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#catherine feller
weirdlookindog · 10 months
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The Curse of the Werewolf (1961) - French Poster
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ozu-teapot · 5 months
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The Curse of the Werewolf | Terence Fisher | 1961
Catherine Feller, Oliver Reed
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The Curse of the Werewolf (1961)
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mariocki · 1 year
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The Saint: The Queen's Ransom (5.1, ITC, 1966)
"You realise that a few years ago I could have had your head chopped off for that?"
"A few years back, I wouldn't have said it."
#the saint#the queen's ransom#1966#leslie charteris#leigh vance#roy ward baker#roger moore#dawn addams#george pastell#nora nicholson#stanley meadows#catherine feller#gary hope#patrick westwood#peter madden#neville becker#john woodvine#larry taylor#john forbes robertson#john serret#andre charisse#what's that? you thought I'd given up on the saint? that I'd thrown in the towel‚ that I'm a coward and a liar? hah! well mud in your eye#bc here i am baby‚ back on my bullshit. i took a 'brief' break at the end of s4 before starting the color eps which ended up being 7 months#but actually the real gap between seasons 4 and 5 was more than a year. so what's new in Saintland? not much; immediately upon grabbing#this second boxset of colour eps and checking with my online transmission record i can see that network have liberally shuffled these eps#this first ep is on disc 2 while disc 1 features episodes from season 6 (!). as well as the shift to colour we also get a rearranged theme#(slightly more up tempo)‚ new titles and for the first time an entirely original script that doesn't even pretend to be adapted from a#Charteris story (true adaptations would be pretty rare from this point on). but it's a fun if familiar tale; Simon meets a deposed king and#his spoiled wife‚ and sets about teaching her some humility in true chauvinist fashion (as well as some stuff with jewels)#it isn't by any means a groundbreaking ep but if anything a degree of continuity between seasons 4 and 5 is somewhat welcome
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cosmonautroger · 1 year
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Catherine Feller, Oliver Reed, Curse of the Werewolf, 1961
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abs0luteb4stard · 2 years
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W A T C H I N G
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bizarrobrain · 2 years
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Catherine Feller and Oliver Reed in The Curse of the Werewolf (1961)
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docpiplup · 1 month
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LA ABADESA (2024)
Synopsis
In the 9th century, Emma of Barcelona (c. 880-942), a 17-year-old girl, is named abbess in order to repopulate and Christianize border territories in 897. Upon arriving at the abbey, she will have to overcome the mistrust aroused by a woman determined to fulfill her mission, which will lead her to confront nobles, like her brother Count Guifré II Borrel of Barcelona (874-911), peasants and the nuns themselves. Despite everything, Emma will show that it is possible to challenge established power structures. Although she will pay a high price to get it...
Emma is willing to carry out the commission of her deceased noble father, Count Guifré I of Barcelona, Guifré el Pilós (840-897), founder of the House of Barcelona: convert the abbey that he founded in 885, the Monastery of Sant Joan de les Abadesses, for which she is now responsible into the engine of change and transformation of a society that comes down. She must help with all her resources to help the lands that are emptied due to hunger caused by border wars, which in turn are a consequence of the ambitions of the feudal lords of the area.
Emma acquired small or large properties with which the monastery came to have a territory equivalent to that of a county. Her sovereignty was also similar to that of a countess: by concession from her father, her domains were exempt from all interference from the neighboring counts, whom she knew how to oppose with resistance.
On cinemas: Friday 22 March
Filming began in January 2023 at the Loarre Castle, and included scenes filmed at the Turó de la Seu Vella, until concluding at the end of February 2023.
Main cast
Emma of Barcelona - Daniela Brown
Eloisa - Blanca Romero
Guifré II Borrel of Barcelona - Carlos Cuevas
Eduard - Ernest Villegas
Odón - Oriol Genís
Bishop Gotmar of Vic– Joaquín Notario
Clara-Berta Sánchez Bajona
Melisenda - Anäel Snoek
Elvira- Olivia Auclair
Data sheet
Script and direction: Antonio Chavarrías
Produced by: Antonio Chavarrías, Jose María Morales, Miguel Morales, Mónica Lozano
Photography direction: Julian Elizalde
Editing: Clara Martínez Malagelada
Music: Ivan Georgiev
Casting: Irene Roqué, Carla Bisart, Sara Bisart, Elena Gómez Zarzuca and Doriane Flamand
Direct sound: Elsa Ruhlmann
Sound editing: Corinne Dubein
Blends: Emmanuel de Boissieu
Art direction: Irene Montcada
Costumes: Catherine Marchand and Pau Aulí
VFX: Natacha Brohan
Assistant director: Falele Ygueravide
Production direction: Anna Boneta
Executive producers: Alba Bosch-Durán, Flavia Biurrun and Jennifer Ritter
Co-producer: Huber Toint, Alex Verbaere, David Claikens, Samuel Feller
Production of Oberon Media, Wanda Films, Icono 2020, Saga Film, RTVE and TV3.
