1{2 "document_id": "lb_2wikimqa_da746ca10a31021be62e267f4e1407178b3f4a2d340672d3",3 "family": "public_2wikimqa",4 "split": "dev",5 "text": "Passage 1:\nOur Agent Tiger\nLe tigre se parfume à la dynamite (Our Agent Tiger) is a 1965 secret agent spy film directed by Claude Chabrol and starring and written by Roger Hanin as the Tiger. It is a sequel to the 1964 film Le Tigre aime la chair fraiche.\n\nPlot\nThe Tiger is sent to oversee the excavation of a sunken ship. While busy retrieving the gold treasure inside the vessel, The Tiger is constantly thwarted by international enemies. Among them is an old Nazi named Hans von Wunchendorf who dreams of world domination. He hides behind the codename \"The Orchid\" and needs the treasure to sustain a worldwide network of exiled former comrades. Once sanified by the gold his organisation plans to realise the endsieg after all.\n\nCast\nRoger Hanin as Louis Rapière, \"le Tigre\"\nMargaret Lee as Pamela Mitchum / Patricia Johnson\nMichel Bouquet as Jacques Vermorel\nMicaela Pignatelli as Sarita Sanchez\nCarlos Casaravilla as Ricardo Sanchez\nJosé Nieto as Pepe Nieto\nJosé María Caffarel as Colonel Pontarlier\nGeorge Rigaud as Commander Damerec\n\nBibliography\nBlake, Matt; Deal, David (2004). The Eurospy Guide. Baltimore: Luminary Press. ISBN 1-887664-52-1.\nPassage 2:\nLe Tigre aime la chair fraiche\nLe Tigre aime la chair fraîche (\"The Tiger loves fresh meat\"), English title Code Name: Tiger, is a 1964 French Eurospy film directed by Claude Chabrol and starring Roger Hanin as the spy Louis Rapière, code named \"The Tiger\". The screenplay was written by Chabrol and Hanin. It was an attempt to create a French franchise equal to James Bond, and its female lead, Daniela Bianchi, had the previous year appeared in the James Bond film From Russia with Love. The film had a sequel in 1965, Le tigre se parfume à la dynamite (Our Agent Tiger).\n\nPlot\nThe French government plans an international arms deal with the help of a Turkish diplomate named Baskine. But a group of terrorists menaces the diplomat. When the government receives intelligence concerning a looming attempt on Baskine's life, they assign Louis Rapière a.k.a. \"The Tiger\" to guard Baskine and his family. Rapière immediately proves this decision right by scarcely foiling an assassination. Unfortunately more than one group is after Baskine. They are closing in on Baskine independently from each other.\n\nCast\nRoger Hanin as Louis Rapière a.k.a. 'le Tigre'\nMaria Mauban as Madame Baskine\nDaniela Bianchi as Mehlica Baskine\nRoger Dumas as Duvet\nAntonio Passalia as Coubassi\nJimmy Karoubi as Jean-Luc\nRoger Rudel as Benita\nCarlo Nell as the assassin in the theatre\n\nCrew\nJosée Dayan was the assistant director on the movie.\n\nBibliography\nBlake, Matt; Deal, David (2004). The Eurospy Guide. Baltimore: Luminary Press. ISBN 1-887664-52-1.\nPassage 3:\nHerbert Wilcox\nHerbert Sydney Wilcox CBE (19 April 1890 – 15 May 1977) was a British film producer and director. \nHe was one of the most successful British filmmakers from the 1920s to the 1950s. He is best known for the films he made with his third wife Anna Neagle.\n\nEarly life\nWilcox's mother was from County Cork, Ireland, and Wilcox considered himself Irish, but he was born in Norwood, south London. His family moved to Brighton when Wilcox was eight years old; he was one of five children.\nHis family were poor and Wilcox had to do a number of part-time jobs, including some work as a chorus boy at the local Hippodrome. His mother died of tuberculosis when she was 42. Wilcox left school before the age of fourteen to find work. Shortly afterwards, his father died at the age of 42. Wilcox began earning money as a professional pool player at the Metropole in Camberwell Green.\nThe First World War broke out and Wilcox enlisted in the army. He was training cadets in County Cork when the Easter Rising broke out in 1916 and Wilcox was wounded. He then enlisted in the Royal Flying Corps to earn more money and trained as a pilot. A case of appendicitis kept him away from the front for a time but he wound up serving in France and serving as a flight instructor in England.\n\nFilm career\nAfter the war, Wilcox went to work for his brother Charles as a film salesman. He began selling American films to Yorkshire exhibitors, occasionally working with Victor Saville.\n\nAstra Films\nIn 1919, Wilcox used his war gratuity to found his own distribution company, Astra Films, in association with his brother and a colleague, Jack Smart. Wilcox contributed £117, and the others made up the rest. It was based in Yorkshire. \"Owing to the war, there were practically no British productions\", said Wilcox. \"They were almost all American films.\" The company was immediately successful so they expanded into London.\n\nGraham-Wilcox Productions\nAstra had a lot of success with a British film, A Peep Behind the Scenes (1919) so Wilcox decided to produce a British film himself. He raised £1,400 to make The Wonderful Story (1922). It was directed by a Newcastle exhibitor who shared Wilcox's enthusiasm for D. W. Griffith, Jack Graham Cutts; he and Wilcox established Graham-Wilcox Productions. Wilcox sold the film for £4,000 and the premiere got excellent reviews. This enabled Wilcox to raise funds for a slate of films, before The Wonderful Story was released and flopped at the box office.However the next Graham-Wilcox production, Flames of Passion (1922), starring imported Hollywood star Mae Marsh was a big hit, among the first British films sold to the USA. The success of the film inspired Wilcox to steer away from realistic drama and focus on escapist entertainment.\n\nDirector\nWilcox optioned the screen rights for Chu-Chin-Chow (1923), with imported American star Betty Blythe. The film was shot in Germany at UFA's studios in association with Eric Pommer with a huge budget but was only a moderate success. He followed it with Southern Love (1924), shot in Vienna, again with Blythe. Wilcox launched the film with a mock bull fight in Albert Hall and says the film returned a profit in England alone.Pommer asked Wilcox to collaborate again and they made Decameron Nights (1924).\nBack in Britain he made Paddy the Next Best Thing (1923).\nAfter what he described as a \"series of unimpressive films\" he made The Only Way (1926), based on a stage play which was based on A Tale of Two Cities.He followed it with Nell Gwyn (1926), starring Dorothy Gish in the title role. This was a big success around the world.\n\nBritish National Films\nThe world rights to Nell Gwyn were purchased by British National Films, a company established by J.D. Williams, who signed Wilcox and Gish to make three more films, all financed by Paramount: Madame Pompadour (1926), the first film shot at the newly built Elstree Studios; London (1926); and Tip Toes (1927). It was later revealed in a court case that Wilcox's fee was £3,000 a film plus 25% of the profits, but there were no profits for the three films.\n\nBritish and Dominions Film Corporation\nWilcox ended up leaving British National and founded the British and Dominions Film Corporation with Nelson Keys with capital of half a million pounds. HIs first film for them, via Herbert Wilcox Productions, was Mumsie (1927), starring Pauline Frederick and, in his debut, Herbert Marshall.