website	TheJohnCleese.com

John Marwood Cleese (born 27 October 1939) is an English actor, comedian, writer and film producer. He achieved success at the Edinburgh Festival Fringe, and as a scriptwriter on The Frost Report. In the late 1960s he became a member of Monty Python, the comedy troupe responsible for the sketch show Monty Python's Flying Circus and the four Monty Python films: And Now for Something Completely Different, Holy Grail, Life of Brian and The Meaning of Life.

In the mid 1970s, Cleese and his first wife Connie Booth, co-wrote and starred in the British sitcom Fawlty Towers. Later, he co-starred with Kevin Kline, Jamie Lee Curtis and former Python colleague Michael Palin in A Fish Called Wanda and Fierce Creatures. He also starred in Clockwise, and has appeared in many other films, including two James Bond films, two Harry Potter films, and three Shrek films.

With Yes Minister writer Antony Jay he co-founded the production company Video Arts, responsible for making entertaining training films.

Early life

Cleese was born in Weston-super-Mare, Somerset, the only child of Muriel (née Cross), an acrobat, and Reginald Francis Cleese (b. 1894), who worked in insurance sales. His family's surname was previously "Cheese", but his father changed it to "Cleese" in 1915, upon joining the Army.

Cleese was educated at St Peter's Preparatory School where he was a star pupil, receiving a prize for English studies and doing well at sport including cricket and boxing. At 13 he received an exhibition to Clifton College, an English public school in Bristol. He was tall as a child and was well over 6 ft when he arrived there. While at the school he is said to have defaced the school grounds for a prank by painting footprints to suggest that the school's statue of Field Marshal Earl Haig had got down from his plinth and gone to the toilet. Cleese played cricket for the first team, and after initial indifference he did well academically, passing 8 O levels and 3 A-Levels in mathematics, physics and chemistry.

After leaving school, he went back to his prep school to teach science before taking up a place he had won at Downing College, Cambridge, where he studied Law and joined the Cambridge Footlights Revue. There he met his future writing partner Graham Chapman. Cleese wrote extra material for the 1961 Footlights Revue I Thought I Saw It Move, and was Registrar for the Footlights Club during 1962, as well as being one of the cast members for the 1962 Footlights Revue Double Take!

Career

Pre-Python

Cleese was one of the script writers, as well as being a member of the cast, for the 1963 Footlights Revue, A Clump of Plinths, John Cleese and Graham Chapman also wrote episodes for the first series of Doctor in the House (and later Cleese wrote six episodes of Doctor at Large on his own in 1971). These series were successful, and in 1969 Cleese and Chapman were offered their very own series. However, owing to Chapman's alcoholism, Cleese found himself bearing an increasing workload in the partnership, and was therefore unenthusiastic about doing a series with just the two of them. He had found working with Palin on The Frost Report an enjoyable experience, and invited him to join the series. Palin had previously been working on Do Not Adjust Your Set, with Idle and Jones, with Terry Gilliam creating the animations. The four of them had, on the back of the success of Do Not Adjust Your Set, been offered a series for Thames Television, which they were waiting to begin when Cleese's offer arrived. Palin agreed to work with Cleese and Chapman in the meantime, bringing with him Gilliam, Jones and Idle.

Monty Python

Monty Python's Flying Circus ran for four seasons from October 1969 to December 1974 on BBC Television, though with only limited participation of Cleese in the last six shows. Cleese's two primary characterisations were as a sophisticate and a stressed-out loony. He portrayed the former as a series of announcers, TV show hosts, government officials (for example, "The Ministry of Silly Walks"). The latter is perhaps best represented in the "Cheese Shop", and by Cleese's Mr Praline character, the man with a dead Norwegian Blue parrot and a menagerie of other animals all named "Eric". He was also known for his working-class "Sergeant Major" character, who worked as a Police Sergeant, Roman Centurion, etc. he is also seen as the opening announcer, with the now famous line: "And now for something completely different" a phrase that premiered in the sketch, "Man with Three Buttocks".

Partnership with Graham Chapman

Along with Gilliam's animations, Cleese's work with Chapman provided Python with its darkest and angriest moments, and many of his characters display the seething suppressed rage that later characterised his portrayal of Basil Fawlty.

Unlike Palin and Jones, Cleese and Chapman actually wrote together—in the same room; Cleese claims that their writing partnership involved him sitting with pen and paper, doing most of the work, while Chapman sat back, not speaking for long periods, then suddenly coming out with an idea that often elevated the sketch to a different level. A classic example of this is the "Dead Parrot" sketch, envisaged by Cleese as a satire on poor customer service, which was originally to have involved a broken toaster, and later a broken car (this version was actually performed and broadcast, on the pre-Python special How To Irritate People). It was Chapman's suggestion to change the faulty item into a dead parrot, and he also suggested that the parrot be specifically a Norwegian Blue, giving the sketch a surreal air which made it far more memorable.

Their humour often involved ordinary people in ordinary situations behaving absurdly for no obvious reason. Like Chapman, Cleese's poker face, clipped middle-class accent and imposing height allowed him to appear convincing as a variety of authority figures, such as policemen, detectives, Nazi officers, or government officials—which he would then proceed to undermine. Most famously, in the "Ministry of Silly Walks" sketch (actually written by Palin and Jones), Cleese exploits his stature as the crane-legged civil servant performing a grotesquely elaborate walk to his office.

Chapman and Cleese also specialised in sketches where two characters would conduct highly articulate arguments over completely arbitrary subjects, such as in the "cheese shop", the "dead parrot" sketch and "The Argument Sketch", where Cleese plays a stone-faced bureaucrat employed to sit behind a desk and engage people in pointless, trivial bickering. All of these roles were opposite Palin (who Cleese often claims is his favourite Python to work with)—the comic contrast between the towering Cleese's crazed aggression and the shorter Palin's shuffling inoffensiveness is a common feature in the series. Occasionally, the typical Cleese-Palin dynamic is reversed, as in "Fish Licence", wherein Palin plays the bureaucrat with whom Cleese is trying to work.

Though the programme lasted four series, by the start of series 3, Cleese was growing tired of dealing with Chapman's alcoholism. According to Gilliam, Cleese was the "most Cambridge" of the Cambridge-educated members of the group (Cleese, Chapman and Idle), by which Gilliam meant that Cleese was the tallest (6' 5") and most aggressive of the whole group. He felt, too, that the show's scripts had declined in quality. For these reasons, he became restless and decided to move on. Though he stayed for the third series, he officially left the group before the fourth season. Despite this, he remained friendly with the group, and all six began writing Monty Python and the Holy Grail; Cleese received a credit on episodes of the fourth series which used material from these sessions, and even makes a brief appearance in one episode as the voice of a cartoon in the "Hamlet" episode, though he was officially unconnected with the fourth series. Cleese returned to the troupe to co-write and co-star in the Monty Python films Monty Python and the Holy Grail, Monty Python's Life of Brian and Monty Python's The Meaning of Life, and participated in various live performances over the years.

Post-Python

From 1970 to 1973 Cleese served as rector of the University of St Andrews. His election proved a milestone for the University, revolutionising and modernising the post. For instance, the Rector was traditionally entitled to appoint an "Assessor", a deputy to sit in his place at important meetings in his absence. Cleese changed this into a position for a student, elected across campus by the student body, resulting in direct access and representation for the student body for the first time in over 500 years. This was one of many changes that Cleese brought in.

Cleese achieved greater prominence in the United Kingdom as the neurotic hotel manager Basil Fawlty in Fawlty Towers, which he co-wrote with his wife Connie Booth. The series won three BAFTA awards when produced and in 2000, it topped the British Film Institute's list of the 100 Greatest British Television Programmes. The series also featured Prunella Scales as Basil's acerbic wife Sybil, Andrew Sachs as the much abused Spanish waiter Manuel ("...he's from Barcelona"), and Booth as waitress Polly, the series' voice of sanity. Cleese based Basil Fawlty on a real person, Donald Sinclair, whom he had encountered in 1970 while the Monty Python team were staying at the Gleneagles Hotel in Torquay while filming inserts for their television series. Reportedly, Cleese was inspired by Sinclair's mantra "I could run this hotel just fine, if it weren't for the guests." He later described Sinclair as "the most wonderfully rude man I have ever met," although Sinclair's widow has said her husband was totally misrepresented in the series. During the Pythons' stay, Sinclair allegedly threw Idle's briefcase out of the hotel "in case it contained a bomb," complained about Gilliam's "American" table manners, and threw a bus timetable at another guest after they dared to ask the time of the next bus to town.

The first series was screened from 19 September 1975 on BBC 2, initially to poor reviews, but gained momentum when repeated on BBC 1 the following year. Despite this, a second series did not air until 1979, by which time Cleese's marriage to Booth had ended, but they revived their collaboration for the second series. Fawlty Towers consisted of only twelve episodes; Cleese and Booth both maintain that this was to avoid compromising the quality of the series.

]]

In December 1977, Cleese appeared as a guest star on The Muppet Show. Cleese was a fan of the show, and co-wrote much of the episode. He appears in a "Pigs in Space" segment as a pirate trying to hijack the spaceship Swinetrek, and also helps Gonzo restore his arms to "normal" size after Gonzo's cannonball catching act goes wrong. During the show's closing number, Cleese refuses to sing the famous show tune from Man of La Mancha, "The Impossible Dream". Kermit The Frog apologises and the curtain re-opens with Cleese now costumed as a Viking trying some Wagnerian opera as part of a duet with Sweetums. Once again, Cleese protests to Kermit, and gives the frog one more chance. This time, as pictured opposite this text, he is costumed as a Mexican maraca soloist. He has finally had enough and protests that he is leaving the show, saying "You were supposed to be my host. How can you do this to me? Kermit – I am your guest!". The cast joins in with their parody of "The Impossible Dream", singing "This is your guest, to follow that star...". During the crowd's applause that follows the song, he pretends to strangle Kermit until he realises the crowd loves him and accepts the accolades. During the show's finale, as Kermit thanks him, he shows up with a fictional album, his own new vocal record John Cleese: A Man & His Music, and encourages everyone to buy a copy.

This would not be Cleese's final appearance with The Muppets. In their 1981 movie The Great Muppet Caper, Cleese does a cameo appearance as Neville, a local homeowner. As part of the appearance, Miss Piggy borrows his house as a way to impress Kermit The Frog.

Cleese won the TV Times award for Funniest Man On TV – 1978 / 1979.

1980s and 1990s

During the 1980s and 1990s, Cleese focused on film, though he did work with Peter Cook in his one-off TV special Peter Cook and Co. in 1980. In the same year Cleese played Petruchio, in Shakespeare's The Taming of the Shrew in the BBC Television Shakespeare series. In 1981 he starred with Sean Connery and Michael Palin in the Terry Gilliam-directed Time Bandits as Robin Hood. He also participated in Monty Python Live at the Hollywood Bowl (1982), and starred in The Secret Policeman's Ball for Amnesty International. In 1985, Cleese had a small dramatic role as a sheriff in Silverado, which had an all-star cast that included Kevin Kline, with whom he would star with in A Fish Called Wanda 3 years later. In 1986, he starred in Clockwise as an uptight school headmaster obsessed with punctuality and constantly getting in to trouble during a journey to a headmaster's conference.

s]]

Timed with the 1987 UK elections, he appeared in a video promoting proportional representation.

