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Brigitte Kaandorp - Kouwe Drukte
Author: Spyker020
Keywords: Brigitte Kaandorp Kouwe Drukte Kamerscherm
Added: September 7, 2008
der samstag abend
Author: cathee2307
Keywords: brigitte
Added: September 7, 2008
ja sowas passiert wenn wir abends weggehen
Author: cathee2307
Keywords: brigitte
Added: September 7, 2008
Subtitled; Aka: Contempt. Director: Jean-Luc Godard; Script: Jean-Luc Godard; based on the novel "Il Disprezzo" by Alberto Moravia; Photo: Raoul Coutard; Music: Georges Delerue;Cast: Brigitte Bardot (Camille Javal), Michel Piccoli (Paul Javal), Jack Palance (Jeremy Prokosch), Giorgia Moll (Francesca Vanini), Fritz Lang (lui-même) Paul Javal is a former detective novel writer who is engaged by the film producer Jeremy Prokosch to re-write a film about Homer's Odyssey. Prokosch is at odds with his director, Fritz Lang, who wants to capture the glory and realism of Greek antiquity, whilst Prokosch is after a film that will simply make big bucks. Javal agrees to take on the work but soon discovers that his wife, Camille, has begun to despise him for his lack of conviction. Javal saw himself as a great play writer and now he has succumbed to the attraction of Prokosch's chequebook. Should he choose between his failing marriage or his new job - or is it too late to decide? On the surface, this is probably Jean-Luc Godard's most conventional film, with expensive location work, a large cast with some star names. Conspicuous by their absence are the cynical intellectual humour, the harsh editing, the over-use of jump cutting, and much of Godard's other stylish devices. Yet the film is as subversive and as reactionary as any which Godard directed -- except here he achieves that aim within the parameters of what is an ostensibly conventional film. Based on a novel by Alberto Moravia (A Ghost at Noon), Le Mépris explores the conflicting interests of a film producer, director and writer. This is set against the disintegrating marriage of the film's writer. Cleverly, the film being made (The Odyssey) parallels the lives of the main protagonists in the story -- Javal is Odysseus, his wife is Penelope and the producer Prokosch is Odysseus' rival, Poseidon. These different overlaying strands give the film great depth and heighten the sense of tragedy which is unfolding in the lives of Javal and Camille. Of the lead actors, Brigitte Bardot is the one that is best used by Godard. Even in scenes where the dialogue is split equally between her and her co-star, Michel Piccoli, it is on her that the camera lingers, longingly. However, here, unlike in so many lesser films, the intention is not purely exploitative. Far from being cheap pornography, Raould Coutard's photography of Bardot is sublimely artistic and genuinely beautiful. With Georges Delerue's haunting and evocative musical score the overall effect is deeply moving, prefacing the Greek tragedy that is to come. Towards the end, the sense of beauty is captured and conveyed so vividly that it almost hurts to watch it. Bardot, Coutard and Godard make a marvellously inspired trio. The stark realism of Bardot's performance in this film led one journalist (possibly encouraged by Godard) to promulgate one of cinema's greatest myths - that the actress's real name was in fact Camille Javal. Beneath the surface, Godard's dissatisfaction with the conventions of film-making are all to apparent. Aside from the far from subtle in-jokes about chequebooks and mermaids, Godard attacks the shallowness and opportunism that besets so much of modern film making. The virtues of honest expressionism and artistic integrity are all too willingly sacrificed in the pursuit of box office receipts and short term fame. That Godard manages to pull this off so successfully in a film that appears, on the surface, to contradict his thesis, is a sign of great courage and unfaltering genius.