\nWilcox wanted to make another film with Frederick and suggested Noël Coward's The Vortex but Frederick disliked the role. Wilcox instead decided to do a version of the Edith Cavell story, Dawn (1928). Frederick dropped out of the film, and was replaced by Sybil Thorndike. Filming proved difficult but the resulting movie was a big hit. In 1928 British and Dominion Films insured Wilcox for £100,000.There was some talk he would make a film of the Burke and Wills story. Instead he made what he described as \"a series of unimportant but profitable films\": The Bondman (1929), The Woman in White (1929),\n\nSound Films\nGenerally, Alfred Hitchcock's Blackmail is regarded as the first film with sound, but Wilcox's Black Waters was trade-shown several weeks earlier in May, 1929.He produced more than a hundred films, of which he directed about half. \"His film production team were never laid off, even during the worst depressions of the British film industry. They were on full salary 52 weeks of the year.\"Wilcox built and equipped sound studios next to the British International Pictures studios, which they bought from John Maxwell. Wilcox signed up top stage artists such as Jack Buchanan, Tom Walls and Ralph Lynn and Sydney Howard, with C.B. Cochran and Albert de Courville as producers. He announced plans to make nine talkies.He produced and directed the first British all talkie ever made, Wolves (1930), with Charles Laughton and Dorothy Gish and produced Canaries Sometimes Sing (1930).He made an arrangement to produce a series of films in association with His Master's Voice gramophone company, with the aim of using their celebrity recording stars. Among the films they were to make together were Cochran's Talkie Revue, a film of C.B Cochran's variety show; the play Rookery Nook; an adaptation of the novel The Blue Lagoon, and the life story of Robert Burns.However their first movie, The Loves of Robert Burns (1930), with Joseph Hislop, was not a success and the arrangement abruptly ended. Wilcox's plans to make The Life of Beethoven and a version of Don Quixote starring Chaliapin had to be cancelled.Wilcox produced Rookery Nook (1930), an Aldwych farce based on the play by Ben Travers and directed by Tom Walls. It led to a series of Aldwych farces from Travers and Walls.\nHe acted as producer only on Splinters (1930), high Treason (1930, The Mountain of Mourne (1930), Warned Off (1930), On Approval (1930), Tons of Money (1930), Mischief (1931), The Speckled Band (1931), Plunder (1931), Almost a Divorce (1931), Up for the Cup (1931) with Sydney Howard, The Barton Mystery (1932), Life Goes On (1932), Thark (1932), Leap Year (1932), It's a King (1932),The Love Contract (1932), Say It with Music(1932), The Mayor's Nest (1932), and A Night Like This (1932).\nAs a director he made The Chance of a Night Time (1931) with Ralph Lynn from a play by Ben Travers; Carnival (1931); and The Blue Danube (1933).\n\nAnna Neagle\nWilcox's professional relationship with Anna Neagle began when he was looking for a leading lady to support Jack Buchanan in Goodnight, Vienna (1932). He decided to cast her after seeing Neagle support Buchanan on stage in a musical Stand Up and Cheer. Goodnight Vienna was Wilcox's biggest success to that time.He used Neagle again in The Flag Lieutenant (1932)\nHe made some films without her – Money Means Nothing (1932), The King's Cup (1933), General John Regan (1933), The Blarney Stone (1933), The King of Paris (1933), Lord of the Manor (1933), Discord (1933) – then they were reunited on The Little Damozel (1933), a conscious effort on Wilcox's part to ensure that Neagle was not type cast as an \"English Rose\".He bought the rights to a John Galsworthy play Loyalties and developed a screenplay. He later sold it to William Fox for a profit. He produced That's a Good Girl (1933).\nBitter Sweet (1933) starred Neagle, based on the operetta by Noël Coward. It was a box office failure.Yes, Mr Brown (1933) was a vehicle for Jack Buchanan and Lilies of the Field (1934) without her. Wilcox was back to Neagle for The Queen's Affair (1934). He and Neagle had a big hit with a new version of Nell Gwynn (1934). They followed it with Peg of Old Drury (1935).\nHe also produced Escape Me Never (1935), starring Elisabeth Bergner, which was a surprise box office hit.\n\nHerbert Wilcox Productions\nThe success of Peg of Old Drury saw Wilcox approached by Lord Portal to set up his own company, Herbert Wilcox Productions. Wilcox resigned from British Dominion, and set up the new company with C.M. Woolf and J. Arthur Rank. The only other shareholders in the company apart from Wilcox were Woolf and his brother Maurice.\nWilcox, Woolf, Portal and Rank soon established themselves as a major player in the industry by buying Universal Pictures' English operations; Wilcox was appointed to the board to directors of Universal English and the Universal American parent company. He also had shares in a new company, General Cinema Finance, which was to control the distribution and production of films and acquire cinemas. This company would go on to acquire Gaumont British and the Odeon circuit and form the back bone of the Rank Film empire.Their first film was Street Singer Serenade (1936), aka Limelight, directed by Wilcox with Neagle and Jack Buchanan. It was followed by Fame (1936), which he produced, starring Sydney Howard and new Wilcox discovers Miki Hood and Geraldine Hislop. He and Neagle did a story about trapeze artists, Three Maxims (1936).He made Where's George? (1936) with Sydney Howard.\nWilcox was back with Buchanan with This'll Make You Whistle (1936). He wanted to make an epic version of The Blue Lagoon with Hollywood stars to be shot mostly on location in Hawaii and a biopic of Lady Hamilton with Neagle but neither was made. Instead he made Millions (1937).\nWilcox's film studio at Elstree burnt down and Wilcox moved to new studios at Pinewood. There he made London Melody (1937) with Neagle.\n\nRKO\nWilcox wanted to star Neagle in a biopic of Queen Victoria. Woolf refused to finance it, believing it to be a bad investment, so Wilcox raised the bulk of the finance himself. Wilcox invested his entire savings and Neagle put in £10,000. They secured a distribution agreement with RKO. Victoria the Great (1937) was a massive success and led to Wilcox signing a ten-year deal with RKO to help finance and distribute the films.He and Neagle promptly made a sequel, Sixty Glorious Years (1938). Wilcox produced but did not direct A Royal Divorce (1938) starring Ruth Chatterton. Wilcox announced he would make a biopic of Lord Kitchener but the film was never made.\n\nHollywood\nHe and Neagle went to the US to work for RKO. They looked into making a biopic of Marie Lloyd but could not find a suitable co-star for Neagle so instead made another biopic, Nurse Edith Cavell (1939). They were going to follow it with a biopic of Flora MacDonald filmed in Scotland but the declaration of war made that impossible. Instead they made three musicals: Irene (1940), with Ray Milland; No, No, Nanette (1940), with Victor Mature; and Sunny (1941) with Ray Bolger. They were among the many names who worked on Forever and a Day (1943).