In 1988, he wrote and starred in A Fish Called Wanda, as the lead, Archie Leach, along with Jamie Lee Curtis, Kevin Kline and Michael Palin. Wanda was a commercial and critical success, and Cleese was nominated for an Academy Award for his script. Cynthia Cleese starred as Leach's daughter.

Chapman was diagnosed with throat cancer in 1989; Cleese, Michael Palin, Peter Cook and Chapman's partner David Sherlock, witnessed Chapman's passing. Chapman's death occurred one day before the 20th anniversary of the first broadcast of Flying Circus, with Jones commenting, "the worst case of party-pooping in all history." Cleese's eulogy at Chapman's memorial service—in which he "became the first person ever at a British memorial service to say 'fuck'"—has since become legendary.

Cleese would later play a supporting role in Kenneth Branagh's adaptation of Mary Shelley's Frankenstein alongside Branagh himself and Robert De Niro. He also produced and acted in a number of successful business training films, including Meetings, Bloody Meetings and More Bloody Meetings. These were produced by his company Video Arts.

With Robin Skynner, the group analyst and family therapist, Cleese wrote two books on relationships: Families and How to Survive Them, and Life and How to Survive It. The books are presented as a dialogue between Skynner and Cleese.

In 1996, Cleese declined the British honour of Commander of the Order of the British Empire (CBE). The follow-up to A Fish Called Wanda, Fierce Creatures—which again starred Cleese alongside Kevin Kline, Jamie Lee Curtis and Michael Palin—was also released that year, but was greeted with mixed reception by critics and audiences. Cleese has since often stated that making the second movie had been a mistake. When asked by his friend, director and restaurant critic Michael Winner, what he would do differently if he could live his life again, Cleese responded, "I wouldn’t have married Alyce Faye Eichelberger and I wouldn’t have made Fierce Creatures."

In 1999, Cleese appeared in the James Bond movie, The World Is Not Enough as Q's assistant, referred to by Bond as "R". In 2002, when Cleese reprised his role in Die Another Day, the character was promoted, making Cleese the new quartermaster (Q) of MI6. In 2004, Cleese was featured as Q in the video game , featuring his likeness and voice. Cleese did not appear in the subsequent Bond films, Casino Royale and Quantum of Solace.

2000 to present

Cleese is currently Provost's Visiting Professor at Cornell University, after having been Andrew D. White Professor-at-Large from 1999–2006. He makes occasional, well-received appearances on the Cornell campus, but he lives in the town of Montecito, California.

In 2001, Cleese was cast in the comedy Rat Race as the eccentric hotel owner Donald P. Sinclair.

In a 2005 poll of comedians and comedy insiders The Comedian's Comedian, Cleese was voted second only to Peter Cook. Also in 2005, a long-standing piece of Internet humour, "The Revocation of Independence of the United States", was wrongly attributed to Cleese.

In 2006, Cleese hosted a television special of football’s greatest kicks, goals, saves, bloopers, plays and penalties, as well as football’s influence on culture (including the famous Monty Python sketch, “Philosophy Football”), featuring interviews with pop culture icons Dave Stewart, Dennis Hopper and Henry Kissinger, as well as football greats including Pelé, Mia Hamm and Thierry Henry. The Art of Soccer with John Cleese was released in North America on DVD in January 2009 by BFS Entertainment & Multimedia.

Cleese recently lent his voice to the BioWare video game Jade Empire. His role was that of an "outlander" named Sir Roderick Ponce von Fontlebottom the Magnificent Bastard, stranded in the Imperial City of the Jade Empire. His character is essentially a British colonialist stereotype who refers to the people of the Jade Empire as savages in need of enlightenment. His armour has the design of a fork stuck in a piece of cheese.

He also had a cameo appearance in the computer game Starship Titanic as "The Bomb" (credited as "Kim Bread"), designed by Douglas Adams. When the bomb is activated it tells the player that "The ship is now armed and preparing to explode. This will be a fairly large explosion, so you'd best keep back about ". When the player tries to disarm the bomb, it says "Well, you can try that, but it won't work because nobody likes a smart-arse!"

In 2002, Cleese made a cameo appearance in the movie The Adventures of Pluto Nash, where he played "James", a computerised chauffeur of a hover car stolen by the title character (played by Eddie Murphy). The vehicle is subsequently destroyed in a chase, leaving the chauffeur stranded in a remote place on the moon.

In 2003, Cleese also appeared as Lyle Finster on the US sitcom Will & Grace. His character's daughter, Lorraine, was played by Minnie Driver. In the series, Lyle Finster briefly marries Karen Walker (Megan Mullally).

In 2004, Cleese was credited as co-writer of a DC Comics graphic novel entitled . Part of DC's "Elseworlds" line of imaginary stories, True Brit, mostly written by Kim Howard Johnson, suggests what might have happened had Superman's rocket ship landed in Britain, not America.

From 10 November to 9 December 2005, Cleese toured New Zealand with his stage show, John Cleese—His Life, Times and Current Medical Problems. Cleese described it as "a one-man show with several people in it, which pushes the envelope of acceptable behaviour in new and disgusting ways." The show was developed in New York with William Goldman and includes Cleese's daughter Camilla as a writer and actor (the shows were directed by Australian Bille Brown). His assistant of many years, Garry Scott-Irvine, also appeared, and was listed as a co-producer. It then played in universities in California and Arizona from 10 January to 25 March 2006 under the title "Seven Ways to Skin an Ocelot". His voice can be downloaded for directional guidance purposes as a downloadable option on some personal GPS-navigation device models by company TomTom.

In June 2006, while promoting a football (soccer) song in which he was featured, entitled Don't Mention the World Cup, Cleese appears to have claimed that he decided to retire from performing in sitcoms, instead opting to writing a book on the history of comedy and to tutor young comedians. This was an erroneous story, the result of an interview with The Times of London (the piece was not fact checked before printing).

In 2007, Cleese appeared in ads for Titleist as a golf course designer named "Ian MacCallister", who represents "Golf Designers Against Distance".

In 2007, he started filming the sequel to The Pink Panther, titled The Pink Panther 2 with Steve Martin and Aishwarya Rai.

On 27 September 2007, The Podcast Network announced it had signed a deal with Cleese to produce a series of video podcasts called HEADCAST to be published on TPN's website. Cleese released the first episode of this series in April 2008 on his own website, headcast.co.uk

In 2008, Cleese collaborated with Los Angeles Guitar Quartet member William Kanengiser on the text to the performance piece "The Ingenious Gentleman of La Mancha". Cleese, as narrator, and the LAGQ premiered the work in Santa Barbara.

According to recent reports, Cleese is currently working on a musical version of A Fish Called Wanda with his daughter Camilla. He also said that he is working on a new film screenplay for the first time since 1996's Fierce Creatures. Cleese collaborates on it with writer Lisa Hogan, under the current working title "A Taxing Time". According to him, it is "about the lengths to which people will go to avoid tax. [...] It's based on what happened to me when I cashed in my UK pension and moved to Santa Barbara."

At the end of March 2009, Cleese published his first article as 'Contributing Editor' to The Spectator: "The real reason I had to join The Spectator".

On 6 May 2009, he appeared on The Paul O'Grady Show. Cleese has also hosted comedy galas at the Montreal Just for Laughs comedy festival in 2006, and again in 2009. He had to cancel the 2009 appearance due to prostatitis, but hosted it a few days later.

Towards the end of 2009 and into 2010, Cleese appeared in a series of television adverts for the Norwegian electric goods shop chain, Elkjøp.

In March 2010 it was announced that John Cleese would be playing Jasper in the video game "Fable III".

In 2009 and 2010, Cleese toured Scandinavia and the US with his Alimony Tour Year One and Year Two. In May 2010, it was announced that this tour would extend to the UK (his first tour in UK), set for May 2011 – The show is dubbed the 'Alimony Tour' in reference to the financial implications of Cleese's recent divorce. The UK tour starts in Cambridge on 3 May visiting Birmingham, Salford, Liverpool, Oxford, Leeds, Edinburgh and finishing in Bristol.

Personal life

1960s to 1980s

Cleese met Connie Booth in the US during the late 1960s and the couple married in 1968.

Cleese remarried in 1981, to American actress Barbara Trentham. Their daughter Camilla, Cleese's second child, was born in 1984. He and Trentham divorced in 1990. It was also during this time that Cleese moved from the United Kingdom to California.

1990s to present

On 28 December 1992, he married American psychotherapist Alyce Faye Eichelberger. In January 2008, the couple announced they had split. The divorce was settled in December 2008. The divorce settlement left Eichelberger with £12 million in finance and assets, including £600,000 a year for seven years. Cleese stated that "What I find so unfair is that if we both died today, her children would get much more than mine".

He had begun to date American comedienne Barbie Orr in November 2008 but they split up in January 2009.

In April 2010, Cleese revealed on The Graham Norton Show on BBC One that he had started a new relationship with a woman 31 years his junior, Jennifer Wade.

He is a vegetarian.

During the disruption caused by the Eyjafjallajökull eruption in 2010 Cleese became stranded in Oslo and decided to take a taxi to Brussels. The 1500 km journey cost £3,300 and was completed with the help of three drivers who took shifts in driving Cleese to his destination where he planned to take a Eurostar passenger train to the UK.

Political views

Currently a member of the Liberal Democrats after previously being a Labour party voter, Cleese switched to the SDP after their formation in 1981, and during the 1987 general election, Cleese recorded a nine minute party political broadcast for the SDP-Liberal Alliance, which spoke about the similarities and failures of the other two parties in a more humorous tone than standard political broadcasts. Cleese has since appeared in broadcasts for the Liberal Democrats, in the 1997 general election and narrating a radio election broadcast for the party during the 2001 general election. In April 2010, Cleese posted a Twitter declaring his support for the Lib Dems after Nick Clegg performed strongly in the first leaders' debate on ITV1, stating: "Well, well, well. First leaders debate, and LibDems do so well. Good luck to them."

Cleese expressed support for Barack Obama's presidential candidacy, donating US$2,300 to his campaign and offering his services as a speech writer. He also criticised Republican Vice-Presidential candidate Sarah Palin—saying that "Michael Palin is no longer the funniest Palin"— and wrote a satirical poem about Fox News commentator Sean Hannity for Countdown with Keith Olbermann.

Radio credits

I'm Sorry, I'll Read That Again

I'm Sorry I Haven't a Clue (1972–73)

Television credits

Major roles

The Frost Report (1966)

Frost on Sunday

At Last the 1948 Show

How to Irritate People (1968) with Michael Palin, Graham Chapman, Connie Booth and Tim Brooke-Taylor

Monty Python's Flying Circus (1969–1974)

Sez Les (1971, 1974)

Fawlty Towers (1975, 1979)

Cheers (episode "Simon Says") (1987), he won an Emmy Award for best actor in a guest starring role

The Taming of the Shrew (1980) as Petruchio

True Stories: Peace in our Time? as Neville Chamberlain

As host

The Human Face

Wine for the Confused

We Are Most Amused: Master of Ceremonies for a stand-up comedy show celebrating Prince Charles's 60th Birthday.

