brexian's cove

J’aurais besoin de toi by AnnuskA - AnnA Theodora on Flickr.Joe Dassin - Et si tu n`existais pas Et si tu n’existais pas Dis-moi pourquoi j’existerais Pour traîner dans un monde sans toi Sans espoir et sans regret Et si tu n’existais pas J’essaierais d’inventer l’amour Comme un peintre qui voit sous ses doigts Naître les couleurs du jour Et qui n’en revient pas Et si tu n’existais pas Dis-moi pour qui j’existerais Des passantes endormies dans mes bras Que je n’aimerai jamais Et si tu n’existais pas Je ne serais qu’un point de plus Dans ce Monde qui vient et qui va Je me sentirais perdu J’aurais besoin de toi Et si tu n’existais pas Dis-moi comment j’existerais Je pourrais faire semblant d’être moi Mais je ne serais pas vrai Et si tu n’existais pas Je crois que je l’aurais trouvé Le secret de la vie, le pourquoi Simplement pour te créer Et pour te regarder Et si tu n’existais pas Dis-moi pourquoi j’existerais Pour traîner dans un monde sans toi Sans espoir et sans regret Et si tu n’existais pas J’essaierais d’inventer l’amour Comme un peintre qui voit sous ses doigt Naître les couleurs du jour

J’aurais besoin de toi by AnnuskA - AnnA Theodora on Flickr.

Joe Dassin - Et si tu n`existais pas

Et si tu n’existais pas
Dis-moi pourquoi j’existerais
Pour traîner dans un monde sans toi
Sans espoir et sans regret
Et si tu n’existais pas
J’essaierais d’inventer l’amour
Comme un peintre qui voit sous ses doigts
Naître les couleurs du jour
Et qui n’en revient pas
Et si tu n’existais pas
Dis-moi pour qui j’existerais
Des passantes endormies dans mes bras
Que je n’aimerai jamais
Et si tu n’existais pas
Je ne serais qu’un point de plus
Dans ce Monde qui vient et qui va
Je me sentirais perdu
J’aurais besoin de toi
Et si tu n’existais pas
Dis-moi comment j’existerais
Je pourrais faire semblant d’être moi
Mais je ne serais pas vrai
Et si tu n’existais pas
Je crois que je l’aurais trouvé
Le secret de la vie, le pourquoi
Simplement pour te créer
Et pour te regarder

Et si tu n’existais pas
Dis-moi pourquoi j’existerais
Pour traîner dans un monde sans toi
Sans espoir et sans regret
Et si tu n’existais pas
J’essaierais d’inventer l’amour
Comme un peintre qui voit sous ses doigt
Naître les couleurs du jour

# native self-portrait light window make up eyes lips long black hair sensual skin flowers crown nymph mermaid princess vintage brazilian lady woman girl brasileira mulher hair retrato black colorful fringe franja

Posted 12 months ago 1 note
ténébreuse by horlo on Flickr.Ténébreuse est la quatrième des sept planètes tournant autour de l’étoile Cottman, une géante rouge. Elle est colonisée par accident pendant les débuts de l’exploration de l’univers par les terriens. Les colons perdent rapidement tout contact avec la terre et un oubli réciproque provoque un très long isolement (vraisemblablement 2000 ans). Les conditions de vie sur Ténébreuse sont extrêmement difficiles. La géante rouge Cottman donnant peu de lumière et de chaleur, le climat est donc très froid. La planète est très pauvre en métaux ce qui explique le retour très rapide des colons à un niveau technologique médiéval et par conséquent la perte de contact avec la Terre. En contre-partie, Ténébreuse favorise le développement, chez certains colons, de pouvoirs parapsychiques (télépathie, télékinésie, etc.) par la conjonction de divers facteurs : accouplement avec une race native, les chieri, substances naturelles aux propriétés révélatrices des pouvoirs latents, et surtout les matrices des cristaux bleus capables d’amplifier les pouvoirs mentaux. Pendant l’isolement, une société très particulière se développe sur Ténébreuse, dominée par des familles régnantes, les Comyn, dont les pouvoirs psychiques, le laran, sont sans cesse améliorés par un vaste programme de sélection génétique. Pendant ses moments les plus noirs, les âges du chaos, la société ténébrane manque de s’auto-anéantir tant les pouvoirs psychiques peuvent avoir des conséquences dévastatrices. Les terriens redécouvrent Ténébreuse quelques siècles après une relative pacification et un arrêt de l’utilisation guerrière du laran. Malgré ce retour à la raison, la société ténébrane a tellement vécu en vase clos que le choc culturel entre les deux mondes est très grand. Il dégénère même en un conflit sanglant dans l’époque moderne, provoquant un nouveau départ des terriens. View Larger

