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dweemeister · 23 days

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The Robe (1953)

Henry Koster’s The Robe, distributed by 20th Century Fox, appeared near the beginning of an era where religious epics and sword-and-sandal films became massive box office draws worldwide. Cecil B. DeMille’s Samson and Delilah (1949) and Mervyn LeRoy’s Quo Vadis (1951) had already laid the foundation on which Koster’s film, adapting Lloyd C. Douglas’ novel of the same name, would find its success. Despite The Robe being highly influential in Hollywood and becoming the highest-grossing film of 1953, the likes of DeMille’s The Ten Commandments (1956) and William Wyler’s Ben-Hur (1959) overtook it artistically and financially – no shame there, as those are two far superior films.

So what is The Robe’s claim to movie history beyond its initial theatrical earnings? When The Robe first came to theaters, 20th Century Fox advertised it as the first film ever made in CinemaScope. Created by Fox’s president, Spyros P. Skouras, CinemaScope was a format in which a widescreen camera lens contracted its widescreen shots onto regular 35mm film and, during theatrical projection, another lens would de-contract the image from the 35mm film in order to project a widescreen format. Theaters would only need to make minor, inexpensive modifications to their projectors in order to show a film in true CinemaScope, a 2:55:1 widescreen aspect ratio. Almost all other films were shot in the Academy ratio at the time (1.37:1, close to the 4:3 ratio – think: black bars on the left- and right-hand sides of a widescreen monitor – seen on many older standard computer monitors and televisions). With increasing competition from television, Fox executives believed CinemaScope could be a way to lure audiences back into theaters. Despite this overreaction from Fox’s executives (as well as the other major Hollywood studios), the legacy of CinemaScope’s innovation is still apparent today. Seven decades later, widescreen formats, not the Academy ratio, are the default in film and television.

Walking through the markets of Rome, returning Roman Empire tribune Marcellus Gallio (Richard Burton) reunites with his childhood sweetheart, Diana (Jean Simmons), who is now promised to Marcellus’ rival, Caligula (an always-sneering Jay Robison). Not long after, Marcellus – out of pettiness rather than financial sense – outbids Caligula for the Greek slave, Demetrius (Victor Mature). Marcellus immediately frees Demetrius, but Demetrius thinks of himself as honor-bound to stay by Marcellus. Elsewhere, an incensed Caligula reassigns Marcellus to Palestine – which, to the film’s Roman characters, might as well be the armpit of the Roman Empire. Marcellus and Demetrius go to Jerusalem, where they witness a man named Jesus enter the city, heralded by crowds of Jews greeting him with palms. Several days later, Judean Governor Pontius Pilate (Richard Boone) orders Marcellus to crucify Jesus on Calvary. Marcellus executes the order but, during and after the crucifixion, witnesses and experiences supernatural events. Demetrius, who has become a follower of Jesus during that week, obeys Marcellus when he asks him to fetch Jesus’ robe. The moment Marcellus dons the robe, he suffers something like a seizure. He falls out with Demetrius, and spends the rest of the film reckoning with his conscience over his role in Jesus’ crucifixion.

The film also stars Michael Rennie as Peter, Dean Jagger as Justus, Torin Thatcher as Senator Gallio, and Ernest Thesiger as Emperor Tiberius. Michael Ansara and Donald C. Klune are both uncredited as Judas Iscariot and Jesus, respectively.

The Robe has the misfortune of peaking in the first half. The adapted screenplay from Gina Kaus (1949’s The Red Danube), Albert Maltz (one of the blacklisted Hollywood Ten; 1950’s Broken Arrow), and Philip Dunne (1941’s How Green Was My Valley) is at its most interesting whenever Marcellus and Demetrius find themselves at odds with the other. In the scenes they share together, that happens often. But when Demetrius disappears after their disagreement over Jesus’ robe midway through, the film begins to sag with no foil for Burton to play off of.

For the entirety of this film, Richard Burton’s acting is overwrought. Burton, who had just arrived in Hollywood the year before to star in My Cousin Rachel (1952), is leaning too deeply into his theatrical roots here. His grandiose exclamations, stiff facial acting, and inconsistent line delivery result in a performance that is easily the weakest part of this film (Jean Simmons is also guilty, to a far lesser degree, of these same flaws in her performance). The Robe requires Burton’s Marcellus to undergo a spiritual conversion – becoming an adherent of Jesus despite following orders to crucify him, a developmental arc more dramatic than any other character’s in this film. Burton’s inability to convincingly sell this conversion (the stoic masculine tension, which some will interpret as coded homosexuality, between Burton’s Marcellus and Mature’s Demetrius does not help) weakens the film’s spiritual power.

Instead, it is Mature who is The Robe’s reliable scene-stealer. Mature, at one time likened to a “miniature Johnny Weissmuller”, has the classical Greek physique that, frankly, Burton does not. And in contrast to Burton at this time in their careers, Mature was more capable of a nuanced performance, as evidenced in his roles as Doc Holliday in My Darling Clementine (1946) and Nick Bianco in Kiss of Death (1947). As Demetrius, his soul hardened through his enslavement, there remains hope for a life free from the yoke of the Roman Empire and its callous slave masters. One sees it in his face during Holy Week, culminating with seeing Jesus dying on the cross. His faith is there, too, during a torture scene upon his return to Rome and an encounter with Peter. Amid miracles and cruelties, Mature’s Demetrius is simply the most compelling character of The Robe and the viewer – through Mature’s performance, especially in contrast to those of Jean Simmons and Richard Burton’s – can discern his genuine turn of faith. The Robe’s failure to showcase this inner awakening more believably is the fault of its two central actors and its screenplay; Mature’s performance and Demetrius’ characterization are all that saves the narrative.

One aspect of Christianity that The Robe captures confusingly (and oxymoronically) is the insignificance of Judea and the prominence of early Christianity in Rome in the time immediately following Jesus’ crucifixion. Oftentimes in Biblical epics, Judea is a centerpiece of the Roman Empire when, in truth (and in The Robe), it was a relative backwater. By Caligula’s reign between 37 and 41 CE, Christianity almost certainly would not have had a substantial presence in Rome at that time. So while Caligula would probably see Christianity as a threat, the film’s decision to treat the early Christians as a clear and present danger to his rule and the Roman state religion is the film’s glaring historical inaccuracy. The Robe – the book and the film – muddies the timeline from Jesus’ crucifixion to the film’s final scene in Caligula’s court. The relative suddenness of the Roman Empire seeing the early Christians as a very minor cult into becoming an Empire-wide menace is difficult to reconcile.

