The 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 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 so as 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.

From four stunning and accomplished French women—a charming bestseller about how to slip into your inner cool and be a Parisienne. In short, frisky sections, these Parisian women give you their very original views on style, beauty, culture, attitude and men. The authors—Anne Berest, Audrey Diwan, Caroline de Maigret, and Sophie Mas—unmarried but attached, with children—have been friends for years. Talented bohemian iconoclasts with careers in the worlds of music, film, fashion and publishing, they are untypically frank and outspoken as they debunk the myths about what it means to be a French woman today. Letting you in on their secrets and flaws, they also make fun of their complicated, often contradictory feelings and behavior. They admit to being snobs, a bit self-centered, unpredictable but not unreliable. Bossy and opinionated, they are also tender and romantic. You will be taken on a first date, to a party, to some favorite haunts in Paris, to the countryside, and to one of their dinners at home with recipes even you could do -- but to be out with them is to be in for some mischief and surprises. They will tell you how to be mysterious and sensual, look natural, make your boyfriend jealous, and how they feel about children, weddings and going to the gym. And they will share their address book in Paris for where to go: At the End of the Night, for A Birthday, for a Smart Date, A Hangover, for Vintage Finds and much more.

From his first starring role in "Just William to the huge TV successes with "The Sweeney and Minder, Dennis Waterman had an amazing theatrical career, which has also combined with an equally dramatic love life. There were affairs with Suzy Kendall and Romy Schneider, and some failed marriages, the last being with Rula Lenska. Now Waterman wants to set the record straight about his rumbustious, action-packed life. "From the Paperback edition.

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.