Guest appearances

The Avengers (1968), guest appearance as Marcus Rugman (egg clown-face collector) in the episode Look (Stop Me if You've Heard this One)...

The Goodies (1973), guest cameo appearance as a Genie in the episode The Goodies and the Beanstalk

Ripping Yarns (1979), guest cameo appearance as a 'Spooty Youth' in the episode Golden Gordon

Doctor Who (1979), guest cameo appearance as an Art Lover in the episode City of Death as a favour to writer/script editor Douglas Adams

The Muppet Show (1977)

Cheers (5th Season) as Dr. Simon Finch-Royce, an acquaintance of Kelsey Grammer's character Frasier Crane and fellow psychiatrist, who offers pre-marriage counseling advice to Sam and Diane, much to his later chagrin.

Last of the Summer Wine (1993), guest cameo appearance in the episode Welcome to Earth.

25 Years of Last of the Summer Wine (1997)

3rd Rock from the Sun (1998–2001) as recurring character Dr. Liam Neesam.

Casper & Mandrilaftalen (1999) both as the repairman of the purple Gunrack, and as the Danish soccer coach Bosse Bo Johansson.

(2002) as Red

Will & Grace (2003–2004) as recurring character Lyle Finster.

Numerous commercials, including for supermarket chain Sainsbury's, snack firm Planters and a British government Stop Smoking campaign

Party political broadcasts for the Liberal Democrats and predecessor, the SDP-Liberal Alliance

In November 2009 commercials, in which he appears for Swedish electrical appliance chain "Elgiganten", began broadcasting in Sweden, as well as broadcasting in Denmark in late 2010.

Song "Don't Mention The World Cup"animated video played on ITV, BBC and Channel 4 News June 2006

Batteries Not Included—gadget show on UKTV channel Dave (2008)

Entourage as himself, season 7 finale (2010)

Filmography

{| class="wikitable sortable" |+ Films |- ! Year ! Title ! Role ! class="unsortable" | Notes |- | 1968 | ''Interlude | TV Publicist | |- | 1969 | | Mr. Dougdale (director in Sotheby's) | |- | 1969 | | Jones | Uncredited |- | 1970 | | Pummer | Writer |- | 1971 | And Now for Something Completely Different | Various Roles | Writer |- | 1974 | Romance with a Double Bass | Musician Smychkov | Writer |- | 1975 | Monty Python and the Holy Grail | Various Roles | Writer |- | 1976 | Meetings, Bloody Meetings | Tim | Writer/Executive ProducerDocumentary Short |- | 1977 | | Arthur Sherlock Holmes | |- | 1979 | Monty Python's Life of Brian | Various Roles | Writer |- | 1980 | | Himself-Various Roles | |- | 1981 | | Neville | |- | 1981 | Time Bandits | Gormless Robin Hood | |- | 1982 | Privates on Parade | Major Giles Flack | |- | 1983 | Yellowbeard | Blind Pew | |- | 1983 | Monty Python's The Meaning of Life | Various Roles | Writer |- | 1985 | Silverado | Langston | His first line, as he walks into a bar tobreak up a brawl, is, "What's all this, then?") |- | 1986 | Clockwise | Mr. Stimpson | Evening Standard British Film Awards Peter Sellers Award for Comedy |- | 1988 | | lawyer Archie Leach | Writer/Executive ProducerBAFTA Award for Best Actor in a Leading RoleNominated—Academy Award For Best Original ScreenplayNominated—BAFTA Award for Best Original ScreenplayNominated—Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |- | 1989 | ''Erik the Viking | Halfdan the Black | |- | 1990 | Bullseye! | Man on the Beach inBarbados Who Looks Like John Cleese | |- | 1991 | | Cat R. Waul | Voice Only |- | 1992 | Did I Ever Tell You How Lucky You Are? | | Narrator |- | 1993 | Splitting Heirs | Raoul P. Shadgrind | |- | 1994 | Mary Shelley's Frankenstein | Professor Waldman | |- | 1994 | | Dr. Julius Plumford | |- | 1994 | | Jean-Bob | |- | 1996 | '' | Mr. Toad's Lawyer | |- | 1996 | Fierce Creatures | Rollo Lee | Writer/Producer |- | 1997 | George of the Jungle | An Ape Named 'Ape' | Voice Only |- | 1998 | In the Wild: Operation Lemur with John Cleese | Host | Narrator |- | 1999 | | Mr. Mersault | |- | 1999 | | R | |- | 2000 | Isn't She Great | Henry Marcus | |- | 2000 | | Albert, The Magic Pudding | Voice Only |- | 2001 | Quantum Project | Alexander Pentcho | |- | 2001 | Here's Looking at You: The Evolution of the Human Face | | Narrator |- | 2001 | Rat Race | Donald P. Sinclair | |- | 2001 | Harry Potter and the Philosopher's Stone | "Nearly Headless Nick" | |- | 2002 | Harry Potter and the Chamber of Secrets | "Nearly Headless Nick" | Nominated—Phoenix Film Critics Society Award for Best Ensemble Acting |- | 2002 | ''Roberto Benigni's Pinocchio | The Talking Crickett | Voice Only: English Version |- | 2002 | Die Another Day | Q | Second appearance in a James Bond film,replaces Desmond Llewelyn as Q in the series |- | 2002 | | James | |- | 2003 | | Mr. Munday | |- | 2003 | Scorched | Charles Merchant | |- | 2003 | George of the Jungle 2 | An Ape Named 'Ape' | Voice Only |- | 2004 | Shrek 2 | King Harold | Voice Only |- | 2004 | Around the World in 80 Days | Grizzled Sergeant | |- | 2005 | Valiant | Mercury | Voice Only |- | 2006 | Charlotte's Web | Samuel the Sheep | Voice Only |- | 2006 | Man About Town | Dr. Primkin | |- | 2007 | Shrek the Third | King Harold | Voice Only |- | 2008 | Igor | Dr. Glickenstein | Voice Only |- | 2008 | | Dr. Barnhardt | |- | 2009 | | Inspector Charles Dreyfus | |- | 2009 | Planet 51 | Professor Kipple | Voice Only |

|- |2010 | Spud | The Guv | Awaiting release |- | 2010 | | Ghost | Voice Only |- | 2010 | Shrek Forever After | King Harold | Voice Only |- | 2011 | Happy Feet 2 | Himself | Voice Onlypost-production |- |2011 |Winnie the Pooh |Narrator |Voice Only |- |}

Video game credits

Monty Python's Complete Waste of Time (1994) 7th Level

Monty Python & the Quest for the Holy Grail (1996) 7th Level

Monty Python's The Meaning of Life (1997) Panasonic

Starship Titanic (1998) Simon & Schuster Interactive (voice of the Bomb) — (Credited as Kim Bread)

007 Racing (2000) Electronic Arts

The World Is Not Enough (2000) Electronic Arts

(2004) Electronic Arts

(2004) Atari

Jade Empire (2005) BioWare (as Sir Roderick Ponce von Fontlebottom the Magnificent Bastard)

Shrek the Third (2007) King Harold, Narrator

Fable III (2010) Jasper

Awards

Academy Awards

* (1988) Nominated—Academy Award for Best Original Screenplay / A Fish Called Wanda (shared with Charles Crichton)

Golden Globe Awards

* (1988) Nominated—Golden Globe Award for Best Actor - Motion Picture Musical or Comedy / A Fish Called Wanda

BAFTA Awards

* (1970) Nominated—BAFTA Television Award for "Best Light Entertainment Performance" / Monty Python's Flying Circus

* (1971) Nominated—BAFTA Television Award for "Best Light Entertainment Performance" / Monty Python's Flying Circus

* (1976) Nominated—BAFTA Television Award for "Best Light Entertainment Performance" / Fawlty Towers

* (1980) Won—BAFTA Television Award for "Best Light Entertainment Performance" / Fawlty Towers

* (1989) Nominated—BAFTA Award for Best Original Screenplay / A Fish Called Wanda

* (also 1989) Won—BAFTA Award for Best Actor in a Leading Role''

Primetime Emmy Awards

* (1987) Won—Primetime Emmy Award for Outstanding Guest Actor - Comedy Series / Cheers (as Dr. Simon Finch-Royce)

* (1998) Nominated—Primetime Emmy Award for Outstanding Guest Actor – Comedy Series / 3rd Rock from the Sun (as Dr. Liam Neesam)

* (2002) Nominated—Primetime Emmy Award for "Outstanding Nonfiction Special" / The Human Face

* (2004) Nominated—Primetime Emmy Award for Outstanding Guest Actor – Comedy Series / Will & Grace (as Lyle Finster)

Writers Guild of America

* (1989) Nominated—Writers Guild of America Award for Best Original Screenplay / A Fish Called Wanda (shared with Charles Crichton)

Other credits

In 2003, John Cleese took part in Mike Oldfield's re-recording of the 1973 hit Tubular Bells, Tubular Bells 2003. He took over the "Master of Ceremonies" duties in the ‘Finale’ part, in which he announced the various instruments eccentrically, from the late Vivian Stanshall.

Cleese recorded the voice of God for Spamalot, the musical based on Monty Python and the Holy Grail.

Cleese narrated the audio version of C. S. Lewis's The Screwtape Letters.

In the mid 1980s, Cleese starred in British advertisements for Compaq computers.

In the late-1990s, Cleese appeared in a set of poorly-received commercials for the UK supermarket chain Sainsbury's. Around the same time, his Fawlty Towers co-star, Prunella Scales, appeared in more well-received commercials for rival chain Tesco.

He has enunciated a set of directions for the TomTom in-car navigation system. This allows itself humorous notes at non-critical moments, for instance when asking for a U-turn and when signing off: "I'm not going to carry your baggage—from now on, you're on your own" and "Bear right..Beaver left."

He plays the voice of Samuel the Sheep in the 2006 adaptation of Charlotte's Web. Samuel repeatedly tells the other sheep to be individuals, not sheep. This is a reference to Monty Python's Life of Brian.

He has a speaking part at the end of the Alan Parsons song "Chomolungma" from the album A Valid Path.

In 2008, John Cleese appeared in a humorous TV commercial in Poland advertising a bank loan.

From 2006 to 2008 John Cleese has appeared in humorous TV commercials in Iceland advertising Kaupþing.

Honours and tributes

A species of lemur, Bemaraha Woolly Lemur or the "Avahi cleesei", has been named in his honour. John Cleese has mentioned this in television interviews. Also there is mention of this honour in "New Scientist"—and John Cleese's response to the honour.

An asteroid, 9618 Johncleese, is named in his honour.

Cleese declined a CBE (Commander of The British Empire) in 1996.

There is a municipal rubbish heap of in altitude that has been named Mt Cleese at the Awapuni landfill just outside Palmerston North after he dubbed the city "suicide capital of New Zealand".

"The Universal Language" skit from All in the Timing, a collection of short plays by David Ives, centres around a fictional language (Unamunda) in which the word for the English language is "johncleese".

