Franco zeffirelli autobiography of miss universe 2017
Much Madness is Divinest Sense
I just finished watching the classic film Romeo and Juliet directed by Franco Zeffirelli in 1968 with one of my classes. Such a gorgeous film. And populated with unfamiliar faces, too. I wondered why that was, and I set out on a quest to find out what happened to the stars of that film.
Leonard Whiting (Romeo)
Oh Romeo, Romeo… where the hell are you, Romeo? Isn’t he the one we all wonder most about? After all, he’s quite pretty to look at in the film.
He was nominated for a Golden Globe for New Star of the Year in 1968. Frankly, after that, he virtually disappeared, appearing in a handful of films that did not garner near the attention or success of Romeo and Juliet. According to a People magazine article published in 1992, Leonard became a writer after retiring from films in the mid-1970s, though he is as yet unpublished. He felt he had been typecast and could not overcome it. He is married to his (former?) manager Lynn Presser and has two grown daughters by a previous marriage. Here is the most recent picture of him that I could find:
Of course, he’s 54 now, which puts him right around the same age as my dad — and if you look at it like that, I have to say he’s held up pretty well in comparison. Click to view a popup scan of the People article from 1992.
Olivia Hussey (Juliet)
What a beautiful young thing.
Certainly, her film career has been more lasting than Whiting’s, but to be fair, he probably has a point about being typecast. It would not appear that Hussey has had the same problem. She recently played Mother Teresa in a made-for-TV movie, she has two movies in post production and an official website. I last saw her in the made-for-TV production of Stephen King’s IT. However, one wouldn’t exactly call her a star. I’d like to know why. She has hardly aged a day, and she’s still gorgeous.
She is currently 53.
Michael York (Tyb 1Charlotte Brontë’s novel has inspired and initiated the creation of numerous texts, films and plays. Written some 160 years ago, it has never ceased to attract readers and to nourish the imagination of authors. One of the reasons is that Jane Eyre1 presents itself as a work in creation. On its publication in 1847, the novel was entitled Jane Eyre: An Autobiography. The focus is thus the heroine herself. Even before opening the book, the reader is informed that it is her story and that she is also the narrator, which explains our interest in the close link that exists between the act of reading and the creative act of writing. The first person narrative and the powerful depiction of Jane throughout the novel are at the heart of the book’s enduring success and, as we hope to show, of the hypotextual quality of this novel. 2The fascination of Jane Eyre lies perhaps mainly in the magnetic delineation of its heroine. As Rochester puts it when he is disguised as a gipsy, Jane’s face and countenance seem to declare: I can live alone, if self-respect and circumstances require me so to do. I need not sell my soul to buy bliss. I have an inward treasure born with me, which can keep me alive if all extraneous delights should be withheld (JE, 171). 3Jane owns something precious which sustains her when she is excluded from the family circle at Gateshead and when she discovers Rochester’s treachery. This quality of hers that radiates through the novel has also captivated readers and inspired writers. Thus Jasper Fforde’s heroine Thursday Next, the protagonist of The Eyre Affair, notes that “her face was plain and outwardly unremarkable, yet possessed of a bearing that showed inner strength and resolve2”. 4Although Jane tells her friend Helen at Lowood that she would rather die than bear hatred from the people around her (JE, 58), she always survives her distress because she can raise herself to a level of intellectual or moral 1954 Italian drama film directed by Federico Fellini For other uses, see La Strada (disambiguation). La strada (The Road) is a 1954 Italian drama film directed by Federico Fellini and co-written by Fellini, Tullio Pinelli and Ennio Flaiano. The film tells the story of Gelsomina, a simple-minded young woman (Giulietta Masina) bought from her mother by Zampanò (Anthony Quinn), a brutish strongman who takes her with him on the road. Fellini described La Strada as "a complete catalogue of my entire mythological world, a dangerous representation of my identity that was undertaken with no precedent whatsoever". As a result, the film demanded more time and effort than any of his other works, before or later. The development process was long and tortuous; there were problems during production, including insecure financial backing, problematic casting, and numerous delays. Finally, just before the production completed shooting, Fellini suffered a nervous breakdown that required medical treatment so that he could complete principal photography. Initial critical reaction was harsh, and the film's screening at the Venice Film Festival was the occasion of a bitter controversy that escalated into a public brawl between Fellini's supporters and detractors. Subsequently, however, La Strada has become "one of the most influential films ever made", according to the American Film Institute. It won the inaugural Academy Award for Best Foreign Language Film in 1957. It was placed fourth in the 1992 British Film Institute directors' list of cinema's top 10 films. In 2008, the film was included on the Italian Ministry of Cultural Heritage's 100 Italian films to be saved, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978." Gelsomina, an apparently somewhat simple-minded, dreamy young woman, learns that her siste British actress (1951–2024) Olivia Hussey (née Osuna; 17 April 1951 – 27 December 2024) was a British actress. Her awards included a Golden Globe Award and a David di Donatello Award. The daughter of Argentine tango singer Osvaldo Ribó, Hussey was born in Buenos Aires but spent most of her early life in her mother's native England. She aspired to become an actress at a young age and studied drama for five years at Italia Conti Academy of Theatre Arts in London. Hussey began acting professionally as an adolescent. She appeared in a 1966 London production of The Prime of Miss Jean Brodie, opposite Vanessa Redgrave; this led to her being scouted for the role of Juliet in Franco Zeffirelli's 1968 film adaptation of Romeo and Juliet. Hussey received widespread acclaim and international recognition for her performance. In 1974, she appeared as the lead character Jess Bradford in the cult slasher filmBlack Christmas. Hussey reunited with Zeffirelli in the miniseries Jesus of Nazareth (1977) as Mary and appeared as Rosalie Otterbourne in John Guillermin's Agatha Christie adaptation Death on the Nile (1978). She appeared in several international productions throughout the 1980s, including the Japanese production Virus (1980) and the Australian dystopian action film Turkey Shoot (1982). In 1990 she appeared in two horror productions, Stephen King's It and Psycho IV: The Beginning, in which she portrayed Norman Bates' mother. She also worked as a voice actress, providing voice roles in Star Wars video games including Star Wars: Rogue Squadron (1998), Star Wars: Force Commander (2000), and Star Wars: The Old Republic (2011). Hussey was born Olivia Osuna on 17 April 1951 in Buenos Aires, Argentina, the first child of Argentine tango singer Andrés Osuna (stage name Osvaldo Ribó), and Joy Hussey, a legal secretary. Her mother was from England, of Scottis Shaping Jane’s world
La Strada
Plot
Olivia Hussey
Early life and education