GENE KELLY documentary: "The Hollywood Greats" (2011) for BBC

GENE KELLY documentary: "The Hollywood Greats" (2001) for BBC, presented by Jonathan Ross

Looking for Russian women

Most little girls grow up playing with Barbie dolls. Some even want to look like them. One 21-year-old has become one, or so she says. Valeria Lukyanova has become an internet sensation in her home country of Russia, claiming on her blog to be the most famed woman on the Russian-language internet. Her doll-like features, long blonde hair and ‘perfect’ body make her look like a real life Barbie.

Serious research on the subject has drawn certain conclusions. Academics from the University of South Australia suggest the likelihood of a woman having Barbie's body shape is one in 100,000. So not impossible, but extremely rare. Researchers at Finland's University Central Hospital in Helsinki say if Barbie were life size she would lack the 17 to 22% body fat required for a woman to menstruate. So again, not an unachievable figure, but certainly not a healthy one.

Back on April 18th we were one of the first people to report about "human barbie", Valeria Lukyanova, who looks so doll-like that we weren't sure if she was real or not. Now Lukyanova seems to be making quite a splash all over the news, and it turns out this 21-year-old Russian singer is quite the "hot topic".

You can't help but be fascinated by how this girl looks, and now we have some photos of the girl who claims to be the "most famous Russian woman on the Russian-language Internet" without makeup, and circle lenses. Source: sitchnews.com

If you are looking for single Russian women, or a Russian mail bride, you can use an online Russian dating service available for men who are seeking a SRW (single Russian woman) for marriage, love or romance. you can browse through a database to match your criteria (more than 10,000 attractive Russian ladies in the women's gallery), with a rapid processing of your search profile.

"God Bless America" by Bobcat Goldthwait: a violent movie about kindness

"God Bless America" trailer, (2011) directed by Bobcat Goldthwait, starring Joel Murray and Tara Lynne Barr Joel Murray, Tara Lynne Barr, and Bobcat Goldthwait at "God Bless America" screening at the Alamo Drafthouse for SXSW 2012. Aiding in the searing of audience to screen effect that works so well in God Bless America‘s favor is the chemistry found in its lead duo, Joel Murray and Tara Lynne Barr. Murray plays Frank straight as an arrow. In his opening monologue, we’re introduced to his droll worldview, as personified by the hyper-annoying neighbors on the other side of his paper-thin walls. He’s a tragic figure, but even Murray’s expressionless moments are full of life and energy that move us toward those inevitable, shocking moments of violence. Like any great tragic figure, the lights are on behind Frank’s dead, weathered eyes. The fire rages beneath a stoic disposition. If Murray were not already such a well-regarded big screen player, it would be right to say that this is a map-placing role. Put simply, Murray is exceptional. Opposite Murray’s brilliantly calm performance is lightning in a bottle as personified by Tara Lynne Barr. To say that she’s got spunk is an understatement. And if calling her “Juno” didn’t send her into a homicidal monologue about Diablo Cody that will make the most dedicated fans of 'the stripper with too much self-steem' take up arms, it would be an apt way to describe her wit.

  In press throughout this film’s tour from its premiere at Toronto last year to this re-cut premiere at SXSW, Goldthwait has at times referenced Peter Finch’s speech at the end of Network as an inspiration. With God Bless America, he’s created the feature-length manifestation of Finch’s rant. Agree or disagree with the message — which, again, is simply that the world needs kindness — it’s a magnetic film that provides 100 minutes of subversive, blood soaked fun. It’s the film that so many other directors have tried to make, but failed because they allowed the politics to get in the way. Source: www.filmschoolrejects.com

Christmas Holiday (1944) by Robert Siodmak, starring Deanna Durbin & Gene Kelly

Deanna Durbin and Gene Kelly in "Christmas Holiday" (1944) directed by Robert Siodmak

"Right Cross" (1950): romantic rivalry in a boxing drama by John Sturges

"Right Cross" (1950) directed by John Sturges stars Dick Powell as cynical sportswriter Rick Gavery and Powell's wife June Allyson as boxing manager Pat O'Malley. Subbing for her incapacitated father (Lionel Barrymore), Pat grooms prizefighter Johnny Monterez (Ricardo Montalban) for the championship. Johnny holds a grudge against the world because he feels that his Mexican heritage has made him an outcast, though curiously the audience never sees any prejudice levelled against him.

Gradually, Pat falls in love with the tempestuous Monterez, while Gavery, who's always carried a torch for Pat, observes from the sidelines. The film wisely avoids the usual boxing-flick cliches, most commendably during the climactic Big Bout. With Lionel Barrymore (as Sean O'Malley): I'm sick and tired of being sick and tired and Teresa Celli as Marina Monterez.

The romantic rivalry between a boxing champ and a sports writer for the love of daughter of the fighter's wheelchair bound manager. This off-beat drama chronicles the results of that rivalry and is particularly interesting for avoiding most of the stereotypical situations that usually plague boxing movies.