Bibliography

The Rectorial Address of John Cleese, Epam, 1971, 8 pages

Foreword for Time and the Soul, Jacob Needleman, 2003  ISBN 1-57675-251-8 (paperback)

The Human Face (with Brian Bates) (DK Publishing Inc., 2001, ISBN 978-0-7894-7836-8)

Cleese Encounters: The Unauthorized Biography of Monty Python Veteran John Cleese, Jonathan Margolis, St. Martin's Press, 1992, ISBN 0-312-08162-6

Scripts

The Strange Case of the End of Civilisation As We Know It, w/Jack Hobbs & Joseph McGrath, 1977  ISBN 0-352-30109-0

Fawlty Towers, w/Connie Booth, 1977 (The Builders, The Hotel Inspectors, Gourmet Night)   ISBN 0-86007-598-2

Fawlty Towers: Book 2, w/Connie Booth, 1979 (The Wedding Party, A Touch of Class, The Germans)

The Golden Skits of Wing Commander Muriel Volestrangler FRHS & Bar, 1984  ISBN 0-413-41560-0

The Complete Fawlty Towers, w/Connie Booth, 1988  ISBN 0-413-18390-4 (hardcover), ISBN 0-679-72127-4 (paperback)

A Fish Called Wanda: The Screenplay, w/Charles Crichton, 1988  ISBN 1-55783-033-9

Fawlty's Hotel: Sämtliche Stücke, w/Connie Booth, (The Complete Fawlty Towers in German), Haffmans Verlag AG Zürich, 1995

Dialogues

Families and How to Survive Them, w/A.Robin Skynner, 1983  ISBN 0-413-52640-2 (hardc.), ISBN 0-19-520466-2 (p/back)

Life and How to Survive It, w/A.Robin Skynner 1993  ISBN 0-413-66030-3 (hardcover), ISBN 0-393-31472-3 (paperback)

See also

Declining a British honour

References

External links

Official Podcast

John Cleeseat the Museum of Broadcast Communications

John Cleese at the BBC Guide to Comedy

Podcast to celebrate The Life of Brian (March 2008)

Daily Llama: John Cleese Visits Lemurs at San Francisco Zoo

Category:Alumni of Downing College, Cambridge Category:BAFTA winners (people) Category:Best Actor BAFTA Award winners Category:English expatriates in the United States Category:Cornell University faculty Category:Emmy Award winners Category:English comedians Category:English comedy writers Category:English film actors Category:English musical theatre actors Category:English radio actors Category:English radio writers Category:English stage actors Category:English television actors Category:English television personalities Category:English television writers Category:English vegetarians Category:English voice actors Category:Monty Python members Category:Old Cliftonians Category:People from Weston-super-Mare Category:Rectors of the University of St Andrews Category:1939 births Category:Living people

Caption	at the San Sebastian International Film Festival (2006)
Birth date	January 23, 1928
Birth place	Paris, France
Yearsactive	1947–present
Occupation	Actress, screenwriter, film director
Spouse	Jean-Louis Richard (1949–separated 1951; divorced 1964) 1 son Jérôme Moreau's father was Catholic and her mother, originally a Protestant, converted to Catholicism upon marriage. When a young girl, "the family moved south to Vichy, spending vacations at the ancestral village of Mazirat, a town of 30 houses in a valley in the Allier. 'It was wonderful there,' Jeanne says. 'Every tombstone in the cemetery was for a Moreau.'" During the war, the family was split and Moreau lived with her mother in Paris. Moreau ultimately lost interest in school at age 16 and, after attending Jean Anouilh's Antigone, found her calling as an actor. She later studied at the Conservatoire de Paris. Her parents separated permanently while Moreau was at the conservatory and her mother, "after 24 difficult years in France, returned to England with Jeanne's younger sister, Michelle."
1992 || césar awards || best actress || the old lady who walked in the sea || style	"background: #ddffdd" | Won
1987 || césar awards || best actress || le paltoquet || style	"background: #ffdddd" | Nominated
1988 || césar awards || best actress || le miraculé || style	"background: #ffdddd" | Nominated
1988 || molière awards || best actress || le récit de la servante zerline || style	"background: #ddffdd" | Won
Name	Moreau, Jeanne
Short description	Actress, screenwriter, film director
Date of birth	23 January 1928
Place of birth	Paris, France

Category:BAFTA winners (people) Category:French people of British descent Category:French people of English descent Category:French people of Irish descent Category:European Film Awards winners (people) Category:César Award winners Category:French female singers Category:French film actors Category:French film directors Category:People from Paris Category:Best Actress César Award winners Category:1928 births Category:Living people Category:Members of the Académie des beaux-arts

Name	Johann Paul Friedrich Richter
Pseudonym	Jean Paul
Birthdate	March 21, 1763
Birthplace	Wunsiedel, Germany
Deathdate	November 14, 1825
Deathplace	Bayreuth, Germany
Occupation	novelist
Nationality	German
Period	1783-1825
Genre	humour
Subject	education, politics

Jean Paul (21 March 1763 – 14 November 1825), born Johann Paul Friedrich Richter, was a German Romantic writer, best known for his humorous novels and stories.

Life and work

Jean Paul was born at Wunsiedel, in the Fichtelgebirge mountains (Bavaria). His father was an organist at Wunsiedel. In 1765 his father became a pastor at Joditz near Hof, and in 1767 at Schwarzenbach, but he died on 25 April 1779, leaving the family in great poverty. After attending the Gymnasium at Hof, Jean Paul went in 1781 to the University of Leipzig. His original intention was to enter his father's profession, but theology did not interest him, and he soon devoted himself wholly to the study of literature. Unable to maintain himself at Leipzig he returned in 1784 to Hof, where he lived with his mother. From 1787 to 1789 he served as a tutor at Töpen, a village near Hof; and from 1790 to 1794 he taught the children of several families in a school he had founded in nearby Schwarzenbach.

Jean Paul began his career as a man of letters with Grönländische Prozesse ("Greenland Lawsuits", published anonymously in Berlin) and Auswahl aus des Teufels Papieren ("Selections from the Devil's Papers", signed J. P. F. Hasus), the former of which was issued in 1783-84, the latter in 1789. These works were not received with much favour, and in later life Richter himself had little sympathy for their satirical tone. A spiritual crisis he suffered on 15 November 1790, in which he had a vision of his own death, altered his outlook profoundly. His next book, Die unsichtbare Loge ("The Invisible Lodge"), a romance published in 1793 under the pen-name Jean Paul (in honour of Jean Jacques Rousseau), had all the qualities that were soon to make him famous, and its power was immediately recognized by some of the best critics of the day.

Encouraged by the reception of Die unsichtbare Loge, Richter composed a number of books in rapid succession: Leben des vergnügten Schulmeisterleins Maria Wutz in Auenthal ("Life of the Cheerful Schoolmaster Maria Wutz", 1793), the best-selling Hesperus (1795), which made him famous, Biographische Belustigungen unter der Gehirnschale einer Riesin ("Biographical Recreations under the Brainpan of a Giantess", 1796), Leben des Quintus Fixlein ("Life of Quintus Fixlein", 1796), Der Jubelsenior ("The Parson in Jubilee", 1797), and Das Kampaner Tal ("The Valley of Campan", 1797). Also among these was the novel Blumen- Frucht- und Dornenstücke, oder Ehestand, Tod und Hochzeit des Armenadvokaten Siebenkäs ("Flower, Fruit and Thorn Pieces; or, the Married Life, Death and Wedding of Siebenkäs, Poor Man's Lawyer") in 1796-97. The book's slightly supernatural theme, involving a Doppelgänger and pseudocide, stirred some controversy over its interpretation of the Resurrection, but these criticisms served only to draw awareness to the author. This series of writings assured Richter a place in German literature, and during the rest of his life every work he produced was welcomed by a wide circle of admirers.

After his mother's death in 1797, Richter went to Leipzig, and in the following year to Weimar, where he started work on his most ambitious novel, Titan, published between 1801-02. Richter became friends with such Weimar notables as Herder, by whom he was warmly appreciated, but despite their close proximity, Richter never become close to Goethe and Schiller, both of whom found his literary methods repugnant; but in Weimar, as elsewhere, his remarkable conversational powers and his genial manners made him a favorite in general society. The English writers Thomas Carlyle and Thomas de Quincy took an interest in Jean Paul's work.

In 1801 he married Caroline Meyer, whom he had met in Berlin the year before. They lived first at Meiningen, then at Coburg; and finally, in 1804, they settled at Bayreuth. Here Richter spent a quiet, simple and happy life, constantly occupied with his work as a writer. In 1808 he was fortunately delivered from anxiety about outward necessities by Prince Primate Karl Theodor von Dalberg, who gave him an annual pension of 1,000 florins which was later continued by the king of Bavaria.

Jean Paul's Titan was followed by Flegeljahre ("The Awkward Age", 1804-5). His later imaginative works were Dr Katzenbergers Badereise ("Dr Katzenberger's Trip to the Medicinal Springs", 1809), Des Feldpredigers Schmelzle Reise nach Flätz ("Army Chaplain Schmelzle's Voyage to Flätz", 1809), Leben Fibels ("Life of Fibel", 1812), and Der Komet, oder Nikolaus Marggraf ("The Comet, or, Nikolaus Markgraf", 1820-22). In Vorschule der Aesthetik ("Introduction to Aesthetics", 1804) he expounded his ideas on art; he discussed the principles of education in Levana, oder Erziehungslehre ("Levana, or, Pedagogy", 1807); and the opinions suggested by current events he set forth in Friedenspredigt ("Peace Sermon", 1808), Dämmerungen für Deutschland ("Twilights for Germany", 1809), Mars und Phöbus Thronwechsel im Jahre 1814 ("Mars and Phoebus Exchange Thrones in the Year 1814", 1814), and Politische Fastenpredigten ("Political Lenten Sermons", 1817). In his last years he began Wahrheit aus Jean Pauls Leben ("The Truth from Jean Paul's Life"), to which additions from his papers and other sources were made after his death by C. Otto and E. Förster.

Also during this time he supported the younger writer E. T. A. Hoffmann, who long counted Richter among his influences. Richter wrote the preface to Fantasy Pieces, a collection of Hoffmann's short stories published in 1814.

In September 1821 Jean Paul lost his only son, Max, a youth of the highest promise; and he never quite recovered from this shock. He lost his sight in 1824, and died of dropsy at Bayreuth, on 14 November 1825.

Characteristics of his work

Friedrich Schiller said of Jean Paul that he would have been worthy of admiration if he had made as good use of his riches as other men made of their poverty—the classic approach of "Weimar".

But in working out his conceptions, Jean Paul found it appropriate to express any powerful feeling by which he might happen to be moved. He made it his style to use seemingly out-of-the-way facts or psychological notions which occurred to him. Hence every one of his works is irregular in structure and his style lacks directness, though never grace. His imagination was one of extraordinary fertility, and he had a surprising power of suggesting great thoughts by means of the simplest incidents and relations.