Author: 21458922
Keywords: Le.Mépris Godrad Bardot Piccoli Palance Fritz.Lang
Added: September 7, 2008
Subtitled; Aka: Contempt. Director: Jean-Luc Godard; Script: Jean-Luc Godard; based on the novel "Il Disprezzo" by Alberto Moravia; Photo: Raoul Coutard; Music: Georges Delerue;Cast: Brigitte Bardot (Camille Javal), Michel Piccoli (Paul Javal), Jack Palance (Jeremy Prokosch), Giorgia Moll (Francesca Vanini), Fritz Lang (lui-même) Paul Javal is a former detective novel writer who is engaged by the film producer Jeremy Prokosch to re-write a film about Homer's Odyssey. Prokosch is at odds with his director, Fritz Lang, who wants to capture the glory and realism of Greek antiquity, whilst Prokosch is after a film that will simply make big bucks. Javal agrees to take on the work but soon discovers that his wife, Camille, has begun to despise him for his lack of conviction. Javal saw himself as a great play writer and now he has succumbed to the attraction of Prokosch's chequebook. Should he choose between his failing marriage or his new job - or is it too late to decide? On the surface, this is probably Jean-Luc Godard's most conventional film, with expensive location work, a large cast with some star names. Conspicuous by their absence are the cynical intellectual humour, the harsh editing, the over-use of jump cutting, and much of Godard's other stylish devices. Yet the film is as subversive and as reactionary as any which Godard directed -- except here he achieves that aim within the parameters of what is an ostensibly conventional film. Based on a novel by Alberto Moravia (A Ghost at Noon), Le Mépris explores the conflicting interests of a film producer, director and writer. This is set against the disintegrating marriage of the film's writer. Cleverly, the film being made (The Odyssey) parallels the lives of the main protagonists in the story -- Javal is Odysseus, his wife is Penelope and the producer Prokosch is Odysseus' rival, Poseidon. These different overlaying strands give the film great depth and heighten the sense of tragedy which is unfolding in the lives of Javal and Camille. Of the lead actors, Brigitte Bardot is the one that is best used by Godard. Even in scenes where the dialogue is split equally between her and her co-star, Michel Piccoli, it is on her that the camera lingers, longingly. However, here, unlike in so many lesser films, the intention is not purely exploitative. Far from being cheap pornography, Raould Coutard's photography of Bardot is sublimely artistic and genuinely beautiful. With Georges Delerue's haunting and evocative musical score the overall effect is deeply moving, prefacing the Greek tragedy that is to come. Towards the end, the sense of beauty is captured and conveyed so vividly that it almost hurts to watch it. Bardot, Coutard and Godard make a marvellously inspired trio. The stark realism of Bardot's performance in this film led one journalist (possibly encouraged by Godard) to promulgate one of cinema's greatest myths - that the actress's real name was in fact Camille Javal. Beneath the surface, Godard's dissatisfaction with the conventions of film-making are all to apparent. Aside from the far from subtle in-jokes about chequebooks and mermaids, Godard attacks the shallowness and opportunism that besets so much of modern film making. The virtues of honest expressionism and artistic integrity are all too willingly sacrificed in the pursuit of box office receipts and short term fame. That Godard manages to pull this off so successfully in a film that appears, on the surface, to contradict his thesis, is a sign of great courage and unfaltering genius.
Author: 21458922
Keywords: Le.Mépris Godrad Bardot Piccoli Palance Fritz.Lang
Added: September 7, 2008
Subtitled; Aka: Contempt. Director: Jean-Luc Godard; Script: Jean-Luc Godard; based on the novel "Il Disprezzo" by Alberto Moravia; Photo: Raoul Coutard; Music: Georges Delerue;Cast: Brigitte Bardot (Camille Javal), Michel Piccoli (Paul Javal), Jack Palance (Jeremy Prokosch), Giorgia Moll (Francesca Vanini), Fritz Lang (lui-même) Paul Javal is a former detective novel writer who is engaged by the film producer Jeremy Prokosch to re-write a film about Homer's Odyssey. Prokosch is at odds with his director, Fritz Lang, who wants to capture the glory and realism of Greek antiquity, whilst Prokosch is after a film that will simply make big bucks. Javal agrees to take on the work but soon discovers that his wife, Camille, has begun to despise him for his lack of conviction. Javal saw himself as a great play writer and now he has succumbed to the attraction of Prokosch's chequebook. Should he choose between his failing marriage or his new job - or is it too late to decide? On the surface, this is probably Jean-Luc Godard's most conventional film, with expensive location work, a large cast with some star names. Conspicuous by their absence are the cynical intellectual humour, the harsh editing, the over-use of jump cutting, and much of Godard's other stylish devices. Yet the film is as subversive and as reactionary as any which Godard directed -- except here he achieves that aim within the parameters of what is an ostensibly conventional film. Based on a novel by Alberto Moravia (A Ghost at Noon), Le Mépris explores the conflicting interests of a film producer, director and writer. This is set against the disintegrating marriage of the film's writer. Cleverly, the film being made (The Odyssey) parallels