Marilyn Monroe appears unbilled in the opening scene as Dick Powell's dinner companion.

Jake Gyllenhaal: a realistic portrait of a LAPD officer in "End of Watch"

Michael Peña and Jake Gyllenhaal in a publicity still of "End of Watch" (2012) directed by David Ayer


END OF WATCH hits theaters nationwide on September 28

For his upcoming drama "End of Watch," actor Jake Gyllenhaal went to great lengths to believably transform himself into an LAPD uniformed officer. He spent five months in physical and tactical training, he rode along on patrols, and, it should be noted, he shaved his head.

How successful was he at turning himself into a cop? So much so that real police officers didn't realize he was an actor and not one of them.

In an email interview, the film's writer and director David Ayer (who also wrote "Training Day" and "The Fast and the Furious") explained how it happened. He said that the movie's "found footage" shooting style required the camera crew to stay out of sight while Gyllenhaal and Michael Peña, who plays his partner, performed their scenes.

Ayer said, "There were times where Jake and Mike are in uniform in a marked police vehicle," and there were no cameras to indicate a movie was being filmed.

Ayer recalled, "Cops in LA will do a hand sign with four fingers to say 'everything's good.' Jake threw a 'Code Four' at some LAPD cops rolling by and they threw a 'Code Four' back. I don't think they had any idea it was Jake Gyllenhaal!" Source: movies.yahoo.com

Maggie Gyllenhaal and Peter Sarsgaard welcome daughter Gloria Ray

Jake Gyllenhaal at "Prince of Persia" Press Conference (May 9, 2010) in London -new additions in IHJ gallery-


Jake Gyllenhaal leaves a private party on Central Park West around midnight last night, then walks to the local subway station.

Peter Sarsgaard and Maggie Gyllenhaal attending "Death Of A Salesman" Broadway Opening Night on March 15, 2012.

Parenthood just became twice as nice for Maggie Gyllenhaal and Peter Sarsgaard. The couple welcomed their second child, daughter Gloria Ray, on April 19 in New York City, a rep for Gyllenhaal tells the Daily News.

This is the second child for the “Hysteria” actress, 34, and the “Lovelace” actor, 41, who are already parents to daughter Ramona, 5. The couple, together since 2002, wed in Italy in 2009. Source: www.nydailynews.com

A Centennial Tribute to Gene Kelly

HOSTED BY PATRICIA WARD KELLY: The Academy will celebrate the 100th birthday of the incomparable Gene Kelly (1912-1996) with a special gala evening of film clips, stories and personal remembrances of the multi-talented motion picture legend.

Gene Kelly is perhaps best known for his remarkable dancing, but his talents extended to many different aspects of filmmaking. His work behind the camera, as an innovative director and choreographer, has had a lasting influence on the way that dance is filmed, and on screen, he was the proverbial triple-threat as an actor and singer as well as a dancer.

Gene Kelly in "Singin' in the Rain" (1952): This centennial tribute to Kelly draws from the one-man show he presented in theaters around the country during the 1980s, as well as from thousands of hours of interviews conducted by his widow, film historian Patricia Ward Kelly, who will serve as program host.

Film clip montages and nearly 20 film excerpts will highlight the scenes, musical numbers and on-screen partnerships that meant the most to Gene. Special guests – some who knew him personally, others whose work and career have been influenced by his genius – will also participate.

The night will showcase Kelly's charisma and creativity, including his unique use of props (mops, sheets of newspaper, roller skates) and environments (a rain-drenched street, a creaky old barn) and his extraordinary athleticism in films like "Living in a Big Way" and "The Pirate." His beloved classics "An American in Paris" and "Singin' in the Rain," and later directorial efforts such as "Invitation to the Dance" and "Hello, Dolly!" will be discussed as well, with insightful commentary on Kelly's creative process. Source: www.oscars.org

Happy Birthday, Kirsten Dunst!

Happy 30th Birthday, Kirsten Dunst!

“I’d like to grow up and be beautiful. I know it doesn’t matter, but it doesn’t hurt.” -Kirsten Dunst

Kirsten Dunst plays Camille in "On The Road" (2012) directed by Walter Salles

Gene Kelly: Dancing Dreams and the Aesthetics of Postwar Masculinity

Vera-Ellen and Gene Kelly in "On The Town" (1949) directed by Stanley Donen & Gene Kelly

On a summer morning during World War II, it's 6 a.m. at the Brooklyn navy yard. Three sailors—Chip, Ozzie, and Gabey (Gene Kelly) begin their 24-hour shore leave, eager to explore "New York, New York".

Gabey falls in love with the picture of "Miss Turnstiles," who is actually Ivy Smith (Vera-Ellen). The sailors race around New York attempting to find her in the brief period they have ("New York, New York"). The group have a number of adventures before their leave ends and they must return to their ship to head off to war, and an uncertain future ("Some Other Time").