ténébreuse by horlo on Flickr.

Ténébreuse est la quatrième des sept planètes tournant autour de l’étoile Cottman, une géante rouge. Elle est colonisée par accident pendant les débuts de l’exploration de l’univers par les terriens. Les colons perdent rapidement tout contact avec la terre et un oubli réciproque provoque un très long isolement (vraisemblablement 2000 ans).
Les conditions de vie sur Ténébreuse sont extrêmement difficiles. La géante rouge Cottman donnant peu de lumière et de chaleur, le climat est donc très froid. La planète est très pauvre en métaux ce qui explique le retour très rapide des colons à un niveau technologique médiéval et par conséquent la perte de contact avec la Terre. En contre-partie, Ténébreuse favorise le développement, chez certains colons, de pouvoirs parapsychiques (télépathie, télékinésie, etc.) par la conjonction de divers facteurs : accouplement avec une race native, les chieri, substances naturelles aux propriétés révélatrices des pouvoirs latents, et surtout les matrices des cristaux bleus capables d’amplifier les pouvoirs mentaux.
Pendant l’isolement, une société très particulière se développe sur Ténébreuse, dominée par des familles régnantes, les Comyn, dont les pouvoirs psychiques, le laran, sont sans cesse améliorés par un vaste programme de sélection génétique. Pendant ses moments les plus noirs, les âges du chaos, la société ténébrane manque de s’auto-anéantir tant les pouvoirs psychiques peuvent avoir des conséquences dévastatrices.
Les terriens redécouvrent Ténébreuse quelques siècles après une relative pacification et un arrêt de l’utilisation guerrière du laran. Malgré ce retour à la raison, la société ténébrane a tellement vécu en vase clos que le choc culturel entre les deux mondes est très grand. Il dégénère même en un conflit sanglant dans l’époque moderne, provoquant un nouveau départ des terriens.

# noir et blanc montage photomontage portrait collage movies star black and white film cinema vintage woman Cornell Borchers beauty actress bw female wallpaper fond d'écran elegant girl glamour classic cute face visage féminin wow actrices style

Posted 1 year ago
Femme Fatale by candices_account on Flickr.A femme fatale ( /ˌfɛm fəˈtæl/ or /ˌfɛm fəˈtɑːl/; French: [fam faˈtal], with all [a]’s) is a mysterious and seductive woman] whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations. She is an archetype of literature and art. Her ability to entrance and hypnotize her victim with a spell was in the earliest stories seen as being literally supernatural; hence, the femme fatale today is still often described as having a power akin to an enchantress, vampire, witch, or demon. The phrase is French for “deadly woman”. A femme fatale tries to achieve her hidden purpose by using feminine wiles such as beauty, charm, and sexual allure. In some situations, she uses lying or coercion rather than charm. She may also make use of some subduing weapon such as sleeping gas, a modern analog of magical powers in older tales. She may also be (or imply to be) a victim, caught in a situation from which she cannot escape; The Lady from Shanghai (a 1947 film noir) is one such example. Although typically villainous, femmes fatales have also appeared as antiheroines in some stories, and some even repent and become heroines by the end of the tale. In social life, the femme fatale tortures her lover in an asymmetrical relationship, denying confirmation of her affection. She usually drives him to the point of obsession and exhaustion so that he is incapable of making rational decisions.

Femme Fatale by candices_account on Flickr.