the lives of the main protagonists in the story -- Javal is Odysseus, his wife is Penelope and the producer Prokosch is Odysseus' rival, Poseidon. These different overlaying strands give the film great depth and heighten the sense of tragedy which is unfolding in the lives of Javal and Camille. Of the lead actors, Brigitte Bardot is the one that is best used by Godard. Even in scenes where the dialogue is split equally between her and her co-star, Michel Piccoli, it is on her that the camera lingers, longingly. However, here, unlike in so many lesser films, the intention is not purely exploitative. Far from being cheap pornography, Raould Coutard's photography of Bardot is sublimely artistic and genuinely beautiful. With Georges Delerue's haunting and evocative musical score the overall effect is deeply moving, prefacing the Greek tragedy that is to come. Towards the end, the sense of beauty is captured and conveyed so vividly that it almost hurts to watch it. Bardot, Coutard and Godard make a marvellously inspired trio. The stark realism of Bardot's performance in this film led one journalist (possibly encouraged by Godard) to promulgate one of cinema's greatest myths - that the actress's real name was in fact Camille Javal. Beneath the surface, Godard's dissatisfaction with the conventions of film-making are all to apparent. Aside from the far from subtle in-jokes about chequebooks and mermaids, Godard attacks the shallowness and opportunism that besets so much of modern film making. The virtues of honest expressionism and artistic integrity are all too willingly sacrificed in the pursuit of box office receipts and short term fame. That Godard manages to pull this off so successfully in a film that appears, on the surface, to contradict his thesis, is a sign of great courage and unfaltering genius.
Author: 21458922
Keywords: Le.Mépris Godrad Bardot Piccoli Palance Fritz.Lang
Added: September 7, 2008
Subtitled; Aka: Contempt. Director: Jean-Luc Godard; Script: Jean-Luc Godard; based on the novel "Il Disprezzo" by Alberto Moravia; Photo: Raoul Coutard; Music: Georges Delerue;Cast: Brigitte Bardot (Camille Javal), Michel Piccoli (Paul Javal), Jack Palance (Jeremy Prokosch), Giorgia Moll (Francesca Vanini), Fritz Lang (lui-même) Paul Javal is a former detective novel writer who is engaged by the film producer Jeremy Prokosch to re-write a film about Homer's Odyssey. Prokosch is at odds with his director, Fritz Lang, who wants to capture the glory and realism of Greek antiquity, whilst Prokosch is after a film that will simply make big bucks. Javal agrees to take on the work but soon discovers that his wife, Camille, has begun to despise him for his lack of conviction. Javal saw himself as a great play writer and now he has succumbed to the attraction of Prokosch's chequebook. Should he choose between his failing marriage or his new job - or is it too late to decide? On the surface, this is probably Jean-Luc Godard's most conventional film, with expensive location work, a large cast with some star names. Conspicuous by their absence are the cynical intellectual humour, the harsh editing, the over-use of jump cutting, and much of Godard's other stylish devices. Yet the film is as subversive and as reactionary as any which Godard directed -- except here he achieves that aim within the parameters of what is an ostensibly conventional film. Based on a novel by Alberto Moravia (A Ghost at Noon), Le Mépris explores the conflicting interests of a film producer, director and writer. This is set against the disintegrating marriage of the film's writer. Cleverly, the film being made (The Odyssey) parallels the lives of the main protagonists in the story -- Javal is Odysseus, his wife is Penelope and the producer Prokosch is Odysseus' rival, Poseidon. These different overlaying strands give the film great depth and heighten the sense of tragedy which is unfolding in the lives of Javal and Camille. Of the lead actors, Brigitte Bardot is the one that is best used by Godard. Even in scenes where the dialogue is split equally between her and her co-star, Michel Piccoli, it is on her that the camera lingers, longingly. However, here, unlike in so many lesser films, the intention is not purely exploitative. Far from being cheap pornography, Raould Coutard's photography of Bardot is sublimely artistic and genuinely beautiful. With Georges Delerue's haunting and evocative musical score the overall effect is deeply moving, prefacing the Greek tragedy that is to come. Towards the end, the sense of beauty is captured and conveyed so vividly that it almost hurts to watch it. Bardot, Coutard and Godard make a marvellously inspired trio. The stark realism of Bardot's performance in this film led one journalist (possibly encouraged by Godard) to promulgate one of cinema's greatest myths - that the actress's real name was in fact Camille Javal. Beneath the surface, Godard's dissatisfaction with the conventions of film-making are all to apparent. Aside from the far from subtle in-jokes about chequebooks and mermaids, Godard attacks the shallowness and opportunism that besets so much of modern film making. The virtues of honest expressionism and artistic integrity are all too willingly sacrificed in the pursuit of box office receipts and short term fame. That Godard manages to pull this off so successfully in a film that appears, on the surface, to contradict his thesis, is a sign of great courage and unfaltering genius.