The love of nature was one of Jean Paul's deepest pleasures; his expressions of religious feelings are also marked by a truly poetic spirit, for to him visible things were but the symbols of the invisible, and in the unseen realities alone he found elements which seemed to him to give significance and dignity to human life. His humour, the most distinctive of his qualities, cannot be dissociated from the other characteristics of his writings. It mingled with all his thoughts, and to some extent determined the form in which he embodied even his most serious reflections. That it is sometimes extravagant and grotesque cannot be disputed, but it is never harsh nor vulgar, and generally it springs naturally from the perception of the incongruity between ordinary facts and ideal laws.

Jean Paul's personality was deep and many-sided; with all his willfulness and eccentricity he was a man of a pure and sensitive spirit, with a passionate scorn for pretence and an ardent enthusiasm for truth and goodness.

The last scene of Jean Paul's Flegeljahre was the inspiration behind Robert Schumann's composition "Papillons" Op. 2.

19th century works on Jean Paul

Richter's Sämtliche Werke (Complete Works) appeared in 1826-28 in 60 volumes, to which were added 5 volumes of Literarischer Nachlass (literary bequest) in 1836-38; a second edition was published in 1840-42 (33 volumes); a third in 1860-62 (24 volumes). The last complete edition is that edited by R. Gottschall (60 parts, 1879). Editions of selected works appeared in 16 volumes (1865), in Kürschner's Deutsche Nationalliteratur (edited by P. Nerrlich, 6 vols, pp. 388-487), &c.; The chief collections of Richter's correspondence are:

Jean Pauls Briefe an F. H. Jacobi (1828)

Briefwechsel Jean Pauls mit seinem Freunde C. Otto (1829-33)

Briefwechsel zwischen H. Voss und Jean Paul (1833)

Briefe an eine Jugendfreundin (1858)

P. Nerrlich, Jean Pauls Briefwechsel mit seiner Frau und seinem Freunde Otto (1902).

See further:

The continuation of Richter's autobiography by C. Otto and E. Fürster (1826-33)

H. Dring, J. P. F. Richters Leben und Charakteristik (1830-32)

Richard Otto Spazier, JPF Richter: ein biographischer Commentar zu dessen Werken (5 vols, 1833)

E. Förster, Denkwürdigkeiten aus dem Leben von J. P. F. Richter (1863)

Paul Nerrlich, Jean Paul und seine Zeitgenossen (1876)

J. Firmery, Étude sur la vie et les œuvres de J. P. F. Richter (1886)

P. Nerrlich, Jean Paul, sein Leben und seine Werke (1889)

Ferdinand Josef Schneider, Jean Pauls Altersdichtung (1901); and Jean Pauls Jugend und erstes Auftreten in der Literatur (1906).

Thomas Carlyle's two essays on Richter.

Quotations

Joy is inexhaustible, unlike seriousness.

Music is the moonlight in the gloomy night of life.

Many young people get worked up about opinions that they will share in 20 years.

Too much trust is a foolishness, too much distrust a tragedy.

The German language is the organ among the languages. (Die deutsche Sprache ist die Orgel unter den Sprachen.)

A man never describes his own character so clearly as when he describes another.

We learn our virtues from our friends who love us; our faults from the enemy who hates us. We cannot easily discover our real character from a friend. He is a mirror, on which the warmth of our breath impedes the clearness of the reflection.

What a father says to his children is not heard by the world, but it will be heard by posterity.

Works

Grönländische Prozesse 1783-1784

Auswahl aus des Teufels Papieren 1789

Leben des vergnügten Schulmeisterlein Maria Wutz 1790

Die unsichtbare Loge 1793

Hesperus (book) 1795

Biographische Belustigungen 1796

Leben des Quintus Fixlein 1796

Siebenkäs 1796

Der Jubelsenior 1797

Das Kampaner Tal 1797

Des Luftschiffers Giannozzo Seebuch 1801

Titan 1800-03

Flegeljahre (unfinished) 1804

Vorschule der Aesthetik 1804

Levana oder Erziehlehre 1807

Dr. Katzenbergers Badereise 1809

Des Feldpredigers Schmelzle Reise nach Flätz 1809

Leben Fibels 1812

Bemerkungen über uns närrische Menschen

Clavis Fichtiana (see also Johann Gottlieb Fichte)

Das heimliche Klaglied der jetzigen Männer

Der Komet 1820-1822

Der Maschinenmann

Die wunderbare Gesellschaft in der Neujahrsnacht

Freiheits-Büchlein

English translations

Richter's more important works have been translated into English, for example:

Quintus Fixlein and Schmelzles Reise, by Carlyle

Walt and Vult by Lee (1846)

Titan by Brooks (1863)

Flower, Fruit and Thorn Pieces by Ewing (1877)

Levana by Wood (1887)

References

External links

Jean Paul's works at Projekt Gutenberg-DE (in German)

Famous Quotes by Jean Paul Richter

Category:1763 births Category:1825 deaths Category:People from the District of Wunsiedel Category:German novelists Category:German short story writers Category:People from the Principality of Bayreuth Category:Deaths from edema Category:German opinion journalists Category:Blind people

Name	Jean Marais
Caption	photograph by Carl Van Vechten, 1947
Birth name	Jean-Alfred Villain-Marais
Birth date	December 11, 1913
Birth place	Cherbourg, France
Death date
Death place	Cannes, France
Occupation	Actor, director
Years active	1933 - 1996
Spouse	Mila Parély (1942-1944)
Partner	Jean Cocteau (1937-1963)

Jean-Alfred Villain-Marais (; 11 December 1913 – 8 November 1998), was a French actor and director.

Biography

A native of Cherbourg, France, Marais starred in several movies directed by Jean Cocteau, for a time his lover, most famously Beauty and the Beast (1946) and Orphée (1949).

In the 1950s, Marais became a star of swashbuckling pictures, enjoying great box office popularity in France. He performed his own stunts. In the 1960s, he played the famed villain of the Fantômas trilogy. After 1970, Marais's on-screen performances became few and far between, as he preferred concentrating on his stage work. He kept performing on stage until his eighties, also working as a sculptor. In 1985, he was the head of the jury at the 35th Berlin International Film Festival.

He was featured in the 1995 documentary "Screening at the Majestic", which is included on the 2003 DVD release of the restored print of Beauty and the Beast. Marais appears on the cover sleeve of The Smiths single This Charming Man.

Marais died from cardiovascular disease in Cannes, Alpes-Maritimes. He is interred there at Vallauris cemetery.

Personal life

Marais, who was homosexual, was the muse and lover of Jean Cocteau until Cocteau's death.

Filmography

L'Épervier (1933)

Étienne (1933)

Dans les rues (1933)

Le Scandale (1934)

L'Aventurier (1934)

Le Bonheur (1935)

Les Hommes nouveaux (1936)

Nuits de feu (1936)

Abus de confiance (1937)

Bizarre, Bizarre (1937)

Le Pavillon brûle (1941)

Le Lit à colonnes (1942)

Carmen (1942)

L'Éternel retour (1943)

Voyage sans espoir (1943)

Beauty and the Beast (1946)

Les Chouans (1946)

Ruy Blas (1947)

L'Aigle à deux têtes (1947)

Aux yeux du souvenir (1948)

Le Secret de Mayerling (1948)

Les Parents terribles (film) (1948)

Orphée (1949)

Coriolan (1950)

Le Château de verre (1950)

Les Miracles n'ont lieu qu'une fois (1950)

Nez de cuir (1951)

La Maison du silence (1952)

L'Appel du destin (1952)

Les Amants de minuit (1953)

Dortoir des grandes (1953)

Julietta (1953)

The Count of Monte Cristo (1953)

Le Guérisseur (1954)

Royal Affairs in Versailles (1954)

Futures vedettes (1955)

L'Amour sous l'électrode (1955)

Napoléon (1955)

Goubbiath (1955)

Toute la ville accuse (1955)

Elena et les hommes (1956)

Si Paris nous était conté (1956)

Typhon sur Nagasaki (1957)

SOS Noronha (1957)

Amour de poche (1957)

La Vie à deux (1957)

Nuits blanches (1957)

La Tour, prends garde ! (1957)

Chaque jour a son secret (1958)

Le Bossu (1959)

Austerlitz (1960)

Le Testament d'Orphée (1959)

Le Capitan (1960)

La Princesse de Clèves (1961)

Le Capitaine Fracasse (1961)

Ponce Pilate (1961)

Le Miracle des loups (1961)

Napoléon II l'Aiglon (1961)

L'Enlèvement des Sabines (1961)

Le Masque de fer (1962)

Les Mystères de Paris (1962)

L'honorable Stanislas, agent secret (1963)

Patate (1964)

Fantomas (1964)

Thomas l'imposteur (1964)

Le gentleman de Cocody (1965)

Pleins feux sur Stanislas (1965)

Train d'enfer (1965)

Fantômas se déchaîne (1965)

Le Saint prend l'affût (1965)

7 hommes et une garce (1966)

Fantômas contre Scotland Yard (1966)

Le Paria (1968)

La Provocation (1969)

Le Jouet criminel (1969)

Peau d'âne (1970)

Jean Marais artisan du rêve (1975),

Vaincre à Olympie (1976)

Chantons sous l'Occupation (1976),

Chirico par Cocteau (1981)

Ombre et secret (1982)

Parking (1985)

Les Enfants du naufrageur (1992)

Les Misérables du XXe siècle (1995)

Stealing Beauty (1996)

References

External links

Eternel Jean Marais

Category:1913 births Category:1998 deaths Category:Burials in France Category:Cardiovascular disease deaths in France Category:French film actors Category:French stage actors Category:Gay actors Category:LGBT people from France Category:People from Manche Category:French military personnel of World War II

Name	George Sanders
Caption	in The Ghost and Mrs. Muir (1947)
Birth date	July 03, 1906
Birth name	George Henry Sanders
Birth place	Saint Petersburg, Russian Empire
Death date	April 25, 1972
Death place	Castelldefels, Barcelona, Spain
Occupation	Actor, author, singer
Years active	1929–1972
Spouse	Susan Larson (1940–1949) (divorced)Zsa Zsa Gabor (1949–1954) (divorced)Benita Hume (1959–1967) (her death)Magda Gabor (1970–1971) (divorced)
Partner	Lorraine Chanel(1968-1972)

George Henry Sanders (3 July 1906 – 25 April 1972) was an English film and television actor widely known for his roles playing cads and other darkly drawn characters in many successful films, such as Addison DeWitt in All About Eve (1950) and the villainous tiger Shere Khan in The Jungle Book (1967). His career spanned over 40 years.

Early life

Sanders was born in Saint Petersburg, Imperial Russia at number 6 Petrovski Ostrov. His English parents were Henry Sanders (1873–1961) and Margaret Sanders (1875–1967). His elder brother was actor Tom Conway (1904–1967). His younger sister Margaret Sanders was born in 1912. Sanders was 11 when, in 1917 at the outbreak of the Russian Revolution, the family went back to England. Like his brother he attended Brighton College, a boys' independent school in Brighton, Sussex, then went on to Manchester Technical College. After graduation he worked at an advertising agency where the company secretary, aspiring actress Greer Garson, suggested he take up a career in acting.

