prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Why did the director of film Port Of Seven Seas die?

The following are given passages.
Context 1: Passage 1:
Lamman Rucker
Lamman Rucker  (born October 6, 1971) is an American actor  Rucker began his career on the daytime soap operas As the World Turns and All My Children, before roles in The Temptations, Tyler Perry's films Why Did I Get Married?, Why Did I Get Married Too?, and Meet the Browns, and its television adaptation  In 2016, he began starring as Jacob Greenleaf in the Oprah Winfrey Network drama series, Greenleaf  Rucker is married to Kelly Davis Rucker, a graduate of Hampton University  As of 2022, he stars in BET+ drama The Black Hamptons 

Early life
Rucker was born in Pittsburgh, Pennsylvania, the son of Malaya (née Ray) and Eric Rucker  He has partial ancestry from Barbados  Rucker spent his formative years in the greater Washington, DC, Maryland area  He first had an interest in acting after he was placed in many child pageants   His first acting role was as Martin Luther King in the 4th grade  He was in the drama club in 7th grade and then attended high school at the Duke Ellington School of the Arts in Washington, D C  Rucker studied at Carnegie-Mellon University and Duquesne University On August 29, 2019, he shared personal life experiences that he credits for his success with the Hampton University football team 

Career
His major role came in 2002 when he assumed the role of attorney T  Marshall Travers on the CBS daytime soap opera As the World Turns opposite Tamara Tunie  He left the series the following year and portrayed Garret Williams on ABC soap opera All My Children in 2005  He also had the recurring roles on the UPN sitcoms All of Us and Half & Half 
Rucker is best known for his roles in the Tyler Perry's films  He co-starred in Why Did I Get Married? (2007) and  Why Did I Get Married Too? (2010)  He played Will Brown in 2008 film Meet The Browns  He later had a starring role on Perry's sitcom Meet the Browns reprising his role as Will from 2009 to 2011  The following year after Meet the Browns, Rucker was cast in the male lead role opposite Anne Heche in the NBC comedy series Save Me, but left after pilot episode  He later had roles in a number of small movies and TV movies  Rucker also had regular role opposite Mena Suvari in the short-lived WE tv drama series, South of Hell In 2015, Rucker was cast as one of leads in the Oprah Winfrey Network drama series, Greenleaf  He plays Jacob Greenleaf, the eldest son of Lynn Whitfield' and Keith David's characters 

Filmography
Film
Television
Award nominations
Passage 2:
Richard T  Jones
Richard Timothy Jones (born January 16, 1972) is an American actor  He has worked extensively in both film and television productions since the early 1990s  His television roles include Ally McBeal (1997), Judging Amy (1998–2005), CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017)  Since 2018, he has played Police Sergeant Wade Grey on the ABC police drama The Rookie His film roles include portrayals of Lamont Carr in Disney's Full Court Miracle (2003), Laveinio "Slim" Hightower in Rick Famuyiwa's coming-of-age film The Wood (1999), Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywood blockbuster Godzilla (2014) 

Early life
Jones was born in Kobe, Japan, to American parents and grew up in Carson, California  He is the son of Lorene, a computer analyst, and Clarence Jones, a professional baseball player who at the time of Jones' birth was playing for the Nankai Hawks in Osaka  He has an older brother, Clarence Jones Jr , who works as a high school basketball coach  They would return to North America after Clarence's retirement following the 1978 season  His parents later divorced  Jones attended Bishop Montgomery High School in Torrance, California, then graduated from Tuskegee University 

Career
Since the early 1990s, Jones has worked in both film and television productions His first television role was in a 1993 episode of the series California Dreams  That same year, he appeared as Ike Turner, Jr  in What's Love Got to Do with It  From 1999 to 2005, he starred as Bruce Calvin van Exel in the CBS legal drama series Judging Amy Over the next two decades, Jones starred or guest-starred in high-profile television series such as Ally McBeal (1997), CSI: Miami (2006), Girlfriends (2007), Grey's Anatomy (2010), Hawaii Five-0 (2011–2014), Narcos (2015), and Criminal Minds (2017) His film roles include portrayals of Lamont Carr in the Disney film Full Court Miracle (2003), Laveinio "Slim" Hightower in Rick Famuyiwa's coming-of-age film The Wood (1999), and Mike in Tyler Perry's dramatic films Why Did I Get Married? (2007) and Why Did I Get Married Too? (2010), and Captain Russell Hampton in the Hollywood blockbuster Godzilla (2014) From 2017 to 2018, Jones played Detective Tommy Cavanaugh in the CBS drama series Wisdom of the Crowd Since February 2018, Jones has played the role of Sergeant Wade Gray in the ABC police procedural drama series The Rookie with Nathan Fillion 

Personal life
Joshua Media Ministries claims that its leader, David E  Taylor, mentors Jones in ministry, and that Jones has donated $1 million to its efforts 

Filmography
Film
Television
Passage 3:
Port of Seven Seas
Port of Seven Seas is a 1938 drama film starring Wallace Beery and featuring Frank Morgan and Maureen O'Sullivan   The movie was written by Preston Sturges based on the plays of Marcel Pagnol and the films based on them, and was directed by James Whale, the director of Frankenstein (1931) and The Invisible Man (1933)  The cinematography is by Karl Freund, who filmed Fritz Lang's Metropolis (1927) and I Love Lucy (1951-1957) 

Plot
TCM Synopsis:
In the port of Marseilles, France, Honore Panisse, a well-to-do sailmaker in his fifties, is enamored of the lovely Madelon, the daughter of a widowed fishmonger  For many years Panisse has played cards with Bruneau, Captain Escartefigue and tavern-owner Cesar, the father of Marius, the boy with whom Madelon is in love  Though Cesar and Marius are great friends, they argue constantly, especially over Panisse's infatuation with Madelon, whom Cesar considers one of the family  One day, Marius sends Madelon a note saying that he is going to sea for three years, but cannot say goodbye in person because it would break his heart  Madelon rushes to the docks and faints as his ship sails away  Because Panisse has just arrived, he tries to carry her home, but Cesar insists on taking her himself, not realizing that Marius has gone  Panisse tries to tell him why she fainted, but cannot, and listens fretfully as Cesar tells him that the two young people will soon be married  When he tells Madelon's mother Honorine this, Madelon, now revived, tells them that Marius has gone  Despite her love, she did not stop him because she knew how much he loved the sea  One month later, As Cesar pretends not to care that Marius has not written, the postman arrives with a letter from the boy  When Madelon arrives he reads the letter aloud, saddening Madelon, who is barely mentioned  Soon Panisse goes to Honorine to ask once again for the hand of Madelon  At the same time, Madelon finds out that she is pregnant and prays that she will have the strength to tell her mother  Madelon later goes to Panisse and tells him why she cannot marry him, but he is overjoyed with the news of her pregnancy because he has always wanted a son and his late wife was never able to bear a child  Because Panisse is so kind, Madelon agrees to marry him for the sake of the little one, and when Cesar arrives, quells his anger by telling him the truth  Cesar finally relents in his anger at Panissse for "stealing" his grandchild when Panisse says that he will make Cesar the godfather  They agree to call the boy Cesar Marius Panisse  After the baby is born, he is the apple of Panisse's eye, and Madelon gains the gratitude of Panisse's aged relatives, as well as the continued devotion of Panisse  One year later, just after Panisse has reluctantly boarded the train to go to Paris on business, Marius unexpectedly shows up at his father's house, returned to France to obtain some equipment for his ship  During the night, Marius goes to see Madelon, knowing that she has married Panisse, and Madelon lies to him, saying that Panisse is asleep  Marius confesses how much he has missed her, but she tells him it's too late  When the baby cries, she goes to him and Marius realizes that the child is his  When she tearfully confesses that Panisse is actually in Paris, Marius asks her to come away with him, but she tells him to go away  Just then Cesar comes back  He has returned home because he ran into the town doctor on the train and learned that a neighbor's child has contracted scarlet fever  He tells Marius to go away because that the baby now belongs to Panisse  She wants to go away with him and the baby, but just as they are talking, Panisse comes home because he was worried about the baby  Soon Cesar arrives also and tells Marius to go, but he refuses to leave without Madelon and the baby  Though Panisse sadly says that Madelon can have her freedom, he adds that he cannot give the baby up  When Panisse goes to check on the baby, Madelon and Cesar make Marius realize that the baby belongs as much to Panisse as Marius or Madelon  When Panisse returns, Marius shakes his hand and goes away, after which Panisse and Madelon happily look at their baby's first tooth 
In the French port of Marseille, a lovely young woman named Madelon is in love with a young sailor, Marius  Madelon in turn is loved by Honore Panisse, a well-to-do middle-aged sailmaker   When Marius finds out he must go to sea for three years, he leaves without saying goodbye to Madelon; in a note he tells her that it would break his heart to tell her in person   She rushes to the dock, but sees his ship sailing away and faints   Marius's father Cesar, who already thinks of Madelon as one of the family, carries her to her home 
Later, Madelon finds out that she is pregnant, and to spare her the shame of a child born out of wedlock, Panisse asks Madelon to get an abortion  She agrees, and goes to find a rusty clotheshanger  She proceeds with her attempt to kill her fetus  She did not succeed, and was rushed to the hospital bleeding 
A year later Marius unexpectedly returns from sea to buy some equipment for his ship   Visiting Madelon that night, he sees the baby and realizes that he is the father  He asks her to steal away with him, but she refuses  Despite her love for Marius, she knows that Panisse, who adores the child, will be a better father than Marius, who will be away at sea for many years at a time   Marius leaves, shaking Panisse's hand before he goes, and Panisse and Madelon happily look at their baby's first tooth 