A femme fatale ( /ˌfɛm fəˈtæl/ or /ˌfɛm fəˈtɑːl/; French: [fam faˈtal], with all [a]’s) is a mysterious and seductive woman] whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations. She is an archetype of literature and art. Her ability to entrance and hypnotize her victim with a spell was in the earliest stories seen as being literally supernatural; hence, the femme fatale today is still often described as having a power akin to an enchantress, vampire, witch, or demon.
The phrase is French for “deadly woman”. A femme fatale tries to achieve her hidden purpose by using feminine wiles such as beauty, charm, and sexual allure. In some situations, she uses lying or coercion rather than charm. She may also make use of some subduing weapon such as sleeping gas, a modern analog of magical powers in older tales. She may also be (or imply to be) a victim, caught in a situation from which she cannot escape; The Lady from Shanghai (a 1947 film noir) is one such example.
Although typically villainous, femmes fatales have also appeared as antiheroines in some stories, and some even repent and become heroines by the end of the tale. In social life, the femme fatale tortures her lover in an asymmetrical relationship, denying confirmation of her affection. She usually drives him to the point of obsession and exhaustion so that he is incapable of making rational decisions.

# beautiful smoking femme fatale vintage

Posted 1 year ago 6 notes
Elsa Martinelli by Truus, Bob & Jan too! on Flickr.German postcard by Krüger, nr. 902/255. Glamorous Elsa Martinelli (1932) is an Italian actress and former fashion model. She showed her beautiful curves in many European and Hollywood productions of the 1950’s and 1960’s, but somehow never became the star she was destined to become in the mid-1950’s. Elsa Martinelli was born Elsa Tia , in Grosseto, Tuscany, in 1932, according to All Movie Guide, or 1935, according to IMDb. With her family she moved to Rome. In 1953 , while working as a barmaid, she was discovered by designer Roberto Capucci who introduced her to the world of fashion. She became a model and began playing small roles in films. She appeared in Le Rouge et le noir/Scarlet and Black (1954, Claude Autant-Lara), but her first important film role came the following year with the American western The Indian Fighter (1955, André De Toth), in which she played the Native American heroine opposite Kirk Douglas. Douglas claims to have spotted her on a magazine cover and hired her for his production company, Bryna Productions. In 1956 she won the Silver Berlin Bear Award for Best Actress at the Berlin International Film Festival for playing the title role in the comedy Donatella (1956, Mario Monicelli). Since then, she divided her time between Europe and the USA and has appeared in such films as Four Girls in Town (1956, Jack Sher) with George Nader, Manuela/The Stowaway Girl (1957, Guy Hamilton) with Trevor Howard, the historical drama I Battellieri del Volga/Prisoner of the Volga (1959, Victor Tourjansky) with John Derek, the excellent drama La notte brava/The Big Night (1959, Mauro Bolognini) scripted by Pier Paolo Pasolini, the romance Un amore a Roma/Love in Rome (1960, Dino Risi) and the haunting and surreal horrorfilm Et mourir de plaisir/Blood and Roses (1960, Roger Vadim), an attempt to retell the classic Sheridan Le Fanu vampire tale Carmilla, starring Annette Vadim (or Annette Stroyberg). One of Elsa Martinelli’s most interesting films is Orson Welles’ adaptation of Kafka’s The Trial, Le Procès (1962, Orson Welles). Anthony Perkins played Joseph K, a man condemned for an unnamed crime in an unnamed country. Seeking justice, he is sucked into a labyrinth of bureaucracy. Along the way, he becomes involved with three women — Jeanne Moreau, Romy Schneider and Martinelli - who in their own individual ways are functions of the System that persecutes him. In the action and adventure comedy Hatari! (1962, Howard Hawks) Martinelli was the eye candy in a cast with John Wayne, Gerard Blain, Red Buttons and Hardy Krüger. Wayne’s men-only contingent is reduced to jello when Elsa enters the scene, but in tried and true Howard Hawks fashion, she quickly becomes ‘one of the guys’. In the comedy The Pigeon That Took Rome (1962, Melville Shavelson) she starred opposite Charlton Heston, and in The V.I.P.’s (1963, Anthony Asquith) she was the protegee of Orson Welles; in the South Seas adventure Rampage (1963, Phil Karlson) she co-starred with Robert Mitchum, in the stylish science fiction film La Decima Vittima/The 10th Victim (1965, Elio Petri) with Ursula Andress and Marcello Mastroianni, and in the episodic sex comedy Sette Volte Donna/Woman Times Seven (1967, Vittorio De Sica) with Lex Barker. In the big-budget adaptation of Terry Southern’s satiric sex farce Candy (1968, Christian Marquand), she played Candy’s mother in a cast with Charles Aznavour, Marlon Brando, Richard Burton, James Coburn, Walter Matthau and Ringo Starr. In Italy she made the near-surrealistic western Il mio corpo per un poker/Belle Starr (1968, Piero Cristofani, Lina Wertmuller), and a stylish erotic thriller, Una sull’altra/ One on Top of the Other (1969, Lucio Fulci), with Marisa Mell and Jean Sorel. In the 1970’s the film career of Elsa Martinelli halted. She only appeared incidentally in European films. She starred opposite Charles Aznavour in the French caper film, La Part des Lions/ The Lions’ Share (1971, Jean Larriaga) and played a supporting part in the political drama Garofano Rosso/The Red Carnation (1976, Luigi Faccini). On tv she appeared as a guest star in The Return of the Saint (1979) with Ian Ogilvy as Simon Templar. After Sono Un Fenomeno Paranormale/I’m a Paranormal Phenomenon (1985, Sergio Corbucci) with Alberto Sordi she made an unheralded international return appearances in Arrivederci Roma (1990, Clive Donner) and the inconsequential all-star comedy Once Upon a Crime (1992, Eugene Levy). Meanwhile she had started a new, successful career as an interior designer. Most recently she was seen in the short film Cabiria, Priscilla e le altre/Cabiria, Priscilla and the Others (1999, Fabrizio Celestini) and the tv-series Orgoglio (2005). Elsa Martinelli was married from 1957 till 1964 to Count Franco Mancinelli Scotti di San Vito, by whom she has a daughter, actress Cristiana Mancinelli (1958). In 1968 she married Paris Match photographer and 1970’s furniture designer Willy Rizzo, with whom she has a son. Sources: Hal Erickson (All Movie Guide), Kimberly Lindbergs (Cinebeats), Glamour Girls of the Silver Screen, Wikipedia, and IMDb.