With few other post-silent film era Biblical epics as a guide, The Robe helps set the aesthetic of its fellow Biblical epics and sword-and-sandals movies going forward through its costumes and production design. The work of costume designers Charles LeMaire (1950’s All About Eve, 1956’s Carousel) and Emile Santiago (1952’s Androcles and the Lion, 1958’s The Big Country) is resplendent, regardless of either the Roman or Judean setting. Art directors Lyle R. Wheeler (1939’s Gone with the Wind, 1956’s The King and I) and George Davis (All About Eve, 1963’s How the West Was Won) and set decorators Walter M. Scott (All About Eve, 1965’s The Sound of Music) and Paul S. Fox (The King and I, 1963’s Cleopatra) all make full use of the CinemaScope format and color to enliven the scenery – a sumptuous visual treat for the viewer, and, to reiterate, setting a standard that the crew of The Ten Commandments and Ben-Hur both would study and surpass.

Of all of 20th Century Fox contracted stalwarts behind the camera, composer Alfred Newman was the studio’s most important figure. If Fox’s executives needed a composer to craft a score for what they would consider would be their prestige motion picture of the year, Newman – who composed the original 20th Century Fox fanfare and its CinemaScope extension (the extension, which is now inextricable from the fanfare, was first introduced in 1954’s River of No Return) – was almost always their first choice.

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In one of Newman’s finest scores of his career, it is his choral compositions, with incredible help from his longtime choral supervisor Ken Darby, that form the score’s emotive spine. Jesus’ motif, shared between wordless choir and strings, appears almost immediately, in the opening seconds of the “Prelude”. During the many invocations of a Messiah before Jesus’ first physical appearance in The Robe, his motif shifts, changes form, and modulates – imparting not spiritual comfort or devotion, but a mysteriousness and otherworldliness. When Jesus (whose face we never see) first appears in Jerusalem on Palm Sunday, the cue “Passover/Palm Sunday” represents one of the rare juxtapositions of the brass-heavy martial music representing the Roman presence in Judea and Jesus himself. The modulation to a major key at 1:22 in this cue, with festive percussion, also includes one of the only instances of celebratory choral music in the score. Jesus’ motif in “Passover/Palm Sunday”, appears at 2:26 – cementing his (and Christianity’s) association with the cue, and appearing as the only instance in which one might consider this motif triumphant.

Choruses, which Western viewers so often associate in religious movies as angelic musical devices, become mournful in “The Crucifixion” – arguably the standout cue of Newman’s score. Even though one might be well aware of Jesus’ death and can anticipate a turn in the music (starting moments earlier in “The Carriage of the Cross”), it is startling to hear Newman’s composition change so rapidly. But it is in these several minutes depicting Jesus’ final moments that Newman, with modifications to his harmonies and orchestration, transforms Jesus’ motif to evoke its tragic dimensions. It is magnificent scoring from Newman, and this is not even mentioning his wonderful demarcation of Roman and Judean identities through his score.

In a film about faith – how it comforts, destroys, heals, and vexes – one wishes that the characterization of The Robe’s supposed lead characters in Marcellus and Diana could feel more plausible. The film’s final scene, possibly allegorizing of screenwriter Albert Maltz’s travails as a blacklisted figure in Hollywood, is decently powerful, but it needs far more storytelling support from numerous scenes preceding it.

As it is, the film’s expressive power lies within Demetrius and Victor Mature’s performance. So how fortunate that, because Fox also wanted to make a sequel to The Robe even before it finished production, Mature also signed a contract to appear in a sequel. Nine months after The Robe made its theatrical debut, Victor Mature starred in Demetrius and the Gladiators, directed by Delmer Daves and also seeing Michael Rennie and Jay Robinson reprise their roles as Peter and Caligula, respectively. Though it did not top the box office for that year like The Robe did, Demetrius and the Gladiators was a financial boon for Fox.

With Hollywood’s major studios always ready to respond to the box office successes of their rivals, The Robe helped make possible the decade of Biblical and sword-and-sandals epics to come – and the required viewings for many a Sunday School student in the years hence. These films were Studio System Hollywood in full maximalism, adopting human and tactile scales seldom seen today.

Yet outside of churchgoers, The Robe – for its CinemaScope and genre-specific innovations – has seen its standing slip gradually over the years, no thanks to the reputations of better movies of this tradition and, regrettably, decisions to keep 20th Century Fox’s valuable past under lock and key. 20th Century Fox’s refusal to distribute their classic films more often and more widely – before and after the studio’s 2019 takeover by the Walt Disney Company (and post-takeover, I believe the situation is now worse) – is resulting in films like The Robe slip through the proverbial cracks of film history, sights unseen for younger film buffs. That is unfortunate, especially as The Robe, almost incidentally (and no matter my aforementioned criticisms of the work itself), continues to quietly wield, by virtue of being the first CinemaScope film, a remarkable influence over cinema worldwide.

My rating: 6/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

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shoshiwrites · 5 months

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Band of Brothers Ages: IRL vs. Actors

Did you know that according to a 1947 study, almost half the men who served in WWII were still under age 26 by the end of the war?

What this is : A (very long) post comparing the ages of the actors in Band of Brothers vs. the IRL figures they are portraying.

Background: Did I need to do this? No. Did anyone ask for this? Also no. Did I do it anyway? Yes.

Disclaimers: This is SUPER approximate for the most part. I based IRL ages off of D-Day unless otherwise noted, and actor ages off of January 1, 2000, the year filming took place (the latter is where the most variation will be because I didn't try to figure out what month filming started). I also didn't fact-check birthdays beyond googling. Most are sourced from the Band of Brothers and Military Wikis on fandom.com, Wikipedia, and IMDb.

I broke them up into rough categories, which are, again, approximate. I know I often forget how young the real life people were here, and this was a good reminder of that. I also found it interesting to see which actors were actually younger than their roles!