Career

'sForeign Correspondent (1940)]] Sanders made his British film debut in 1929. Seven years later, after a series of British films his first role in an American production was Lloyd's of London (1936) as Lord Everett Stacy. His smooth, upper-crust English accent and sleek British manner along with a suave, snobbish and somewhat threatening air put him in demand for American films throughout the next decade. He played supporting roles in high end productions such as Rebecca (in which he and Judith Anderson played cruel foils to Joan Fontaine's character). He had leading roles in somewhat lower budget pictures such as Rage in Heaven. He was also the lead in both The Falcon and The Saint film series. In 1942 Sanders handed off the Falcon role to his brother Tom, in The Falcon's Brother. The only other film in which the two brothers appeared together was Death of a Scoundrel (1956), in which they also played brothers.

Sanders played Lord Henry Wotton in the 1945 film version of The Picture of Dorian Gray. In 1947 he co-starred with Gene Tierney and Rex Harrison in The Ghost and Mrs. Muir. That same year he gave one of his most critically noted performances starring with Angela Lansbury in director Albert Lewin's little-known film taken from an 1885 novel by Guy de Maupassant, The Private Affairs of Bel Ami. He and Lansbury also featured in Cecil B. deMille's biblical epic Samson and Delilah in 1949.

(1950)]] In 1950 Sanders drew his greatest popular and commercial success as the acerbic, cold-blooded theatre critic Addison DeWitt in All About Eve, for which he won an Academy Award for Best Supporting Actor. He then starred as Sir Brian de Bois-Guilbert in the 1952 film Ivanhoe, dying in a duel with Robert Taylor while professing his love for Jewish maiden Rebecca, played by Elizabeth Taylor.

Sanders went into television with the successful series The George Sanders Mystery Theater. He played an upper crust English villain, G. Emory Partridge, in the 1965 The Man From U.N.C.L.E. episode "The Gazebo in the Maze Affair" and reprised the role later in that same year in "The Yukon Affair." He also portrayed Mr. Freeze in two episodes of the widely seen 1960s live-action Batman TV series.

In 1967 Sanders voiced the malevolent Shere Khan in the Walt Disney production of The Jungle Book. In 1969 Sanders had a supporting role in John Huston's The Kremlin Letter, in which his rather notorious first scene showed him dressed in drag and playing piano in a snooty San Francisco gay bar. One of Sanders' final screen roles was in a 1972 feature film version of the popular television series Doomwatch.

Sanders' distinctive smooth voice, urbane manner and upper-class British accent inspired Peter Sellers' character "Hercules Grytpype-Thynne" in the famous 1950s BBC radio comedy series The Goon Show. In 1964 Sellers and Sanders appeared together in the Pink Panther sequel A Shot in the Dark.

Sanders garnered two stars on the Hollywood Walk of Fame, for motion pictures at 1636 Vine Street and for television at 7007 Hollywood Boulevard. He is mentioned in The Kinks' song "Celluloid Heroes" and his ghost makes an appearance in Clive Barker's 2001 novel Coldheart Canyon as well as the animated feature from 2007 Dante's Inferno.

Novels

Two crime novels were published under his name. The first was Crime on My Hands (1944), written in the first person and mentioning his "Saint" and "Falcon" movies, followed by Stranger at Home in 1946. Both were ghostwritten by women, the former by Craig Rice and the latter by Leigh Brackett, meant only to draw more income from his screen success.

Singing

In 1958 Sanders recorded an album called The George Sanders Touch: Songs for the Lovely Lady. The album was released by ABC-Paramount Records and carried lush string arrangements of romantic ballads, crooned by Sanders in a fit baritone. After going to great lengths he got himself signed to sing in South Pacific but was overwhelmed with anxiety over the role and quickly dropped out. Sanders' singing voice can be heard in Call Me Madam. He also signed on for the role of Sheridan Whiteside in the stage musical Sherry! (1967) based on the Kaufman - Hart play The Man Who Came to Dinner but found the ongoing stage production highly demanding and resigned when his wife Benita Hume found she had terminal bone cancer.

Personal life

(1945)]] On 27 October 1940 Sanders married Susan Larson. They divorced in 1949. From later that year until 1954 Sanders was married to Hungarian actress Zsa Zsa Gabor (with whom he starred in the 1956 film Death of a Scoundrel after their divorce). On 10 February 1959 Sanders married actress Benita Hume, widow of actor Ronald Colman. She died in 1967.

His autobiography Memoirs of a Professional Cad was published in 1960 and gathered critical praise for its wit. Sanders suggested the title A Dreadful Man for his biography, which was later written by Sanders' friend Brian Aherne and published in 1979.

Sanders' last marriage was on 4 December 1970 to Magda Gabor, the elder sister of his second wife. This marriage lasted only six weeks, after which he began drinking heavily.

In his later years Sanders suffered from bewilderment and bouts of anger, worsened by waning health. He can be seen teetering in his last films, owing to a loss of balance. According to the biography written by Aherne he also had a minor stroke, which is likely why Sanders' speech sounds impaired in the low-budget film Psychomania, his last film performance. Sanders couldn't bear the notion of losing his health or needing help from someone else, and he became deeply depressed. At about this time, Sanders found he could no longer play his grand piano, which he dragged outside and smashed with an axe. His last girlfriend, who was Mexican and much younger than he, persuaded Sanders to sell his beloved house in Majorca, Spain, and he felt bitter regrets after having done so. From then on he drifted.

Death

(1942)]]

On 23 April 1972, Sanders checked into a hotel in Castelldefels, a coastal town near Barcelona. He was found dead two days later, having taken five bottles of Nembutal. Sanders was 65 years old. He left behind a suicide note which read:

Sanders' body was cremated and the ashes were scattered in the English Channel.

David Niven wrote in his autobiography The Moon's a Balloon that in 1937 his friend Sanders had predicted he would commit suicide when he was 65.

Filmography

Strange Cargo (1929)

Love, Life and Laughter (1934)

Dishonour Bright (1936)

Find the Lady (1936)

Lloyd's of London (1936)

''Strange Cargo (1936)

The Man Who Could Work Miracles (1936)

Things to Come (1936) (extra)

Lancer Spy (1937)

Love is News (1937)

Slave Ship (1937)

The Lady Escapes (1937)

Four Men and a Prayer (1938)

International Settlement (1938)

Allegheny Uprising (1939)

Confessions of a Nazi Spy (1939)

Mr. Moto's Last Warning (1939)

Nurse Edith Cavell (1939)

So This Is London (1939)

The Outsider (1939)

The Saint Strikes Back (1939)

The Saint in London (1939)

Bitter Sweet (1940)

Foreign Correspondent (1940)

Green Hell (1940)

Rebecca (1940)

The House of Seven Gables (1940)

The Saint Takes Over (1940)

The Saint's Double Trouble (1940)

A Date with the Falcon (1941)

Man Hunt (1941)

Rage in Heaven (1941)

Sundown (1941)

The Gay Falcon (1941)

The Saint in Palm Springs (1941)

The Son of Monte Cristo (1941)

Her Cardboard Lover (1942)

Quiet Please, Murder (1942)

'' (1942)

Tales of Manhattan (1942)

The Moon and Sixpence (1942)

The Black Swan (1942)

The Falcon Takes Over (1942)

The Falcon's Brother (1942)

Appointment in Berlin (1943)

Paris After Dark (1943)

The Moon and Sixpence (1943)

They Came to Blow Up America (1943)

This Land Is Mine (1943)

Action in Arabia (1944)

Summer Storm (1944)

The Lodger (1944)

Hangover Square (1945)

The Picture of Dorian Gray (1945)

The Strange Affair of Uncle Harry (1945)

A Scandal in Paris (1946)

The Strange Woman (1946)

Forever Amber (1947)

Lured (1947)

The Ghost and Mrs. Muir (1947)

The Private Affairs of Bel Ami (1947)

Blackjack (1949)

Samson and Delilah (1949)

The Fan (1949)

All About Eve (1950)

Jack, el Negro (1950)

I Can Get It for You Wholesale (1951)

Kentucky Jubilee (1951)

The Light Touch (1951)

Assignment-Paris (1952)

Hold That Line (1952)

Ivanhoe (1952)

Call Me Madam (1953)

Run for the Hills (1953)

Journey to Italy (Viaggio in Italia) (1953)

King Richard and the Crusaders (1954)

Witness to Murder (1954)

Jupiter's Darling (1955)

Moonfleet (1955)

Portrait for Murder (1955)

The Big Tip Off (1955)

The King's Thief (1955)

The Scarlet Coat (1955)

Death of a Scoundrel (1956)

(1956)

Never Say Goodbye (1956)

That Certain Feeling (1956)

While the City Sleeps (1956)

The Seventh Sin (1957)

That Kind of Woman (1958)

From the Earth to the Moon (1958)

Outcasts of the City (1958)

The Whole Truth (1958)

Solomon and Sheba (1959)

That Kind of Woman (1959)

A Touch of Larceny (1960)

Bluebeard's Ten Honeymoons (1960)

Cone of Silence (1960)

The Last Voyage (1960)

Village of the Damned (1960)

Five Golden Hours (1961)

''Gli Invasori (1961)

''Le Rendez-Vous (1961)

The Rebel (aka Call Me Genius (1961))

In Search of the Castaways (1962)

Operation Snatch (1962)

Cairo (1963)

The Cracksman (1963)

A Shot in the Dark (1964)

Dark Purpose (1964)

Last Plane to Baalbeck (1965)

The Amorous Adventures of Moll Flanders (1965)

The Billionaire (1965)

The Golden Head (1965)

(1965)

The Quiller Memorandum (1966)

Trunk to Cairo (1966)

Good Times (1967)

Rey de Africa (1967)

The Jungle Book (1967) (voice)

Warning Shot (1967)

The Girl from Rio aka The Seven Secrets of Sumuru, La Ciudad sin Hombres (1968)

One Step to Hell aka Caccia ai violenti (1969)

The Best House In London (1969)

The Body Stealers (1969)

The Candy Man (1969)

Thin Air (1969)

The Night of the Assassins (1970)

The Kremlin Letter (1970)

(1971)

Doomwatch (1972)

Endless Night (1972)

Psychomania (1972) (released posthumously)

Television

Screen Directors Playhouse () The George Sanders Mystery Theater ()

What's My Line? 09/15/1957 (Episode # 380) (Season 9, Ep 3) Mystery Guest

Voyage to the Bottom of the Sea ()

The Rogues (1965)

The Man From U.N.C.L.E. "The Gazebo in the Maze Affair" and "The Yukon Affair" (1965)

Daniel Boone (1966)

Batman "Mr. Freeze" (1966)

()

Broadway

Conversation Piece, at the 44th Street Theatre, 1934

Notes

References

External links

Category:1906 births Category:1972 deaths Category:20th-century actors Category:Actors from Saint Petersburg Category:Actors who committed suicide Category:Alumni of the University of Manchester Institute of Science and Technology Category:Best Supporting Actor Academy Award winners Category:Drug-related suicides in Spain Category:English autobiographers Category:English film actors Category:English male singers Category:English television actors Category:English voice actors Category:Old Brightonians Category:People from Brighton

Playername	Danny Tickle
Fullname	Daniel Tickle
Position
Dateofbirth	April 08, 1983
Placeofbirth	Golborne, Greater Manchester
Countryofbirth	England
Height	6 ft 2 in (190 cm)
Weight	16 st 0 lb (102 kg)
Club1	Halifax
Year1start	2000
Year1end	02
Appearances1	56
Tries1	11
Goals1	97
Fieldgoals1	2
Points1	240
Club2	Wigan
Year2start	2002
Year2end	06
Appearances2	106
Tries2	29
Goals2	188
Fieldgoals2	1
Points2	493
Club3	Hull FC
Year3start	2007
Year3end	present
Appearances3	109
Tries3	26
Goals3	346
Fieldgoals3	1
Points3	795
Teama	England
Yearastart	2002
Yearaend	0?