Cast
Wallace Beery as Cesar
Frank Morgan as Panisse
Maureen O'Sullivan as Madelon
John Beal as Marius
Jessie Ralph as Honorine
Cora Witherspoon as Claudine
Etienne Girardot as Bruneau
E  Alyn Warren as Captain Escartefigue
Jerry Colonna as Arab Rug Dealer (uncredited)
Henry Hull as Uncle Alzear (uncredited)
Doris Lloyd as Customer (uncredited)
Fred Malatesta as Bird Seller (uncredited)
Robert Spindola as Boy (uncredited)

Production
Although the credited basis of Port of Seven Seas was Marcel Pagnol's 1931 play Fanny, the screenplay incorporated some incidents from three French films written by Pagnol based on his plays: Marius (1931), directed by Alexander Korda, Fanny (1932), directed by Marc Allégret, and César (1936), which Pagnol directed  The play "Marius" was a great success and was played more than one thousand times in Paris 
William Wyler was slated to direct the film at the time that Preston Sturges was brought into the project, the working titles for which were "Fanny", "Madelon", "Life on the Waterfront" and "Man of the Waterfront"   Ernest Vajda had been reported to be one of the screenwriters, but was not credited   The project was considered by Universal Studios in late 1933 or early 1934, but was dropped sometime after Joseph Breen, who supervised the Production Code, rejected the submitted script  Paramount Pictures had some interest in it, before the script ended up at MGM by July 1936  Although the MGM script was still essentially the one that Universal had submitted to the Hays Office, this time the censors found it "acceptable", and it was approved on 15 March 1938   This did not prevent the Legion of Decency from protesting that the film "lower[ed] the standards" that the Production Code was designed to uphold Port of Seven Seas was in production from late December 1937 through 28 January 1938, with retakes completed on 23 February   Shortly before production started, Luise Rainer, who was to have played "Madelon" was replaced by Maureen O'Sullivan because of a bad cold 
The film was released on 1 July 1938, the long delay coming about because the studio considered the subject matter "dangerous" for the film industry while Congress was considering legislation which had implications for film censorship The movie was premiered on July 1, 1938 in New York City  Marcel Pagnol and Raimu (the great French actor who played Cesar in the French plays and movies) were invited but did not come, supposedly for fear of air travel  The movie was premiered in France in Marseille, later in 1938, at the movie theatre "Le Noailles" with Wallace Beery, Marcel Pagnol and Raimu in attendance 

Other versions
Pagnol's plays provided source material for the three French films noted above, a 1933 Italian film named Fanny, the 1934 German film Der Schwarze Walfisch ("The Black Whale"), the 1954 Broadway musical Fanny, and the 1961 non-musical film based in part on it   Even though many situations and incidents in the 1961 film originated in Port of the Seven Seas, neither it nor Preston Sturges was credited 

Notes
External links
Port of Seven Seas at IMDb 
Port of Seven Seas at the TCM Movie Database 
Port of Seven Seas at AllMovie
Passage 4:
Olav Aaraas
Olav Aaraas (born 10 July 1950) is a Norwegian historian and museum director 
He was born in Fredrikstad  From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History  In 2010 he was decorated with the Royal Norwegian Order of St  Olav 
Passage 5:
Dana Blankstein
Dana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School  She was appointed by the board of directors  in November 2019   Previously she was the CEO of the Israeli Academy of Film and Television  She is a film director, and an Israeli culture entrepreneur 

Biography
Dana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein  She moved to Israel in 1983 and grew up in Tel Aviv 
Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors  During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners   She also directed and shot 'the making of' film on Gavison's film Lost and Found  Her debut film Camping competed at the Berlin International Film Festival, 2007 

Film and academic career
After her studies, Dana founded and directed the film and television department at the Kfar Saba municipality  The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities 
Blankstein directed the mini-series "Tel Aviviot" (2012)  From 2016-2019 was the director of the Israeli Academy of Film and Television 
In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab  In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem 

Filmography
Tel Aviviot (mini-series; director, 2012)
Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)
Camping (debut film, Sam Spiegel; director and screenwriter, 2006)
Passage 6:
Michael Ning
Michael Ning  (Chinese: 凌智豪; Jyutping: ling4 zi3 hou4 born 5 November 1979) known professionally as Chinese: 白只; pinyin: bái zhī; Jyutping: baak6 zi2
is a Hong Kong born Chinese actor best known for his role in the 2015 film Port of Call 

Filmography
Passage 7:
Peter Levin
Peter Levin is an American director of film, television and theatre 

Career
Since 1967, Levin has amassed a large number of credits directing episodic television and television films  Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films  He directed "Heart in Hiding", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s 
Prior to becoming a director, Levin worked as an actor in several Broadway productions  He costarred with Susan Strasberg in "[The Diary of Ann Frank]" but had to leave the production when he was drafted into the Army  He trained at the Carnegie Mellon University  Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company  He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company 
Passage 8:
Ian Barry (director)
Ian Barry is an Australian director of film and TV 

Select credits
Waiting for Lucas (1973) (short)
Stone (1974) (editor only)
The Chain Reaction (1980)
Whose Baby? (1986) (mini-series)
Minnamurra (1989)
Bodysurfer (1989) (mini-series)
Ring of Scorpio (1990) (mini-series)
Crimebroker (1993)
Inferno (1998) (TV movie)
Miss Lettie and Me (2002) (TV movie)
Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)
The Doctor Blake Mysteries (2013)
Passage 9:
James Whale
James Whale (22 July 1889 – 29 May 1957) was an English film director, theatre director and actor, who spent the greater part of his career in Hollywood  He is best remembered for several horror films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933) and Bride of Frankenstein (1935), all considered classics  Whale also directed films in other genres, including the 1936 film version of the musical Show Boat 
Whale was born into a large family in Dudley, Worcestershire now Metropolitan Borough of Dudley  He discovered his artistic talent early on and studied art  With the outbreak of World War I he enlisted in the British Army and became an officer  He was captured by the Germans and during his time as a prisoner of war he realised he was interested in drama  Following his release at the end of the war he became an actor, set designer and director  His success directing the 1928 play Journey's End led to his move to the US, first to direct the play on Broadway and then to Hollywood, California, to direct films  He lived in Hollywood for the rest of his life, most of that time with his longtime romantic partner, producer David Lewis  Apart from Journey's End (1930), which was released by Tiffany Films, and Hell's Angels (1930), released by United Artists, he directed a dozen films for Universal Pictures between 1931 and 1937, developing a style characterised by the influence of German Expressionism and a highly mobile camera 
At the height of his career as a director, Whale directed The Road Back (1937), a sequel to All Quiet on the Western Front  Studio interference, possibly spurred by political pressure from Nazi Germany, led to the film's being altered from Whale's vision, and it was a critical failure  A run of box-office disappointments followed and, while he would make one final short film in 1950, by 1941 his film directing career was effectively over  He continued to direct for the stage and also rediscovered his love for painting and travel  His investments made him wealthy and he lived a comfortable retirement until suffering strokes in 1956 that robbed him of his vigor and left him in pain  He committed suicide on 29 May 1957 by drowning himself in his swimming pool 
Whale was openly gay throughout his career, something that was very rare in the 1920s and 1930s  As knowledge of his sexual orientation has become more widespread, some of his films, Bride of Frankenstein in particular, have been interpreted as having a gay subtext and it has been claimed that his refusal to remain in the closet led to the end of his career 

Early years
Whale was born in Dudley, Worcestershire, at the heart of the Black Country, the sixth of seven children of William, a blast furnaceman, and Sarah, a nurse  He attended Kates Hill Board School, followed by Bayliss Charity School and finally Dudley Blue Coat School  His attendance stopped in his teenage years, because the cost would have been prohibitive and his labor was needed to help support the family  Thought not physically strong enough to follow his brothers into the local heavy industries, Whale started work as a cobbler, reclaiming the nails he recovered from replaced soles and selling them for scrap for extra money  He discovered he had some artistic ability and earned additional money lettering signs and price tags for his neighbors  He used his additional income to pay for evening classes at the Dudley School of Arts and Crafts World War I broke out in early August 1914  Although Whale had little interest in the politics behind the war, he realized that conscription was inevitable, so he voluntarily enlisted just before it was introduced, into the British Army's Inns of Court Officer Training Corps in October 1915, and was stationed initially at Bristol  He was subsequently commissioned as a second lieutenant into the Worcestershire Regiment in July 1916  He was taken prisoner of war in battle on the Western Front in Flanders in August 1917, and was held at Holzminden Officers' Camp, where he remained until the war's end, being repatriated to England in December 1918  While imprisoned he became actively involved, as an actor, writer, producer and set-designer, in the amateur theatrical productions that took place in the camp, finding them "a source of great pleasure and amusement"  He also developed a talent for poker, and after the war he cashed in the chits and IOUs from his fellow prisoners that he had amassed in gambling to provide himself with finances for re-entry into civilian life 