Check it all out under the cut ⬇️

~10+ years older

Dale Dye (55) as Col. Robert F. Sink (39) (~16 years)

Michael Cudlitz (35) as Denver "Bull" Randleman (23) (~12)

Marc Warren (32) as Albert Blithe (20) (~12)

Rocky Marshall (33) as Earl J. McClung (21) (~12)

Frank John Hughes (32) as William J. Guarnere (21) (~11)

Neal McDonough (33) as Lynn D. (Buck) Compton (22) (~11)

Dexter Fletcher (33) as John W. Martin (22) (~11)

~5+ years older

Simon Schatzberger (32) as Joseph A. Lesniewski (23) (~9)

Richard Speight Jr. (30) Warren H. (Skip) Muck (22) (~8)

Jason O'Mara (30) as Thomas Meehan (22) (~8)

Ron Livingston (32) as Lewis Nixon (25) (~7)

Donnie Wahlberg (30) as C. Carwood Lipton (24) (~6)

Matthew Settle (30) as Ronald C. Speirs (24) (~6)

Nolan Hemmings (28) as Charles E. "Chuck" Grant (22) (~6)

Douglas Spain (25) as Antonio C. Garcia (19) (~6)

George Calil (26) as James H. "Mo" Alley Jr. (21) (~5)

Rick Gomez (27) as George Luz (22) (~5 year)

Scott Grimes (28) as Donald G. Malarkey (23) (~5)

Stephen Graham (26) as Myron "Mike" Ranney (21) (~5)

~less than 5 years older

Shane Taylor (25) as Eugene G. Roe (21) (~4)

Tim Matthews (23) as Alex M. Penkala Jr. (19) (~4)

Matthew Leitch (24) as Floyd M. "Tab" Talbert (20) (~4)

Peter O'Meara (30) as Norman S. Dike Jr. (26) (~4)

Tom Hardy (22) as John A. Janovec (18) (~4)

Rick Warden (28) as Harry F. Welsh (25) (~3)

Kirk Acevedo (28) as Joseph D. Toye (25) (~3)

Eion Bailey (25) as David Kenyon Webster (22) (~3)

Craig Heaney (26) as Roy W. Cobb (29) (~3)

Damian Lewis (28) as Richard D. Winters (26) (~2)

Robin Laing as Edward J. "Babe" Heffron (~2, 21/23)

Ben Caplan (26) as Walter S. "Smokey" Gordon Jr. (24) (~2)

David Schwimmer (32) as Herbert M. Sobel (33) (~1 year)

Michael Fassbender (22) as Burton P. "Pat" Christenson (21) (~1)

Colin Hanks (22) as Lt. Henry Jones (21) (~1) (age around Bastogne)

Bart Ruspoli (23) as Edward J. Tipper (22) (~1)

~Same age

Peter Youngblood Hills as Darrell C. "Shifty" Powers (21)

Mark Huberman as Lester "Les" Hashey (19)

Younger

Lucie Jeanne (23) as Renée Lemaire (30) (age around Bastogne) (~7)

Ross McCall (23) as Joseph D. Liebgott (29) (~6)

Simon Pegg (29) as William S. Evans (~33) (~4)

Philip Barantini (19) as Wayne A. "Skinny" Sisk (22) (~3)

James Madio (24) as Frank J. Perconte (27) (~3)

Stephen McCole (25) as Frederick "Moose" Heyliger (27) (~2)

Matt Hickey (~16) as Patrick S. O'Keefe (18) (~2)

Incomplete/not found

Phil McKee as Maj. Robert L. Strayer (34)

Rene L. Moreno as Joseph Ramirez (30)

Doug Allen as Alton M. More (24)

David Nicolle as Lt. Thomas A. Peacock (24)

Rebecca Okot as Anna (Augusta Chiwy) (24) (age around Bastogne)

Alex Sabga-Brady as Francis J. Mellet (23)

Mark Lawrence as William H. Dukeman Jr. (22)

Nicholas Aaron as Robert E. (Popeye) Wynn (22)

Peter McCabe as Donald B. Hoobler (21)

Marcos D'Cruze as Joseph P. Domingus (not found)

#ty mercurygray for that sweet sweet jstor access #band of brothers #uhh one more disclaimer it's entirely possible that i mistyped stuff here and that i switched ages/etc.#i did try to proofread though!#anyway. i apologize if anyone has already done this.#shoshi.txt #sort of #it's also very possible that i spent too much time online today

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footprintsinthesxnd · 6 months

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Part 2 of my Belgium Ardennes trip

Here are some pictures from the Henri Chapelle American Cemetery. One member of Easy Company is buried here - Richard J Hughes who didn’t feature in the Band of Brothers series but who was shot by a sniper the same night Bill and Joe lost their legs.

This is the Easy Company memorial in the Bois Jacques. This made me very emotional to see the names of the men lost from Easy Company during their time in the Ardennes.

This is the memorial for Renee Lemaire ‘The Angel of Bastogne’ who lost her life on 24th December 1944. And the second picture shows the tank in the middle of Bastogne.

The Germany Cemteray in Recogne. It’s a very peaceful cemetery surrounded by trees and is well worth a visit.

This path in the Fontaine woods is where Hoobler stood when he shot the German officer on horse back.