Danny Tickle, (born 8 April, 1983 in Golborne, Greater Manchester) is an English professional rugby league footballer for Hull FC of Super League. His usual position is in the second row.

Playing career

Tickle has previously played for Halifax Blue Sox and Wigan Warriors.

Previously, he played three years for the Halifax RLFC club in Super League. Tickle signed for Wigan despite interest from other Super League sides, including St Helens.

He performed well enough to earn a new two-year contract in July 2004. The following season, Danny was outstanding in an injury-hit Warriors squad and picked up the Wigan Supporters' Association Player of the Season award.

International career

Tickle has played for the English national team against New Zealand at Brentford in November 2002, kicking 4 goals. He toured Fiji and Tonga with England A later that year. He made three appearances on the tour, scoring tries against Fiji and Tonga. He was later named in the 2003 England A squad to face Australia and in the European Nations Cup, scoring 54 points on the way to England's victory.

References

External links

Hull FC profile

Danny Tickle Wigan Career Page on the Wigan RL Fansite.

Category:1983 births Category:People from Golborne Category:English rugby league players Category:Halifax RLFC players Category:Wigan Warriors players Category:Hull FC players Category:Living people

Name	Claude Jade
Birth name	Claude Marcelle Jorré
Caption	Claude Jade in Domicile conjugal (1970)
Birth date	October 08, 1948
Birth place	Dijon, France
Death date	December 01, 2006
Death place	Boulogne-Billancourt, France
Spouse	Bernard Coste (1972–2006)
Years active	1967–2006
Occupation	Actress

Claude Marcelle Jorré, better known as Claude Jade (; 8 October 1948 – 1 December 2006), was a French actress, known for starring as Christine in François Truffaut's three films Stolen Kisses (1968), Bed and Board (1970) and Love on the Run (1979). Jade acted in theatre, film and television. Her film work outside of France included the Soviet Union, the United States, Italy and Japan.

Early career

The daughter of university professors, Jade spent three years at Dijon's Conservatory of Dramatic Art, where in 1964 she won a best actress prize for her portrayal of Agnès in Molière's L'école des femmes. In 1966 she won the Prix de Comédie for Jean Giraudoux's Ondine, performed at the Comédie Boulogne. She moved to Paris and became a student of Jean-Laurent Cochet at the Edouard VII theater, and began acting in television productions, including the TV series Les oiseaux rares.

Films with François Truffaut

While performing as Frida in Pirandello's Henri IV, in a production by Sacha Pitoëff at the Théâtre Moderne, Jade was discovered by New Wave film director François Truffaut. He was "completely taken by her beauty, her manners, her kindness, and her joie de vivre", and engaged in other amusing scenes with him. The American critic Pauline Kael wrote that Jade "seems a less ethereal, more practical Catherine Deneuve." Playing the same character, Jade appeared in two more movies by Truffaut, Bed and Board (1970), Love on the Run (1979). In Bed and Board her role becomes both comic and sad. Mindful that Antoine is having an affair with a Japanese beauty, Christine decks herself out as a faux Madame Butterfly to greet him one evening in their apartment.

The late 1960s in film

Jade starred in Alfred Hitchcock's late film Topaz (1969), as Michèle Picard, a secret agent's anxious daughter, married to a reporter (Michel Subor). Recommended to Hitchcock by Truffaut, she was 19 years old when cast, with Dany Robin playing her mother. Hitchcock said he chose the two actresses to provide glamor, and later quipped, "Claude Jade is a rather quiet young lady, but I wouldn't guarantee [that] about her behavior in a taxi". Jade recounted that they "talked in a Paris hotel about cooking, and I gave him my recipe for soufflé and told him I liked Strangers on a Train, and that was that." Hitchcock also said she resembled his former star Grace Kelly, and in France she was a younger Danielle Darrieux. Some of her scenes were deleted and restored for the director's cut of Topaz in 1999.

Topaz was Jade's only Hollywood film. Universal Pictures offered her a seven-year contract, which she turned down because she preferred to work in French. Director Tony Richardson's film Nijinsky (1970), based on a screenplay by Edward Albee, was canceled in its early stages by producer Albert Broccoli. It had starred Jade as Vaslav Nijinsky's wife, alongside Rudolf Nureyev as Nijinsky and Paul Scofield as his lover Sergei Diaghilev. Truffaut's later Bed and Board contains a reference to Nureyev.

Jade planned to play Anne Boleyn in Anne of the Thousand Days (1969), with Richard Burton, but instead she starred in Édouard Molinaro's My Uncle Benjamin (Mon oncle Benjamin, 1969). Geneviève Bujold replaced her as Anne.

Jade's career continued in Belgium, where she played a young English teacher who is fatally intrigued by a murderer in the 1969 film The Witness.

The 1970s in film

Critic Vincent Canby praised her in work in Gérard Brach's The Boat on the Grass (Le bateau sur l'herbe, 1971), as "adorable acting... [which] brings the right mixture of conventionalism and self-interest into her role". She starred as the daughter of Annie Girardot and Jean Rochefort in Hearth Fires (Les feux de la chandeleur, 1972); and with Robert Hossein in Forbidden Priests (Prêtres interdits, 1973). In Home Sweet Home (1973), she played a hardened nurse who is changed by a love affair with a social worker (Jacques Perrin). She played a dual role in The Choice (Le choix, 1976). She starred in the Italian films Number One (1973), La ragazza di via Condotti (1973), and A Spiral of Mist (Una spirale di nebbia, 1977). She played a nun in Kita No Misaki - Cap du Nord (1976), by Japanese director Kei Kumai. Among other films of the 1970s were The Pawn (Le pion, 1978).

The 1980s in film and TV

In the 1980s Jade moved to Moscow for three years with her husband Bernard Coste, a French diplomat, and her son Pierre Coste (born in 1976). She starred in two Soviet films. In Teheran 43 (1981) she played a mysterious terrorist, with Alain Delon and an international cast.

On 1 December 2006, Jade died of eye cancer, which had spread to liver cancer. She wore a prostetic eye in her last stage performance, Celimene and the Cardinal, in August 2006. She is buried in Père Lachaise Cemetery in Paris.

Awards

Jade won an award in 1970 for "Révelation de la Nuit du cinéma", and in 1975 she received the at the Cannes Film Festival. Her contributions to French culture were recognised in 1998, when was named a knight in the Légion d'honneur. In 2000 she won the New Wave Award at West Palm Beach International Film Festival for her "trend-setting role in the world cinema", followed in 2002 by the Prix Réconnaissance des Cinéphiles in Puget-Théniers.

Selected filmography

Groupe Flag: Le secret (2005) (TV)

La Crim': Le secret (2004) (TV)

À San Remo (2004)

Drug Scenes (Scénarios sur la drogue, episode "La rampe", 2000)

Tide of Life (TV series, 1998–2000)

Memoire perudue (1998) (TV)

The Raft of the Medusa ('Le Radeau de la Méduse'', 1998)

Un enfant au soleil (1997) (TV)

Porté disparu (1995) (TV)

Bonsoir (1994)

Eugénie Grandet (1994)

La tête en l'air (1993) (TV series)

Honor Roll (1992)

Le bonheur des autres (1990)

The Hitchhiker, TV series, episode "Windows" (1990)

Fleur bleue (1990) (TV series)

Le grand secret (1989) (TV series)

The Man Who Wasn't There (L'homme qui n'était pas là, 1987)

Voglia di volare (1984) (TV series)

A Girl in the Sunflowers (Une petite fille dans les tournesols, 1984)

Rendezvous in Paris (1983)

Lise and Laura (1982)

A Captain's Honor (1982)

Schools Falling Apart, (Le Bahut va craquer, 1981)

Lenin in Paris (1980)

Teheran 43 (1980)

The Island of Thirty Coffins (or Coffin Island, originally L'île aux trente cercueils, TV mini-series, 1979)

Love on the Run (L'amour en fuite, 1979)

The Pawn (Le Pion, 1978)

La passion de Lucile Desmoulins (1978, TV)

A Spiral of Mist (Una spirale di nebbia, 1977)

Kita No Misaki - Cap du Nord (1976)

Le Collectionneur des cerveaux (1975)

Malicious Pleasure (1975)

The Choice (Le Choix, 1975)

Too Much is Too Much (1974)

La ragazza di via Condotti (Special Killers, 1974)

Forbidden Priests (1973)

Number One (1973)

Home Sweet Home (1973)

Hearth Fires (Les Feux de la Chandeleur, 1972)

Shéhérazade (1971, TV)

The Boat on the Grass ('Le Bateau sur l'herbe'', 1971)

Bed and Board (Domicile conjugal, 1970)

Topaz (1969)

My Uncle Benjamin (Mon oncle Benjamin, 1969)

The Witness (or A Change of Heart, originally Le Témoin, 1969)

The Return of Monte Cristo (or Under the Sign of Monte-Cristo, originally Sous le signe de Monte-Cristo, 1968)

Stolen Kisses (''Baisers Volés, 1968)

References

External links

Claude Jade at Films de France

Claude Jade at DvdToile

Category:French autobiographers Category:French film actors Category:Burials at Père Lachaise Cemetery Category:Cancer deaths in France Category:People from Dijon Category:1948 births Category:2006 deaths

Name	Brigitte Bardot
Caption	Bardot in 1968
Birth name	Brigitte Anne-Marie Bardot
Birth date	September 28, 1934
Birth place	Paris, France
Other names	BB
Occupation	Actress, model, singer, animal rights activist
Years active	1952–1973
Spouse

Brigitte Anne-Marie Bardot (, ; born 28 September 1934) is a French former fashion model, actress and singer, and animal rights activist.

In her early life, Bardot was an aspiring ballet dancer. She started her acting career in 1952 and, after appearing in 16 films, became world-famous due to her role in her then-husband Roger Vadim's controversial film And God Created Woman. She later starred in Jean-Luc Godard's 1963 cult film, Contempt. She was nominated for a BAFTA Award for Best Foreign Actress for her role in Louis Malle's 1965 film, Viva Maria!.

She caught the attention of French intellectuals. She was the subject of Simone de Beauvoir's 1959 essay, The Lolita Syndrome, which described Bardot as a "locomotive of women's history" and built upon existentialist themes to declare her the first and most liberated woman of post-war France.

