28 August 2016

Françoise Rosay

Françoise Rosay (1891-1974) was the grand old lady of the French cinema. Her most famous films were La kermesse heroïque (1935) and Pension Mimosas (1936), both directed by her husband, Jacques Feyder.

Françoise Rosay
French postcard, early 1930s.

Françoise Rosay
French postcard by Ed. Chantal, Paris, no. 628. Photo: R. Voinquel.


Françoise Rosay was born Françoise Bandy de Nalèche in Paris in 1891 as the illegitimate daughter of the actress Marie-Thérèse Chauvin, aka Sylviac, and count François Louis Bandy de Nalèche. Her father only recognised her in 1938. She originally planned to become an opera singer, and in 1917, won a prize at the Paris Conservatoire and made her debut at the Palais Garnier in the title role of Salammbô by Ernest Reyer. She also sang in Castor et Pollux by Rameau and Thaïs by Massenet.

In 1911 Rosay had her first screen performance in an adaptation of William Shakespeare's Falstaff by Henri Desfontaines. Only a few films followed in the next years, including a bit part in the cult serial Les Vampires/The Vampires (Louis Feuillade, 1916).

The tide radically changed in 1917 when she married film director Jacques Feyder. In the late 1910s she played in various shorts by him and from 1921 to 1941 Rosay played in almost all important films by Feyder. In the touching melodrama Gribiche/Mother of Mine (Jacques Feyder, 1926), she had her first lead as a rich American woman who adopts a Parisian working class boy (Jean Forest).

Next followed the Franco-German coproduction Le bateau de verre/The Glass Boat (Constantin David, Jacqueline Milliet, 1927) with André Nox, Madame Recamier (Tony Lekain, Gaston Ravel, 1928) opposite Marie Bell, and the comedy Les deux timides/Two Timid Souls (René Clair, 1928).

In the late 1920s and early 1930s, the Feyder-Rosay family resided in Hollywood, where Feyder shot The Kiss (1929) and the German version of Anna Christie (1931) both with Greta Garbo, and Daybreak (1931) and Son of India (1931) both with Ramon Novarro. Rosay played Marceline Day’s mother in the orientalist romance The One Woman Idea (Berthold Viertel, 1929).

Francoise Rosay
German postcard by Das Programm von Heute, Berlin. Photo: Hammer.

Francoise Rosay
French postcard, 1940 Photo: Teddy Piaz.

Intense Career in French Cinema

When sound film set in, Françoise Rosay played in various French and German versions of American films by MGM and Paramount, intended for the European market. These included Soyons gais (Arthur Robison, 1930) - the French version of Let Us Be Gay (Robert Z. Leonard, 1930) in which she replaced Norma Shearer, Le procès de Mary Dugan (Marcel de Sano, 1930) - the French version of The Trial of Mary Dugan (Bayard Veiller, 1929), and Si l’empereur savait ça (Jacques Feyder, 1930) - the French version of His Glorious Night (Lionel Barrymore, 1929).

She also had a part in the German and the French version of the Buster Keaton sound comedy Parlor, Bedroom and Bath (Edward Sedgwick, 1931), called Casanova wider Willen (Edward Brophy, 1931) and Buster se marie (Claude Autant-Lara, Edward Brophy, 1931).

At Paramount, Rosay played in the mélo The Magnificent Lie (Berthold Viertel, 1931), in which she was a French actress who becomes the idol of a blinded soldier (Ralph Bellamy), who is tricked in believing that a saucy music-hall singer (Ruth Chatterton) is the actress.

Other French versions of American films were La chance/Luck (René Guissart, 1931) starring Marie Bell, Le petit café/The Little Café (Ludwig Berger, 1931) opposite Maurice Chevalier, and Quand on est belle/When She's Pretty (Arthur Robison, 1932) with Lily Damita.

Back in France, Rosay had an intense career in French cinema of the 1930s. She was Madame Husson in the Guy de Maupassant adaptation Le Rosier de Madame Husson/Mrs. Husson's Virginity Prize (Dominique Bernard-Deschamps, 1932), followed by Coralie et Cie/Coralie and Company (Alberto Cavalcanti, 1933), La pouponnière/The nursery (Jean Boyer, 1933), and Vers l’abîme/Towards the abyss (Hans Steinhoff, Serge Véber, 1934). She also played in the German version of Vers l’abîme, Die Insel (Hans Steinhoff, 1934). In 1934 Rosay also had a small part as bar owner in Feyder’s Le grand jeu/The Great Game (Jacques Feyder, 1934), starring Marie Bell and Pierre Richard-Willm.

