BrieTV.com

um hi

***********************************

the video “linda:”

http://www.youtube.com/watch?v=S8m20x5AuCI

*****************************************************************

“In 1961 Liz Taylor won her first Oscar for her portrayal of a call girl in a tortured affair with a married man in “Butterfield 8.”

Although she hated the part and the script, she agreed to the role because it ended her contractual obligations to MGM.
Her next project was “Cleopatra” for Twentieth Century Fox. Taylor was loath to take the title role and set her asking price at $1 million.

With a record-breaking final price tag of $62 million, the film ushered in a new era of excess in Hollywood. It nearly bankrupted Fox, which was forced to sell its back lot bordering Beverly Hills to a developer, who turned those 200 acres into Century City.

The production also launched the most turbulent period of Taylor’s life. She contracted pneumonia during filming in Rome and underwent an emergency tracheotomy. She was reported to be near death for days.

After she recovered and returned to the “Cleopatra” set, headlines around the world began to scream details of her affair with Burton. When the movie was finally released in 1963, the reviews were brutal, but audiences flocked to see its shameless-in-love stars.

Taylor co-starred with Burton in several more movies, including “The V.I.P.s” (1963); “The Sandpiper” (1965); “Doctor Faustus,” “The Comedians” and “The Taming of the Shrew” (all 1967); “Boom!” (1968); “Under Milk Wood” and “Hammersmith Is Out” (both 1972); and an aptly titled television movie, “Divorce His, Divorce Hers” (1973). Critics found most of their collaborations unremarkable.

The exception came in 1966, when the ritzy couple were cast against type in Edward Albee’s drama of marital angst, “Who’s Afraid of Virginia Woolf?”

Taylor gained 25 pounds and donned a gray wig and extra padding to play Martha, the frumpy, foul-mouthed, highly educated wife of Burton’s henpecked college professor. She was reportedly terrified by the challenge of playing a role so far removed from her glamorous persona.

Nichols put the Burtons and the other two cast members — George Segal and Sandy Dennis — through weeks of private rehearsals and closed the set during filming. Gradually, Taylor said, she grew so comfortable in her “Martha suit” that it freed her acting.

Critics lavished praise on her performance, calling it the best of her career. The film won five Oscars, including Taylor’s second for best actress. She also won awards from the National Board of Review, the Hollywood Foreign Press Assn., the New York Film Critics Circle and what is now the British Academy of Film and Television Arts.”

**************************************************************

*****************milf-o-rama**************

jackie:

mommy jacy allen:

tatum reed:

wife wearing saddle shoes:

victoria mae:

& brie:

*****************************************************************

If “Sunset Boulvard” is not the best movie about Los Angeles, then certainly it’s the best movie ever made about Hollywood!

“Sunset Boulevard (also known as Sunset Blvd.) is a 1950 American film noir directed and co-written by Billy Wilder. It was named after the boulevard that runs through Los Angeles and Beverly Hills, California.

The film stars William Holden as an unsuccessful screenwriter and Gloria Swanson as a faded silent movie star who draws him into her fantasy world, in which she dreams of making a triumphant return to the screen. Erich von Stroheim, Nancy Olson, Fred Clark, Lloyd Gough and Jack Webb play supporting roles. Director Cecil B. DeMille and gossip columnist Hedda Hopper play themselves, and the film includes cameo appearances by leading silent film actors Buster Keaton, H. B. Warner and Anna Q. Nilsson.

Praised by many critics when first released, Sunset Boulevard was nominated for eleven Academy Awards and won three. It is widely accepted as a classic, often cited as one of the most noteworthy films of American cinema. Deemed “culturally, historically, or aesthetically significant” by the U.S. Library of Congress in 1989, Sunset Boulevard was included in the first group of films selected for preservation in the National Film Registry. In 1998, it was ranked number twelve on the American Film Institute’s list of the 100 best American films of the 20th century.

An aging former star of silent movies, Desmond (Gloria Swanson) has withdrawn to her Gothic Beverly Hills mansion, off Sunset Boulevard, nursing dreams of a return to stardom while her grip on reality grows ever more tenuous over the years. Her one companion is Max (Erich von Stroheim), her butler, former director, and first husband, who serves as her protector and shields her from the outside world. Because he is still in love with her, he tells her she is still a star, and cuts her off from the news media, and writes daily fan letters to keep her from realizing that she has been completely forgotten by her beloved public.

One day Joe Gillis (William Holden), a young, unemployed screenwriter arrives at Desmond’s with a flat tire on his 1946 Plymouth after being chased by two repo men. He parks the car inside the garage of the mansion and is summoned by Norma to the front door. She confuses him for an undertaker for her just deceased pet chimpanzee.

Norma finds out that Joe Gillis is in fact a writer and asks him to take a look at a manuscript she has been working for a while. It is the story of Salome,

and she plans to star in it.”

******************************************************

A coming of age tale, “Lost in Yonkers” focuses on brothers Arty and Jay, who are left in the care of their Grandma Kurnitz and Aunt Bella (Mercedes Ruehl) in Yonkers, New York by their desperate father Eddie, who needs to work as a traveling salesman to pay off debts incurred following his wife’s death.

Bella is a sweet and  highly excitable woman

who longs to marry an usher at the local movie house named Johnny so she can escape the oppressive household and create a life and family of her own.