\nIn July 1941, Wilcox and Neagle returned to England to make They Flew Alone (1942) a biopic of Amy Johnson and the war thriller Yellow Canary (1943).\n\nThe London Films\nWilcox and Neagle had a big hit with I Live in Grosvenor Square (1945), co starring Rex Harrison and Dean Jagger. They followed it with Piccadilly Incident (1946), starring Neagle and Michael Wilding, which was even more popular, the second biggest British hit of 1946. Wilcox signed Wilding to a long-term contract.\nThe Courtneys of Curzon Street (1947) was the most popular film at the British box office in 1947. Another hit was Spring in Park Lane (1948).\nWilding was not in their next film, Elizabeth of Ladymead (1948) but returned for Maytime in Mayfair (1949), a sequel to Spring in Park Lane, and another massive success.\nWilcox and Neagle returned to war stories with Odette (1950) a biopic of Odette Samson starring Neagle and Trevor Howard, and Wilcox's most profitable movie to date. He planned to make a biopic about Van Gogh starring Trevor Howard, but it was never made.Wilcox made a film without Neagle, Into the Blue (1950), with Wilding and Odile Versois; it was not particularly popular. Neagle and Wilding were reunited for The Lady with a Lamp (1951), a biopic of Florence Nightingale and Derby Day (1952), an ensemble film. Both did well at the box office but not as well as the late 40s films.\n\nMargaret Lockwood and Republic Pictures\nIn the early 1950s Neagle had a long running stage hit, The Glorious Years. In November 1951 Wilcox signed a multi picture deal with Margaret Lockwood to make six films in three years. The following year he signed a six-picture deal with Republic Films.\nThe first movie Lockwood-Wilcox film, Trent's Last Case (1952) was a solid success, helped by a cast including Wilding and Orson Welles. However Laughing Anne (1953), co-starring Forrest Tucker and Wendell Corey, and Trouble in the Glen (1954), with Welles, did poorly and he made no further films with Lockwood or Republic.\nWilcox was further hurt when a film he produced, The Beggar's Opera (1953), was a box office disaster.\n\nErrol Flynn and Ivor Novello\nWilcox formed a new production company, Everest, and made two musicals with Neagle and Errol Flynn: Lilacs in the Spring (1954), based on The Glorious Years, and King's Rhapsody (1955), based on a musical by Ivor Novello. Both flopped and plans to make a third Novello film, Perchance to Dream did not happen.\n\nLast films\nWilcox had a hit with My Teenage Daughter (1956), a story of Neagle dealing with a juvenile delinquent daughter played by Sylvia Syms. Less successful was These Dangerous Years (1957), produced by Neagle and directed by Wilcox, starring George Baker and Frankie Vaughan, and no Neagle.\nHe produced but did not direct a war film, Yangtse Incident (1957), which performed reasonably well at the British box office but ultimately lost money. Wilcox found himself personally liable for some of the film's costs.\nHe tried a drama with Neagle, The Man Who Wouldn't Talk (1958), and three films with Vaughan: Wonderful Things! (1958), The Heart of a Man (1959), and The Lady Is a Square (1959).\n\nBankruptcy\nWilcox was plagued with financial troubles in the 1950s and 1960s. He missed an early opportunity to invest in television; Anna Neagle's chain of dancing schools failed; he and Neagle invested heavily in British Lion shares and the company went into receivership; he borrowed £341,000 from the Edgware Trust; he and Neagle had guaranteed a £75,000 loan to make the two Errol Flynn films; and he paid £100,000 to Terence Rattigan for the film rights to his play Ross only for him to be unable to get it made. His film company failed in the 1960s. He spent two years trying to make a film about King Edward VII but the Queen refused permission. He was declared bankrupt in 1964, owing £16,000 to the Edgware Trust and £134,313 over all.However, the musical play Charlie Girl, starring his wife Anna Neagle, ran for five years and resolved this financial situation.Wilcox made some money from writing articles and was discharged as a bankrupt in 1966 after paying about 4 1/2 d in the pound to creditors.According to one profile \"The conventional view of Wilcox is that, despite his eventual bankruptcy, his considerable entrepreneurial skills enabled him to sustain a continued presence over a long period in a notoriously unstable industry; discussion of his directorial qualities usually acknowledges his professionalism but falls short of crediting him with any authorial status.\"\n\nPersonal life\nIn June 1917, Herbert Wilcox was granted a divorce from his first wife Dorothy, whom he had married on 2 December 1916 at St Luke's (CoE), Brighton. At the time, Herbert Wilcox was a lieutenant in the Royal Flying Corps. His wife was \"carrying on a disgraceful intrigue\" with an also-married Mr. Stanley Steel. The jury awarded Wilcox damages, possibly shared with Mrs Steel, of £750 plus costs.In 1920, Wilcox married Maude Bower; they had four children together. Wilcox married his third wife, actress Anna Neagle, on 9 August 1943. The couple remained married until Wilcox's death in 1977, but they had no children.\nPrior to his death at the age of 87 in London, England after a long illness, Wilcox donated four Daily Mail National Film Awards to the Glebelands Retirement Home in Wokingham.\nWilcox is buried in the City of London Cemetery.\n\nAwards\nIn 1937, the Wilcox film Victoria the Great was nominated for the Mussolini Cup at the Venice Film Festival, but lost out to the French film Life Dances On (Un carnet de bal). Wilcox lost the Festival's Best Director award to Robert J. Flaherty and Zoltán Korda for Elephant Boy. However, Victoria the Great and Wilcox won the Festival's Nations Cup for \"Best World Premiere\".\nWilcox won four Daily Mail National Film Awards.\n\n1947 – Best Film – Piccadilly Incident (producer and director)\n1948 – Best Film – The Courtneys of Curzon Street (producer and director)\n1949 – Best Film – Spring in Park Lane (producer and director)\n1951 – Best Film – Odette (producer and director)\n\nSelected filmography\nDirector\nChu-Chin-Chow (1923)\nSouthern Love (1924)\nDecameron Nights (1924)\nNell Gwyn (1926)\nLondon (1926)\nMumsie (1927)\nMadame Pompadour (1927)\nTip Toes (1927)\nThe Only Way (1927)\nDawn (1928)\nThe Bondman (1929)\nThe Woman in White (1929)\nSplinters (1929)\nThe Loves of Robert Burns (1930)\nThe Chance of a Night Time (1931)\nCarnival (1931)\nThe Blue Danube (1932)\nGood Night, Vienna (1932)\nMoney Means Nothing (1932)\nThe King's Cup (1932)\nThe Little Damozel (1933)\nBitter Sweet (1933)\nYes, Mr. Brown (1933)\nThe Queen's Affair (1934)\nNell Gwynn (1934)\nPeg of Old Drury (1935)\nWhere's George? (1935)\nThree Maxims (1936)\nThis'll Make You Whistle (1936)\nLimelight (1937)\nLondon Melody (1937)\nVictoria the Great (1937)\nSixty Glorious Years (1938)\nA Royal Divorce (1938)\nNurse Edith Cavell (1939)\nNo, No, Nanette (1940)\nIrene (1940)\nSunny (1941)\nThey Flew Alone (1942)\nForever and a Day (1943)\nYellow Canary (1943)\nI Live in Grosvenor Square (1945)\nPiccadilly Incident (1946)\nThe Courtneys of Curzon Street (1947)\nSpring in Park Lane (1948)\nElizabeth of Ladymead (1948)\nMaytime in Mayfair (1949)\nOdette (1950)\nInto the Blue (1950)\nThe Lady