Career
Theatre
After the armistice, he returned to Birmingham and tried to find work as a cartoonist  He sold two cartoons to the Bystander in 1919 but was unable to secure a permanent position  Later that year he embarked on a professional stage career  Under the tutelage of actor-manager Nigel Playfair, he worked as an actor, set designer and builder, "stage director" (akin to a stage manager) and director  In 1922, while with Playfair, he met Doris Zinkeisen  They were considered a couple for some two years, despite Whale's living as an openly gay man  They were reportedly engaged in 1924, but by 1925 the engagement was off In 1928 Whale was offered the opportunity to direct two private performances of R  C  Sherriff's then-unknown play Journey's End for the Incorporated Stage Society, a theatre society that mounted private Sunday performances of plays  Set over a four-day period in March 1918 in the trenches at Saint-Quentin, France, Journey's End gives a glimpse into the experiences of the officers of a British infantry company in World War I  The key conflict is between Capt  Stanhope, the company commander, and Lt  Raleigh, the brother of Stanhope's fiancée  Whale offered the part of Stanhope to the then barely known Laurence Olivier  Olivier initially declined the role, but after meeting the playwright agreed to take it on  Maurice Evans was cast as Raleigh  The play was well received and transferred to the Savoy Theatre in London's West End, opening on 21 January 1929  A young Colin Clive was now in the lead role, Olivier having accepted an offer to take the lead in a production of Beau Geste  The play was a tremendous success, with critics uniform and effusive in their praise and with audiences sometimes sitting in stunned silence following its conclusion only to burst into thunderous ovations  As Whale biographer James Curtis wrote, the play "managed to coalesce, at the right time and in the right manner, the impressions of a whole generation of men who were in the war and who had found it impossible, through words or deeds, to adequately express to their friends and families what the trenches had been like"  After three weeks at the Savoy, Journey's End transferred to the Prince of Wales Theatre, where it ran for the next two years 

With the success of Journey's End at home, Broadway producer Gilbert Miller acquired the rights to mount a New York production with an all-British cast headed by Colin Keith-Johnston as Stanhope and Derek Williams as Raleigh  Whale also directed this version, which premiered at Henry Miller's Theatre on 22 March 1929  The play ran for over a year and cemented its reputation as the greatest play about World War I 

Early work in Hollywood
The success of the various productions of Journey's End brought Whale to the attention of movie producers  Coming at a time when motion pictures were making the transition from silent to talking, producers were interested in hiring actors and directors with experience with dialogue  Whale traveled to Hollywood in 1929 and signed a contract with Paramount Pictures  He was assigned as "dialogue director" for a film called The Love Doctor (1929)  He completed work on the film in 15 days and his contract was allowed to expire  It was at around this time that he met David Lewis Whale was hired by independent film producer and aviation pioneer Howard Hughes, who planned to turn the previously silent Hughes production Hell's Angels (1930) into a talkie  Whale directed the dialogue sequences  When his work for Hughes was completed, he headed to Chicago to direct another production of Journey's End Having purchased the film rights to Journey's End, British producers Michael Balcon and Thomas Welsh agreed that Whale's experience directing the London and Broadway productions of the play made him the best choice to direct the film  The two partnered with a small American studio, Tiffany-Stahl, to shoot it in New York  Colin Clive reprised his role as Stanhope, and David Manners was cast as Raleigh  Filming got underway on 6 December 1929 and wrapped on 22 January 1930  Journey's End was released in Great Britain on 14 April and in the United States on 15 April  On both sides of the Atlantic the film was a tremendous critical and commercial success 

With the Laemmles at Universal
Universal Studios signed Whale to a five-year contract in 1931 and his first project was Waterloo Bridge  Based on the Broadway play by Robert E  Sherwood, the film stars Mae Clarke as Myra, a chorus girl in World War I London who becomes a prostitute  It too was a critical and popular success  At around this time, Whale and Lewis began living together In 1931, Universal chief Carl Laemmle, Jr  offered Whale his choice of any property the studio owned  He chose Frankenstein, mostly because none of Universal's other properties particularly interested him, and he wanted to make something other than a war picture  While Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus itself was in the public domain, Universal owned the filming rights to a stage adaptation by Peggy Webling  Whale cast Colin Clive as Henry Frankenstein and Mae Clarke as his fiancée Elizabeth  For the Monster, he turned to the little known Boris Karloff, who had wide-ranging experience in supporting roles  Shooting began on 24 August 1931 and wrapped on 3 October  Previews were held 29 October, with wide release on 21 November  Frankenstein was an instant hit with critics and the public  The film received glowing reviews and shattered box office records across the United States, earning Universal $12 million on first release Next from Whale were The Impatient Maiden and The Old Dark House (both 1932)  The Impatient Maiden made little impression but The Old Dark House, starring Karloff and Charles Laughton, is credited with reinventing the "dark house" subgenre of horror films  Thought lost for some years, a print was found by filmmaker Curtis Harrington in the Universal vaults in 1968  It was restored by George Eastman House, and released on Blu-ray disk in 2017 
Whale's next film was The Kiss Before the Mirror (1933), a critical success but a box-office failure  He returned to horror with The Invisible Man (1933)  Shot from a script approved by H  G  Wells, the film blended horror with humor and confounding visual effects  Much admired, The New York Times placed it in their list of the ten best films of the year, and the film broke box-office records in cities across America  So highly regarded was the film that France, which restricted the number of theatres in which undubbed American films could play, granted it a special waiver because of its "extraordinary artistic merit" Also in 1933 Whale directed the romantic comedy By Candlelight which gained good reviews and was a modest box office hit  In 1934 he directed One More River, an adaptation of the novel of the same name by John Galsworthy  The film tells the story of a woman desperate to escape her abusive marriage to a member of the British aristocracy  This was the first of Whale's films for which Production Code Administration approval was required and Universal had a difficult time securing that approval because of the elements of sexual sadism implicit in the husband's abusive behavior 

Bride of Frankenstein (1935) was Whale's next project  He had resisted making a sequel to Frankenstein as he feared being pigeonholed as a horror director  Bride hearkened back to an episode from Mary Shelley's original novel in which the Monster promises to leave Frankenstein and humanity alone if Frankenstein makes him a mate  He does, but the mate is repelled by the monster who then, setting Frankenstein and his wife free to live, chooses to destroy himself and his "bride"  The film was a critical and box office success, having earned some $2 million for Universal by 1943  Lauded as "the finest of all gothic horror movies", Bride is frequently hailed as Whale's masterpiece 
With the success of Bride, Laemmle was eager to put Whale to work on Dracula's Daughter (1936), the sequel to Universal's first big horror hit of the sound era  Whale, wary of doing two horror films in a row and concerned that directing Dracula's Daughter could interfere with his plans for the first all-sound version of Show Boat (previously filmed as a part-talkie by Harry A  Pollard), instead convinced Laemmle to buy the rights to a novel called The Hangover Murders  The novel is a comedy-mystery in the style of The Thin Man, about a group of friends who were so drunk the night one of them was murdered that none can remember anything  Retitled Remember Last Night?, the film was one of Whale's personal favorites, but met with sharply divided reviews and commercial uninterest 

With the completion of Remember Last Night? Whale immediately went to work on Show Boat (1936)  Whale gathered as many of those as he could who had been involved in one production or another of the musical, including Helen Morgan, Paul Robeson, Charles Winninger, Sammy White, conductor Victor Baravalle, orchestrator Robert Russell Bennett, and, as Magnolia, Irene Dunne, who believed that Whale was the wrong director for the piece  The 1936 version of Show Boat, faithfully adapted from the original stage production, is believed to be the definitive film version of the musical by many critics, but became unavailable following the 1951 remake  In 2014, a restoration of the film became available on DVD in the U S  as part of Warner Home Video's Archive Collection line; and in 2020, a 4K restoration Blu-Ray was released by The Criterion Collection Show Boat was the last of Whale's films to be produced under the Laemmle family  The studio was now bankrupt, and the Laemmles lost control to J  Cheever Cowdin, head of the Standard Capital Corporation, and Charles R  Rogers, who was installed in Junior Laemmle's old job 

