Romy Schneider Story

The star of more than sixty movies, including the cult, What's New Pussycat? Bloodline, The Assassination of Trotsky, The Cardinal and The Victors, at the height of her fame she ranked alongside Bardot, Loren and Cardinale. Reviled by the German press when she fell in love with Alain Delon, moved to Paris and took French citizenship, she was sought out by the world's top producers and directors. Incredibly beautiful, after a brief flirtation with Hollywood, she chose to return to Europe where her talent shone brightly until her untimely death in 1982, aged just forty three.

Determined to tread her own path, Austrian film sensation, Romy Schneider was talented, honest, prickly, loving and ultimately tragic. The star of over sixty movies including the cult, What's New Pussycat? Bloodline, The Assassination of Trotsky, The Cardinal and The Victors, at the height of her fame she ranked alongside Bardot, Loren and Cardinale. Reviled by the German Press when she fell in love with Alain Delon and moved to Paris and took French citizenship, she was sought out by the world's top producers and directors. Incredibly beautiful, after a brief flirtation with Hollywood, she chose to return to Europe where her talent shone brightly until her untimely death in 1982, aged just forty three. Romy has recently become a magnate for film makers and is currently the subject of two rival biopics. One is to be a big screen feature film and the other a high profile TV production. Jessica Schwarz of Perfume fame, is slated to play the lead role in Torsten Fischer's Romy. It is to be produced by Berlin based Phoenix-Film and has been written by Benedikt Roeskau. Shooting for the TV premier starts in Autumn 2009. Singer-actress Yvonne Catterfeld will play Schneider in Warner Bros' A Woman Like Romy, directed by Josef Rusnal. Raymond Danon, who produced Romy's last film in 1982, The Passerby, will produce the $36 million French-German co-production. It will launch in 2010.

The beautiful Austrian-born Romy Schneider was one of Europe's most popular film stars and a cult figure from the moment she played 'Sissi' (Empress Elisabeth of Austria) in the hugely popular Sissi trilogy in the mid-1950s. Although Schneider died in 1982, she continues to be one of the most popular stars in European cinema history. This book analyses her impressive career to place her within a range of European female stars, particularly Germanic and French, who defined cultural and ideological images of femininity on European screens. Schneider, who worked and was celebrated in Austria, Germany, Hollywood, and France, represents a fascinating case study to explore key questions of trans-European and transnational stardom, and Marion Hallet makes a valuable intervention in this growing field within star studies. Romy Schneider: A Star Across Europe shows how the representations of women stemming from Schneider's star image supported specific and shifting cultural and social agendas regarding femininity, from the 1950s to the 1980s. This book explores the significance of Schneider's image both when she was working and since, within Western European film culture and celebrity culture.

The Child Manuela (Das Mädchen Manuela) Manuela was a longed-for child, a child beloved in advance. Manuela ought to be born. Manuela ought to be a girl. Before she was born, a house was ready. A father who was already becoming impatient. A mother—deeply familiar with this child—even before she held her in her arms. Two brothers were certain comrades. A little patronising, but proud of her—now that she was really here. Manuela had to be born on Sunday—it also had to be Christmas. When the two brothers returned home from the Children’s Christmas Theatre, she was in the cradle. She had arrived like a Christmas present. The two brothers were not surprised. They had just seen the Christ Child lying in the cradle in the stable of Bethlehem. So that five-year-old Bertram said to ten-year-old Alfred in a confusion of thoughts, “Let’s carry her into the stable; this will be fun for her.” Only the objection that there were neither cows nor a donkey in the stable, but only horses—which did not exist in Bethlehem—made him abandon the plan.

The Herme`s scarf is a style icon. Worn by royalty and celebrities, coveted and admired, and now avidly collected, this deceptively simple square of silk is much more than just a fashion accessory: it is the stuff of legend. Since the first scarf made its debut in 1937, the House of Herme`s has produced more than two thousand different designs. From the classic scarves that embody the Herme`s tradition to the wildly imaginative stylings of contemporary designers, the House is always forging new paths and yet is never afraid to take a fresh and often witty approach to its own heritage. A scarf is not the work of a single individual; at each stage of its creation, talent and craftsmanship combine to create a work of art. These qualities shine through in the illustrations, by turns playful and poetic, which lead the reader into a richly colored world with a multitude of motifs. They range from the equestrian themes that are internationally associated with the Herme`s brand, through French history and the natural world, to global cultures. From vibrant opulence to subtle harmony, every scarf conveys a mood and every one tells a story.

To a large extent, the story of French filmmaking is the story of moviemaking. From the earliest flickering images of the late nineteenth century through the silent era, Surrealist influences, the Nazi Occupation, the glories of the New Wave, the rebirth of the industry in the 1990s with the exception culturelle, and the present, Rémi Lanzoni examines a considerable number of the world's most beloved films. Building upon his 2004 best-selling edition, the second edition of French Cinema maintains the chronological analysis, factual reliability, ease of use, and accessible prose, while at once concentrating more on the current generation of female directors, mainstream productions such as The Artist and The Intouchables, and the emergence of minority filmmakers (Beur cinema).

McMurtry's follow-up to All My Friends Are Going to Be Strangers will capture a whole new audience, opening up the world of the now-millionaire Danny Deck and his strong and passionate daughter T.R.. "Mr. Deck, are you my stinkin' Daddy?" In a furious phone call from T.R., the daughter he's never met, Danny Deck gets the jolt of his life. A TV writer who's retired to his Texas mansion, Danny spends his days talking to the answering machines of his ex-lovers from New York to Paris and dreaming of the characters in the sitcom he's created. But suddenly, a hurricane called T.R. is storming into his life... In his most moving and richly comic contemporary novel since Texasville, Larry McMurtry returns to the modern West he created so masterfully in The Last Picture Show and Terms of Endearment. Some Can Whistle spins a tale of Hollywood glitz and Texas grit; of an extraordinary young woman and a murderous young man; and of a middle-aged millionaire running head-on into the longings, joys, and pathos of real life.

Film Noir Style: The Killer 1940s looks at the fashions of the femmes fatales who were so good at being bad, and the suits and trench coats of definitive noir actors such as Humphrey Bogart and Alan Ladd. Film and fashion historian Kimberly Truhler explores twenty definitive film noir titles from 1941 to 1950 and traces the evolution of popular fashion in the decade of the '40s, the impact of World War II on home-front fashion, and the influence of the film noir genre on popular fashion then and now. Meet not only the fabulous women of noir, including Betty Grable, Veronica Lake, Gene Tierney, Lauren Bacall, Barbara Stanwyck, Ava Gardner, and many others, but also the costume designers that created and recreated these famous stars as killers—and worse—through the clothes they wore.