Too Young for Love (1953 film)
Too Young for Love is a 1953 French-Italian comedy drama film directed by Lionello De Felice and starring Aldo Fabrizi, Marina Vlady and Fernand Gravey. Some of the film was shot on location in Castellana Grotte. In a small provincial Italian town, a fifteen-year-old boy falls in love with a girl. Aldo Fabrizi as Coletti, padre di Annette Marina Vlady as Annette Pierre-Michel Beck as Andrea Fernand Gravey as Padre di Andrea, presidente del tribunale Vittorio Sanipoli as Sergio Nando Bruno as Commisario Lauro Gazzolo as Vicepresidente del tribunale Lola Braccini as Zia di Sergio Xenia Valderi as Madre di Andrea Massimo Pianforini as Anselmo Adriano Pintaldi. Aldo Fabrizi: arte romana: al cinema e in cucina. Maggioli Editore, 2012. Too Young for Love on IMDb
Robert Hossein
Robert Hossein December 1927) is a French film actor and writer of Iranian Azerbaijani and Jewish origin. He directed the 1982 adaption of Les Misérables, appeared in Vice and Virtue, Le Casse, Les Uns et les Autres and Venus Beauty Institute, his other roles include Michèle Mercier's husband in the Angélique series, a gunfighter in the Spaghetti Western Cemetery Without Crosses, a Catholic priest who falls in love with Claude Jade and becomes a communist in Forbidden Priests. Hossein started directing films in 1955 with Les Salauds vont en enfer, from a story by Frédéric Dard whose novels and plays went on to furnish Hossein with much of his film material. Right from the start Hossein established his characteristic trademarks: using a straightforward suspense plot and subverting its conventions in order to concentrate on ritualistic relationships; this is the director's running preoccupation, always stressed in his films by an extraordinary command of film space and striking frame compositions where the geometry of human figures and set design is used to accentuate the psychological set-up of the scene.
The mechanisms of guilt and the way it destroys relationships is another recurring theme influenced by Hossein's lifelong interest in the works of Dostoyevski. In 1967, he was a member of the jury of the 5th Moscow International Film Festival, his 1982 film Les Misérables was entered into the 13th Moscow International Film Festival where it won a Special Prize. Although Hossein had some modest international successes with films like Toi, le venin and Le Vampire de Dusseldorf, he was much singled out for scorching criticism by the critics and followers of the New Wave for the unashamedly melodramatic frameworks of his films; the fact that he was an auteur director with a consistent set of themes and an extraordinary mastery of original and unusual approaches to staging his stories, was never appreciated. He was not averse to trying his hand at different genres and was never defeated, making the strikingly different spaghetti western Cemetery Without Crosses and the low-budgeted but daringly subversive period drama I Killed Rasputin.
However, because of the lack of wider success and continuing adverse criticism, Hossein ended his film directing career in 1970, having concentrated on theatre where his achievements were never questioned, subsequently returning to film directing only twice. With two or three exceptions, his films remain commercially unavailable and difficult to see. Robert Hossein is the son of André Hossein, a composer of both Persian and Iranian Azerbaijani origin, of a Jewish comedy actress from Soroca Anna Mincovschi, he was married three times: first to Marina Vlady on 7 June 1962, to Caroline Eliacheff, daughter of Françoise Giroud. She was fifteen at the time and he was 34. In 1973, he dated for a short while Michèle Watrin, before she died the following year in a car accident. In 1976, he married actress Candice Patou, with whom he has a son. At the age of forty, Hossein was baptized in the Roman Catholic Church. According to an article written by Emannuel Peze, Hossein experienced a conversion to Catholicism in 1971 during a visit to the Marian apparition at San Damiano in Lombardo Italy.
In 2007, he presented a piece entitled Do not be afraid of the life of Pope John Paul II. He has a special devotion to Saint Therese of Lisieux. France: Commander of the Légion d'honneur, 2005 Monaco: Commander of the Order of Cultural Merit Member of Eurasian Academy. Robert Hossein on IMDb
The Conjugal Bed (1963 film)
The Conjugal Bed is a 1963 Italian comedy film directed by Marco Ferreri. It was entered into the 1963 Cannes Film Festival. A wealthy car dealer called Alfonso decides to get married with Regina, a devoted Catholic girl, introduced to him by a friend. After the wedding, she reveals having a strong sexual appetite but only aimed at conceiving a baby. After getting pregnant the bride loses any interest in Alfonso, he dies just as the baby is born. Ugo Tognazzi as Alfonso Marina Vlady as Regina Walter Giller as Father Bariaco Linda Sini as Mother Superior Riccardo Fellini as Riccardo Igi Polidoro as Igi Nino Vingelli Achille Majeroni as Aunt Mafalda The Conjugal Bed on IMDb
Reproductive rights
Reproductive rights are legal rights and freedoms relating to reproduction and reproductive health that vary amongst countries around the world. The World Health Organization defines reproductive rights as follows: Reproductive rights rest on the recognition of the basic right of all couples and individuals to decide and responsibly the number and timing of their children and to have the information and means to do so, the right to attain the highest standard of sexual and reproductive health, they include the right of all to make decisions concerning reproduction free of discrimination and violence. Women's reproductive rights may include some or all of the following: the right to legal and safe abortion. Reproductive rights may include the right to receive education about sexually transmitted infections and other aspects of sexuality, protection from practices such as female genital mutilation. Reproductive rights began to develop as a subset of human rights at the United Nation's 1968 International Conference on Human Rights.