Part 1

Part 3

#band of brothers #bois jacques #bastonge #easy company #101stairbornedivision

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hbowar-bracket · 3 months

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Albert Blithe

Alex Penkala

Alice

Alton More

Anna

Anthony 'Manimal' Jacks

Antonio 'Poke' Espera

Antonio Garcia

Army Chaplain Teska

Baba Karamanlis

Bernard DeMarco

Bill 'Hoosier' Smith

Bill Leyden

Billy Taylor

Brad 'Iceman' Colbert

Burton Christenson

Capt. Andrew Haldane

Carwood Lipton

Charles (Chuck) Grant

Charles Bean Cruikshank

Charles K. Bailey

Col. Robert Sink

Cpt. Bryan Patterson

Cpt. Craig 'Encino Man' Schwetje

Cpt. Dave 'Captain America' McGraw

Curtis Biddick

Darrell (Shifty) Powers

David Solomon

David Webster

Denver (Bull) Randleman

Donald Hoobler

Dr. Sledge

Edward (Babe) Heffron

Elmo 'Gunny' Haney

Eric Kocher

Eugene Jackson

Eugene Roe

Eugene Sledge

Evan 'Q-Tip' Stafford

Evan 'Scribe' Wright

Everett Blakely

Father John Maloney

Floyd (Tab) Talbert

Frank Murphy

Frank Perconte

Frederick (Moose) Heyliger

Gabe Garza

Gale 'Buck' Cleven

George Luz

Glenn Graham

Gunnery Sgt. Mike 'Gunny' Wynn

Gunnery Sgt. Ray 'Casey Kasem' Griego

Hamm

Harry Crosby

Harry Welsh

Helen

Herbert Sobel

Howard 'Hambone' Hamilton

Jack Kidd

James (Mo) Alley

James Chaffin

James Douglass

James Gibson

James Miller

Jason Lilley

Jean Achten

Jeffrey 'Dirty Earl' Carisalez

John 'Bucky' Egan

John Basilone

John Christeson

John D. Brady

John Fredrick

John Janovec

John Julian

John Martin

Joseph 'Bubbles' Payne

Joseph Liebgott

Joseph Toye

Josh Ray Person

Katherine 'Tatty' Spaatz

Ken Lemmons

Lance Cpl. Harold James Trombley

Larry Shawn 'Pappy' Patrick

Leandro 'Shady B' Baptista

Lena Basilone

Lew 'Chuckler' Juergens

Lewis Nixon

Lt. Edward 'Hillbilly' Jones

Lt. Henry Jones

Lt. Nathaniel Fick

Lt. Thomas Peacock

Lynn (Buck) Compton

Maj. 'Red' Bowman

Maj. John Sixta

Mama Karamanlis

Manuel Rodriguez

Mary Frank Sledge

Meesh

Merriell 'Snafu' Shelton

Navy Hm2 Robert Timothy 'Doc' Bryan

Neil 'Chick' Harding

Norman Dike

Old Man on Bicycle

Patrick O'Keefe

Phyllis

R.V. Burgin

Ralph (Doc) Spina

Renee Lemaire

Richard Winters

Robert 'Rosie' Rosenthal

Robert 'Stormy' Becker

Robert (Popeye) Wynn

Robert Leckie

Rodolfo 'Rudy' Reyes

Ronald Speirs

Roy Claytor

Roy Cobb

Sammy

Sgt. Mallard

Sidney Phillips

Stella Karamanlis

Teren 'T' Holsey

Vera Keller

Walt Hasser

Walter (Smokey) Gordon

Warren (Skip) Muck

Wayne (Skinny) Sisk

Wilbur 'Runner' Conley

William Guarnere

William Hinton

William J. DeBlasio

William Quinn

Winifred 'Pappy' Lewis

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newestcool · 1 year

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Lemaire f/w 2019 rtw Creative Director Christophe Lemaire & Sarah-Linh Tran Fashion Editor/Stylist Benoit Bethume Casting Director Henry Thomas Photographer Filippo Fior Source

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0urbladesaresharp · 1 year

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RESULTS Fandom's Favorite HBO War Character (Round 2)

Hey everyone! Thanks so much to everyone who participated in round 2 of our HBO War character bracket! In the past week, we had 62 votes for their favorite characters. A few of my favorite comments:

The characters with the closest vote differential were Doc Bryan and David Webster, with Webster squeaking out ahead 32-30.

The strongest win went, unsurprisingly, to Bill Guarnere who received 59 votes versus Trombley's 3.

Below the cut are the characters moving on to Round 3, which should be up sometime tomorrow (Nov. 13th) or the next day. Thanks again for voting!

Renee Lemaire (50 votes) vs. Nurse Anna (12)

Lester Hashey (43) vs. Jack Foley (19) I get it, but Jack's jawline was *chef's kiss*

Lt. Henry Jones (41) vs. William Evans (21) the first half of the week, Simon Pegg was on top, but unfortunately he couldn't hack it.

Michael Stinetorf (33) vs. Teren "T" Holsey (29) I'm very disappointed that the most beautiful man has lost :(

Dick Winters (44) vs. Ack Ack Haldane (18) So many people were mad at me for this pairing, but you guys, it was always gonna get there eventually. I am sorry, tho.

Lewis Nixon (44) vs. Snafu Shelton (18) While I'm not surprised Nix won (I love him with my whole heart), I was surprised by the margin.

Doc Roe (56) vs. Burgie (6) I'm so sorry, Burgie :(

Don Malarkey (51) vs. Sidney Phillips (11) I'm not sorry. I have an unusually strong reaction against Sidney for which I will not be receiving help.

Carwood Lipton (37) vs. Nate Fick (25) This vote was neck-and-neck until the last two days. So sorry to see my boy go.

Bull Randleman (51) vs. Eric Kocher (11) Maybe if Eric Kocher had played HIMSELF...

Johnny Martin (33) vs. Floyd Talbert (29) I got numerous angry messages about this pairing and I will not apologize. Someone had to go.

George Luz (49) vs. Robert Leckie (13) There are people in this fandom who despise Leckie with a fervor I understand but do not accept. Goodbye, snarky writer boy.

Ray Person (34) vs. Eugene Sledge (28) This was a close one, but I will not deny that I'm happy with the outcome. Sorry Sledge!

Joe Toye (40) vs. Brad Colbert (22) SO many angry comments about this one, but I can't help but notice most came out on the side of Toye...

Joe Liebgott (51) vs. Eddie "Hillbilly" Jones (11) NOOOO

Frank Perconte (42) vs. Chuckler Juergens (20)

Babe Heffron (37) vs. Skip Muck (25) Alexa, play "Taps"

Bill "Hoosier" Smith (43) vs. Poke Espera (19) I'm so sorry, Poke. I'll miss you!

Bill Guarnere (59) vs. James Trombley (3) I need to have a talk with these three...

Antonio Garcia (39) vs. Manuel Rodriguez (23) Sorry Jon Bernthal

David Webster (32) vs. Timothy "Doc" Bryan (30) Doc :(

Walt Hasser (39) vs. Ed Tipper (23) Walt's such a baby, he deserves this. Honestly.

Ron Speirs (48) vs. Rudy Reyes (14) So many people were mad about this, and yet you all betrayed Rudy with your votes, so who's the real villain??

Lena Riggi Basilone (51) vs. Stella (11) I cannot believe there are eleven people who favored Stella over the one, the only, Lena Basilone.

Eugene Jackson (36) vs. Thomas Peacock (26)

Captain America (33) vs. Encino Man (29) CRAIG!!!! NOOOO!

Robert Sink (32) vs. "Chesty" Puller (16) vs. "Shady B" Baptista (14) I mean...really? Col. Sink did it for y'all? Interesting...

John Janovec (53) vs. Herbert Sobel (9) This makes me laugh.

Evan "Q-Tip" Stafford (38) vs. Pappy Patrick (24) I'm so sorry, Pappy, but Q-tip is a MOOD

Patrick O'Keefe (38) vs. John Hamm (24) Aww, I'm gonna miss Noel Fisher.

Thomas Meehan (52) vs. Steven Lovell (10)

See y'all in Round 3!