with the Lamp (1951)\nDerby Day (1952)\nTrent's Last Case (1952)\nLaughing Anne (1953)\nTrouble in the Glen (1953)\nLilacs in the Spring 1954)\nKing's Rhapsody (1955)\nMy Teenage Daughter (1956)\nThese Dangerous Years (1957)\nThe Man Who Wouldn't Talk (1958)\nWonderful Things! (1958)\nThe Heart of a Man (1959)\nThe Lady Is a Square (1959)\n\nProducer\nThe Wonderful Story (1922)\nPaddy the Next Best Thing (1923)\nWarned Off (1930)\nOn Approval (1930)\nTons of Money (1930)\nPlunder (1931)\nThe Barton Mystery (1932)\nLife Goes On (1932)\nSay It with Music (1932)\nThark (1932)\nLeap Year (1932)\nA Night Like This (1932)\nThe Flag Lieutenant (1932)\nGeneral John Regan (1933)\nThe Blarney Stone (1933)\nLord of the Manor (1933)\nDiscord (1933)\nLilies of the Field (1934)\nFame (1936)\nMillions (1937)\nPassage 4:\nMohsen Eslamzadeh\nMohsen Eslamzadeh is an Iranian documentary filmmaker. He is the director of Alone Among The Taliban. This film has won the best documentary award at the 44th Athens International Film and Video Festival in the United States. \nThis film has won the best documentary award at the 12th Marbella International Film Festival in Spain. \nThis film has won the Shahid Avini Award offers.\n\nFilmography\n“The Sunnies of Iran”\n“Mothers of the Revolution”\n“Mysteries of Abu-Salim Prison”\n“In the name of Liberty”\n“Looking for Peace”\n“Alone Among The Taliban”\nThe Dream of Marjaan\n\nAwards and honors\nThe competition of the international festival of documentary films \"Meetings in Siberia\" | Russia, 2018\nThe competition of the \"Tiburon International Film Festival\" | USA, 2017\nThe best documentary of “Athen international film + video festival” | USA, 2017The best documentary of “Marbella international film festival” | Spain, 2017The “Moscow detective film festival” | Russia, 2017\nThe competition of the “Thin line film festival” | USA, 2017The competition of the “Asia-Pacific Film Festival” | 2016\nThe competition of the “Human rights film festival” | Italy, 2017The competition of the “Ismailia international film festival” | Egypt, 2017The winner of the “Shahid Avini” international section of the “Cinema Verite” | Iran, 2015\nThe winner of the “Ammar popular film festival” | Iran, 2015\nThe 8th “Ammar film festival” for The Documentary of “Qasr-e-Qand” | Iran, 2018\nThe 7th “Ammar film festival” for The TV show of “Vatandar” | Iran, 2017\nThe winner of the 5th Ammar festival for the film \"Sunnis in Iran\"\nThe winner of the international section of the forth Ammar festival for the film \"Journey to the Land of Pashtuns\"\nThe winner of the special section of “Ruyesh” (growth) festival for the film “Mother of the Revolution”\nThe winner of the international section of the third Ammar festival for the film “ the Thought of Being”\nThe honored young documentary director from Mashhad in 2010 chosen by Mashhad's Islamic Revolution Cultural Centre.\nThe honored in the “Awakening Sequence” for the film “the Lover”\nThe honored in the first Ammar film Festival for the film “the Street of Martyrdom”He is a former guest of the many film festivals such as:\n\nThe “Nahj film festival” for The documentary of “Me and the commander” | Iraq, 2016\nThe Festival as a guest speaker “Aljazeera film festival” for the film “Mysteries of Abusalim Prison” | Qatar, 2013\nThe “Resistance international film festival” for the film of “Al-Sheikh Sabah” | Iran, 2015Eslamzadeh participated in few film festivals such as: “Fajr”, “Cinema Verity” and “Rooyesh” in Iran.\nEslamzadeh has won numerous awards and fellowships including “Aljazeera” in Qatar and “Human Rights” in Spain and he awarded in some of them.\nPassage 5:\nLondon Melody\nLondon Melody is a 1937 British musical film directed by Herbert Wilcox and starring Anna Neagle, Tullio Carminati and Robert Douglas. It was made at British and Dominions Imperial Studios, Elstree and Pinewood Studios by Wilcox's independent production company and distributed by J. Arthur Rank's General Film Distributors. It was also released with the alternative title Look Out for Love.\nIt was the first movie shot at Pinewood.\n\nSynopsis and production\nA musical with a trial. One of several Anna Neagle - Tullio Carminati vehicles of the era, London Melody was one of five films directed within a year or so by Neagle's future husband, Herbert Wilcox. This time around, Carminatti is cast as Marius Andreani, a cultured Italian diplomat. While in London on business, Marius makes the chance acquaintance of boisterous cockney street entertainer Jacqueline (Neagle). It is love at first sight, but hero and heroine must undergo a dizzying series of roadblocks and misunderstandings before the climactic clinch. Meanwhile, Jacqueline rises to the top of show-business success, never dreaming (until the end, at least) that it is all the secret handiwork of faithful Marius.\nBritish and Dominions Imperial Studios was destroyed by fire in the early morning of 9 February 1936, necessitating the move of the production to Pinewood.\n\nCast\nCritical reception\nIn 1937, The Sydney Morning Herald called it an \"attractive and well-acted picture...Produced and directed by Herbert Wilcox in a way that contrasts favourably with Hollywood's efforts in a similar direction...Anna Neagle, a gifted actress, with definite charm and personality, makes a delightful Jacqueline. As the diplomat...Tulllo Carminati lends distinction and poise to his role. Perhaps the best character in the film is the priest, Horace Hodges, a lovable and very human person. Robert Douglas makes a good impression in the rather inconsistent part of Nigel Taplow, Andreani's secretary\"; whereas more recently, Sky Movies described it as \"a very thin musical vehicle for Anna Neagle, bizarrely cast as a cockney street singer. This dated offering...will prove tough going for all but hardened Neagle fans today.\"\nPassage 6:\nRavina (actress)\nRavina is an Indian actress who acted in Dhallywood movies. She acted in the 1997 film Praner Cheye Priyo with Riaz. She also appeared in Sabdhan and Dolopoti, again opposite Riaz.\n\nSelected filmography\nPraner Cheye Priyo\nSabdhan\nDolopoti\nPassage 7:\nQuerelle\nQuerelle is a 1982 West German-French English-language arthouse film directed by Rainer Werner Fassbinder and starring Brad Davis, adapted from French author Jean Genet's 1947 novel Querelle of Brest. It was Fassbinder's last film, released shortly after his death at the age of 37.\n\nPlot\nThe plot centers on the handsome Belgian sailor Georges Querelle, who is also a thief and murderer. When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, is Querelle's brother. Querelle has a love/hate relationship with his brother: when they meet at La Feria, they embrace, but also punch one another slowly and repeatedly in the belly. Lysiane's husband Nono works behind the bar and also manages La Feria's underhanded affairs with the assistance of his friend, the corrupt police captain Mario.\nQuerelle makes a deal to sell opium to Nono. During the execution of the deal, he murders his accomplice Vic by slitting his throat. After delivering the drugs, Querelle announces that he wants to sleep with Lysiane. He knows that this means he will have to throw dice with Nono, who has the privilege of playing a game of chance with all of her prospective lovers. If Nono loses, the suitor is allowed to proceed with his affair. If the suitor loses, however, he must submit to anal sex with Nono first, according to Nono's maxim that \"That way, I can say my wife only sleeps with arseholes.