The resulting non binding Proclamation of Tehran was the first international document to recognize one of these rights when it stated that: "Parents have a basic human right to determine and responsibly the number and the spacing of their children." States, have been slow in incorporating these rights in internationally binding instruments. Thus, while some of these rights have been recognized in hard law, that is, in binding international human rights instruments, others have been mentioned only in non binding recommendations and, have at best the status of soft law in international law, while a further group is yet to be accepted by the international community and therefore remains at the level of advocacy. Issues related to reproductive rights are some of the most vigorously contested rights' issues worldwide, regardless of the population's socioeconomic level, religion or culture; the issue of reproductive rights is presented as being of vital importance in discussions and articles by population concern organizations such as Population Matters.
Reproductive rights are a subset of rights. In 1945, the United Nations Charter included the obligation "to promote... universal respect for, observance of, human rights and fundamental freedoms for all without discrimination as to race, language, or religion". However, the Charter did not define these rights. Three years the UN adopted the Universal Declaration of Human Rights, the first international legal document to delineate human rights. Reproductive rights began to appear as a subset of human rights in the 1968 Proclamation of Tehran, which states: "Parents have a basic human right to determine and responsibly the number and the spacing of their children"; this right was affirmed by the UN General Assembly in the 1969 Declaration on Social Progress and Development which states "The family as a basic unit of society and the natural environment for the growth and well-being of all its members children and youth, should be assisted and protected so that it may assume its responsibilities within the community.
Parents have the exclusive right to determine and responsibly the number and spacing of their children." The 1975 UN International Women's Year Conference echoed the Proclamation of Tehran. The twenty-year "Cairo Programme of Action" was adopted in 1994 at the International Conference on Population and Development in Cairo; the non-binding Programme of Action asserted that governments have a responsibility to meet individuals' reproductive needs, rather than demographic targets. It recommended that family planning services be provided in the context of other reproductive health services, including services for healthy and safe childbirth, care for sexually transmitted infections, post-abortion care; the ICPD addressed issues such as violence against women, sex trafficking, adolescent health. The Cairo Program is the first international policy document to define reproductive health, stating: Reproductive health is a state of complete physical and social well-being and not the absence of disease or infirmity, in all matters relating to the reproductive system and its functions and processes.
Reproductive health therefore implies that people are able to have a satisfying and safe sex life and that they have the capability to reproduce and the freedom to decide if, when and how to do so. Implicit in this last condition are the right of men and women to be informed and to have access to safe, effective and acceptable methods of family planning of their choice, as well as other methods for regulation of fertility which are not against the law, the right of access to appropriate health-care services that will enable women to go safely through pregnancy and childbirth and provide couples with the best chance of having a healthy infant. Unlike previous population conferences, a wide range of interests from grassroots to government level were represented in Cairo. 179 nations attended the ICPD and overall eleven thousand representatives from governments, NGOs, international agencies and citizen activists participated. The ICPD did not address the far-reaching implications of the HIV/AIDS epidemic.
In 1999, recommendations at the ICPD+5 were expanded to include commitment to AIDS education and prevention of mother-to-child transmission, as well as to the developme
Odile Versois
Odile Versois was a French actress who appeared in 47 film and television productions between 1948 and 1980. Versois was the sister of Hélène Vallier and Olga Baïdar-Poliakoff, their father, was a noted opera singer of Russian descent, their mother, Militza Envald Voropanoff, was a dancer. Born in Paris, she began acting for a while pursued a ballet career. Versois married actor Jacques René Dacqmine in 1951 but the couple divorced a year later, she had four children by her second husband, Comte François Reynier Ambroise Henri Pozzo di Borgo, whom she married in 1953 but divorced. She died in Paris of cancer shortly after her 50th birthday; the Last Vacation The Bride Can't Wait Fantomas Against Fantomas Summer Storm Into the Blue Legend of Love Old Boys of Saint-Loup Mademoiselle Josette, My Woman Beautiful Love Grand Gala A Day to Remember The Young Lovers To Paris with Love Checkpoint Michel Strogoff King in Shadow Passport to Shame Toi, le venin Cartouche Where the Truth Lies Because, Because of a Woman Benjamin Le Crabe-tambour Julien Fontanes, magistrat Odile Versois at AllMovie Odile Versois profile, Cinememorial.com Odile Versois profile, Premiere.fr
La steppa
La steppa is a 1962 Italian adventure film directed by Alberto Lattuada. It was entered into the 12th Berlin International Film Festival. Charles Vanel - Pére Christophore Daniele Spallone - Iégoruska Cristina Gaioni - La fille du fleuve Pavle Vujisic - Kuzmiciov Marina Vlady - Comtesse Dranitsky Pero Kvrgic - Mossèi Michèle Bailly - La Gitane Ljuba Tadic - Jemelian Milan Bosiljcic Ljiljana Krstic Marianne Leibl Milorad Majic - Pantalei Natasha Petrova Hermina Pipinic - Olga Ivanovna Petar Prlicko Paolo Stoppa La steppa on IMDb
Ballet
Ballet is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and developed into a concert dance form in France and Russia. It has since become a widespread technical form of dance with its own vocabulary based on French terminology, it has been globally influential and has defined the foundational techniques used in many other dance genres and cultures. Ballet has been taught in various schools around the world, which have incorporated their own cultures and as a result, the art has evolved in a number of distinct ways. See glossary of ballet. A ballet, a work, consists of the music for a ballet production. Ballets are performed by trained ballet dancers. Traditional classical ballets are performed with classical music accompaniment and use elaborate costumes and staging, whereas modern ballets, such as the neoclassical works of American choreographer George Balanchine are performed in simple costumes and without the use of elaborate sets or scenery.