@lightthewaybackhome @g-luztrash @moonlight511 @vorarephiliax-blog @offbeatpaikea23 @itstheheebiejeebies @softguarnere @hellshee @mccall-muffin @softliebgott @donmalarkeys @thehonourablealgernon @incorrectbandofbrothersquotes @incorrecthbowarquotes @stovetopboys @multifandomlover01 @aerokriegs @t-4georgeluz @hillbillied @contact-right @cody-helix02 @1337wtfomgbbq @lucky-bastards

#hbo war #hbo war poll #hbo war trinity #the pacific #band of brothers #generation kill

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byneddiedingo · 1 year

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Claude Laydu and Jean Danet in Diary of a Country Priest (Robert Bresson, 1951)

Cast: Claude Laydu, Jean Riveyre, Adrien Borel, Rachel Bérandt, Nicole Maurey, Nicole Ladmiral, Martine Lemaire, Antoine Balpêtré, Jean Danet, Léon Arvel. Screenplay: Robert Bresson, based on a novel by Georges Bernanos. Cinematography: Léonce-Henri Burel. Art direction: Pierre Charbonnier. Film editing: Paulette Robert. Music: Jean-Jacques Grünenwald. The still above, of the young priest (Claude Laydu) happily accepting a ride on the back of a motorcycle from Olivier (Jean Danet) is not meant to be representative of the film as a whole. Quite the contrary, Olivier is a cousin of Chantal (Nicole Ladmiral), who, along with the rest of her family, has caused the priest much pain. Olivier is a soldier in the Foreign Legion, a character whose life is about as far from the priest's tormented spirituality as possible. The scene is a brief, liberated one, suggesting a world of potential other than that of the spiritual and physical suffering the priest has known in his assignment to the bleak and hostile parish of Ambricourt. The priest returns to his suffering after his motorcycle ride: He learns that he has terminal stomach cancer and dies in a slovenly apartment watched over by a former fellow seminarian, Fabregars (Léon Arvel), who is living with his mistress. As ascetic as the young priest has striven to be, he has to come to terms with a world that seems irrevocably fallen, even to the point of taking the last, absolving blessing from the lapsed Fabregars. Of all the celebrated masterworks of film, Bresson's Diary of a Country Priest may be the most uncompromising in making the case for cinema as an artistic medium on the same level as literature and music. In comparison, what is Citizen Kane (Orson Welles, 1941) but a rather blobby melodrama about the rise and fall of a newspaper tycoon? Even the best of Alfred Hitchcock's oeuvre is little more than crafty embroidery on the thriller genre. The highest-praised directors, from Ford, Hawks, and Kurosawa to Godard, Kubrick, and Scorsese, never seem to stray far from the themes and tropes of popular culture. Even a film like Ozu's Tokyo Story (1953) falls back on sentiment as a way of engaging its audience. But Bresson strives for such a purity of character and narrative, down to the refusal to use well-known professional actors, and such a relentless intellectualizing, that you can't help comparing his film favorably to the great works of Flaubert or Dostoevsky. Having said that, I must admit that it's a work much easier to admire than to love, especially if, like me, you have no deep emotional or intellectual connection to religion -- or even an outright hostility to it. Does the suffering of the sickly young priest really result in the kind of transcendence the film posits? Are the questions of grace and redemption real, or merely the product of an ideology out of sync with actual human experience? What explains the hostility he encounters in the village he tries to serve: the work of the devil or just the bleakness of provincial existence? On the other hand, just asking those questions serves to point out how richly condensed is Bresson's drama of ideas. I love the movies I've alluded to above as somehow lacking in the intellectual seriousness of Bresson's film, but there's room in the pantheon for both kinds of film. Diary of a Country Priest remains for me one of film's great puzzles: What are we to make of the young priest's intellectualized faith? Is it a film for believers or for agnostics? In the end, these enigmas and ambiguities are integral to its greatness.

#Diary of a Country Priest #Robert Bresson #Claude Laydu #Jean Danet

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bottegapowerpoint · 4 months

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Henri Gervex, Un mardi, soirée chez Madeleine Lemaire

#henri gervex #powerpoint #friends reunion #nineteenth century paintings

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plaque-memoire · 1 year

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Plaque en hommage à : Résistants français

Type : Lieu de décès

Adresse : 10 rue de l'Aumône, 45140 Saint-Jean-de-la-Ruelle, France

Date de pose :

Texte : Fusillés en ce lieu pour la défense de nos libertés. 1942-1944. Amiot Bernard, Auger Marc, Baradon Étienne, Baum Abraham, Beaupin Fernand, Bertheau Robert, Cacault Guy, Charbonnaud Jacques, Chartier André, Chevrin Louis, Devin Georges, Girardot Paul, Jacquet Henri, Jenot Maurice, Lagier Gérard, Lambert Roland, Leclerc Roger, Lelièvre Maurice, Langele Charles ; Lemaire Michel, Leraut Antonin, Lerouge Marcel, Martin Henri, Mandard Pierre, Mazet Marcel, Millet Maurice, Morand Roger, Murzeau André, Page Maurice, Pascual Améla, Régnier Léon, Rivet Jacques, Rivière Fernand, Roblin Jean, Terrenoire Charles, Vergracht Guy, Pilongery Marcel, Berthier Célestin. A jamais vénérons leur généreux sacrifice.

Quelques précisions : Située en zone occupée, l'agglomération d'Orléans souffre pendant la Seconde Guerre mondiale, et devient à ce titre un point chaud de la Résistance. Plusieurs groupes de résistants y sont particulièrement actifs, comme le groupe Chanzy. Nombreux sont les résistants et leurs soutiens qui y perdront la vie. Ainsi, au champ de tir des Groues, à Saint-Jean-de-la-Ruelle (banlieue d'Orléans), une quarantaine de victimes seront fusillées par les Allemands. Près de la moitié d'entre elles sont exécutées en représailles aux actions de sabotage menées par la Résistance en 1943, cette fusillade en particulier constituant l'un des massacres les plus meurtriers de la région. Certains de ces résistants, comme Marcel Lerouge ou Fernand Rivière, sont honorés par d'autres plaques commémoratives de l'agglomération orléanaise. Le nom d'autres, comme Maurice Millet ou Guy Vergracht, a été donné à des gymnases locaux.

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if-you-fan-a-fire · 1 year

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“NOUVEAU LIEUTENANT-GOUVERNEUR,” Le Devoir. November 7, 1932. Page 2. ---- Le Dr. Herbert Bruce a été assermenté comme lieutenant-gouverneur de la province d’Ontario, le 1er novembre. La photo le représente en train de signer le registre. De gauche à droite: Mme Bruce, Mme. W. H. Price et le colonel Price, procureur général. Le premier ministre Henry s’appuie sur te fauteuil du lieutenant-gouverneur. A droite on voit M. E. J. Lemaire, greffier du Conseil privé, qui a assermenté M. Bruce.

#lieutenant governor of ontario #government of ontario #university of toronto #h. a. bruce #canadian elite #ontario politics #canadian politics #university professor #executive power #great depression in canada

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the-spirit-of-yore · 2 years

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Jeune fille effrayée par une vipère (copie), LEMAIRE Philippe Joseph Henri, 1831, la statue originale est au Musée des Beaux-Arts de Valenciennes.