\" Querelle deliberately loses the game, allowing himself to be sodomized by Nono. When Nono gloats about Querelle's \"loss\" to Robert, who won his dice game, the brothers end up in a violent fight. Later, Querelle becomes Lysiane's lover, and also has sex with Mario.\nLuckily for Querelle, a builder, Gil, murders his work mate Theo, who had been harassing and sexually assaulting him. Gil hides from the police in an abandoned prison, and Roger, who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee. Querelle falls in love with Gil, who closely resembles his brother. Gil returns his affections, but Querelle betrays Gil by tipping off the police. Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil.\nQuerelle's superior, Lieutenant Seblon, is in love with Querelle, and constantly tries to prove his manliness to him. Seblon is aware that Querelle murdered Vic, but chooses to protect him. Later, Seblon reveals his love and concern to a drunken Querelle, and they kiss and embrace before returning to Le Vengeur.\n\nCast\nBrad Davis as Querelle\nFranco Nero as Lieutenant Seblon\nJeanne Moreau as Lysiane\nLaurent Malet as Roger Bataille\nHanno Pöschl as Robert / Gil\nGünther Kaufmann as Nono\nBurkhard Driest as Mario\nRoger Fritz as Marcellin\nDieter Schidor as Vic Rivette\nNatja Brunckhorst as Paulette\nWerner Asam as Worker\nAxel Bauer as Worker\nNeil Bell as Theo\nRobert van Ackeren as Drunken legionnaire\nWolf Gremm as Drunken legionnaire\nFrank Ripploh as Drunken legionnaire\n\nProduction\nAccording to Genet's biographer Edmund White, Querelle was originally going to be made by Werner Schroeter, with a scenario by Burkhard Driest, and produced by Dieter Schidor. However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including John Schlesinger and Sam Peckinpah, before finally settling on Fassbinder. Driest wrote a radically different script for Fassbinder, who then \"took the linear narrative and jumbled it up\". White quotes Schidor as saying \"Fassbinder did something totally different, he took the words of Genet and tried to meditate on something other than the story. The story became totally unimportant for him. He also said publicly that the story was a sort of third-rate police story that wouldn't be worth making a movie about without putting a particular moral impact into it\".Schroeter had wanted to make a black and white film with amateur actors and location shots, but Fassbinder instead shot it with professional actors in a lurid, expressionist color, and on sets in the studio. Edmund White comments that the result is a film in which, \"Everything is bathed in an artificial light and the architectural elements are all symbolic.\"\n\nSoundtrack\nJeanne Moreau – \"Each Man Kills the Things He Loves\" (music by Peer Raben, lyrics from Oscar Wilde's poem \"The Ballad of Reading Gaol\")\n\"Young and Joyful Bandit\" (Music by Peer Raben, lyrics by Jeanne Moreau)Both songs were nominated to the 1984 Razzie Awards for \"Worst Original Song\".\n\nRelease\nQuerelle sold more than 100,000 tickets in the first three weeks after its release in Paris, the first time that a film with a gay theme had achieved such success. On review aggregator Rotten Tomatoes, which categorizes reviews as positive or negative only, the film has an approval rating of 57% calculated based on 14 critics comments. By comparison, with the same opinions being calculated using a weighted arithmetic mean, the rating is 6.10/10. Writing for The New York Times critic Vincent Canby noted that Querelle was \"a mess...a detour that leads to a dead end.\"\nPenny Ashbrook calls Querelle Fassbinder's \"perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay male sensibility to come from a major filmmaker.\" Edmund White considers Querelle the only film based on Genet's book that works, calling it \"visually as artificial and menacing as Genet's prose.\" Genet, in discussion with Schidor, said that he had not seen the film, commenting \"You can't smoke at the movies.\"\nPassage 8:\nClaude Chabrol\nClaude Henri Jean Chabrol (French: [klod ʃabʁɔl]; 24 June 1930 – 12 September 2010) was a French film director and a member of the French New Wave (nouvelle vague) group of filmmakers who first came to prominence at the end of the 1950s. Like his colleagues and contemporaries Jean-Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine Cahiers du cinéma before beginning his career as a film maker.\nChabrol's career began with Le Beau Serge (1958), inspired by Hitchcock's Shadow of a Doubt (1943). Thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity. This is especially apparent in Les Biches (1968), La Femme infidèle (1969), and Le Boucher (1970) – all featuring Stéphane Audran, who was his wife at the time.\nSometimes characterized as a \"mainstream\" New Wave director, Chabrol remained prolific and popular throughout his half-century career. In 1978, he cast Isabelle Huppert as the lead in Violette Nozière. On the strength of that effort, the pair went on to others including the successful Madame Bovary (1991) and La Cérémonie (1995). Film critic John Russell Taylor has stated that \"there are few directors whose films are more difficult to explain or evoke on paper, if only because so much of the overall effect turns on Chabrol's sheer hedonistic relish for the medium...Some of his films become almost private jokes, made to amuse himself.\" James Monaco has called Chabrol \"the craftsman par excellence of the New Wave, and his variations upon a theme give us an understanding of the explicitness and precision of the language of the film that we don't get from the more varied experiments in genre of Truffaut or Godard.\"\n\nLife and career\nEarly life\nClaude Henri Jean Chabrol was born on 24 June 1930 to Yves Chabrol and Madeleine Delarbre in Paris and grew up in Sardent, France, a village in the region of Creuse 400 km (240 miles) south of Paris. Chabrol said that he always thought of himself as a country person, and never as a Parisian. Both Chabrol's father and grandfather had been pharmacists, and Chabrol was expected to follow in the family business. But as a child, Chabrol was \"seized by the demon of cinema\" and ran a film club in a barn in Sardent between the ages of 12 and 14. It was at this time that he developed his passion for the thriller genre, detective stories and other forms of popular fiction.