'Henry V' Movie Actress Renée Asherson dead at 99: Laurence Olivier leading lady in acclaimed 1944 film (image: Renée Asherson and Laurence Olivier in 'Henry V') Renée Asherson, a British stage actress featured in London productions of A Streetcar Named Desire and Three Sisters, but best known internationally as Laurence Olivier's leading lady in the 1944 film version of Henry V, died on October 30, 2014. Asherson was 99 years old. The exact cause of death hasn't been specified. She was born Dorothy Renée Ascherson (she would drop the "c" some time after becoming an actress) on May 19, 1915, in Kensington, London, to Jewish parents: businessman Charles Ascherson and his second wife, Dorothy Wiseman -- both of whom narrowly escaped spending their honeymoon aboard the Titanic. (Ascherson cancelled the voyage after suffering an attack of appendicitis.) According to Michael Coveney's The Guardian obit for the actress, Renée Asherson was "scantly...
- 11/5/2014
- by Andre Soares
- Alt Film Guide
Above: 1978 re-release poster for Tabu (F.W. Murnau, USA, 1931)
I only recently came across the posters of German artist Boris Streimann (1908-1984)—who was known to also sign his work as B. Namir—and was immediately struck by both the dynamism and the color of his work. The author of hundreds, if not thousands, of posters from the late 20s through the late 60s, Streimann loved diagonals. All of the posters I have selected— the best of his work that I could find—work off a strong diagonal line, with even his varied and very inventive title treatments (which could have been the work of another designer) often placed on an angle. On top of the sheer energy and movement of his posters, his use of color is extraordinary: brash and expressionistic like his brushwork. I especially love the multi-colored accordion in Port of Freedom, the loin cloth in Tabu, and...
I only recently came across the posters of German artist Boris Streimann (1908-1984)—who was known to also sign his work as B. Namir—and was immediately struck by both the dynamism and the color of his work. The author of hundreds, if not thousands, of posters from the late 20s through the late 60s, Streimann loved diagonals. All of the posters I have selected— the best of his work that I could find—work off a strong diagonal line, with even his varied and very inventive title treatments (which could have been the work of another designer) often placed on an angle. On top of the sheer energy and movement of his posters, his use of color is extraordinary: brash and expressionistic like his brushwork. I especially love the multi-colored accordion in Port of Freedom, the loin cloth in Tabu, and...
- 3/28/2014
- by Adrian Curry
- MUBI
How did Dirk Bogarde get from Doctor in the House to The Night Porter? With a wilful desire to destroy his matinee idol status. And the signs were there for all to see in his early work
The Odeon, Leicester Square, 1960. The red-carpet premiere of a film that will change the story of British film and British society. The lights are killed, the crowd falls silent. The roar of industrial machinery thrums from the speakers. And over the noise comes the voice of the hero, a Brylcreemed lathe-operator with greasy overalls and insolent good looks. "Don't let the bastards grind you down," says Dirk Bogarde, and with those words, Saturday Night and Sunday Morning and its star give instant definition to the new decade.
In some fairly proximate parallel universe, this is how the 1960s might have begun. It could have happened here, too, if the owner of Pinewood studios...
The Odeon, Leicester Square, 1960. The red-carpet premiere of a film that will change the story of British film and British society. The lights are killed, the crowd falls silent. The roar of industrial machinery thrums from the speakers. And over the noise comes the voice of the hero, a Brylcreemed lathe-operator with greasy overalls and insolent good looks. "Don't let the bastards grind you down," says Dirk Bogarde, and with those words, Saturday Night and Sunday Morning and its star give instant definition to the new decade.
In some fairly proximate parallel universe, this is how the 1960s might have begun. It could have happened here, too, if the owner of Pinewood studios...
- 3/25/2011
- by Matthew Sweet
- The Guardian - Film News
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