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devonverneuil · 2 years

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Família

A mui antiga família Verneuil está presente nos livros de história da França como grandes apoiadores da monarquia, governantes de feudos, militares e até mesmo cientistas famosos. Porém, atualmente, é mais conhecida pelas diversas polêmicas envolvendo o patriarca e a recente declaração de falência.

❝ Hugo Bertrand Artois de Verneuil ｡ﾟ･

O verdadeiro patriarca da família Verneuil, morreu aos 47 anos por ser um fumante ativo desde os quinze anos, acabou adquirindo câncer de pulmão e só descobriu quando era tarde demais. Hugo era conhecido por ser festeiro e muito divertido, um retrato completamente divergente de sua esposa Clementine, com quem só se casou por insistência de seus pais em um acordo de suas famílias, mesmo que esse tipo de contrato fosse bem arcaico.

Devon não chegou a conhece-lo, mas quando criança costumava falar bastante com um enorme retrato pintado de Hugo que fica em um dos corredores do chatêu. A maior referência que Devon possui de Hugo, é o seu próprio pai, já que a avó Clementine sempre reclama spbre o quanto seu filho puxou ao progenitor, no quesito de ser um grande bon vivant no que diz respeito á essência da palavra, ele sabia dar festas e era muito sociável. Os bons laços com a família real foram mantidos por Hugo após a perda do título de nobreza.

No entanto, apesar dessas características, o homem sempre levou a sério o seu trabalho, sendo ele o responsável por fundar a imobiliária da família Verneuil uma vez que o título de nobreza foi perdido com a mudança para o quadrângulo.

❝ Clementine-Anne Lemaire de Verneuil ｡ﾟ･

72 anos | Professora de etiqueta/Empresária | Helen Mirren

A matriarca da família Verneuil, a dama de ferro, como é geralmente conhecida. Casou-se com Hugo Verneuil através de um arranjo, ambos nunca se amaram realmente e apenas nutriam certo respeito um pelo outro e o desejo mútuo de se manterem distantes, pois ao longo dos anos aprenderam a conviver, um fato que era conhecido por todos dentro e fora da família.

Clementine foi a responsável pela casa desde a morte de Hugo e também por liderar os negócios imobiliários. Na época em que começou, as mulheres ainda não tinham tamanha liberdade com relação á trabalho e ser uma figura publica sem que estivesse relacionado ao “universo feminino” em si, portanto, Clementine é muito citada no movimento feminista do quadrângulo, ainda que a própria Clementine seja uma mulher muito conservadora. Antigamente, era professora de etiqueta - uma das melhores em toda a França - mas parou de ensinar devido ao volume de trabalho que recebeu.

Sua personalidade é descrita como fria e geralmente rude, não tem papas na língua - apesar de ser uma mulher extremamente fina e elegante - e possui a mania irritante de criticar verbalmente em alto e bom som tudo o que não gosta, desde escolhas estilísticas á personalidades de outros, sendo que nem sua própria família consegue escapar. Assim como, parece ter saído de um drama shakespeariano pela sua forma de falar sempre com floreios, palavras eloquentes e o clássico drama.

Clementine é de fato uma mulher difícil de lidar e quase nunca demonstra de forma externa algum tipo de afeto, não espere palavras de apoio, abraços ou até mesmo um sorriso, a maneira de receber algo da mulher é deixá-la orgulhosa. Esse sentimento é algo que a mesma valoriza, e certamente ela tem muito orgulho de suas pessoas favoritas - Céline e Devon, assim como Henri que sempre lutou por sua própria trajétoria. Mãe e filha compartilham do apreço da matriarca, ainda que ela leve isso para o túmulo deixando claro somente na forma que está sempre disposta a ajudar as duas e apoiar de formas que nem sempre são convencionais.

❝ Zacharie Lemaire Artois de Verneuil ｡ﾟ･

50 anos | Não possui vocação conhecida | Daniel Craig

Zacharie nasceu com os louros de ser o filho homem herdeiro da Casa Verneuil, ele certamente teve a melhor das educações, o amor de seus pais assim como as cobranças por seu posto. No entanto, nada foi o suficiente para que ele escapasse de sua verdadeira natureza.

O homem conseguiu ser o desastre completo de todas as expectativas esperadas. Não apenas era um péssimo aluno em quase tudo, como também tinha a mesma essência de bon vivant de seu pai em uma versão piorada. Ele não se saiu bem na escola, nem em qualquer tipo de trabalho que lhe foi dado. Parecia que seu único êxito estava em fazer festas, beber e varar a noite na cama de desconhecidos. Alcoólatra e amante de jogos de azar, podem constar em seu currículo.

Aos poucos, a família Verneuil perdeu seu prestígio, restante somente certo respeito pela lembrança de Hugo, á figura de Clementine, o esforço de Céline e a esperança que Devon representava para a casa. Zacharie então, era evitado em todo tipo de questão social e também dos negócios da família, pois, sua única função era atrair polemicas - uma atenção que ele parece gostar.

Sendo as maiores polemicas, o nascimento de seu filho bastardo com uma amante e a aposta que resultou na falência da família.

Pode-se dizer então, que Zacharie não tem o apreço de sua família. A mãe Clementine já declarou não sentir mais que decepção pelo que o filho se tornou e Devon sempre teve um profundo medo de se tornar como ele desde criança, sendo o pai um causador de diversos traumas a ela. Ao todo, a maioria escolheu a distância como melhor tratamento.

❝ Céline Bouvier de Verneuil ｡ﾟ･

43 anos | Modelo/Empresária | Blake Lively

Céline um dia já foi uma modelo em ascensão, com uma carreira brilhante em seu horizonte. Algo que foi perdido no dia em que aceitou a proposta de casamento de Zacharie em meio a promessas de amor e uma vida cercada de luxos. Céline ainda tem pesadelos com o dia em que esqueceu quem Zacharie Verneuil era.

O amor durou tão pouco quanto a abstinência de Zacharie - mais ou menos dois meses - até que a primeira provação chegou, seguida de outra e mais outra Céline apenas aguentou tudo calada, tendo como apoio apenas a rígida sogra que sentia o puro pesar de toda a situação e a gravidez logo após a lua de mel, algo que a deixou radiante, pois, ser mãe era um grande desejo seu.

Céline nunca foi fã de frases de efeito, mas a frase “aquilo que não te mata, te torna mais forte” poderia se aplicar á ela, que aos poucos transformou-se de uma jovem esperançosa em uma mulher firme e bem mais decidida, ao custo é claro de muitos traumas e situações que ninguém deveria ser obrigado a passar.

