Roger Ballen was born in New York City, New York, USA in 1950. He has lived in Johannesburg South Africa since the 1970s. Beginning by documenting the small dorps or villages of rural South Africa, Ballen’s photography moved on in the late 1980s and early 1990s to their inhabitants; through the late 1990s Ballen’s work progressed. By the mid 1990’s his subjects began to act where previously his pictures, however troubling, fell firmly into the category of documentary photography, his work then moved into the realms of fiction. His fifth book ‘Outland’ produced by Phaidon Press in 2001 was the result. (Wiki)
1976 saw the one and only time Elizabeth Taylor would visit Iran. An exotic and educational excursion for Taylor, her travel partner was Firooz Zahedi, then an art school graduate and today a successful Hollywood photographer. Zahedi proved to be not only useful in documenting Taylor’s experiences and discoveries,
With James
I think that< "http://www.davidpaulkirkpatrick.com/2018/03/30/james-dean-and-elizabeth-taylor-reenact-the-crucifixion-in-a-photo-by-george-rinhart/"> haunted him the rest of his life. In fact, I know it did. We talked about it a lot. During ‘Giant’ we’d stay up nights and talk and talk, and that was one of the things he confessed to me.”
Tennessee Williams wrote of Taylor in his Memoirs in the 1960s as “excessively beauteous” and a “marvelous female star.” In a Paris Review interview with Dotson Rader in the Fall of 1981, Williams spoke of Taylor in the context of her intimate relationships with Hollywood leading men Montgomery Clift and Rock Hudson, both closeted gay men who died prematurely, and Michael Jackson, too.
While Hudson died from AIDS in 1985, Clift died in 1966 at age 45 from heart failure many believe was associated with depression and drug abuse. Taylor probably saved his life 10 years earlier when, on May 12, 1956, she witnessed him crash his car into a tree after a Hollywood party. She ran to him, and manually extricated a tooth from his throat that he was choking on.
In his 1981 interview, Williams said, “Monty Clift was one of the great tragedies among actors, even more than Marilyn Monroe, I believe. One of the loveliest things about Elizabeth Taylor was her exceptional kindness to him. Many women were very kind to him. Katharine Hepburn. But Elizabeth particularly. She’s a very dear person. She’s the opposite of her public image. She’s not a bitch, even though her life has been a very hell. Thirty-one operations, I believe. Pain and pain. She’s so delicate, fragile really.”
Goodbye Elizabeth now you are with Mike, Richard, Roddy, Monty, Rock and James Dean and all the people you have helped and healed.
He was antihumanist and strongly antimodernist. The human body is pervasively disfigured throughout his work, and the overriding theme of his dioramas and installations is irreparable earthly degeneration. He places the blame on blind faith in technology and progress, and behind most of his apocalyptic visions is the mother of all man-made catastrophes, nuclear holocaust.
Deeply concerned with the fate of humanity in the wake of nuclear attacks on his native land and the dawn of the global arms race, Kudo determinedly sought to develop a universal humanist language of creativity and regeneration until his untimely death in 1990.
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. But, from this adversity – on our lives – we will all rise up without fail. As a start, I would be grateful if you could enjoy Japan from this film.
Sincerely,
Miike Takashi”
And, for a city that can certainly be very frosty, it’s noticeably more friendly. Nods, smiles and the odd konichi-wa are suddenly commonplace, with a definite feeling of, ‘we are all in this together’, now prominent.
“Long Day’s Journey Into Night,” states Stockwell, “was as intense and rewarding an experience as I’ve had. It’s a small cast, and one of the greatest plays of the century by one of the greatest American playwrights. We rehearsed it six weeks with a brilliant director, Sidney Lumet. I feel that the film is the best American film made from a play – that I’ve ever seen. There was no screenplay. Some cuts were made to make it feasible for a film – but nothing was transposed. It was very gratifying.”