Career decline
Whale's career went into sharp decline following the release of his next film, The Road Back (1937)  The sequel to Erich Maria Remarque's All Quiet on the Western Front, which Universal had filmed in 1930, the novel and film follow the lives of several young German men who have returned from the trenches of World War I and their struggles to re-integrate into society  The Los Angeles consul for Nazi Germany, Georg Gyssling, learned that the film was in production  He protested to PCA enforcer Joseph Breen, arguing that the film gave an "untrue and distorted picture of the German people"  Gyssling eventually met Whale, but nothing came of it  Gyssling then sent letters to members of the cast, threatening that their participation in the film might lead to difficulties in obtaining German filming permits for them and for anyone associated in a film with them  While the low volume of business conducted by Universal in Germany made such threats largely hollow, the State Department, under pressure from the Hollywood Anti-Nazi League and the Screen Actors Guild, stepped in and the German government backed down  Whale's original cut of the film was given generally positive reviews, but some time between preview screenings and the film's general release, Rogers capitulated to the Germans, ordering that cuts be made and additional scenes be shot and inserted  Whale was furious, and the altered film was banned in Germany anyway  The Germans were successful in persuading China, Greece, Italy and Switzerland to ban the film as well Following the debacle of The Road Back, Charles Rogers tried to get out of his contract with Whale; Whale refused  Rogers then assigned him to a string of B movies to run out his contractual obligation  Whale only made one additional successful feature film, The Man in the Iron Mask (1939), before retiring from the film industry in 1941 

Post-film life
With his film career behind him, Whale found himself at a loose end  He was offered the occasional job, including the opportunity to direct Since You Went Away for David O  Selznick, but turned them down  Lewis, meanwhile, was busier than ever with his production duties and often worked late hours, leaving Whale lonely and bored  Lewis bought him a supply of paint and canvasses and Whale re-discovered his love of painting  Eventually he built a large studio for himself With the outbreak of World War II, Whale volunteered his services to make a training film for the United States Army  He shot the film, called Personnel Placement in the Army, in February 1942  Later that year, in association with actress Claire DuBrey, he created the Brentwood Service Players  The Players took over a 100–seat theatre  Sixty seats were provided free of charge to service personnel; the remaining were sold to the public, with the box office proceeds donated to wartime charities  The group expanded to the Playtime Theatre during the summer, where a series of shows ran through October Whale returned to Broadway in 1944 to direct the psychological thriller Hand in Glove  It was his first return to Broadway since his failed One, Two, Three! in 1930  Hand in Glove would fare no better than his earlier play, running the same number of performances, 40 Whale directed his final film in 1950, a short subject based on the William Saroyan one-act play Hello Out There  The film, financed by supermarket heir Huntington Hartford, was the story of a man in a Texas jail falsely accused of rape and the woman who cleans the jail  Hartford intended for the short to be part of an anthology film along the lines of Quartet  However, attempts to find appropriate short fiction companion pieces to adapt were unsuccessful and Hello Out There was never commercially released Whale's last professional engagement was directing Pagan in the Parlour, a farce about two New England spinster sisters who are visited by a Polynesian whom their father, when shipwrecked years earlier, had married  The production was mounted in Pasadena for two weeks in 1951  Plans were made to take it to New York, but Whale suggested taking the play to London first  Before opening the play in England, Whale decided to tour the art museums of Europe  In France he renewed his acquaintanceship with Curtis Harrington, whom he had met in 1947  While visiting Harrington in Paris, he went to some gay bars  At one he met a 25-year-old bartender named Pierre Foegel, whom Harrington believed was nothing but "a hustler out for what he could get"  The 62-year-old Whale was smitten with the younger man and hired him as his chauffeur A provincial tour of Pagan in the Parlour began in September 1952 and it appeared that the play would be a hit  However, Hermione Baddeley, starring in the play as the cannibal "Noo-ga", was drinking heavily and began engaging in bizarre antics and disrupting performances  Because she had a run of the play contract she could not be replaced and so producers were forced to close the show Whale returned to California in November 1952 and advised David Lewis that he planned to bring Foegel over early the following year  Appalled, Lewis moved out of their home  While this ended their 23-year romantic relationship, the two men remained friends  Lewis bought a small house and dug a swimming pool, prompting Whale to have his own pool dug, although he did not himself swim in it  He began throwing all-male swim parties and would watch the young men cavort in and around the pool  Foegel moved in with Whale in early 1953 and remained there for several months before returning to France  He returned in 1954 permanently, and Whale installed him as manager of a gas station that he owned Whale and Foegel settled into a quiet routine until the spring of 1956, when Whale suffered a small stroke  A few months later he suffered a larger stroke and was hospitalized  While in the hospital he was treated for depression with shock treatments Upon his release, Whale hired one of the male nurses from the hospital to be his personal live-in nurse  A jealous Foegel maneuvered the nurse out of the house and hired a female nurse as a non-live-in replacement  Whale suffered from mood swings and grew increasingly and frustratingly more dependent on others as his mental faculties were diminishing 

Death
Whale died by suicide by drowning himself in his Pacific Palisades swimming pool on 29 May 1957 at the age of 67  He left a suicide note, which Lewis withheld until shortly before his own death decades later  Because the note was suppressed, the death was initially ruled accidental  The note read in part:

To ALL I LOVE,
Do not grieve for me  My nerves are all shot and for the last year I have been in agony day and night—except when I sleep with sleeping pills—and any peace I have by day is when I am drugged by pills 

I have had a wonderful life but it is over and my nerves get worse and I am afraid they will have to take me away  So please forgive me, all those I love and may God forgive me too, but I cannot bear the agony and it [is] best for everyone this way  The future is just old age and illness and pain  Goodbye and thank you for all your love  I must have peace and this is the only way 
Whale's body was cremated per his request, and his ashes were interred in the Columbarium of Memory at Forest Lawn Memorial Park, Glendale  Because of his habit of periodically revising his date of birth, his niche lists the incorrect date of 1893  When his longtime partner David Lewis died in 1987, his executor and Whale biographer James Curtis had his ashes interred in a niche across from Whale's 

Sexual orientation
James Whale lived as an openly gay man throughout his career in the British theatre and in Hollywood, something that was virtually unheard of in that era  He and David Lewis lived together as a couple from around 1930 to 1952  While he did not go out of his way to publicize his homosexuality, he did not do anything to conceal it either  As filmmaker Curtis Harrington, a friend and confidant of Whale's, put it, "Not in the sense of screaming it from the rooftops or coming out  But yes, he was openly homosexual  Any sophisticated person who knew him knew he was gay " While there have been suggestions that Whale's career was terminated because of homophobia, and Whale was supposedly dubbed "The Queen of Hollywood", Harrington states that "nobody made a thing out of it as far as I could perceive" With knowledge of his sexuality becoming more common beginning in the 1970s, some film historians and gay studies scholars have detected homosexual themes in Whale's work, particularly in Bride of Frankenstein in which a number of the creative people associated with the cast, including Ernest Thesiger and Colin Clive, were alleged to be gay or bisexual  Scholars have identified a gay sensibility suffused through the film, especially a camp sensibility, particularly embodied in the character of Pretorius (Thesiger) and his relationship with Henry Frankenstein (Clive)  Minnie introduces Pretorius to Frankenstein with the line, "He's a very queer-looking old gentleman, sir    " at 16:56 in the film 
Gay film historian Vito Russo, in considering Pretorius, stops short of identifying the character as gay, instead referring to him as "sissified" ("sissy" itself being a Hollywood's gay stock character)  Pretorius serves as a "gay Mephistopheles", a figure of seduction and temptation, going so far as to pull Frankenstein away from his bride on their wedding night to engage in the unnatural act of non-procreative life  A novelisation of the film published in England made the implication clear, having Pretorius say to Frankenstein "'Be fruitful and multiply ' Let us obey the Biblical injunction: you of course, have the choice of natural means; but as for me, I am afraid that there is no course open to me but the scientific way " Russo goes so far as to suggest that Whale's homosexuality is expressed in both Frankenstein and Bride as "a vision both films had of the monster as an antisocial figure in the same way that gay people were 'things' that should not have happened" Whale's partner David Lewis stated flatly that Whale's sexual orientation was "not germane" to his filmmaking  "Jimmy was first and foremost an artist, and his films represent the work of an artist—not a gay artist, but an artist " Whale's biographer Curtis rejects the notion that Whale would have identified with the Monster from a homosexual perspective, stating that if the highly class-conscious Whale felt himself to be an antisocial figure, it would have been based not in his sexuality but in his origin in the lower classes 