Elsa Martinelli by Truus, Bob & Jan too! on Flickr.

German postcard by Krüger, nr. 902/255.

Glamorous Elsa Martinelli (1932) is an Italian actress and former fashion model. She showed her beautiful curves in many European and Hollywood productions of the 1950’s and 1960’s, but somehow never became the star she was destined to become in the mid-1950’s.

Elsa Martinelli was born Elsa Tia , in Grosseto, Tuscany, in 1932, according to All Movie Guide, or 1935, according to IMDb. With her family she moved to Rome. In 1953 , while working as a barmaid, she was discovered by designer Roberto Capucci who introduced her to the world of fashion. She became a model and began playing small roles in films. She appeared in Le Rouge et le noir/Scarlet and Black (1954, Claude Autant-Lara), but her first important film role came the following year with the American western The Indian Fighter (1955, André De Toth), in which she played the Native American heroine opposite Kirk Douglas. Douglas claims to have spotted her on a magazine cover and hired her for his production company, Bryna Productions. In 1956 she won the Silver Berlin Bear Award for Best Actress at the Berlin International Film Festival for playing the title role in the comedy Donatella (1956, Mario Monicelli). Since then, she divided her time between Europe and the USA and has appeared in such films as Four Girls in Town (1956, Jack Sher) with George Nader, Manuela/The Stowaway Girl (1957, Guy Hamilton) with Trevor Howard, the historical drama I Battellieri del Volga/Prisoner of the Volga (1959, Victor Tourjansky) with John Derek, the excellent drama La notte brava/The Big Night (1959, Mauro Bolognini) scripted by Pier Paolo Pasolini, the romance Un amore a Roma/Love in Rome (1960, Dino Risi) and the haunting and surreal horrorfilm Et mourir de plaisir/Blood and Roses (1960, Roger Vadim), an attempt to retell the classic Sheridan Le Fanu vampire tale Carmilla, starring Annette Vadim (or Annette Stroyberg).

