CATHERINE DENEUVE through the 60's
LE VICE ET LA VERTU (1963, dir. Roger Vadim)
LES PARAPLUIES DE CHERBOURG (1964, dir. Jacques Demy)
RÉPULSION (1965, dir. Roman Polanski)
LES DEMOISELLES DE ROCHEFORT (1967, dir. Jacques Demy)
BELLE DE JOUR (1967, dir. Luis Buñuel)
MAYERLING (1968, dir. Terence Young)
LA SIRÈNE DU MISSISSIPI (1969, dir. François Truffaut)
HAPPY BIRTHDAY TO THE LEGENDARY QUEEN 👑 October 22 1943
I can only say that she was
beautiful, and lonely, and generous.
And she also liked to laugh… Sometimes.
In fact, I should not have said these posthumous words, although it is true that Ava Gardner and I met, talked, and had fun, although it is also true that we were brought together by idle evenings and sleepless nights, petty quarrels, shared views and laughed our heads off. In short, we had been almost friends for a whole month. And it was a long time ago, at the time when Ava Gardner starred in the movie Mayerling.
Handsome Omar Sharif, her son in the script, had a completely paternal affection for her in life — she awakened this feeling in all those men whose hearts she did not break. Despite the fleeting nature of this meeting, which nevertheless entered my life, I imagined how the choir of those people who were attracted to her alive was burying her mortal remains -- a lot of male voices whispering hackneyed and passionate words: "What did you like about me? Why did you leave me? Why didn't you believe me? Why did you tell me all this?"… A male discord in which passion combined longing and misunderstanding; however, the audience sang the same melodies, but in rapture, because Ava Gardner was different. She was more beautiful than her rivals, more immoral and uninhibited. And no one was more lonely than she was.
She was like a very beautiful and therefore very noble animal… and very strange. She gave her lovers no choice, no explanation, they had no future with her, because her beauty emphasized the gap—sometimes implicit on the screen—between sensuality and vulgarity.
And Ava Gardner's career was inexplicably paradoxical: no falls, no fame, no skyrocketing, no genuine recognition among colleagues; beauty overwhelmed everything else in her, she played only her beauty.
She was not a prisoner of her own beauty, like Bardot, was not wounded by it, like Marilyn Monroe, was not driven to madness by it, like Greta Garbo. The calm beauty existed as if parallel to its owner. That's why even women loved her: none of them could imagine an actress at the family hearth, and no one was offended by her for that; no man could imagine Ava Gardner as a faithful wife, although some were desperate because of this impossibility.
-En essay by the French writer Françoise Sagan, Feb. 1990 (pt 1)
Lynn Seymour, a dancer of extraordinary intensity, died yesterday on the eve of her 84th birthday. A muse of Kenneth MacMillan and Frederick Ashton, she originated some of the most electrifying roles conceived during the 60s and 70s.
In this clip from 1978 you can see her dance with David Wall in Mayerling as Mary Vetsera, a role she originated during her last full season with the Royal Ballet. She was described as “a dance-actress without peer in her generation”.
Fumi Kaneko as Countess Marie Larisch and Vadim Muntagirov as Crown Prince Rudolf in rehearsal for Mayerling - Royal Opera House, September/October 2022
Period dramas dresses tournament: Orange dresses Round 3- Group A: Lizzie Stark, Peaky blinders (gifset) vs Countess Marie Larisch von Moennich, Mayerling (pics set)
Propaganda for Lizzie's dress (written by a submitter):