Francoise Rosay, La kermesse heroique
Dutch postcard by Tobis filmdistributie N.V. Amsterdam. Photo: Tobis. Publicity still for La Kermesse Heroique (1935). Collection: Egbert Barten.

La Kermesse Heroique
Dutch postcard by Tobis filmdistributie N.V. Amsterdam. Photo: Tobis. Publicity still for La Kermesse Heroique (1935). Collection: Egbert Barten.

Poetic Realism

In 1935 Françoise Rosay played her most famous part, that of the clever wife of a Flemish mayor whose city is invaded by the Spanish army. In Feyder’s film La kermesse heroïque/Carnival in Flanders (Jacques Feyder, 1936), all local men cowardly hide, while the women stay. They conquer the foreigners with their wit and charm and eventually make them go away. Right wing nationalists in Holland, Flanders and elsewhere were not very happy with the film. Rosay also played in the German version, Die klugen Frauen/The Smart Women (Jacques Feyder, 1936).

Immediately after this film Rosay played another memorable part, that of the pension keeper Louise Noblet in the contemporary drama Pension Mimosas (Jacques Feyder, 1936). Louise and her man foster a boy whose father is in prison. Once grown up, the godson (Paul Bernard) has become as delinquent as his father was, but Louise still helps him until affairs run out of hand.

Rosay had the title role in Marcel Carné’s film Jenny (Marcel Carné, 1936) with Albert Préjean, typical for the poetic realism in French cinema of the late 1930s. Rosay plays a madam who doesn’t want her daughter to know.

Until the war Rosay prolonged her highly active career with The Robber Symphony (Friedrich Feher, 1937) with Magda Sonja, Un carnet de bal/Christine (Julien Duvivier, 1937), Drôle de drame/Bizarre, Bizarre (Marcel Carné, 1937) with Louis Jouvet, Les gens du voyage/People Who Travel (Jacques Feyder, 1938) and Feyder's German version Fahrendes Volk (Jacques Feyder, 1938).

Next to Fahrendes Volk,  Rosay also played in three other German films: Die letzten Vier von Santa Cruz/The Last Four of Santa Cruz (Werner Kingler, 1935) shot at the Canarian Islands, Mein Sohn, der Herr Minister/My Son the Minister (Veit Harlan, 1937) with Hans Brausewetter, and Die Hochzeitsreise/The Wedding Journey (Karl Ritter, 1939).

Francoise Rosay
Dutch postcard by HEMO. Photo: Eagle Lion.

Françoise Rosay
Belgian postcard by Nels for Kwatta. Photo: M.B. Films.

Narrow Escape

Strikingly Françoise Rosay played her most famous parts in her forties and not in her twenties, contradicting the cliché about the lack of interesting parts for older actresses.

During the German occupation of France, Rosay first worked for the resistance while still acting. Then she had a narrow escape when the Germans invaded the south in 1942. She rejoined her husband in Switzerland, where Rosay taught at the Conservatoire de Genève (Conservatory of Geneva) and worked for an antifascist radio station.

Her French comeback was with the female lead in Feyder’s criminal drama Macadam (Jacques Feyder, Marcel Blistène, 1946) with Simone Signoret. It would be their last professional collaboration, because Feyder died in 1948. Rosay was devastated but kept on working.

Until her death Rosay continued to play leads but also smaller parts in French, Italian, British and American films. These include Saraband for Dead Lovers (Basil Dearden, 1948), Donne senza nome/Women Without Names (Geza von Radvanyi, 1950) starring Simone Simon, the crime comedy L’auberge rouge/The Red Inn (Claude Autant-Lara, 1951) with Fernandel, La reine Margot/A Woman of Evil (Jean Dréville, 1954) featuring Jeanne Moreau, and Interlude (Douglas Sirk, 1957) with June Allyson and Rossano Brazzi.

In 1969 the 'grand old lady of French cinema' was awarded a lifetime award as best actress, the Etoile du Crystal. Her memoirs were published as La traversée d'une vie in 1974. That same year Françoise Rosay died at the age of 82 in Montgeron, France.