One of Elsa Martinelli’s most interesting films is Orson Welles’ adaptation of Kafka’s The Trial, Le Procès (1962, Orson Welles). Anthony Perkins played Joseph K, a man condemned for an unnamed crime in an unnamed country. Seeking justice, he is sucked into a labyrinth of bureaucracy. Along the way, he becomes involved with three women — Jeanne Moreau, Romy Schneider and Martinelli - who in their own individual ways are functions of the System that persecutes him. In the action and adventure comedy Hatari! (1962, Howard Hawks) Martinelli was the eye candy in a cast with John Wayne, Gerard Blain, Red Buttons and Hardy Krüger. Wayne’s men-only contingent is reduced to jello when Elsa enters the scene, but in tried and true Howard Hawks fashion, she quickly becomes ‘one of the guys’. In the comedy The Pigeon That Took Rome (1962, Melville Shavelson) she starred opposite Charlton Heston, and in The V.I.P.’s (1963, Anthony Asquith) she was the protegee of Orson Welles; in the South Seas adventure Rampage (1963, Phil Karlson) she co-starred with Robert Mitchum, in the stylish science fiction film La Decima Vittima/The 10th Victim (1965, Elio Petri) with Ursula Andress and Marcello Mastroianni, and in the episodic sex comedy Sette Volte Donna/Woman Times Seven (1967, Vittorio De Sica) with Lex Barker. In the big-budget adaptation of Terry Southern’s satiric sex farce Candy (1968, Christian Marquand), she played Candy’s mother in a cast with Charles Aznavour, Marlon Brando, Richard Burton, James Coburn, Walter Matthau and Ringo Starr. In Italy she made the near-surrealistic western Il mio corpo per un poker/Belle Starr (1968, Piero Cristofani, Lina Wertmuller), and a stylish erotic thriller, Una sull’altra/ One on Top of the Other (1969, Lucio Fulci), with Marisa Mell and Jean Sorel.

In the 1970’s the film career of Elsa Martinelli halted. She only appeared incidentally in European films. She starred opposite Charles Aznavour in the French caper film, La Part des Lions/ The Lions’ Share (1971, Jean Larriaga) and played a supporting part in the political drama Garofano Rosso/The Red Carnation (1976, Luigi Faccini). On tv she appeared as a guest star in The Return of the Saint (1979) with Ian Ogilvy as Simon Templar. After Sono Un Fenomeno Paranormale/I’m a Paranormal Phenomenon (1985, Sergio Corbucci) with Alberto Sordi she made an unheralded international return appearances in Arrivederci Roma (1990, Clive Donner) and the inconsequential all-star comedy Once Upon a Crime (1992, Eugene Levy). Meanwhile she had started a new, successful career as an interior designer. Most recently she was seen in the short film Cabiria, Priscilla e le altre/Cabiria, Priscilla and the Others (1999, Fabrizio Celestini) and the tv-series Orgoglio (2005). Elsa Martinelli was married from 1957 till 1964 to Count Franco Mancinelli Scotti di San Vito, by whom she has a daughter, actress Cristiana Mancinelli (1958). In 1968 she married Paris Match photographer and 1970’s furniture designer Willy Rizzo, with whom she has a son.

Sources: Hal Erickson (All Movie Guide), Kimberly Lindbergs (Cinebeats), Glamour Girls of the Silver Screen, Wikipedia, and IMDb.

# Elsa Martinelli Elsa Martinelli Italian Actress Sexy Starlet European Film Star Cine Cinema Screen Movie Movies Film Star Glamour Allure Vintage Postcard Krüger Pearls Jewels

Posted 1 year ago 6 notes