Author: 21458922
Keywords: Le.Mépris Godrad Bardot Piccoli Palance Fritz.Lang
Added: September 7, 2008
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Brigitte’s new book, They Must Be Stopped, is climbing the charts. Thanks to you our members, it’s already the current #1 bestselling book among books about terrorism and Islam. Amazon had it listed this morning at #152. And it just released on Tuesday! So here’s a rundown of her key appearances next week and the approximate times she’ll be “on air
http://digg.com/world_news/Brigitte_Gabriel_s_Upcoming_Media_Appearances
Brigitte Nielsen is on a roll. She, with the help of her fifth husband Mattia Dessi, quit drinking and she also went through extensive reshaping on live TV in Germany to get her body back to some of it's former glory. Next on her list of things t ...
http://digg.com/celebrity/In_Lieu_Of_Thanks_Here_s_A_Baby
As a Lebanese-Christian immigrant who spent her girlhood amid the bloody devastation of the Lebanese civil war, you have lately emerged as one of the most vehement critics of radical Islam in this country
http://digg.com/world_news/The_Crusader_QUESTIONS_FOR_BRIGITTE_GABRIEL
A women who fled from Islamic radicals to settle in the US is fighting back against the left's useful idiots wherever she can.
http://digg.com/world_news/Brigitte_Gabriel_Crushes_Dhimmi_Deborah_Solomon_of_NY_Times
Two UCLA scientists, Drs. Brigitte Gomperts and Antoni Ribas, received $5.45 million in grants from the California Institute for Regenerative Medicine (CIRM) to conduct leading-edge research that may shed light on the role of stem cells in the development of lung cancer and help to create a cancer-fighting immune system.
http://digg.com/health/Two_Stem_Cell_Scientists_Receive_State_Grants_to_Fund_Cancer
Latest update is blonde Brigitte is evicted from big brother house and hottest celebrity Pamela Anderson is in, in big brother (Australian reality show). Everyone was just shocked to know this result that Brigitte is out from the house and even she was just screaming happily though there must be some kind of sadness.
http://digg.com/celebrity/Blonde_Brigitte_and_Pamela_Anderson_In_in_Big_Brother
In her upcoming book, They Must Be Stopped, Brigitte Gabriel devotes an entire chapter to the Muslim Brotherhood’s project for North America. As we so often remind our members and readers, the threat of radical Islam goes well beyond terrorism to include cultural jihad, the infiltration of society and subversion from within. Much More>>>
http://digg.com/politics/Exclusive_As_the_West_Sleeps_They_Must_Be_Stopped
This is Brigitte from Australian Big Brother "Zoo Weekly" shoot
http://digg.com/celebrity/Celebrity_Central_Brigitte_in_Bikini
Red Sonja (unless you’re a comic book fan) is a camp 1985 film starring Arnold “Call me Guv’nor” Schwarzenegger and Brigitte “don’t call me tall and scary” Nielsen. It was a less than mediocre film loved by few. Those few it seemed and a few more comic book fans are excited to hear that another Red Sonja movie is to be made with Rose McGown
http://digg.com/movies/Red_Sonja_posters_at_revealed_Comic_Con
Brigitte Nielsen shows off her new body after her plastic surgery overhaul in Germany. She also shows the public the limits of liposuction...
http://digg.com/celebrity/Brigitte_Nielsen_s_Plastic_Odyssey_Results