Ballet is a French word which had its origin in Italian balletto, a diminutive of ballo which comes from Latin ballo, meaning "to dance", which in turn comes from the Greek "βαλλίζω", "to dance, to jump about". The word came into English usage from the French around 1630. Ballet originated in the Italian Renaissance courts of the sixteenth centuries. Under Catherine de' Medici's influence as Queen, it spread to France, where it developed further; the dancers in these early court ballets were noble amateurs. Ornamented costumes were meant to impress viewers, but they restricted performers' freedom of movement; the ballets were performed in large chambers with viewers on three sides. The implementation of the proscenium arch from 1618 on distanced performers from audience members, who could better view and appreciate the technical feats of the professional dancers in the productions. French court ballet reached its height under the reign of King Louis XIV. Louis founded the Académie Royale de Danse in 1661 to establish standards and certify dance instructors.
In 1672, Louis XIV made Jean-Baptiste Lully the director of the Académie Royale de Musique from which the first professional ballet company, the Paris Opera Ballet, arose. Pierre Beauchamp served as Lully's ballet-master. Together their partnership would drastically influence the development of ballet, as evidenced by the credit given to them for the creation of the five major positions of the feet. By 1681, the first "ballerinas" took the stage following years of training at the Académie. Ballet started to decline in France after 1830, but it continued to develop in Denmark and Russia; the arrival in Europe of the Ballets Russes led by Sergei Diaghilev on the eve of the First World War revived interest in the ballet and started the modern era. In the twentieth century, ballet had a wide influence on other dance genres, Also in the twentieth century, ballet took a turn dividing it from classical ballet to the introduction of modern dance, leading to modernist movements in several countries. Famous dancers of the twentieth century include Anna Pavlova, Galina Ulanova, Rudolf Nureyev, Maya Plisetskaya, Margot Fonteyn, Rosella Hightower, Maria Tall Chief, Erik Bruhn, Mikhail Baryshnikov, Suzanne Farrell, Gelsey Kirkland, Natalia Makarova, Arthur Mitchell.
Stylistic variations and subgenres have evolved over time. Early, classical variations are associated with geographic origin. Examples of this are Russian ballet, French ballet, Italian ballet. Variations, such as contemporary ballet and neoclassical ballet, incorporate both classical ballet and non-traditional technique and movement; the most known and performed ballet style is late Romantic ballet. Classical ballet is based on vocabulary. Different styles have emerged in different countries, such as French ballet, Italian ballet, English ballet, Russian ballet. Several of the classical ballet styles are associated with specific training methods named after their creators; the Royal Academy of Dance method is a ballet technique and training system, founded by a diverse group of ballet dancers. They merged their respective dance methods to create a new style of ballet, unique to the organization and is recognized internationally as the English style of ballet; some examples of classical ballet productions are: the Nutcracker.
Romantic ballet was an artistic movement of classical ballet and several productions remain in the classical repertoire today. The Romantic era was marked by the emergence of pointe work, the dominance of female dancers, longer, flowy tutus that attempt to exemplify softness and a delicate aura; this movement occurred during the early to mid-nineteenth century and featured themes that emphasized intense emotion as a source of aesthetic experience. The plots of many romantic ballets revolved around spirit women who enslaved the hearts and senses of mortal men; the 1827 ballet La Sylphide is considered to be the first, the 1870 ballet Coppélia is considered to be the last. Famous ballet dancers of the Romantic era include Marie Taglioni, Fanny Elssler, Jules Perrot. Jules Perrot is known for his choreography that of Giselle considered to be the most celebrated romantic ballet. Neoclassical ballet is abstract, with no clear plot, costumes or scenery. Music choice can be diverse and will include music, neoclassical.
Tim Schol
_by_Erling_Mandelmann.jpg)