\n\nEarly years in Paris\nAfter World War II, Chabrol moved to Paris to study pharmacology and literature at the Sorbonne, where he received a licence en lettres. Some biographies also state that he briefly studied law and political science at the École Libre des Sciences Politiques. While living in Paris Chabrol became involved with the postwar cine club culture and frequented Henri Langlois's Cinémathèque Française and the Ciné-Club du Quartier Latin, where he first met Éric Rohmer, Jacques Rivette, Jean-Luc Godard, François Truffaut and other future Cahiers du Cinéma journalists and French New Wave filmmakers. After graduating, Chabrol served his mandatory military service in the French Medical Corps, serving in Germany and reaching the rank of sergeant. Chabrol has said that while in the army he worked as a film projectionist. After he was discharged from the army, he joined his friends as a staff writer for Cahiers du Cinéma, who were challenging then-contemporary French films and championing the concept of Auteur theory. As a film critic, Chabrol advocated realism both morally and aesthetically, mise-en-scene, and deep focus cinematography, which he wrote \"brings the spectator in closer with the image\" and encourages \"both a more active mental attitude on the part of the spectator and a more positive contribution on his part to the action in progress.\" He also wrote for Arts magazine during this period. Among Chabrol's most famous articles were \"Little Themes\", a study of genre films, and \"The Evolution of Detective Films\".In 1955 Chabrol was briefly employed as a publicity man at the French offices of 20th Century Fox, but was told that he was \"the worst press officer they'd ever seen\" and was replaced by Jean-Luc Godard, who they said was even worse. In 1956 he helped finance Jacques Rivette's short film Le coup du berger, and later helped finance Rohmer's short Véronique et son cancre in 1958. Unlike all of his future New Wave contemporaries, Chabrol never made short film nor did he work as an assistant on other directors' work before making his feature film debut. In 1957 Chabrol and Eric Rohmer co-wrote Hitchcock (Paris: Éditions Universitaires, 1957), a study of the films made by director Alfred Hitchcock through the film The Wrong Man. Chabrol had said that Rohmer deserves the majority of the credit for the book, while he mainly worked on the sections pertaining to Hitchcock's early American films, Rebecca, Notorious, and Stage Fright. Chabrol had interviewed Hitchcock with François Truffaut in 1954 on the set of To Catch a Thief, where the two famously walked into a water tank after being starstruck by Hitchcock. Years later, when Chabrol and Truffaut had both become successful directors themselves, Hitchcock told Truffaut that he always thought of them when he saw \"ice cubes in a glass of whiskey.\"\n\n1957–67: Early film career\nThe most prolific of the major New Wave directors, Chabrol averaged almost one film a year from 1958 until his death. His early films (roughly 1958–1963) are usually categorized as part of the New Wave and generally have the experimental qualities associated with the movement; while his later early films are usually categorized as being intentionally commercial and far less experimental. In the mid-sixties it was difficult for Chabrol to obtain financing for films so he made a series of commercial \"potboilers\" and spy spoofs, which none of the other New Wave filmmakers did.Chabrol had married Agnès Goute in 1952 and in 1957 his wife inherited a large sum of money from relatives. In December of that year Chabrol used the money to make his feature directorial debut with Le Beau Serge. Chabrol spent three months shooting in his hometown of Sardent using a small crew and little known actors. The film's budget was $85,000. The film starred Jean-Claude Brialy as François and Gérard Blain as Serge, two childhood friends reunited when the recent medical school graduate François returns to Sardent and discovers that Serge has become an alcoholic after the stillbirth of his physically retarded first child. Despite suffering from tuberculosis, François drags Serge through a snowstorm to witness the birth of his second child, thus giving Serge a reason to live while killing himself in the process. Le Beau Serge is considered the inaugural film of the French New Wave Film movement that would peak between 1959 and 1962. Chabrol was the first of his friends to complete a feature film (although Jacques Rivette had already begun filming his first feature Paris nous appartient), and it immediately received critical praise and was a box office success. It won the Grand Prix at the Locarno Film Festival and the Prix Jean Vigo. Critics noticed similarities to Hitchcock's films, such as the motifs of doubling and re-occurrences and the \"Catholic guilt transference\" that Chabrol had also written about extensively in his and Rohmer's book the year earlier. Chabrol stated that he made the film as a \"farewell to Catholicism\", and many critics have called his first film vastly different from any of his subsequent films.Chabrol quickly followed this success up with Les Cousins in 1958. The film is a companion piece and a reversal to Le Beau Serge in many ways, such as having the responsible student Brialy now play the decadent and insensitive Paul while the reckless Blain now plays the hard-working law student Charles. In this film, the country cousin Charles arrives in the big city of Paris to live with his corrupt cousin Paul while attending school. This was the first of many Chabrol films to include characters named Paul and Charles, and later films would often include a female named Hélène. More so than his first film, Les Cousins features many characteristics that would be seen as \"Chabrolian\", including the Hitchcock influence, a depiction of the French bourgeoisie, characters with ambiguous motives and a murder. It was also Chabrol's first film co-written with his longtime collaborator Paul Gégauff, of whom Chabrol once said \"when I want cruelty, I go off and look for Gégauff. Paul is very good at gingering things up...He can make a character look absolutely ridiculous and hateful in two seconds flat.\" Les Cousins was another box office success in France and won the Golden Bear at the 9th Berlin International Film Festival.Chabrol formed his own production company AJYM Productions (acronym based on the initials of his wife's and children's names) at the time of making Le Beau Serge. After the success of Le Beau Serge and Les Cousins, Chabrol began funding many of the films of his friends. AJYM helped fund Eric Rohmer's feature debut The Sign of Leo, partially funded Rivette's Paris nous appartient, and Philippe de Broca's films Les Jeux de l'amour and Le farceur. He also donated excess film stock from Les Cousins to Rivette to complete Paris nous appartient. Chabrol was also a technical advisor on Jean-Luc Godard's feature debut Breathless and acted in small parts in many of his friends' and his own early films. For his support to the early careers of so many of his friends, Chabrol has been referred to as \"the godfather of the French New Wave\", although many film histories tend to overlook this contribution and dismiss Chabrol altogether.After two box office hits in a row, Chabrol was given a big budget to make his first color film, À double tour (Léda) in the spring of 1959. The film stars Jean-Paul Belmondo as Laszlo and Antonella Lualdi as Léda, two outsiders of a bourgeois family who experience different results when attempting to enter that family. Chabrol adapted the script with Paul Gégauff from a novel by Stanley Ellin, and the film is known for its oedipal sex triangle and murder scenario. The film was shot on location in Aix-en-Provence with cinematographer Henri Decaë and includes choppy, hand-held camera footage that is atypical of a Chabrol film despite being present in many of the New Wave films made at the same time. The film was both a box office and critical disappointment, and critic Roy Armes criticized \"Chabrol's lack of feeling for his characters and love of overacting.