Até que meses se tornaram anos e o divórcio por diversas situações nunca foi pra frente, Céline também se sentia confortável naquela família e em seu novo posto á frente dos negócios, seu único problema era o marido e as provocações dos tabloides, ela portanto ela tentava apenas evitar ambos em todos os sentidos.

Céline é uma mulher elegante e para o exterior, está sempre irradiando confiança e gentileza para quem lhe trata com o merecido respeito. Para as pessoas mais próximas é amorosa e alegre, mesmo com as intempéries de sua situação conjugal, a mulher nunca deixou de manter o bom humor para aqueles que realmente ama - Devon, Clementine e também seu filho adotado pelo coração, Henri.

❝ Henri Ali de Verneuil ｡ﾟ･

24 anos | Estudante de direito | Alfie Enoch

Até seus dez anos, Henri teve uma vida difícil, passou por situações que nenhuma criança deveria ter que vivenciar, ver a própria mãe definhar aos poucos, sem um pai para guiá-lo e contando com a ajuda de poucos.

Ele foi relutante em aceitar a ajuda dos Verneuil, uma vez que sua confiança no pai nunca foi uma das melhores, mas compreendeu que sua situação não melhoraria. E foi complicado no início para que ele conseguisse se aproximar, e Devon foi uma peça fundamental para isso, já que foi a primeira a estar disposta em aceitar o novo membro da família de braços abertos.

Céline demorou um tanto, mas aos poucos se afeiçoou ao rapaz e basicamente adotou-o como seu filho dando todo o apoio e carinho a ele, atendendo inclusive ao pedido do mesmo de poder estudar e reforçando os seus estudos quando o mesmo declarou que desejava ser advogado.

Henri apesar de tudo é uma pessoa divertida e geralmente está de bom humor, é um romântico nato, puxando de seu pai o charme mas com sorte sem a parte dos vícios, é uma pessoa preocupada com o bem estar de quem ama - principalmente de sua família, as mães, a avó e sua irmã.

❝Safiya Ali ｡ﾟ･

45 anos | Ex garçonete | Halle Berry

Filha de imigrantes e tentando sobreviver em um emprego medíocre, que pelo menos pagava o suficiente para pagar o minúsculo apartamento que vivia no subúrbio e a comida do dia. Apesar de passar o dia como garçonete em um restaurante de luxo em Paris, sua vida não tinha nada de glamour até conhecer Zacharie.

Pelas suas colegas de trabalho Safyia já sabia exatamente quem era Zacharie Verneuil, e de início não estava interessada em juras de amor ou promessas, ela apenas gostou do papo do francês e claro, dos presentes e do dinheiro que ele lhe dava, mas aos poucos que se encontravam ela passou a se apaixonar, o que ela bem sabia, era um erro.

A surpresa veio quando descobriu estar grávida, os tabloides descobriram o caso, ela foi demitida e Zacharie desapareceu, e pronto, sua vida foi destruída. Safyia também foi relutante em aceitar a ajuda de Céline, mas o fez por seu filho, que apesar da situação de seu nascimento, ela amava muito.

Safyia se mantinha afastada da família, mas aos poucos conseguiu se encaixar, e agradece aos esforços de Devon que tentou recebe-la em sua inocência infantil na época.

Safyia é uma mulher alegre para os próximos, dona de um humor ácido, a mulher dificilmente leva desaforo para casa e após o que aconteceu com Zacharie, ela teve dificuldades em acreditar em romance novamente, mas aos poucos está se abrindo.

Safiya recuperou um antigo desejo seu de se tornar chef de cozinha e passou a estudar, com o apoio da recém adquirida família, hoje em dia é conhecida por ser uma renomada chef do bistrô mais famoso e requisitado de Paris. Ela vai acabar retribuindo os Verneuil quando eles tiveram que declarar falencia.

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alexlacquemanne · 2 years

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Aout MMXXII

Films

Mais où est donc passée la septième compagnie ? (1973) de Robert Lamoureux avec Pierre Mondy, Jean Lefebvre, Aldo Maccione, Érik Colin, Robert Lamoureux et Pierre Tornade

On a retrouvé la 7e compagnie (1975) de Robert Lamoureux avec Pierre Mondy, Jean Lefebvre, Henri Guybet, Pierre Tornade et Bernard Dhéran

La Septième Compagnie au clair de lune (1977) de Robert Lamoureux avec Pierre Mondy, Jean Lefebvre, Henri Guybet, Gérard Jugnot, André Pousse et Patricia Karim

Y a-t-il un pilote dans l'avion ? (Airplane!) (1980) de David Zucker, Jerry Zucker et Jim Abrahams avec Robert Hays, Julie Hagerty, Lloyd Bridges, Leslie Nielsen, Robert Stack et Peter Graves

Les Traducteurs (2019) de Régis Roinsard avec Lambert Wilson, Alex Lawther, Olga Kurylenko, Riccardo Scamarcio, Sidse Babett Knudsen et Eduardo Noriega

Ho ! (1968) de Robert Enrico avec Jean-Paul Belmondo, Joanna Shimkus, Raymond Bussières, Paul Crauchet, Stéphane Fey, Alain Mottet et André Weber

Les Fugitifs (1986) de Francis Veber avec Pierre Richard, Gérard Depardieu, Anaïs Bret, Jean Carmet, Maurice Barrier et Jean Benguigui

Les 55 Jours de Pékin (55 Days at Peking) de Nicholas Ray, Andrew Marton et Guy Greena avec Charlton Heston, Ava Gardner, David Niven, Flora Robson et Leo Genn

Du haut de la terrasse (From the Terrace) (1960) de Mark Robson avec Paul Newman, Joanne Woodward, Myrna Loy, Ina Balin, Leon Ames et Barbara Eden

Soleil vert (Soylent Green) (1973) de Richard Fleischer avec Charlton Heston, Leigh Taylor-Young, Edward G. Robinson, Chuck Connors, Joseph Cotten et Brock Peters

Quai d'Orsay (2013) de Bertrand Tavernier avec Thierry Lhermitte, Raphaël Personnaz, Niels Arestrup, Bruno Raffaelli, Julie Gayet, Anaïs Demoustier, Thomas Chabrol, Thierry Frémont et Alix Poisson

Les Compères (1983) de Francis Veber avec Pierre Richard, Gérard Depardieu, Anny Duperey, Michel Aumont, Stéphane Bierry et Philippe Khorsand

Le Téléphone rose (1975) de Édouard Molinaro avec Mireille Darc, Pierre Mondy, Françoise Prévost, Michael Lonsdale, Daniel Ceccaldi et Gérard Hérold