Her final film was Der Fußgänger/The Pedestrian (Maximilian Schell, 1974), which was nominated for an Academy Award and won the Golden Globe for Best Foreign-Language Film of 1974. Rosay and Feyder had three sons: Marc, Paul and actor/producer Bernard, who appeared in films as Bernard Farrel.

Complete version of Gribiche/Mother of Mine (1926). Source: Berbal (YouTube).

French trailer for L’auberge rouge (1951). Source: sansdomicileconnu (YouTube).

French trailer for Le cave se rebiffe (Gilles Grangier, 1961). Source: Retrotrailer (YouTube).

Sources: Caroline Hanotte (CinéArtistes - French), Wikipedia (English, German and French), and IMDb.

27 August 2016

Jean-Louis Barrault

French actor, director and mime artist Jean-Louis Barrault (1910-1994) was a giant of both the classical and avant-garde theater in France. He also acted in nearly 50 films, associating with such great European film directors as Abel Gance, Georg Wilhelm Pabst, Max Ophüls and Jean Renoir. His slender frame, gentle posture and sensitive face belied a great power and those same talents were utilized magnificently, now and then, on film. His pantomime training with Étienne Decroux served him well when he portrayed the 19th-century mime Baptiste Debureau in the classic of the French cinema, Les Enfants du Paradis/Children of Paradise (Marcel Carné, 1945).

Jean-Louis Barrault
French postcard by Editions O.P., Paris, no. 147. Photo: Star.

Jean-Louis Barrault in Le Destin fabuleux de Désirée Clary (1942)
French postcard by Edit. Chantal, Rueil, no. 20. Photo: C.C.F.C. Publicity still for Le Destin fabuleux de Désirée Clary/Mlle. Desiree (Sacha Guitry, 1942) with Barrault as Napoléon Bonaparte.

Jean-Louis Barrault
French photo card by Viny, no. 132. Photo: Star.

Jean-Louis Barrault
French postcard by Edition P.I., Paris, no. 21.


Jean-Louis Barrault was born in Le Vésinet near Paris in 1910. He was the son of a pharmacist. At the age of six he decided that his career would be in the theatre.

From an ordinary working-class state school, he was admitted to the College Chaptel where he took his baccalaureate and taught for a year. His studies were principally in mathematics, philosophy and art, and although a scholarship pupil with no spending money he lost no opportunity to attend the theatre or to act.

At 20, he made his official film debut in the little known Vagabonds imaginaires/Imaginary Vagabonds (1930), billed as J.L. Barrault. A year later followed his stage debut as a servant in Charles Dullin's production of Volpone at the Théâtre de l'Atelier.

He studied drama with Charles Dullin, one of the greatest actors and drama teachers of his time. In his troop he acted from 1933 to 1935, while he supported himself as a bookkeeper and flower salesman during those lean years.

At the age of 25, Barrault met and studied with the mime Étienne Decroux. Years later, Decroux would play the father of Barrault's character Baptiste in Les Enfants du Paradis/Children of Paradise (Marcel Carné, 1945).

Barrault started to work with his own ensemble. His first independent production, an adaptation of William Faulkner’s novel As I Lay Dying (1935), was a mime play. His other early productions included Miguel de Cervantes’s Numancia (1937) and Faim (1939), based on the novel Hunger by Knut Hamsun.

He also played supporting roles in such films as Les beaux jours/The Beautiful Days (Marc Allégret, 1935) starring Simone Simon, Un grand amour de Beethoven/Beethoven (Abel Gance, 1936) featuring Harry Baur, and Jenny (Marcel Carné, 1936) with Françoise Rosay.

Then he made quite an impact in the comedy Drôle de drame/Bizarre, bizarre (Marcel Carné, 1937) starring Louis Jouvet, and the classic romantic film Mirages (Alexandre Ryder, 1937) opposite the enigmatic Arletty.

Jean-Louis Barrault
French postcard by Edition Chantal, Paris, no. 620. Photo: Français.

Jean-Louis Barrault
French postcard by A. Noyer (A.N.), Paris, no. 1131. Photo: Raymond Voinquel.

Jean-Louis Barrault
French postcard by Editions P.I., Paris, no. 132. Photo: Star.

Jean-Louis Barrault
Belgian postcard by Photo Edition (P.E.), no. 155. Photo: Studio Cayet.