After her retirement, Bardot established herself as an animal rights activist. During the 1990s, she became controversial due to her criticism of immigration, race-mixing, some aspects of homosexuality and Islam in France, and has been fined five times for "inciting racial hatred".

Early life

Brigitte Bardot was born in Paris to Anne-Marie 'Toty' Mucel (1912–1978) and Louis 'Pilou' Bardot (1896–1975). Her father had an engineering degree and worked with his own father in the family business. Toty was sixteen years younger and they married in 1933. She grew up in a middle-class Roman Catholic family. Brigitte's mother enrolled her and her younger sister Marie-Jean ('Mijanou', born 5 May 1938) in dance. Mijanou eventually gave up dancing lessons to complete her education, whereas Brigitte decided to concentrate on a ballet career. In 1947, Bardot was accepted to The National Superior Conservatory of Paris for Music and Dance and for three years attended the ballet classes of Russian choreographer Boris Knyazev. (One of her classmates was Leslie Caron). By the invitation of her mother's acquaintance, she modeled in a fashion show in 1949. In the same year, she modeled for a fashion magazine "Jardin des Modes" managed by another friend of her mother, journalist Hélène Lazareff. She appeared on an 8 March 1950 cover of ELLE and was noticed by a young film director, Roger Vadim, while babysitting for a friend. He was so taken with the picture that he showed an issue of the magazine to director and screenwriter Marc Allégret who offered Bardot the opportunity to audition for "Les lauriers sont coupés" thereafter. Although Bardot got the role, the shooting of the film was cancelled but it made her consider becoming an actress. Moreover, her acquaintance with Vadim, who attended the audition, influenced her further life and career.

Soon afterwards, Bardot withdrew to the seclusion of Southern France where she had bought the house La Madrague in Saint-Tropez in May 1958.

In 1963, she starred in Jean-Luc Godard's critically acclaimed film Contempt.

Brigitte Bardot was featured in many other films along with notable actors such as Alain Delon (Famous Love Affairs, Spirits of the Dead), Jean Gabin (In Case of Adversity), Sean Connery (Shalako), Jean Marais (Royal Affairs in Versailles, School for Love), Lino Ventura (Rum Runners), Annie Girardot (The Novices), Claudia Cardinale (The Legend of Frenchie King), Jeanne Moreau (Viva Maria!), Jane Birkin (Don Juan, or If Don Juan Were a Woman).

In 1973, Bardot announced that she was retiring from acting at the age of 39 as "a way to get out elegantly".

She participated in various musical shows and recorded many popular songs in the 1960s and 1970s, mostly in collaboration with Serge Gainsbourg, Bob Zagury and Sacha Distel, including "Harley Davidson", "Je Me Donne A Qui Me Plait", "Bubble gum", "Contact", "Je Reviendrais Toujours Vers Toi", "L'Appareil A Sous", "La Madrague", "On Demenage", "Sidonie", "Tu Veux, Ou Tu Veux Pas?", "Le Soleil De Ma Vie" (the cover of Stevie Wonder's "You Are the Sunshine of My Life") and the notorious "Je t'aime... moi non plus". Bardot pleaded with Gainsbourg not to release this duet and he complied with her wishes; the following year he re-recorded a version with British-born model and actress Jane Birkin, which became a massive hit all over Europe. The version with Bardot was issued in 1986 and became a popular download hit in 2006 when Universal Records made their back catalogue available to purchase online, with this version of the song ranking as the third most popular download.

Personal life

On 21 December 1952, at the age of 18, Bardot was married to director Roger Vadim. In order to receive permission from Bardot's parents to marry her, Vadim, originally an Orthodox Christian, was urged to convert to Catholicism. They divorced five years later, but remained friends and collaborated in later work. Bardot had an affair with her co-star in And God Created Woman, Jean-Louis Trintignant (married at the time to French actress Stephane Audran), followed by her divorce from Vadim. The two lived together for about two years. Their relationship was complicated by Trintignant's frequent absence due to military service and Bardot's affair with musician Gilbert Bécaud, and they eventually separated.

On 18 June 1959, she married actor Jacques Charrier, by whom she had her only child, a son, Nicolas-Jacques Charrier (born 11 January 1960). After she and Charrier divorced in 1962, Nicolas was raised in the Charrier family and did not maintain close contact with Bardot until his adulthood. She became a vegetarian and raised three million French francs to fund the foundation by auctioning off jewelry and many personal belongings. She sought to discuss the issue with Stephen Harper, Prime Minister of Canada, though her request for a meeting was denied.

She once had a neighbor's donkey castrated while looking after it, on the grounds of its "sexual harassment" of her own donkey and mare, for which she was taken to court by the donkey's owner in 1989. In 1999, Bardot wrote a letter to Chinese President Jiang Zemin, published in French magazine VSD, in which she accused the Chinese of "torturing bears and killing the world's last tigers and rhinos to make aphrodisiacs".

She has donated more than $140,000 over two years for a mass sterilization and adoption program for Bucharest's stray dogs, estimated to number 300,000. She is planning to house many of these stray animals in a new animal rescue facility that she is having built on her property.

In August 2010, she addressed a letter to the Danish Queen, Margrethe II of Denmark appealing for the sovereign to halt the killing of dolphins in the Faroe Islands. In the letter, Bardot describes the activity as a "macabre spectacle" that "is a shame for Denmark and the Faroe Islands." She continued: "This is not a hunt but a mass slaughter" and also described it as an "outmoded tradition that has no acceptable justification in today's world".

Politics and legal issues

Bardot expressed support for President Charles de Gaulle in the 1960s. Despite this association, Bardot has never joined the party and is not a known sympathiser.

In a book she wrote in 1999, called "Le Carré de Pluton" (Pluto's Square), Bardot criticizes the procedure used in the ritual slaughter of sheep during the Muslim festival of Eid al-Adha. Additionally, in a section in the book entitled, Open Letter to My Lost France, Bardot writes: "...my country, France, my homeland, my land is again invaded by an overpopulation of foreigners, especially Muslims.". For this comment, a French court fined her 30,000 francs in June 2000. She had previously been fined in 1997 for the original publication of this open letter in Le Figaro and again 1998 for making similar remarks.

In her 2003 book, Un cri dans le silence ("A Scream in the Silence"), she warned of an “Islamicization of France”, and said of Muslim immigration: }} In May 2003, the Movement Against Racism and for Friendship between Peoples (MRAP) announced they were going to sue Bardot for the comments. The "Ligue des droits de l'homme" (Human Rights League) announced they were considering similar legal proceedings. In her own defence, Bardot wrote in a letter to a French gay magazine, saying, "Apart from my husband—who maybe will cross over one day as well—I am entirely surrounded by homos. For years, they have been my support, my friends, my adopted children, my confidants." Bardot's book was also against "the mixing of genes"; made attacks on modern art, which Bardot equated with "shit"; drew similarities between French politicians and weather vanes; and compared her own beliefs with previous generations who had "given their lives to push out invaders".

On 10 June 2004, Bardot was again convicted by a French court for "inciting racial hatred" and fined €5,000, the fourth such conviction/fine the French courts gave her. Bardot denied the racial hatred charge and apologized in court, saying: "I never knowingly wanted to hurt anybody. It is not in my character."

In 2008, she was once more convicted of inciting racial/religious hatred in relation to a letter she wrote, a copy of which she sent to Nicolas Sarkozy when he was Interior Minister of France. The letter stated her objections to Muslims in France ritually slaughtering sheep by slitting their throats without anesthetizing them first but also expressed that she was "fed up with being under the thumb of this population which is destroying us, destroying our country and imposing its habits" in reference to Muslims. The trial concluded on 3 June 2008, with a conviction and fine of 15,000 Euros, the largest of her fines to date. The prosecutor stated that she was tired of charging Bardot with offences related to racial hatred.

On August 13, 2010, she lashed out at director Kyle Newman regarding his plans on making a biographical film on her life. Her response was, "Wait until I'm dead before you make a movie about my life!". Bardot even warned Newman that if the project progresses "sparks will fly."

Influence

, Brazil]] In fashion the Bardot neckline (a wide open neck that exposes both shoulders) is named after her. Bardot popularized this style which is especially used for knitted sweaters or jumpers although it is also used for other tops and dresses.

Bardot is recognized for popularizing bikini swimwear in early films such as Manina (Woman without a Veil, 1952), in her appearances at Cannes and in many photo shoots.

Bardot also brought into fashion the choucroute ("Sauerkraut") hairstyle (a sort of beehive hair style) and gingham clothes after wearing a checkered pink dress, designed by Jacques Esterel, at her wedding to Charrier. She was the subject for an Andy Warhol painting.

In addition to popularizing the bikini swimming suit, Bardot has also been credited with popularizing the city of St. Tropez and the town of Buzios, Brazil, which she visited in 1964 with her boyfriend at the time, Brazilian musician Bob Zagury. A statue by Christina Motta honours Brigitte Bardot in Buzios, Brazil.

Bardot was idolized by young John Lennon and Paul McCartney. They made plans to shoot a film featuring The Beatles and Bardot, similar to A Hard Day's Night, but the plans were never fulfilled.

According to the liner notes of his first (self-titled) album, musician Bob Dylan dedicated the first song he ever wrote to Bardot. He also mentioned her by name in "I Shall Be Free", which appeared on his second album, The Freewheelin' Bob Dylan.

She dabbled in pop music and played the role of a glamour model. In 1965, she appeared as herself in the Hollywood production Dear Brigitte (1965) starring James Stewart.

In 1970, the sculptor Alain Gourdon used Bardot as the model for a bust of Marianne, the French national emblem.

In 2007, she was named among Empire magazine's 100 Sexiest Film Stars.

The first-ever official exhibition looking at Bardot's influence and legacy opened in Paris on 29 September 2009 - a day after her 75th birthday.

Filmography

Discography

Bardot released several albums during the 1950s and 1960s

And God Created Women (1957, Decca)

Behind Brigitte Bardot (1960, Warner Bros)

Brigitte Bardot Sings (1963, Philips)

B.B. (1964, Philips)

Brigitte Bardot Show 67 (1967, Mercury)

Brigitte Bardot Show (1968, Mercury)

[Burlington Cameo Brings You] Special Bardot (1968. RCA)

Single Duet with Serge Gainsbourg "Bonnie and Clyde"

References

Literature

Brigitte Tast, Hans-Jürgen Tast (Hrsg.) Brigitte Bardot. Filme 1953-1961. Anfänge des Mythos B.B. (Hildesheim 1982) ISBN 3-88842-109-8.

Singer, Barnett Brigitte Bardot: A Biography (McFarland & Company, 2006) ISBN 0-7864-2515-6, ISBN 978-0-7864-2515-0

External links

Brigitte Bardot Foundation for the welfare and protection of animals

Category:1934 births Category:Actors who attempted suicide Category:Animal rights advocates Category:Breast cancer survivors Category:French activists Category:French female models Category:French female singers Category:French film actors Category:French-language singers Category:French vegetarians Category:Légion d'honneur refusals Category:Living people Category:MGM Records artists Category:Opposition against Islam in Europe Category:People from Paris