#tarjet

[aigle-suisse]

Jean Arthur par Truus, Bob & Jan too! Via Flickr : Italian postcard by Rotalfoto, Milano, no. 41. Photo: Columbia CEIAD. Collection: Marlene Pilaete. On 30 November 2022, there will be a La Collectionneuse post on legendary American actress Jean Arthur at EFSP!

[monkeyssalad-blog]

Colleen Moore by Truus, Bob & Jan too! Via Flickr: German postcard by Ross Verlag, no. 1871/1, 1927-1928. Photo: First National Pictures / Fanamet. American actress Colleen Moore (1899-1988) was a star of the silent screen who appeared in about 100 films beginning in 1917. During the 1920s, she put her stamp on American social history, creating in dozens of films the image of the wide-eyed, insouciant flapper with her bobbed hair and short skirts. Colleen Moore was born Kathleen Morrison in Port Huron, Michigan in 1899 (the date which she insisted was correct in her autobiography Silent Star, was 1902). Her father was an irrigation engineer and his job was good enough to provide the family a middle-class environment. She was educated in parochial schools and studied piano at the Detroit Conservatory. As a child she was fascinated with films and stars such as Marguerite Clark and Mary Pickford and kept a scrapbook of those actresses. By 1917 she was on her way to becoming a star herself. Her uncle, Walter C. Howey, was the editor of the Chicago Tribune and had helped D.W. Griffith make his films The Birth of a Nation (1915) and Intolerance: Love's Struggle Throughout the Ages (1916) more presentable to the censors. Knowing of his niece's acting aspirations, Hovey asked Griffith to help her get a start in the film industry. No sooner had she arrived in Hollywood than she found herself playing in five films that year, The Savage (Rupert Julkian, 1917) being her first. Her first starring role was as Annie in Little Orphant Annie (Colin Campbell, 1918). Colleen was on her way. She also starred in a number of B-films and in Westerns opposite Tom Mix, like The Wilderness Trail (Edward LeSaint, 1919) and The Cyclone (Clifford Smith, 1920). The film that defined Colleen Moore as which defined her as the inventor of the 'flapper' look was Flaming Youth (John Francis Dillon, 1923), in which she played Patricia Fentriss. Her Dutch bob in the film was soon copied by hairdressers across America and her air of an emancipated young woman inspired countless imitations. The year she married the first of her four husbands, Frank McCormick, production head of First National Pictures, later part of Warner Brothers. There followed such films as The Perfect Flapper (John Francis Dillon, 1924), The Desert Flower (Irving Cummings, 1925), Ella Cinders (Alfred E. Green, 1926) and Her Wild Oat (Marshall Neilan, 1927). By 1927 she was the top box-office draw in the US, making $12,500 a week. Her second husband was a New York broker, Albert F. Scott. Moore put her money into the stock market, making very shrewd investments. She took a hiatus from acting between 1929 and 1933, just as sound film was introduced. Her four sound pictures released in 1933 and 1934 were not financial successes. Moore then retired permanently from screen acting. Her final film role was as Hester Prynne in The Scarlet Letter (Robert G. Vignola, 1934). In 1937 she married her third husband, Homer Hargrave, again a stockbroker, and ended her film career. After she retired she wrote two books on investing and she traveled widely, frequently to China. At 83, she married her fourth husband, builder Paul Maginot. In 1988, Colleen Moore died of an undisclosed ailment in Paso Robles, California. She was 88. At the time of her death she was writing a novel, a Hollywood murder mystery centered around a Mae West type. Tragically, approximately half of Moore's films are now considered lost. Of her most celebrated film, Flaming Youth (1923), only one reel survives. Sources: Glenn Fowler (The New York Times), Denny Jackson (IMDb), Ed Stephan (IMDb), Wikipedia and IMDb.

[saddest-cat-hours]

[gayships-r-yayships]

Ok so I have theory

So as we know from the trailer Sana trips Noora. In the latest clip its been decided that the girl squad needs to find Noora a new bf, eventually its concluded that it should be someones from Elias’ friend group. So, what if they end up trying to set Noora up with Yousef (Sana’s crush), which inturn hurts Sana, because she feels like she can’t say no. This ends up spiraling the rest of the season. (Hence the rest of the trailer).