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Poster
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(Based on a true story/ Based on a true woman)
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chernobog13 · 8 months
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It's September One Seventh (Ed. {sigh} somebody else correct him; I'm exhausted by this guy) and Leon the Werewolf is getting in shape by doing squats with his mom*.
How are you prepping for the big day?
(* Yes, weirdly enough, for Curse of the Werewolf {1961} Hammer Films had numerous publicity shots of Oliver Reed as the werewolf posing with Yvonne Romain, the actress who played his mother. Her character died right giving birth to Reed's, and they never shared any screen time. Presumably she was chosen because of her "exotic" looks and rather statuesque {38-22-36} figure. I can understand this because, IMO, she's more attractive than Catherine Feller, the actress who played Reed's love interest in the film.
But even an old lech like me's gotta admit: it's pretty freakin' weird to be doing squats with your mom on yer shoulders.)
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abelkia · 2 years
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La playlist de l'émission de ce jeudi matin (de rentrée) sur Radio Campus Bruxelles entre 6h30 et 9h : Antti Tolvi "Pianoketo 2" (Pianoketo/Fonal Records/2013) David Toop (Feat. Jon Hassell & Talvin Singh) "Slow Loris Versus Poison Snail" (Pink Spirit, Noir World/Foam on a Wave/1996-2022) Anteloper "Seclusion Self" (Kudu/International Anthem/2018) David Fenech & Pierre Bastien "Blue Moon" (Suspicious Moon/Improved Sequence/2022) Béatrice Arnac "Le bruit et le bruit" (Pierre Barouh and The Saravah Sound - Jazz, Samba and Other Hallucinatory Grooves/WEWANTSOUNDS/2022) Arto Lindsay & Sussan Deyhim "Anything" (Noon Chill/Rykodisc/1998) Os Mutantes "Ando meio desligado" (A Divina Comédia Ou Ando Meio Desligado/Polydor/1970) Shocking Blue "Send Me a Postcard" (At Home/Pink Elephant/1969) Johnny "Rock" Feller et ses Rock Child (jean yanne) "J'aime pas le Rock" (Jean Yanne et ses interprètes 1956-1962/Frémeaux & Associés/1961-2018) Les Blousons Noirs "Chérie oh chérie" (Les Blousons Noirs 1961-1962/BORN BAD RECORDS/2007) Eartha Kitt "Uska Dara" (Funny Bones Soundtrack/Edel Records/1954-1995) Salut c'est cool "Bout de bois" (Maison/Pain Surprises Records/2019) black midi "Welcome to Hell" (Hellfire/Rough Trade Records/2022) La Jungle "Rivari" (Ephemeral Feast/Black Basset Records/2022) Minimal Compact "Statik Dancin'" (12"/Fortuna Records/1981-2022) Pleasure Principle "Videolife" (Pleasure Principle/BORN BAD RECORDS/2019) Absent Music (Feat. Catherine Jauniaux) "Le Rêve de C.J." (Lost and Latest/EE Tapes/1987-2020) Ruth White "Owls" (Flowers of Evil/BLACK MASS RISING/1969-2013) Céline Lory, "Je couche les mots" (En Corps Y-Bride/Autoproduction/2019) Smog "Song" (Rain on Lens/Domino Recording-Drag City Records/2001-2022) Tia Blake and Her Folk-Group "Jane Jane" (Folksongs & Ballads/SFP-Ici bientôt/1971-2022) Shirley Collins "Bonny Cuckoo (Accompanied)" (7"/Fledg'ling Records/1967-2015) Tartine de Clous "J'ai ceuilli la rose rose" (Sans folklore/Saintonge Records/2015) https://www.instagram.com/p/Ch9a8RyNsVO/?igshid=NGJjMDIxMWI=
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kopykunoichi · 4 months
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Christy, by Catherine Marshall. Chapter 35 Excerpt (Part 3)
But Jeb, that natural-born fiddler, was tuning up again. Jeb must like fiddling better than he liked eating, and that was saying a lot. The fiddle whined and cried and sang. “We’re a-goin’ ‘Step Charlie,’ folks,” Uncle Bogg called, dancing a pigeon-wing all by himself in the middle of the floor.