In the book, Kate, by Charles Higham, Sidney Lumet is quoted: “Dean would come in with a bottle of vodka, and Kate at first almost did what she did to him in the movie – struck him. She was so angry at him – out of love. But she was tender to him. The first day of work was cold, and he had forgotten to bring an overcoat. The next day, there was a coat in his dressing room; she had gone out after shooting and bought him one. She always had an enormous affinity for heavy drinkers – maybe because of Tracy.”
Darrow was the inspiration for the character of Johnathan Wilk in the 1956 novel Compulsion, a thinly fictionalized account of the Leopold and Loeb case. In 1959, the novel was adapted into a film of the same name, starring the legendary filmmaker Orson Welles as Wilk. Welles, whose closing monologue was the longest ever committed to film at that time, shared the Best Actor award with co-stars Bradford Dillman and Dean Stockwell.
Dean Stockwell made three remarkable films in his mid-career starting with Compulsion followed by Sons and Lovers and Long Day’s Journey into Night.
Sons and Lovers
Of Sons and Lovers, Stockwell maintains, “It’s a classic film. It holds up – over a long period of time. It had a brilliant cast, and I feel it was a pretty damn good rendition of that book.” Sons and Lovers headed the National Board of Review’s 10 Best Films of 1960 list. It tied with The Apartment as the NY Film Critics Best Film. In his FIReview, Henry Hart wrote: “Rarely has so honest and meaningful a novel been turned into so good a motion picture.” He noted, “Stockwell does things . . . an actor twice his age would be proud of,” and added, “I think the thing about his performance that fascinated me most was his seemingly spontaneous use of bits of business which seemed to come . . . from his feeling for the character.”
The O’Neill classic, says Stockwell, “remains one of my favorite films. And Paris, Texas is certainly another. The film was put together and shot in a most unusual way. Sam Shepard, probably our leading playwright right now, wrote the screenplay. But, as we started, it was simply a synopsis, a breakdown of scenes – with no dialogue at all. At the time, Sam was shooting Country, which opened the New York Film Festival. Everyday, when he got through acting, he would type out dialogue for Paris, Texas.” (Interview with Dean Stockwell)
Dean Stockwell, Blue Velvet – It’s not easy to out-bizarre your fellow cast members in a David Lynch movie, but Dean Stockwell managed to do just that in his one-scene turn as Frank Booth’s (Dennis Hopper) unctuous, kabuki-faced, satin-jacketed mentor in malevolence, Ben. The mellow yin to Hopper’s manic yang, Stockwell’s eerie lip-synching rendition of Roy Orbison’s “In Dreams” just barely hints at what lies inside the depraved mind of the drug dealer/pimp. (via)
“I hate to admit it, but you can’t do a role unless it’s somewhere in your psyche. People don’t realize how vast the subconscious is. It’s like infinity.” Dean Stockwell.
Beckett might have sat out World War II in his native Ireland, but as he later quipped in an interview with Israel Shenker, “I preferred France in war to Ireland at peace.” By 1941 he had joined the Resistance in Paris, largely as a response to the arrest of such Jewish literary friends as his old Trinity College classmate Alfred Péron. As a neutral Irishman who spoke fluent French, Beckett was in great demand; he and his companion (later wife) Suzanne Deschevaux-Dumesnil joined Gloria, a reseau de renseignement or information network, whose main—and dangerous—job was to translate documents about Axis troop movements and relay them to Allied headquarters in London.
Waiting for Beckett: A Portrait of Samuel Beckett is a must for anyone interested in his work. It traces Beckett’s early years in Ireland and Paris, before discussing the impact of his novels, plays and late work with the help of friends, scholars and publishers.
What ‘Molloy’ reveals is not simply reality but reality in its pure state: the most meager and inevitable of realities, that fundamental reality continually soliciting us, but from which a certain terror always pulls us back. . . . There is in this reality the essence or residue of being. . .
Sympathy
in 