[camilolunaposts-blog]

Diseño Impresión, Tarjetas de presentación (Redes)

[themarionettequintet]

Doodled some of my recent adopts I got. ;v; good babies.  A few glowgi I got from @l-la and a sneen from @littlemure

[someonedreamsmefan]

Pippi Langstrump (Pippi Langkous, Pippi Longstocking) por Truus, Bob & Jan too! Via Flickr: Dutch postcard by Semic International, 1971. A Swedish Pippi Langstrump (Pippi Longstocking, or in Dutch Pippi Langkous) television series was created based on the books by Astrid Lindgren in 1968. The first episode was broadcast on Sveriges Radio TV in February 1969. The production was a Swedish-West German co-production and several German actors had roles in the series. As Astrid Lindgren was unhappy with the 1949 adaptation, she wrote the script herself for this version. The series was directed by Olle Hellbom who also directed several other Astrid Lindgren adaptations. Inger Nilsson gave a confident oddball performance as Pippi. The series has been repeated numerous times on European TV stations. The series was re-edited as two dubbed feature films for the cinemas: Pippi Långstrump/Pippi Longstocking (1969), Pippi går ombord/Pippi Goes on Board (1969) and Här kommer Pippi Långstrump/Here Comes Pippi Longstocking (1973). Another two feature film spin-offs were also shown in the cinemas: Pippi Långstrump på de sju haven/Pippi in the South Seas (1970) and På rymmen med Pippi Långstrump/Pippi on the Run (1970). They became weekend television staples throughout the 1970s and 1980s.

HOW COULD I FORGET?I WAS THEN 11 AND THERE WERE MY LONGEST HAPPY DAYS

[aigle-suisse]