Charlie’s neat and Charlie’s sweet,
And Charlie he’s a dan-dy—
“Circle up, folks . . . Circle up . . . Wimmin on the right.” Dr. MacNeill was instantly at my side, expertly propelling me to the center of the floor.
Over the river to feed my sheep
And over the river, Charlie,
Over the river to feed my sheep
And to measure up my barley.
“La-dies in!” The doctor sang as he swung me:
My pretty little pink,
I once did think I never could do without you . . .
“Gents in! . . . Grab, boys! Grab!” This was fun! I was feeling better and better, warm and tingly. My feet had wings. Overhead strange noises cut into my thoughts, girlish giggling, laughs and squeals. I had not noticed anyone leaving but now I saw that the circle of dancers was noticeably smaller. As if in answer to my unspoken question Dr. MacNeill jerked one thumb to point at the ceiling. “I told you. Ceremony’s beginning. Putting the bride to bed. “All to the cen-ter. Just go!”
Charlie’s neat, and Charlie’s sweet
And Charlie he’s a dan-dy—
Scrape, scrape, scrape over our heads. More giggling and shrieking.
Step . . . step . . . right and left . . . right and left. “You mean really putting the bride to bed—now—with all of us still here?” I asked. “Sure—now.” The girls were trouping down from the loft—without Ruby Mae—and the men made a dive for Will Beck. There was a lot of scuffling, several chairs turned over, while the music went right on. “Git him. Pound him. Sure’s the world, we’ll fix him proper.” “I’m batchin’ it, fellers,” Will yelled from where he had been flattened on the floor and was lying now between the legs of one of his friends. “Didn’t I tell ye? Con-found you—Un-unh!” Will never had a chance. Held roughly by the scruff of his neck, jerked and pummeled, he was already on his way to the loft, tightly wedged in the group of boys. The whole picture was absurd. And then somehow, what was happening to Will and the wedding night scene in the loft receded into the distance. I was caught up in the gleeful harmony beating at my temples, singing in my blood, pulling at my nerves, tinglingly delightful. The doctor danced as naturally as a bird flies or a fish swims. By now I knew that I didn’t even have to think; I could just give myself to his arm around me with assurance. The guiding arm was so sure and firm, the rhythm such a part of my body now that I could almost forget about my feet. It ended too soon. My partner spun me around with a final flourish. As I let my head fall back in a moment of joyous rapture, I met the doctor’s eyes. They glistened with approval—and something else. When I pulled my head back up, his lips brushed my forehead. For a moment his arm stayed firmly behind my back with my body pressed tightly against him. Then he loosened his arm around me and the room spun slightly. Was it the music and the twirling which made me feel this way? A panicky thought chased through my mind. What was happening to me? I was dizzy!
Dr. MacNeill was pulling out a chair for me, then he sat down backwards on one near me, propping his arms on the back of the chair. Fortunately, at that moment, there were new and bawdy noises overhead. The partitions of the cabin were so thin. Cornshuck mattresses were self-advertisers. Inwardly I was wincing and the doctor knew it. “Actually, Christy, you ought to consider something,” he said, never one to lead into a subject delicately. “The mountain attitude towards sex may be more nearly right than society’s attitude—in the warmed-over Victorian tradition. It sure is more realistic. It’s the way things are. Way they were meant to be too. Here in the mountains, folks see sex for pleasure and for procreation. They’re right. Leave out either one, and you’re in trouble.” Well, I was thinking, so maybe there is still a lot of prudery about sex even in the younger set back in Asheville—especially among the girls. But why a lecture on sex to me? I was having trouble meeting the doctor’s level gaze.
With relief I saw David approaching. “Excuse me, Doctor, for interrupting. I’m leaving,” David said to me. “Didn’t want to go without letting you know, Christy. May I take you home?” Suddenly I knew that I very much wanted to go with David. I tried not to sound as eager as I felt. “Yes, thanks. I am ready to go.”
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weirdlookindog · 9 months
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The Curse of the Werewolf (1961)
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visplay · 1 year
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Chris: I saw this hosted on Svengoolie, the Hammer werewolf film with Oliver Reed - and in color, except the werewolf does not have much screen time, yet an interesting explanation for what could produce a werewolf is presented in this film, all horror fans should see this once, Watch: When Free.
Richie: The movie was boring, took a long time for the story to develop, I could skip this, Avoid.
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clemsfilmdiary · 3 years
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The Curse of the Werewolf (1961, Terence Fisher)
1/02/21
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badmovieihave · 4 years
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Bad movie I have The Curse of the Werewolf 1961
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