\"In 1960 Chabrol made what is considered by many critics as his best early film, Les Bonnes Femmes. The film stars Bernadette Lafont, Clotilde Joano, Stéphane Audran and Lucile Saint-Simon as four Parisian appliance store employees who all dream of an escape from their mediocre lives, and the different outcomes for each girl. Most critics praised the film, such as Robin Wood and James Monaco. However some left-wing critics disliked Chabrol's depiction of working-class people and accused him of making fun of their lifestyles. The film was another box office disappointment for Chabrol. It was followed with two films that were also financially unsuccessful and which Chabrol has admitted to making purely for \"commercial reasons\". Les Godelureaux was made in 1960 and hated by Chabrol. The Third Lover (L'Œil du Malin), released in 1961, received better reviews than Chabrol's previous films, with critics pointing out that the films that Chabrol wrote without Paul Gégauff were much more compassionate and realistic than the ones with Gégauff. It was shot on location in Munich. Although she had appeared in supporting roles in several Chabrol films before, The Third Lover was the first Chabrol film in which Stéphane Audran appeared as the female lead. They later married in 1964 and worked together until the late 1970s.In 1962 Chabrol made Ophelia, a loose adaptation of Hamlet that was another box office disappointment. Later that year he had a minor hit film with Landru, written by Françoise Sagan and starring Charles Denner, Michèle Morgan, Danielle Darrieux and Hildegard Knef. The film depicts the famous French serial killer Henri Désiré Landru, a story that had previously inspired Charlie Chaplin's film Monsieur Verdoux.From 1964 to 1967 Chabrol made six films and one short that were critically and commercially disastrous, and this period is considered a low point of his career. Four of these films were in the then-popular genre of spy spoof films, including Le Tigre aime la chair fraiche and Le Tigre se parfume à la dynamite. Chabrol had said that \"I like to get to the absolute limit of principles...In drivel like the Tiger series I really wanted to get the full extent of the drivel. They were drivel, so OK, let's get into it up to our necks.\" During this period a Variety headline read \"Vital To Keep Making Pictures, and What Sort Not Relevant; Chabrol No 'Doctrinaire' Type.\" In 1965 Chabrol also contributed to the New Wave portmanteau film Six in Paris with the segment \"La Muette\". Chabrol co-starred with Stéphane Audran as a middle aged couple dealing with their rebellious teenage daughter. In 1964 Chabrol also directed a stage production of MacBeth for the Théâtre Récamier.\n\n1968–78: \"Golden Era\"\nIn 1968 Chabrol began working with film producer André Génovès and started to make more critically acclaimed films that would later be considered his \"Golden Era\". Most of these films revolved around themes of bourgeois characters and a murder is almost always part of the plot. Unlike his earlier films, most of these films centered around middle aged people. Chabrol often worked with the same people during this period including actors Audran and Michel Bouquet, cinematographer Jean Rabier, editor Jacques Gaillard, sound technician Guy Chichignoud, composer Pierre Jansen, set designer Guy Littaye, as well as producer Génovés and co-writer Paul Gégauff.In 1968 Chabrol made Les Biches, one of his most acclaimed works. The film stars Stéphane Audran as the dominant and bisexual Frédérique, who finds a young protege in the bisexual Why (Jacqueline Sassard), until they both become the lover of a young architect named Paul (Jean-Louis Trintignant). Why ends up killing Frédérique, but it is unclear whether she murdered her cheating lover or the person that her lover was cheating with. The film received critical praise and was a box office hit. Chabrol followed this with a similar film The Unfaithful Wife (La Femme infidèle), in which a husband named Charles murders the lover of his cheating wife. It was later remade in 2002 by director Adrian Lyne. Chabrol finished the decade with This Man Must Die (Que la bête meure) in 1969. Based on an original story by Cecil Day-Lewis, in the film Charles (Michel Duchaussoy) plots to kill Paul (Jean Yanne) after Paul killed Charles' son in a hit and run car accident. However the film's ending is left intentionally ambiguous, and Chabrol has stated that \"you'll never see a Charles kill a Paul. Never.\" The film was especially praised for its landscape cinematography.In 1970 Chabrol made The Butcher (Le boucher) starring Jean Yanne and Stéphane Audran. Yanne plays Popaul, a former war hero known for his violent behavior, much like that depicted in the prehistoric cave drawings that the characters look at in their Périgord community. The French newspaper Le Figaro called it \"the best French film since the liberation.\" After another examination of bourgeois life in The Breach (La Rupture) in 1970, Chabrol made Just Before Nightfall (Juste avant la nuit) in 1971. The film stars Michel Bouquet as an ad executive named Charles who kills his mistress but cannot handle the guilt, so he confesses his crime to her husband (François Périer) and his wife (Stéphane Audran), expecting their condemnation. To his surprise they are only compassionate and forgiving to his crime and Charles cannot find relief from the guilt of what he has done. Later in 1971 Chabrol made Ten Days' Wonder (La Décade prodigieuse), based on a novel by Ellery Queen. The film was shot in English and starred Michel Piccoli, Anthony Perkins and Orson Welles. It received poor critical reviews. He followed this with the equally disliked Dr. Popaul, starring Jean-Paul Belmondo and Mia Farrow. Critics compared the film unfavorably with Chabrol's earlier film that centered on a \"Landru-like\" theme. Critic Jacques Siclier said that \"the novelty of Docteur Popaul comes from the offhandedness with which the criminal history is treated.\"Chabrol took a slight change of pace with his 1973 film Wedding in Blood (Les Noces rouges) by making his first film with political themes. The film stars Audran and Michel Piccoli as lovers who plot to murder Audran's husband, who is the corrupt gaullist mayor of their town. To their surprise the President of France orders that no investigation be made of the mayor's death, leading the murdering couple to suspect political interest in their crime. In the spring of 1973 the French government banned the film for one month, allegedly so that it would not influence members of the jury of a controversial criminal trial. Chabrol followed this political theme with Nada, in which a group of young anarchists kidnap an American ambassador. It was Chabrol's first film to not center on the bourgeois since Le Beau Serge. Chabrol returned to more familiar ground in 1975 with A piece of pleasure (Une partie de plaisir). In this film screenwriter Paul Gégauff plays a writer with a troubled marriage that ends in tragedy. (In 1983, Gégauff was stabbed to death in real life by his second wife.) Gégauff's wife is played by his real-life first wife Danièle Gégauff (already divorced when this film was made) and his daughter is played by real life daughter Clemence Gégauff. The film received poor critical reviews, with Richard Roud calling it \"rather interestingly loathsome.