Film style
Whale was heavily influenced by German Expressionism  He was a particular admirer of the films of Paul Leni, combining as they did elements of gothic horror and comedy  This influence was most evident in Bride of Frankenstein  Expressionist influence is also in evidence in Frankenstein, drawn in part from the work of Paul Wegener and his films The Golem (1915) and The Golem: How He Came into the World (1920) along with The Cabinet of Dr  Caligari (1920) from Robert Wiene, which Whale reportedly screened repeatedly while preparing to shoot Frankenstein  Frankenstein roughly alternates between distorted expressionistic shots and more conventional styles, with the character of Dr  Waldman serving as "a bridge between everyday and expressionist spaces"  Expressionist influence is also evident in the acting, costuming and the design of the Monster  Whale and makeup artist Jack Pierce may also have been influenced by the Bauhaus school of design  The expressionist influence lasted throughout Whale's career, with Whale's final film, Hello Out There, praised by Sight & Sound as "a virtuoso pattern of light and shade, a piece of fully blown expressionist filmmaking plonked down unceremoniously in the midst of neo-realism's heyday" Whale was known for his use of camera movement  He is credited with being the first director to use a 360-degree panning shot in a feature film, included in Frankenstein  Whale used a similar technique during the Ol' Man River sequence in Show Boat, in which the camera tracked around Paul Robeson as he sang the song  (The sequence also uses expressionist montages illustrating some of the lyrics ) Often singled out for praise in Frankenstein is the series of shots used to introduce the Monster: "Nothing can ever quite efface the thrill of watching the successive views Whale's mobile camera allows us of the lumbering figure"  These shots, starting with a medium shot and culminating in two close-ups of the Monster's face, were repeated by Whale to introduce Griffin in The Invisible Man and the abusive husband in One More River  Modified to a single cut rather than two, Whale uses the same technique in The Road Back to signal the instability of a returning World War I veteran 

Legacy
Influential film critic Andrew Sarris, in his 1968 ranking of directors, lists Whale as "lightly likable"  Noting that Whale's reputation has been subsumed by the "Karloff cult", Sarris cites Bride of Frankenstein as the "true gem" of the Frankenstein series and concludes that Whale's career "reflects the stylistic ambitions and dramatic disappointments of an expressionist in the studio-controlled Hollywood of the thirties" Whale's final months are the subject of the novel Father of Frankenstein (1995) by Christopher Bram  The novel focuses on the relationship between Whale and a fictional gardener named Clayton Boone  Father of Frankenstein served as the basis of the 1998 film Gods and Monsters with Ian McKellen as Whale and Brendan Fraser as Boone  McKellen was nominated for an Academy Award for his portrayal of Whale  Bram's novel has also been adapted as a play which premiered in London at the Southwark Playhouse in February 2015 Only two of Whale's films received Oscar nominations: The Man in the Iron Mask (for its musical score), and Bride of Frankenstein (for its sound recording) 
A memorial sculpture was erected for Whale in September 2001 on the grounds of a new multiplex cinema in his home town of Dudley  The sculpture, by Charles Hadcock, depicts a roll of film with the face of Frankenstein's monster engraved into the frames, and the names of his most famous films etched into a cast concrete base in the shape of film canisters  Other sculptures related to Whale's cinema career were planned, referencing his early work in a local sheet metal factory, but none had been installed as of 2019 Horror in Hollywood: The James Whale Story, a retrospective of Whale's artwork, opened at the Dudley Museum and Art Gallery in October 2012 and ran through to January 2013 

Filmography
Passage 10:
Raiders of the Seven Seas
Raiders of the Seven Seas is a 1953 American swashbuckler film directed by Sidney Salkow and starring John Payne and Donna Reed   The supporting cast features Gerald Mohr, Lon Chaney Jr  and Anthony Caruso 

Plot
The pirate Barbarossa raids the Sultan of Morocco's ships and captures a betrothed woman 

Cast
John Payne as Barbarossa
Donna Reed as Alida
Gerald Mohr as Capt  Jose Salcedo
Lon Chaney Jr  as  Peg Leg
Anthony Caruso as Renzo
Henry Brandon as Capt  Goiti
Skip Torgerson as Datu
Frank De Kova as Capt  Romero
William Tannen as Ramon
Christopher Dark as Pablo
Claire DuBrey as Señora Salcedo
Howard Freeman as Mayor Pompano

Production
The film was originally known as Storm over the Caribbean, Barbarossa and Swords Against the Mast  It was an original story co written by director Sidney Salkow, who subsequently signed a long-term contract with producer Edward Small 

See also
Flame of Araby (1951), with Barbarossa and his brother as villains
List of films featuring slavery
Context 2: Passage 1:
Stranger on Horseback
Stranger on Horseback is a 1955 American Anscocolor Western film directed by Jacques Tourneur and starring Joel McCrea  The screenplay is based on a story by Louis L'Amour  It was filmed in and around Sedona, Arizona 

Plot
Rick Thorne, a circuit judge, rides into Bannerman and discovers everything in town is controlled by rich rancher Josiah Bannerman and his kin  He meets sheriff Nat Bell and district attorney Buck Streeter and asks why Bannerman's arrogant son, Tom, got away with killing a man without an arrest or trial 
Offered no assistance, Thorne stands up to Tom and then jails him  He becomes acquainted with Bannerman's beautiful niece, Amy Lee, who is attracted to Thorne but doubts her cousin Tom is a cold-blooded killer 
Thorne finds allies in Caroline and Vince Webb, who own a gun shop and are willing to testify with evidence against Tom in court  Thorne realizes he needs to sneak Tom and the Webbs to a different town if he's to get a fair trial  Bannerman and his men pursue them, and Amy Lee watches as Tom deliberately causes Vince Webb's death  In time, Thorne gets the prisoner to the next town safely, and Amy Lee goes to court to back him up 

Cast
Joel McCrea as Judge Richard 'Rick' Thorne
Miroslava as Amy Lee Bannerman
Kevin McCarthy as Tom Bannerman
John McIntire as Josiah Bannerman
John Carradine as Col  Buck Streeter
Nancy Gates as Caroline Webb
Emile Meyer as Sheriff Nat Bell
Robert Cornthwaite as Arnold Hammer
Jaclynne Greene as Paula Morrison
Walter Baldwin as Vince Webb
Emmett Lynn as Barfly
Roy Roberts as Sam Kettering
George Keymas as Bannerman's Henchman
Lane Bradford as Kettering Henchman (uncredited)
Dabbs Greer as Hotel Clerk (uncredited)
Frank Hagney as Bartender (uncredited)

See also
List of American films of 1955
Passage 2:
La Morte Vivante
La Morte Vivante (English: The Living Dead Girl) is a 1982 French horror-drama film directed by Jean Rollin and starring Marina Pierro, Francoise Blanchard, Mike Marshall, Carina Barone, Fanny Magier, Patricia Besnard-Rousseau and Sam Selsky  The story involves a young woman who has returned from the dead and needs human blood in order to survive 

Plot
Two men break into an old crypt, seeking to dump toxic waste and rob the graves  When an earthquake causes the toxic waste to spill, Catherine Valmont, a young woman who died several years ago, is resurrected  She viciously kills the thieves and drinks their blood  As Catherine walks aimlessly through a field, Barbara spots her and takes a few photos, though Barbara's boyfriend, Greg, takes no notice  Catherine returns to her old house, the Valmont Mansion, and memories of her childhood come back to her, especially her childhood friend, Hélène  As Catherine wanders the house, a real estate agent shows an old couple around the property, though they show little interest  After they leave, Hélène calls the house, presumably inquiring about it  However, she hears nothing but a cherished music box, leading her to believe that Catherine may still be alive 
The agent later returns to the Valmont Mansion, along with her boyfriend  Catherine interrupts them having sex, killing both and drinking their blood  Hélène arrives and is shocked to discover the dead bodies  When she finds Catherine, naked and playing the piano, she assumes that Catherine didn't really die but was actually hidden for the past two years  Hélène washes the blood off Catherine, puts her to bed, and drags the bodies down to the crypt, where she discovers the bodies of the grave robbers  Catherine creeps down and begins to drink the blood from one of the bodies, but Hélène stops her  Hélène cuts her arm and lets Catherine drink her blood, until she can think of a way to supply her friend with blood 
Barbara goes around the village asking about the woman in her photograph, but the answer is always the same: It is Catherine Valmont, and she died two years ago  Greg thinks Barbara is making too much of it, and discourages her from investigating further  Meanwhile, Hélène tries to understand what is happening to Catherine, trying to teach her to speak again  Deciding to bring her victims, Hélène pretends to be out of fuel and flags down a helpful motorist, drawing her back to the mansion  Hélène offers the woman a drink and locks her in  The woman soon begins to panic, but Hélène throws her in the crypt, where Catherine grabs her and rips her stomach out  Soon after, Barbara shows up at the Valmont mansion, seeking Catherine  Unsettled by Catherine's behavior, she attempts to phone Greg, but Hélène confronts her  They argue, and Hélène tries to take Barbara's camera  Barbara flees 
Catherine, now more in touch with her humanity, realizes that she must be destroyed  She begs Hélène to kill her, but Hélène instead goes back to the village, to bring Catherine another victim  Barbara sees Hélène and eventually convinces Greg to accompany her to the mansion, in order to help Catherine  Hélène tortures the kidnapped girl, but Catherine rejects the unwilling sacrifice and frees her, telling her to return to the village and seek help  Drawn by the screams, Barbara and Greg go to investigate, but they are brutally murdered by Hélène  Overwhelmed by all the death and murder, Catherine attempts suicide, but she is rescued by Hélène, who offers herself to sate Catherine's hunger  Unable to resist, Catherine devours her friend alive 