Children of Paradise

In 1940, Jean-Louis Barrault joined the Comédie-Française at the instigation of Jacques Copeau and he worked both as actor and director for France's national theatre company. Till 1946 he directed productions like Paul Claudel's Le Soulier de satin (The Satin Slipper) and Jean Racine's Phèdre, two plays that made his reputation. His dedication to both avant-garde and classical plays helped to revive the French theatre after World War II, while presenting world premières of works by such playwrights as Samuel Beckett, Eugène Ionesco and Jean Genet.

In 1940, he married Madeleine Renaud, who was one of the stars of the Comédie-Française since 1928. In 1936 Barrault had met the actress, who was a decade his senior. In 1947, they founded their own company at the Théâtre Marigny under the name Compagnie M. Renaud–J.L. Barrault. They opened with Hamlet in a translation by André Gide, Later they founded other theatres and toured extensively, including in South America.

In 1952, Barrault and Renard made daunting Broadway débuts touring in repertory with Les Fausses Confidences (False Confessions) by Pierre Marivaux, Barrault's own adaptation of The Trial by Kafka, Amphitryon, and other productions. The combination of French and foreign classics with modern plays became the hallmark of the company’s great success. In 1957, they returned with Paul Claudel's Christopher Columbus, Volpone, The Misanthrope, Intermezzo, and others. That year Barrault received a Special Tony Award for his work.

In his 1994 obituary of Barrault in the British newspaper The Independent, John Calder writes: "He improvised his own dramatic versions of great French and European literature and made stunning spectacles of them, and he was a practical man of the theatre who knew how to produce dramas that were didactic and at the same time exciting. He perfectly embodied in his productions (Antonin) Artaud's belief that the theatre had no value if it did not change the lives and attitudes of those who came to it; he was an intellectual who never lost the common touch, who gave his whole life to his profession and through it became a great teacher and exponent of the ideas of others that he developed into his own conception of 'total theatre'. Barrault built a team of loyal and devoted professionals around him, not only actors, but administrators and creative talents as well".

Barrault's greatest film triumph was his portrayal of Baptiste in Les enfants du paradis/Children of Paradise (Marcel Carné, 1945). The story was based on the life of the 19th century mime-actor Jean-Gaspard Deburau (Baptiste Debureau), and Barrault originally suggested the subject to director Marcel Carné and author Jacques Prévert. The phenomenal success of this film singlehandedly revived public interest in the art of pantomime and subsequently influenced the popularity of legendary mime Marcel Marceau. On the set of Les enfants du paradis, Barrault hid French Resistance members.

Jean-Louis Barrault
French postcard by O.P., Paris, no. 14. Photo: Studio Harcourt.

Jean-Louis Barrault
French photo card by SERP, Paris, no. 132. Photo: Studio Harcourt.

Jean-Louis Barrault
French postcard by Editions P.I., Paris, no. 66.

Jean-Louis Barrault
French postcard by Editions E.C., Paris, no. 20. Photo: Pathé.

Jean-Louis Barrault
French postcard by P.I., Paris, no. 21. Photo: Pathé-Cinéma.

Dr. Jekyll and Mr. Hyde

After the war, Jean-Louis Barrault also appeared in many well-known films. A highlight was the Oscar nominated La ronde/Roundabout (1950), Max Ophüls' ode to love in the Vienna of 1900 with Anton Walbrook as the narrator.

Interesting is also the TV film Le testament du Docteur Cordelier/Experiment in Evil (Jean Renoir, 1959), in which Barrault played Dr. Jekyll and Mr. Hyde using no make-up or camera tricks for his transformation. He also appeared as a priest in the Oscar winning war epic The Longest Day (1962, Ken Annakin, Andrew Marton, Bernhard Wicki).

In 1959, Barrault was offered the Theatre de l'Odeon by the government: this was the little-used left-bank second theatre of the Comédie-Française, and renamed the Theatre de France it became the most prestigious playhouse in the country. He now widened the repertory to include the new drama that had emerged from Samuel Beckett, and Eugene Ionesco. He directed and played the lead in Ionesco's Rhinoceros, while Madeleine Renaud made one of the most telling interpretations of her career in Beckett's O les Beaux Jours (Happy Days), a role she continued to play until over 90.