\"Chabrol ended his Golden Period with one of his most admired and his most controversial films Violette Nozière in 1978. The film starred a young Isabelle Huppert as a real life Parisian girl from a respectable petit-bourgeois family in the 1930s. At night Violette sneaks out to pick up men and eventually contracts syphilis, which she convinces her parents must be hereditary before she kills them. The film was controversial in France but praised in other countries.\n\n1979–2009: Later work\nIn the 1980's and 1990's Chabrol engaged himself with many different projects for both TV and the silver screen. His films Poulet au vinaigre (1985) and Masques (1987) were entered into the 38th Cannes Film Festival and 37th Berlin International Film Festival respectively. Madame Bovary (1991) was nominated for the Golden Globe Award for Best Foreign Language Film and for the Academy Award for Best Costume Design. It was also entered into the 17th Moscow International Film Festival. La Cérémonie (1995) is perhaps his most acclaimed film from this period, as it was nominated for numerous César Awards and was entered into the 52nd Venice International Film Festival among other. His 1999 film The Color of Lies was entered into the 49th Berlin International Film Festival.In 1995 Chabrol was awarded the Prix René Clair from the Académie française for his body of work.\nChabrol continued directing films and TV series well into the 2000's.\n\nPersonal life\nChabrol's first marriage to Agnès Goute (1956–1962) produced a son, Matthieu Chabrol, a composer who scored most of his father's films from the early 1980s. He divorced Agnès to marry the actress Stéphane Audran, with whom he had a son, actor Thomas Chabrol. They remained married from 1964 to 1978. His third wife was Aurore Paquiss, who has been a script supervisor since the 1950s. He had four children. Chabrol was a known gourmet chef and shot 10 Days Wonder in Alsace only because he wanted to visit its restaurants. Although he acknowledges the influence of Alfred Hitchcock in his work, Chabrol has stated that \"others have influenced me more. My three greatest influences were Murnau, the great silent film director...Ernst Lubitsch and Fritz Lang.\"Chabrol died on 12 September 2010 of leukemia. He is buried in Pere Lachaise Cemetery in north-eastern Paris.\n\nFilmography\nAs director\nAs actor\nTV work\nHistoires insolites (1974), 5 episodes\nNouvelles de Henry James (1974), 2 episodes – based on stories by Henry James\nIl était un musicien (1978), 3 episodes\nMadame le juge (1978), 1 episode\n\"Jeunesse et Spiritualité\" Cyprien Katsaris (1979) Official site\nFantômas (1980), 2 episodes – Remake of Fantômas\nLe système du docteur Goudron et du professeur Plume (1981) – based on The System of Doctor Tarr and Professor Fether by Edgar Allan Poe\nLes affinités électives (1982) – based on Elective Affinities by Johann Wolfgang von Goethe\nM. le maudit (1982, short)\nLa danse de mort (1982) – based on The Dance of Death by August Strindberg\nLes dossiers secrets de l'inspecteur Lavardin (1988), 2 episodes\nLes redoutables (2001), 1 episode\nChez Maupassant (2007), 2 episodes – based on stories by Guy de Maupassant\nAu siècle de Maupassant: Contes et nouvelles du XIXème siècle (2010), 2 episodes\nPassage 9:\nLe Masque de la Méduse\nLe masque de la Méduse (English: The Mask of Medusa) is a 2009 fantasy horror film directed by Jean Rollin. The film is a modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same name and the 1981 cult classic Clash of the Titans. It was Rollin's final film, as the director died in 2010.\n\nCast\nSimone Rollin as la Méduse\nSabine Lenoël as Euryale\nMarlène Delcambre as Sthéno\nJuliette Moreau as Juliette\nDelphine Montoban as Cornelius\nJean-Pierre Bouyxou as le gardien\nBernard Charnacé as le collectionneur\nAgnès Pierron as la colleuse d'affiche au Grand-Guignol\nGabrielle Rollin as la petite contrebassiste\nJean Rollin as l'homme qui enterre la tête\nThomas Smith as Thomas\n\nProduction\nIt was thought that Rollin's 2007 film La nuit des horloges was the final film of his career, as he had mentioned in the past. However, in 2009, Rollin began preparation foe Le masque de la Méduse. Rollin originally directed the film as a one-hour short, which was screened at the Cinémathèque de Toulouse, but after the release, Rollin decided to add 20 minutes of additional scenes and then cut the film into two distinct parts, as he did with his first feature, Le Viol du Vampire. The film was shot on location at the Golden Gate Aquarium and Père Lachaise Cemetery, as well as on stage at the Theatre du Grande Guignol, which is where the longest part of the film takes place. It was shot on HD video on a low budget of €150,000. Before the release, it was transferred to 35mm film.\n\nRelease\nThe film was not released theatrically, although it premiered on 19 November 2009 at the 11th edition of the Extreme Cinema Film Festival at the Cinémathèque de Toulouse. As part of \"An Evening with Jean Rollin\", it was shown as a double feature with Rollin's 2007 film La nuit des horloges.\n\nHome media\nNo official DVD was released, although for a limited time, a DVD of La masque de la Méduse was included with the first 150 copies of Rollin's book Jean Rollin: Écrits complets Volume 1.\nPassage 10:\nThulasi (1987 film)\nThulasi is a 1987 Indian Tamil-language romantic drama film directed by Ameerjan. The film stars Murali and Seetha. It was released on 27 November 1987.\n\nPlot\nThirunavukarasu is considered as a God by his villagers. Nevertheless, his son Sammadham is an atheist and he doesn't believe in his father's power. Sammadham and Ponni, a low caste girl, fall in love with each other. Sammadham's best friend Siva, a low caste boy, passes the Master of Arts degree successfully. Thirunavukarasu's daughter Thulasi then develops a soft corner for Siva.\nThirunavukarasu cannot accept for his son Sammadham's marriage with Ponni due to caste difference. Sammadham then challenges him to marry her. Thirunavukarasu appoints henchmen to kill her and Ponni is found dead the next day in the water. In the meantime, Siva also falls in love with Thulasi. The rest of the story is what happens to Siva and Thulasi.\n\nCast\nMurali as Sivalingam \"Siva\"\nSeetha as Thulasi\nChandrasekhar as Sammadham\nMajor Sundarrajan as Thirunavukarasu\nSenthil\nCharle as Khan\nThara as Ponni\nMohanapriya as Sarasu\nVathiyar Raman\nA. K. Veerasamy as Kaliyappan\n\nSoundtrack\nThe music was composed by Sampath Selvam, with lyrics written by Vairamuthu.\n\nReception\nThe Indian Express gave a negative review calling it \"thwarted love\".",6 "char_len": 57962,7 "document_hash": "d22dd1447307977263557dcbeb0daa596749d66e27ef9ebd65f9fbdc53b94c40",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "2wikimqa",12 "question": "Which film has the director died first, Our Agent Tiger or London Melody?"13 }14 ]15}