Cast
Marina Pierro as Hélène
Françoise Blanchard as Catherine Valmont ("The Living Dead Girl")
Mike Marshall as Greg
Carina Barone as Barbara Simon
Fanny Magiere as 6th Victim (as Fanny Magieri)
Patricia Besnard-Rousseau
Véronique Pinson (as Veronique Pinson)
Sandrine Morel as Teenage Catherine Valmont
Sam Selsky as Old American man in the house of Catherine

Production
Rollin originally sought Italian actress Teresa Ann Savoy for the title role, but when she met him, Savoy said she would never work with Rollin under any circumstances  Instead, Blanchard was cast  She found the shooting to be physically exhausting and collapsed on the set  Blanchard's performance in the ending scene in which Catherine devours Hélène and descends into madness was so believable that the crew were worried for her mental state, thinking that she had in fact gone mad 
Rollin met Pierro at the Sitges Film Festival, casting her for her strong personality, but finding her vain 

Release
The original release was 25 August 1982  Alternate titles included The Living Dead Girl, Lady Dracula, Queen Zombie and Scare: Dead or Alive 

Censorship
La morte vivante was banned in Germany in 1986 for its explicit scenes of violence and gore  The film was released direct-to-video in the United Kingdom in 1994; however, most of these scenes were removed or shortened by the BBFC in order for the film to pass with an 18 certificate  A scene in which Catherine impales a woman's throat which her sharp fingernail was edited; one in which a female victim is disemboweled by Catherine was slightly cut to remove some of the prolonged gore; a scene in which Hélène slashes at a teenage girl's navel area was completely removed; the ending scene where Catherine eats Hélène alive was somewhat trimmed down; and the shot where Hélène's thumb is bitten off was cut  Some of these scenes were waived for the 2000 release, which also premiered on UK television for the first time in 2005 when it was screened on The Horror Channel  The film was eventually passed uncut in the UK in 2007 

Reception
Bloody Disgusting rated the Blu-ray release 3 out of 5, saying that the film has plenty of flaws but is worth watching 

Home media
In the United States, La morte vivante was initially released on DVD in an edited version on 9 November 1999, and was available in a "Widescreen Edition" via Image Entertainment and Redemption  It was re-released on DVD, complete and uncut for the first time, on 25 October 2010 by Redemption  Kino Lorber and Redemption released a Blu-ray version, as well as a remastered DVD on 7 August 2012, featuring an intro by Rollin, several featurettes and interviews, and a 12-page booklet In the United Kingdom, the film was first made available on VHS format in a direct-to-video release in 1994  It was issued on DVD on 2 May 2000, followed by a reissued VHS version on 8 May 2000  The DVD contained a cropped 4:3 aspect ratio, which was a transfer from the original video release and reversible cover artwork  Redemption released two subsequent DVD editions in the UK, the first on 3 September 2007, presenting the film complete and uncensored for the first time  The second was released on 18 May 2015, containing newly commissioned artwork La morte vivante, under the title The Living Dead Girl, received a Blu-ray release in the UK in 2018  Released by Black House Films, this version of the film has a 1:78:1 aspect ratio 
The complete uncut version was released by Encore in Europe on 30 November 2005 in a 2-DVD set with a new aspect ratio of 16:9/1 78:1  The special features included introductions by Blanchard (in French with English subtitles) and Rollin, selected scenes commentary by Blanchard (in French with English subtitles), a bonus soundtrack CD, a 64-page essay booklet, and interviews (all in French with English subtitles) with Blanchard, Jean-Pierre Bouyxou and composer Philippe d'Aram 
Passage 3:
La Morte
La Morte (French pronunciation: ​[la mɔʁt]) is a commune in the Isère department in southeastern France 

Population
See also
Communes of the Isère department
Passage 4:
Jacques Tourneur
Jacques Tourneur (French: [tuʁnœʁ]; November 12, 1904 – December 19, 1977) was a French film director known for the classic film noir Out of the Past and a series of low-budget horror films he made for RKO Radio Pictures by Val Lewton, including Cat People, I Walked with a Zombie, and The Leopard Man  He is also known for directing Night of the Demon, which was released by Columbia Pictures  While in Hollywood, he was usually addressed by his anglicized name "Jack Turner", a literal and phonetic translation of his name in English 

Life
Born in Paris, France, Tourneur was the son of Fernande Petit and film director Maurice Tourneur  At age 10, Jacques moved to the United States with his father  He started a career in cinema while still attending high school as an extra and later as a script clerk in various silent films  Both Maurice and Jacques returned to France after his father worked on the film The Mysterious Island in 1925  Tourneur died in 1977, aged 73, in Bergerac, Dordogne, France 

Career
Tourneur began work as an editor and assistant director  He made his debut as a director on the French film Tout ça ne vaut pas l'amour in 1931  Tourneur went to Hollywood in 1934 where he had a contract with MGM Studios  While working as the second unit director on the film A Tale of Two Cities he met film producer Val Lewton Tourneur made his feature debut as director in the 1939 film They All Come Out  After Tourneur was dropped by MGM in 1941, he was picked up by Lewton to film several acclaimed low-budget horror films for RKO Studios including Cat People and I Walked with a Zombie Cat People, although considered a B movie and made on a limited budget, was distinguished by a style of lighting and cinematography that has been imitated countless times  Tourneur was promoted to the A-list at RKO, directing films including Out of the Past and Berlin Express  In the 1950s, Tourneur became a freelance director, filming various genre films including Wichita, Anne of the Indies, Way of a Gaucho, Nightfall, The Flame and the Arrow, Stars In My Crown and Night of the Demon  His last two films, made for American International Pictures and starring Vincent Price, were The Comedy of Terrors (1963) and War-Gods of the Deep (1965) After his final days working for film, Tourneur began directing television episodes  Tourneur filmed episodes of The Barbara Stanwyck Show, Bonanza, The Twilight Zone, and The Alaskans  Tourneur's final director credit was for an episode of T H E  Cat in 1966  Tourneur then retired and returned to France 

Filmography
Director
Feature films

Short films

TV
1955-1961 : General Electric Theater, 4 episodes
1955 : The Martyr
1955 : Into the Night
1960 : Aftermath
1961 : Star Witness: The Lili Parrish Story
1956 : Fireside Theater, 3 episodes
1956 : A Hero Returns
1956 : Kirsti
1956 : The Mirror
1957 : Schlitz Playhouse of Stars, 1 episode
1957 : Outlaw's Boots
1957 : The Walter Winchell File, 3 episodes
1957 : The Steep Hill
1958 : House on Biscayne Bay
1958 : The Stopover
1958 : Cool and Lam, CBS Productions
1958 : Northwest Passage, 8 episodes
1958 : The Gunsmith
1958 : The Burning Village
1958 : The Bond Women
1959 : The Break Out
1959 : The Vulture
1959 : The Traitor
1959 : The Assassin
1959 : The Hostage
1959 : Bonanza, 1 episode
1960 : Denver McKee
1959 : The Alaskans, 1 episode
1960 : The Devil Makers
1960 : The Barbara Stanwyck Show, 11 episodes
1960 : The Mink Coat
1960 : Ironbark's Bridge
1960 : The Miraculous Journey of Tadpole Chan
1961 : Frightened Doll
1961 : The Choice
1961 : Sign of the Zodiac
1961 : Adventure on Happiness Street
1961 : The Golden Acres
1961 : Confession
1961 : Dragon by the Tail
1961 : Dear Charlie
1962 : Adventures in Paradise, 1 episode
1962 : A Bride for the Captain
1962 : Follow the Sun, 1 episode
Sergeant Kolchak Fades Away
1963 : The Twilight Zone, 1 episode
1963 : Night Call
1966 : T H E  Cat, 1 episode
1966 : The Ring of Anasis

Assistant director or editor
1929 : Le Navire des hommes perdus (Das schiff der verlorenen menschen), directed by Maurice Tourneur
1930 : Accusée, Levez vous, directed by Maurice Tourneur
1931 : Maison de danses, directed by Maurice Tourneur
1931 : Partir, directed by Maurice Tourneur
1932 : Au nom de la Loi, directed by Maurice Tourneur
1932 : Les Gaités de l'escadron, directed by Maurice Tourneur (Editor)
1933 : Les Deux Orphelines, directed by Maurice Tourneur (Editor)
1993 : Lidoire, directed by Maurice Tourneur 
1933 : Obsession, directed by Maurice Tourneur (uncredited)
1933 : La Fusée, directed by Jacques Natanson (Editor)
1933 : Le Voleur, directed by Maurice Tourneur
1934 : Rothchild, directed by Maurice Tourneur (Editor)
1935 : A Tale of Two Cities, directed by Jack Conway, war sequences, (séquence de la prise de la Bastille) 