"Sarasota Police are investigating a crash where a car hit the "Unconditional Surrender" Kiss Statue at the Sarasota Bayfront. It happened Thursday around noon on U.S 41.

"Unconditional Surrender" is a larger-than-life recreation of a famous photograph showing a sailor and a nurse kissing during during a V-J Day celebration in Times Square at the end of World War II. The sculpture is created by artist Seward Johnson". Source: www.mysuncoast.com

Gene Kelly and the Aesthetics of Postwar Masculinity: Gene Kelly’s desire to be seen as strong and brave rather than a “sissy” was part of a larger pathology to prove his manliness, a pathology that stemmed from his early childhood days in Pittsburgh and was subsequently reinforced by postwar American culture. By the end of the postwar era, however, his attitude had shifted markedly. Rather than deny that he was a sissy dancer as he had in 1946, he rejected the claim that male dancers were sissies at all.

On Sunday, 21 December 1958, he starred in “Dancing: A Man’s Game,” which he wrote and directed for Omnibus, NBC’s cultural and educational program for “eggheads.” The central premise of this show, for which Kelly received an Emmy nomination, was that dancing was manly. As proof of this manliness, Kelly enlisted top athletes of the day, including Mickey Mantle and Sugar Ray Robinson, to help him demonstrate the common bonds between athleticism and dance.

Kelly never lost his youthful sensitivity to verbal insults. He recalled an incident when he was 20, performing with his brother Fred in a club in Chicago in 1932: “One night a guy called me a fag, and I jumped off the stage and hit him. But I had to make a run for it, because the owner of the place and his brother took after me with a couple of baseball bats.”

-What qualities do you admire most in a woman?

-Gene Kelly: Sweetness and reticence, couple with brains.

-What qualities do you find most obnoxious in a woman?

-Gene Kelly: A general air of loudness. That is, women who try to talk loud, dress loud or try to monopolise the attentions of everyone in the room by their conduct. -Motion Picture magazine (October 1944)

-Do you think dignity is an important part of a women’s appeal?

-Gene Kelly: “I definitely do and I think most men will agree with me. A man wants to think a woman is a little better than he is – that’s why he appreciates her refinement of manner, dignity of bearing, quiet speech.” -PICTUREGOER magazine (October 1957)

Barbara Laage and Gene Kelly in "The Happy Road" (1957)

Gene Kelly’s “heterosexuality had to be asserted;” Jane Feuer reminds us, “it could not be assumed.” “…When a woman dances like a woman beautifully and gracefully, fine; the man can lift her up and he makes her look lighter and more beautiful,” Kelly insisted.

“The woman’s best advantage in the art of dancing is when she is up against a man and you see her dancing with a man, it is most interesting. Why? Because she looks more like a woman then, you see, more graceful, more beautiful, she is set off by the man.” According to this logic, dancing was the “province of the man”, a woman’s role was to help the man demonstrate his strength and agility. “I never did a musical to teach a lesson, just to bring joy,” he insisted in a 1980 interview with New York Post.

Kelly consistently evaded the question of who his favorite dancing partner was, sometimes cheekily responding it was Jerry the cartoon Mouse from "Anchors Aweigh" (1945), or even Fred Astaire in “The Babbitt and the Bromide” in Ziegfeld Follies (1946). In truth, Kelly claimed that “your favorite dancing partner happens to be the one you’re playing with, acting with, and dancing with at that particular time".

According to journalist John Cutts, “It is often said of Kelly that he ‘dances people’; but this really isn’t true, for he danced but one person: himself.” Like Peter Pan, the eternal boy who chased his shadow, Kelly played with his own even beyond the literal shadow dance of “Alter Ego.” And, much like Peter Pan, Gene Kelly was a figure who, at some level, refused to grow up.

His dances expressed joy, exhilaration, beauty, and vitality, encouraging spectators to be themselves even if that meant disregarding social expectations. This was his trademark, according to Rick Altman: “For Kelly dance is… a silly, clowning, childish activity, an expression of the eternal youth which seems even today to be fixed in Kelly’s smile. From film to film Kelly’s partners and his style may change, but his adolescent energy and ego never disappear.”

Gene Kelly fused middlebrow art and technology together to create a safe space where he could dance unfettered — he could be playful, boyish, asexual, and macho all at the same time.

Gene Kelly, Judy Garland, Dorothy Dandridge, as much as their musicals, all stood as “in-between” figures, but their messages did not go unnoticed. They showed the way to finding release in a stifling postwar climate, and their small rebellions—whether artistic, gendered, or racial—served as uncensored examples of the kinds of private but very radical rebellions that were possible in the 1950s". -"Dancing Dreams: Performing American Identities in Postwar Hollywood Musicals, 1944-1958" by Pamela R. Lach (2007)