In 1968 it was announced that Barrault had been ordered to leave as manager of the Theatre de France. The death blow was administered in a letter from his old friend André Malraux, General de Gaulle's Culture Minister, who had initially asked Barrault to preside the Theatre de France as its director. The cause of Barrault's dismissal was his role in the May riots there.

During the demonstrations, anarchist students from the Sorbonne 'liberated' the Odéon Theatre and turned it into a discussion hall. They also destroyed 50% of the sets, ripped up red velvet seats and urinated on costumes. Barrault wept when he saw the damage, but government officials believed that he tacitly allowed the rebels to take over. Barrault also took to the stage to proclaim his sympathy with student goals and to denounce France's 'bourgeois culture.' His removal set off a chorus of protests by French stage figures and critics.

In later years Barrault served twice as director of the Theatre des Nations and in 1974-1981 he was the director of the Theatre d'Orsay. A year later he appeared in the film La Nuit des Varennes/That Night in Varennes (Ettore Scola, 1982) in which he was one of the passengers in a stagecoach who find themselves caught up in the events of the French Revolution in 1791.

His last film performance was in the romantic drama La lumière du lac/The Light of the Lake (Francesca Comencini, 1988) starring Nicole Garcia.

In 1994 Jean-Louis Barrault died in his sleep, apparently of a heart attack in his house in Paris, at the age of 83. The beloved actor was the uncle of actress Marie-Christine Barrault. His wife Madeleine died in September of that same year at age 94.

Among Barrault’s publications are Réflexions sur le théâtre (Reflections on the Theatre, 1949), Nouvelles Réflexions sur le théâtre (The Theatre of Jean-Louis Barrault, 1959), and Souvenirs pour demain (Memories for Tomorrow, 1972). Barrault was named an officer of the Legion of Honour.

Trailer for Les Enfants du Paradis/Children of Paradise (1945). Source: Pathé (YouTube).

Compilation of La ronde/Roundabout (1950). Source: illmatikss (YouTube). Music: Duke Ellington & John Coltrane: In a sentimental mood / My little brown book.

Trailer The Longest Day (1962). Source: Danios 12345 (YouTube).

French trailer La Nuit des Varennes/That Night in Varennes (1982). Source: Gaumont (YouTube).

Sources: John Calder (The Independent), Hal Erickson (AllMovie), Alan Riding (New York Times), Gary Brumburgh (IMDb), Encyclopaedia Britannica, IMDb and Wikipedia.

26 August 2016

EFSP's Dazzling Dozen: Film actors flying in from around the world

I like this German postcard, 'Filmschauspieler aus aller Welt'. The caption translates as 'Film actors from around the world'. Photos of film stars posing glamorously in front of airplanes was a well known phenomenon in the 1950s, that 'Golden Age Of Travel'. Famous is a series created by Air France. But how was it really to fly during the 1950s? Dangerous, I guess, smoky, boozy, boring and very, very expensive.

Filmschauspeieler aus aller Welt
German postcard by Kunst und Film Verlag H. Lukow, Hannover, no. L2/1042.

Married in 1954

Who are these film stars on this postcard, posing on the stairs of an airplane or standing nearby? And from which side of the world were they coming?

The pictured film actors are from top left to down right:
Linda Darnell (USA), Tyrone Power (USA),  Elizabeth Taylor (UK/USA),
Robert Taylor (USA) and his wife Ursula Thiess (Germany), Gina Lollobrigida (Italy) and her husband, the  physician Milko Škofič (Slovenia), Audrey Hepburn (UK) and husband Mel Ferrer (USA),
Mona Baptiste (Trinidad), Mara Lane (UK/Austria) and Gloria DeHaven (USA).

So this curious postcard must date from the mid 1950s. Ursula Thiess and Robert Taylor married in 1954, and Audrey Hepburn and Mel Ferrer also became a couple in 1954.

Below I selected 10 dazzling pictures of these 'Filmschauspieler aus aller Welt' for you. When there was no postcard of a film actor in our collection available (yes, we try to specialise in European stars), I selected an image from that wonderful picture source Flickr. As an extra, I added a postcard with an Air France picture.

Gina Lollobrigida
German postcard by ISV, no. B 28. Photo: MGM.

Italian actress and photojournalist Gina Lollobrigida (1927), was one of Europe’s most prominent film stars of the 1950s. ‘La Lollo’ was the first European sex symbol of the post war years and she paved the way into Hollywood for her younger colleagues Sophia Loren and Claudia Cardinale.