Posterity
La Mort en direct (1980), film by Bertrand Tavernier is dedicated to deceased film director Jacques Tourneur
”There are films that watch us grow old ” Serge Daney  Quoted by Serge Le Péron in (Jacques Tourneur Le Médium), film by Alain Mazars, 2015  
By naming the main character Jessica Holland in his film Memoria (2021),  Apichatpong Weerasethakul pays tribute to Jacques Tourneur’s film I Walked with a Zombie 
Passage 5:
Jean Rollin
Jean Michel Rollin Roth Le Gentil (French: [ʒɑ̃ mˈɪt‍ʃə‍l ɹˈə‍ʊlɪn lˈə d‍ʒˈɛnt]; 3 November 1938 – 15 December 2010) was a French film director, actor, and novelist best known for his work in the fantastique genre 
Rollin's career, spanning over fifty years, featured early short films and his achievements with his first four vampire classics Le viol du vampire (1968), La vampire nue (1970), Le frisson des vampires (1970), and Requiem pour un vampire (1971)  Rollin's subsequent notable works include La rose de fer (1973), Lèvres de sang (1975), Les raisins de la mort (1978), Fascination (1979), and La morte vivante (1982) His films are noted for their exquisite, if mostly static, cinematography, off-kilter plot progression, poetic dialogue, playful surrealism and recurrent use of well-constructed female lead characters  Outlandish dénouements and abstruse visual symbols were trademarks  Belied by high production values and precise craftsmanship, his films were made with little money, often against deadlines  In the mid-1970s, lack of regular work led the director to direct mostly pornographic films under various pseudonyms, an activity he continued until the early 1980s 

Early life
Jean Rollin was born in Neuilly-sur-Seine (now Hauts-de-Seine), France, to Claude Louis René Rollin-Roth-Le Gentil, an actor and theatre director who went by the stage name Claude Martin, and his wife Denise (née Leffroi), an artists' model  His half-brother was actor Olivier Rollin 

Career
Rollin had a passion for cinema from an early age   He saw his first film during the second World War  It was Capitaine Fracasse, a 1942 film directed by Abel Gance   Rollin decided he wanted to make films when he grew up; his father, a theatre actor, was a heavy influence on him   During his teens, he developed an obsession for American serials and read comic books   
When he was 16, he found a job at Les Films de Saturne, helping write invoices while earning some money though he wanted to be involved in cinema   They specialized in creating opening and closing credits and short cartoons, but real films were also shot such as industrial shorts and documentaries   Rollin was part of the crew in a short documentary about Snecma, a big factory in France which built motors and planes   He arranged the tracking shots, laid the tracks, checked the electricity, and helped the cameraman 
When Rollin did his military service for the French army, he worked as an editor in the cinema department alongside Claude Lelouch   They worked on army commercials with Lelouch directing and Rollin editing  They also made two films, Mechanographie, a documentary, and La Guerre de Silence (The War of Silence), a real film with actors and a story 
In 1958 after leaving the army, he directed his first short film Les Amours Jaunes (The Yellow Lovers)   He shot it on a 35mm Maurigraphe camera, and used a beach in Dieppe as his location, the same beach used in his later films 

1960s
In 1960, Rollin decided to direct his first feature film, but later abandoned the project as he had no money to finish it   His next short, Ciel de Cuivre (Sky of Copper), was directed in 1961, and was quite surreal though it told a sentimental story   He did not finish the film because he ran out of money and it was not very good   The footage is now lost 
In 1962, he was as an assistant director on the film Un Cheval pour Deux (A Horse for Two), which was not a great experience for him, and he decided to approach cinema in a different way   In the early sixties, Rollin became interested in politics and made a short documentary in 1964 called Vivre en Espagne (Life in Spain)  It was about Generalissimo Francisco Franco, thirty minutes were filmed but he risked a lot to get it made   Rollin and the crew found themselves pursued by the police and just managed to make it back into France   Jean also directed a short film in 1965 called Les Pays Loins 

In 1968, Jean directed his first feature Le Viol du Vampire (The Rape of the Vampire)   At the time he was still not known in the world of cinema, having only done a few short films and documentaries   The film was shot on a low budget, and consisted of two parts because it was originally intended to be another short film; the second part was later added so that it was released as a feature film   The release of Le Viol caused public scandal and outrage, his strong inspiration of American serials did not attract viewers   It was released during the events of May 1968, and due to the riots, it was a rare theatrical production at the time  Rollin himself was also threatened due to this scandal, because of this, he briefly decided to give up making films 
His second feature La Vampire Nue (The Nude Vampire) was his first film in colour   It was mostly inspired by the 1916 film Judex, and also surrealism in general  Rollin wanted to do something a little more temperate than Le Viol, a traditional mystery film  Anyway, as he himself stated, it came to be the same kind of film as his first feature, it also has the same spirit  La vampire nue also became notable in that it introduced Catherine and Marie-Pierre Castel, twin sisters who frequently collaborated with Rollin during the early years of his career 
Following La vampire nue, Rollin found himself in a financial crisis and having suffered an accident during production which left him traumatized, the circumstances took a positive turn when he met with producer Monique Nathan, owner of the Films Moderns company  Nathan having put her faith and support in Rollin, turned down several a number of the most prominent French New Wave filmmakers for financing and instead entirely supported Rollin as both a producer and a co-screenwriter for his next project, Le Frisson des Vampires (Shiver of the Vampires) which was heavily influenced by the trappings of the hippie movement  It did however retain many of the themes one could expect from a Rollin film and one of the most iconic scenes ever to appear in a Rollin film: actress Dominique emerging from an old grandfather clock  Production for the film took place in an abandoned castle in Soissons, a commune in the Aisne department of Picardy 