Anita Björk (1923-2012) par Truus, Bob & Jan too! Via Flickr : East-German postcard by VEB Progress Filmvertrieb, no. 2.337, 1965. Retail price: 0,20 MDN. Anita Björk in Sången om den eldröda blomman/Song of the Scarlet Flower (Gustaf Molander, 1956). On 24 October 2012, respected Swedish actress Anita Björk died at 89. She was a leading lady in the Swedish theatre with more than 80 roles. Björk repeatedly worked for Ingmar Bergman, both onstage and onscreen. The slender, dark-haired beauty played in over 50 films and TV series. Her international breakthrough came with the title role in Alf Sjöberg's Strindberg adaptation Fröken Julie/Miss Julie (1951) which won the grand prize at Cannes. Hollywood winked at ‘the new Garbo’, but when the studios learned that she was an unwed mother, they shied away. Anita Barbro Kristina Björk was born in Tallberg, a town in central Sweden. She was bitten by the acting bug in her teens and went to Stockholm. There she attended the acting school of the Royal Dramatic Theater, known as Dramaten, in 1942-45 with Mai Zetterling, the actress who later became Sweden's most recognized female film director. Björk quickly got major roles. In 1942 she also made her film debut with a small role in the monumental classic Himlaspelet/The Heavenly Play (1942, Alf Sjöberg), about a poor farmer (Rune Lindström) who makes a deal with devil. Other small parts followed in films like the thriller Det kom en gäst/A Guest Is Coming (1947, Arne Mattsson). Her breakthrough came in Jean Genet's play The Maids (1948), followed by such roles as Agnes in Henrik Ibsen's Brand, Juliet in William Shakespeare's Romeo & Juliet, Eliza in George Bernard Shaw's Pygmalion and Tintomara in Carl Jonas Love Almqvist's Drottningens juvelsmycke. In his obituary for Variety, Jon Asp writes: “Bjork was considered the leading lady of Swedish theater, with a cool aura not unlike that of Greta Garbo. Bjork's deep, self-restrained voice was impossible to confuse with anyone else's.” She also played in several films, including Kvartetten som sprängdes/ The Quartet That Split Up (1950, Gustaf Molander). Bjork's international breakthrough came with the title role in the film Fröken Julie/Miss Julie (1951, Alf Sjöberg), based on the famous play by August Strindberg. Narrias Thuresson writes at IMDb: “Anita Björk is able to use simple means to give depth and character to a role. She has a way of expressing any emotion just by raising an eyebrow or twitching her lips. This was something she used to a large extent in her best movie, Alf Sjöberg's Fröken Julie (1951) where she played the young lady at a country manor, planning to elope with Jean the butler.” The film won the grand prize at the Cannes Film Festival. After the success of Fröken Julie, Anita Björk was acclaimed by American newspapers as ‘the new Garbo’ and received an invitation from Hollywood. She was offered the female lead in Alfred Hitchcock's I Confess (1953), but suddenly the offer was withdrawn and the role was ultimately played by Anne Baxter. Earlier, Björk had met and fallen in love with Stig Dagerman, one of Sweden’s most important writers. In 1951 she had given birth to their daughter Lo. The three of them had gone to Hollywood for Anita to negotiate the role in I Confess. But when word came out that Björk wasn't married to Dagerman, Hollywood immediately lost interest. Dagerman’s divorce from his ex-wife wasn't final until 1953 and Hollywood did not accept a contract player who lived with someone married to somebody else and who was an unmarried mother. In 1953, Dagerman and Björk could finally marry. For Twentieth Century Fox, Anita Björk starred opposite Gregory Peck in the Cold War thriller Night People (1954, Nunnally Johnson), shot in England and Germany. She also appeared with Karlheinz Böhm in the German production Die Hexe/The Witch (1954, Gustav Ucicky). But when the films failed at the box office, so did her international career. Björk soon moved back to Stockholm. At the end of 1954, her husband Stig Dagerman committed suicide. Björk decided to stick to the Royal Dramatic Theatre where she would appear in more than 80 roles through the years. She also appeared in Swedish films as the melodrama Sången om den eldröda blomman/Song of the Scarlet Flower (1956, Gustaf Molander) and the thrillers Damen i svart/The Lady in Black (1958, Arne Mattsson) and Mannekäng i rött/Mannequin in Red (1958, Arne Mattsson). For MGM, Anita Björk appeared in the war drama Square of Violence (1961, Leonardo Bercovici) starring Broderick Crawford. Under the direction of Mai Zetterling, she appeared in the romantic drama Älskande par/Loving Couples (1964) and under the direction of Bo Widerberg in his Ådalen 31/Adalen Riots (1969). Björk performed in 12 productions by famous director Ingmar Bergman. First, she played in his film Kvinnors väntan/Waiting Women (1952, Ingmar Bergman). And at the end of her career in 1998, she performed in his TV film Bildmakarna/The Image Makers (1998). The film was based on the play by Bergman’s son-in-law Per Olov Endquist. It is a fictionalized dramatization about the making of Bergman's favorite film, Körkarlen/The Phantom Carriage (1921, Victor Sjöström). Bergman saw this classic of the silent Scandinavian cinema reportedly over 100 times, and the film prompted him to become a filmmaker. In The Image Makers Björk offered a memorable interpretation of Swedish writer and Nobel laureate Selma Lagerlöf on whose novel Körkarlen/The Phantom Carriage was based. The play, also directed by Bergman, went on tour in Europe and also played the Brooklyn Academy of Music in New York. Bjork also played Queen Victoria in Cannes Palme d'Or winner Den goda viljan/The Best Intentions (1992, Bille August), a film based on Bergman's autobiographical novel about his parents. The actress last performed in A.R. Gurney's Kärleksbrev/Love Letters (2009) under direction of Gunnel Lindblom at Teater Brunnsgatan Fyra in Stockholm. Before Stig Dagerman, Anita Björk had been married to actor Olof Bergström (1945 - 1951). Their son is actor Jonas Bergström. After Dagerman's, she had a relationship with novelist Graham Greene. Sources: Jon Asp (Variety), Bruce Weber (The New York Times), Mattias Thuresson (IMDb), Wikipedia and IMDb.