Dies iræ (2003) d'Alexandre Astier avec Alexandre Astier, Tony Saba, Thomas Cousseau, Lionnel Astier, Alexis Hénon, Nicolas Gabion, Franck Pitiot et Jean-Christophe Hembert

La Chèvre (1981) de Francis Veber avec Pierre Richard, Gérard Depardieu, Pedro Armendáriz Jr, Michel Robin, André Valardy et Corynne Charby

Les Vieux Fourneaux (2018) de Christophe Duthuron avec Pierre Richard, Roland Giraud, Eddy Mitchell, Alice Pol, Henri Guybet et Méliane Marcaggi

Les Vieux Fourneaux 2 : Bons pour l'asile (2022) de Christophe Duthuron avec Pierre Richard, Eddy Mitchell, Bernard Le Coq, Alice Pol, Myriam Boyer, Jean Sarrus : Baba et Claire Nadeau

Guet-apens (The Getaway) (1972) de Sam Peckinpah avec Steve McQueen, Ali MacGraw, Ben Johnson, Sally Struthers, Al Lettieri et Slim Pickens

Vice (2018) de Adam McKay avec Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Tyler Perry & Alison Pill

Le Masque de fer (1962) de Henri Decoin avec Jean Marais, Sylva Koscina, Jean-François Poron, Gisèle Pascal, Philippe Lemaire et Jean Rochefort

Sous le plus grand chapiteau du monde (The Greatest Show on Earth) (1952) de Cecil B. DeMille avec Charlton Heston, Betty Hutton, Cornel Wilde, Gloria Grahame, James Stewart et Dorothy Lamour

Séries

The Rookie Saison 4

Acétylcholine - Chasse au trésor - Combat à mort - Menace sur a ville - Remise en cause - Le coeur au bord des lèvres

Les Nouvelles Aventures de Lucky Luke

Liki Liki - Lucky Luke en Alaska - Les Dalton contre Sherlock Holmes - Lucky Luke contre Lucky Luke - Lumière dans l'Ouest - Ni Dalton, ni maître - Roulette indienne - Fort Custer - Le Trésor des Dalton- L'Homme volant - Les Indiens Dalton - Les Héritiers - Pour une poignée de Dalton

Détective Conan Saison 1

Le Plus Grand Détective du siècle - Le Commencement - Méfiez-vous des stars - Le Poisson lumineux - La Bombe roulante - Le Meurtre de la Saint-Valentin - Le Mystérieux expéditeur - Meurtre au musée - Festival fatal - Conan marque un but - Sonate pour crime au clair de lune - L'Enlèvement d'Ayumi - Le Meurtre déconcertant - Un message à déchiffrer - Un cadavre a disparu - Le Meurtre du collectionneur d'antiquités - Cambriolage au supermarché - La Mariée de juin - Meurtre dans l'ascenseur - La Maison hantée - Meurtre sur un plateau - Les meurtriers en série embarquent sur le Luxury Liner : 1re partie - Les meurtriers en série embarquent sur le Luxury Liner : 2e partie - La Mystérieuse amnésique - Enlèvement contre rançon - John et l'Assassinat - La Réunion de classe de Kogorô : 1re partie - La Réunion de classe de Kogorô : 2e partie - Meurtre en direct - Un alibi parfait - Meurtre au studio de télévision - Meurtre au coffee shop - Rendez-vous mortel - L'Homme aux bandelettes : 1re partie - L'Homme aux bandelettes : 2e partie - Lundi 19h30 - Meurtre au cactus - La Fête du Feu - Le Meurtre de l'héritière : 1re partie - Le Meurtre de l'héritière : 2e partie - L'Affaire du drapeau en lambeaux - Meurtre au karaoké

Dix pour cent Saison 4

Charlotte - Franck - José - Sandrine - Sigourney - Jean

Le Visiteur du Futur : Néo-Versailles Saison 4

La Balade de Raph et Stella - La Cour Royale - Le Sauveur malgré lui - Un Nouvel Espoir - Le Bal - Le Réveil - Coup de Théâtre - Les Ficelles - La Révolution - Le Clou du Spectacle

Affaires sensibles

L'incendie de Notre-Dame de Paris - Irak 2003 : Quand la France résiste - Sports Sensibles IV : Springboks'95, la mort en arc en ciel - Les 24H du Mans de 1955 : le diable est dans la ligne droite - L’affaire du Watergate ou la chute du président Nixon - L'affaire des archives volées de la franc-maçonnerie

Columbo Saison 13, 12, 2

En grandes pompes - Le meurtre aux deux visages - Dites-le avec des fleurs

Kaamelott Livre I

Heat - Les Tartes aux myrtilles - La Table de Breccan - Le Chevalier mystère - Le Fléau de Dieu - Le Garde du corps - Des nouvelles du monde - Codes et Stratégies - Le Maître d’armes - Le Négociateur - Dîner dansant - Le Sixième Sens - Arthur et la Question - Monogame - Les Défis de Merlin - Le Banquet des chefs - Le Signe - En forme de Graal - Le Repos du guerrier - La Dent de requin - La Taxe militaire - La Queue du scorpion - La Potion de fécondité - L’Interprète - Le Sacrifice - À la volette - De retour de Judée - La Botte secrète - L’Assassin de Kaamelott - Le Trois de cœur - Basidiomycètes - L’Imposteur - Compagnons de chambrée - La Grotte de Padraig - Ambidextrie - Raison d’argent - La Romance de Lancelot

Stargate SG-1 Saison 3, 4, 1

Némésis - Victoires illusoires - De l'autre côté du miroir - Une dimension trop réelle

Spectacles

Double Mixte (1989) de Pierre Mondy avec Christian Clavier, Marie-Anne Chazel, Gérard Rinaldi, Marc Dudicourt, Stéphane Bouy, Julie Arnold et Marcel Philippot

Livres

Sherlock Holmes : Un scandale en Bohême suivi de trois autres récits de Sir Arthur Conan Doyle

Lucky Luke, Tome 18 : Le Bandit manchot de Morris et Bob de Groot

Le visiteur du futur : La meute de Slimane-Baptiste Berhoun et François Descraques

Quai d'Orsay, Chroniques diplomatiques, Tome 1 de Christophe Blain et Abel Lanzac

Quai d'Orsay, Chroniques diplomatiques, Tome 2 de Christophe Blain et Abel Lanzac

De la Terre à la Lune de Jules Verne

Kaamelott, tome 7 : Contre-attaque en Carmélide d'Alexandre Astier, Steven Dupré et Picksel

Autour de la lune de Jules Verne

OSS 117 : Atout cœur à Tokyo de Jean Bruce

#mediatheque #aout22

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