Linda Darnell
Collection: Playboy75UK @ Flickr.

American film actress Linda Darnell (1923-1965) progressed from modeling as a child to acting in theatre and film as an adolescent. At the encouragement of her mother, she made her first film in 1939, and appeared in supporting roles in big budget films for 20th Century Fox throughout the 1940s and early 1950s. She rose to fame with co-starring roles opposite Tyrone Power in adventure films, and established a main character career after her role in Forever Amber (1947). She won critical acclaim for her work in Unfaithfully Yours (1948) and A Letter to Three Wives (1949).

Tyrone Power
German postcard by Wilhelm Schulze-Witteborg Grafischer Betrieb, Wanne-Eickel. Photo: 20th Century Fox.

Beloved Hollywood star Tyrone Power (1914-1958) may have been all-American, but he sure loved European ladies - he was married to both French Annabella and half-Dutch Linda Christian. 'Ty' was one of the great romantic film stars.

Elizabeth Taylor
German postcard by Krüger, no. 902/20.

British-American actress Elizabeth Taylor (1932-2011) is considered one of the great actresses of Hollywood's Golden Age. She began her career as a child star, and as an adult she became known for her acting talent and beauty. 'Liz' had a much publicised private life, including eight marriages and several near death experiences.

Collection: Maria @ Flickr. Photo: Robert Taylor in 1943.

American film actor Robert Taylor (1911-1969) was one of the most popular leading men of his time. Taylor began his career in films in 1934 when he signed with Metro-Goldwyn-Mayer. His popularity increased during the late 1930s and 1940s with appearances in A Yank at Oxford (1938), Waterloo Bridge (1940), and Bataan (1943). Taylor married actress Ursula Thiess in 1954, and they had two children. He died of lung cancer at the age of 57.

Ursula Thiess
Mexican collectors card, no. 160. Photo: publicity still for The Iron Glove (1954).

German film star Ursula Thiess (1924–2010) was dubbed by Life magazine as the ‘most beautiful woman in the world’. Howard Hughes offered her a long-term contract to RKO, but five years later she gave up her acting career after marrying Robert Taylor. The glamorous, luscious looking actress had only starred in a handful of Hollywood movies.

Audrey Hepburn
German postcard by Ufa, Berlin-Tempelhof, no. CK-5. Retail price: 30 Pfg. Photo: Paramount Film.

Elegant, talented and funny Audrey Hepburn (1929-1993) was a Belgian-born, British-Dutch actress and humanitarian. After a start in the European cinema she became one of the most successful Hollywood stars of the 1950s and 1960s.

mel ferrer & audrey hepburn
Collection: Fred Baby @ Flickr. Photo: Mel Ferrer and Audrey Hepburn.

Mel Ferrer (1917-2008) was an American actor, film director, and film producer. He made his screen acting debut in Lost Boundaries (1949), and is best remembered for his roles as the injured puppeteer in the musical Lili (1953), as the villainous Marquis de Maynes in Scaramouche (1952) and as Prince Andrei in War and Peace (1956), co-starring with his then-wife, Audrey Hepburn.

Mara Lane
German postcard by UFA, no. CK-200. Photo: Klaus Collignon / UFA.

British-Austrian actress Mara Lane (1930) was considered one of the most beautiful models in Great Britain during the early 1950s. She appeared in more than 30 English and German language films of the 1950s and early 1960s, but seems completely forgotten now.

Gloria DeHaven (1925-2016)
British postcard in the Celebrity Autographs Series, no. 192. Photo: Universal-International. Publicity still for So This Is Paris (Richard Quine, 1954).

Gloria DeHaven (1925-2016) was an American musical actress, with mostly supporting roles or leading lady in B movies. In Hollywood, she started as a child star then worked as a juvenile actress and finially became a leading-lady. During her long and varied career she would also perform as nightclub singer, as stage actress in Broadway and the West End and as a TV actress and hostess.

Jacques Brel
French postcard by Editions F. Nugeron, Star 134. Photo: Air France / Distribution VU. Caption: Jacques Brel, 20 Novembre 1964.

This is a post for Postcard Friendship Friday, hosted by Beth at the The Best Hearts are Crunchy. You can visit her by clicking on the button below.

Source: John Brownlee (Terminal Velocity), IMDb and Wikipedia.