1970s
1971, Rollin directed Requiem pour un Vampire (Requiem for a Vampire), which became one of his most successful films, and it was another low budget production, which almost took no money to produce   There was no dialogue in the first forty minutes of the film, this was in Rollin's words to make the "ultimate naive film", simplifying the story, direction and cinematography  Initially, Rollin had Catherine Castel in mind to play one of the leading ladies in Requiem; however, Castel was unable to accept the role due to being pregnant, which forced Rolling to offer the role to Maire-Pierre  The second female lead was portrayed by Mireille D'argent whom Rollin chose after she was introduced to him by an agent  Rollin discovered that D'argent's agent was collecting her wages, which prompted him to contact a lawyer and have her wages returned to her  Requiem was filmed in the small village of Crêvecoeur  The graveyard was located outside the village on a knoll  The castle, a historical place entirely furnished with genuine antiques, all of which were worth a fortune, had been rented from the duchess of Roche-Guyon  It wasn't her castle that Rollin and the crew were interested in, but the ruins of the dungeon above, that overlooked the entire area  Following this, Rollin made a temporary departure to creating films associated with the erotic vampire genre 
Having risen to success during his early vampire era, Rollin embarked on a different approach to filmmaking  Rollin financed his 1973 film La Rose de Fer (The Iron Rose) himself and was convinced that it would become a failure, leading to financial ruin  Prior to production, he engaged in a deal with Impex films to direct a number of hardcore porn films in the near future in order to produce La rose de fer and ensure that it would not fail  The story follows two young lovers (Françoise Pascal and Hugues Quester) who meet at a wedding reception and agree to go on a date, for which they decide to take a walk in an enormous cemetery  As they make love in an underground tomb, strange and bizarre occurrences take place above ground  As night falls, they frantically try to escape from the cemetery, and with no luck, end up where they started  They are slowly overcome with hysteria and paranoia which brings about their mortality  The film was shot in the city of Amiens over a four-week period and premiered at the 2nd Annual Convention of the Fantastique in Paris in April 1973 and was initially met with a negative reception and as a result, Rollin was unable to find anyone to back his future personal projects Rollin directed the adult sex films Jeunes filles impudiques (Schoolgirl Hitchhikers), Le sourire vertical (The Vertical Smile), and Tout le monde il en a deux (Bacchanales sexuelles or Fly Me the French Way) under the pseudonym Michel Gentil as he was financially unable to come up with a budget for another mainstream feature film  However, in 1974 Rollin directed the horror adventure and self-proclaimed "Expressionist" film Les démoniaques which was inspired by the adventure classics he had enormous admiration for in his youth  The film includes Joëlle Cœur and Willy Braque whom Rollin worked with on Jeunes filles impudiques  The story follows two young women who have been involved in a shipwreck and are brutally raped and murdered by a group of rogue pirates, only to be resurrected after making love to the devil so that they can seek their revenge  Rollin had many disputes with the producers of the film during production of the project as they insisted on a low budget  He was hospitalized for two weeks following the work due to mental and physical exhaustion  Further problems would arise including the working title, Les diablesses, having to be changed as the copyright was not free of charge and with the Castel Twins being unavailable for the roles of the avenging ghosts, the parts where offered to inexperienced actresses Lieva Lone and Patricia Hermenier Rollin made a brief return to the erotic vampire genre in 1975 when he wrote and directed Lèvres de sang (Lips of Blood)  The film includes all the surreal dreamlike aspects for which Rollin's films are known  The story follows a young man named Frederic who is on a quest to find a woman dressed in white following the discovery of a photo of a ruined château  The photo triggers a suppressed childhood memory, which may be a dream  Despite his mother trying to convince him that it was dream, Frederic becomes fixated and obsessed with location the castle and the woman that may be inside  Lèvres de sang features Jean-Loup Philippe, whom Rollin co-wrote the film with, Annie Belle, and Nathalie Perrey, whom Rollin had worked with frequently throughout his career as a credited actress, script writer and editor  The film also sees the return of the Castel Twins as part of a group of vampires 
Due to the commercial failures of both La rose de fer and Lèvres de sang, Rollin again had no choice but to direct another adult sex film for financial reasons as there was no possible way to produce a feature film for the foreseeable future  Phantasmes (Once Upon a Virgin) was written and directed by Rollin for release in 1975 and was the first and only pornographic film in which he was credited under his own name because he liked what he did in the film  Rollin mentioned that the film is his "first and final attempt at a serious" adult film, wanting to create a film that didn't just "poke fun at sex"  The score for Phantasmes is considered one of the films best attributes, courtesy of composer Didier William Lepauw of Lèvres de sang Between 1976 and 1977, his work consisted strictly of hardcore pornographic films as there was a lack of money and producers reluctant to fund any new mainstream projects due to his previous commercial failures  Seven porn films were produced within this period under his pseudonym Michel Gentil, and one of which, Suce moi vampire (Suck Me Vampire: the hardcore version of Lèvres de sang), he credited himself as Michel Gand  His 1976 hardcore film Douces pénétraitions marked the final time the Castel Twins would appear together working for Rollin, and the final time Marie-Pierre would work with him altogether  Catherine would continue to appear in his films for several years 
Jean Rollin returned in 1978, when he wrote and directed Les raisins de la mort (The Grapes of Death) which has been considered the first French gore film  It has been described as one of the most pivotal films in his entire canon and is seen as a rare departure from his usual dreamlike and poetic works  Following the negative reception and commercial failures of his previous films and having to direct pornographic pictures, Rollin eventually gained financial backing to produce his next mainstream feature  The story here features a young woman, Elisabeth (Marie-Georges Pascal) who is travelling to a secluded vineyard in the mountains owned by her fiancé  There she discovers that the local residents who occupy the village have been transformed into mindless zombies by a dangerous pesticide which contaminated the grapes growing at the vineyard following a wine festival which occurred some days before 
The film includes pornographic actress Brigitte Lahaie, in her first mainstream role, as Rollin was the first French director to recognise her acting capabilities and offer her much more prominent roles in his subsequent films  Rollin stated that Les raisins de la mort was his "first traditional, almost conventional, production" which was because the film acquired solid finances with made a change and with special effects supplied by Italian experts  Claude Becognee served as director of photography which added to the film's success  Rollin would credit much of the film's success to Marie-Georges Pascal's portrayal of Elisabeth, whom he would recall delivered a very "moving" performance in the film  Les raisins de la mort was shot in the deserted mountain region of Les Cévennes 
The film is often referred to as being influenced by George A  Romero's Night of the Living Dead  However, it has more in common with Jorge Grau's 1974 Spanish-Italian horror film Let Sleeping Corpses Lie (also known as The Living Dead at Manchester Morgue)  The film does not follow the tradition zombie method, instead, Rollin's zombies centre on madness with a strong environmentally conscious message  As he has mentioned, the zombies "have retained their consciousness" and they finally "suffer for what they are"  With the film as a notable success, Rollin would continue with pornographic films under a new pseudonym, Robert Xavier, while retaining the Michel Gentil credit 
In 1979, and now established as a somewhat successful director, Rollin created Fascination in which he returned to the roots of the fantastique genre his early works are known for  The film is inspired by the short story Un verre de sang (A Glass of Blood) from French poet Jean Lorrain with tells the tale of wealthy French people, who, at the turn of the century, begin to drink the blood of bulls in order to cure anemia  The title of the film refers to and pays homage to a French magazine of the same name which is dedicated to different forms of eroticism in art  Rollin's story of Fascination differs slightly from that of Lorrain's novel, in that, in the year 1905 a group of wealthy Parisian women arrive at an abattoir to drink the blood of an ox as it is believed to be a curative for anemia  The central story follows two lovers Elizabeth and Eva (Franca Maï and Brigitte Lahaie respectively), chambermaids-in-waiting who reside at a deserted castle and are suddenly interrupted by a thief named Mark (Jean-Pierre Lemaire), who takes refuge at the castle in order to hide from a group of thieves he has stolen coins from  When Mark makes love to Eva, she is forced to go outside and confront the thieves in the nearby stables to make a deal; she is forced to have sex with one of the male thieves and subsequently they are murdered by Eva in an iconic scene with Eva wielding a scythe  It is soon revealed that Elizabeth and Eva are expecting a group of women to arrive where sensual love making takes place and the women are revealed to devour the blood of humans 
The film is often said to be of the vampire genre  However, it does not feature the elements which his early vampire films are known for, aside from the drinking of blood  The production of Fascination was not without complications; as it may have been one of the easiest films to shot in Rollin's experience, despite the low budget, the story was met with disapproval from the film's producer, Christine Renaud  As Rollin himself had said, the "co-producer wanted (him) to make a very explicit sex film-straight exploitation fare without too much emphasis on the fantastical elements"  Rollin overcame these obstacles and made the film he wanted  Additional members of the crew included Nathalie Perrey, who designed the costumes, and Philippe D'Aram, who provided the score  It was predicted that Fascination would lead to success, as did Les raisins de la mort  However, in a setback, one of the directors of UGC, a huge French distributor, cancelled the screenings Rollin had been promised  As the film was yet another financial failure for Rollin, he had little choice but to resume his pornographic works with continued until the end of the 1970s 

1980s
As Jean Rollin's career continued into the 1980s, he started off the decade with the release of La nuit des traquées (The Night of the Hunted) in the summer of 1980  This mainstream feature saw the return of pornographic actress Brigitte Lahaie, in her first leading role in a Rollin film  Upon the film's debut, it was considered a failure  However, it eventually garnered somewhat of a following in later years, as several of Rollin's works have done in the past  La nuit des traquées was shot in less than ten days on an extremely low budget, similar to his pornographic films  Rollin admitted that "I was tired of X-films", as the film was intended to be another hardcore sex film and told the producer "if you want a horror film for the same cost", then, "I can make it in 9 days"  Rollin came to the decision to cast actors of the pornographic industry in the picture in order to keep production cost down and to give the actors the opportunity to show their legitimate talent  The film stands as a noteworthy piece of work in Rollin's canon, as it differs from any of his previous work and is a departure from the fantastique genre that his films are greatly known for; the film is often poetic, yet it serves a realistic tone and chilling atmosphere  Lahaie portrays the character of Elizabeth, a young woman discovered wandering around in the rain on a dark night, by a man named Robert (Vincent Gardère)  As Elizabeth has no recollection of why she is there and frequently continues to lose her memory every few minutes, Robert drives her to his apartment in the city where they make love  The following morning while Robert goes to work, a doctor named Francis and a woman named Solange (Bernard Papineau and Rachel Mhas) locate Elizabeth and accompany her back to the clinic where she has escaped from  It is revealed that Elizabeth and fellow patients are currently confined to the hospital for a deteriorating disease in which they have been contaminated by an environmental accident 
In addition to Lahaie, Rollin had actress Martine Delva in mind for the role of Lahaie's character's friend Véronique  Delva was introduced to Rollin and Lionel Wallman by actor Alain Plumey and when offered the role, she accepted the role  Prior to production, which was intended to take place in La Défense district, she was involved in a serious car accident which left her unconscious with a broken leg and she died within one week from her injuries  The role of Véronique then offered to Dominique Journet  Pornographic actress Catherine Greiner and frequent collaborator, Natalie Perrey appeared as patients at the hospital 
In the early year of the film, it was met with a negative reception and did not please audiences during its release; not receiving a successful response at the Stigès Festival,  It did however receive positive reaction when it was screened at a festival in Trieste, where it was applauded and viewed as a highly subversive work  Rollin himself had stated that "I don't think it is a very good film and it is probably one of my worst" and that if he could remake just one of his films it would be La nuit des traquées In 1980, Rollin directed the Spanish zombie horror feature, Le lac des morts vivants (commonly known as Zombie Lake) under the pseudonym J A  Lazer  Jésus Franco was intended to direct the film, and with an unfortunate turn of events he became unavailable  At this point, Rollin was planning to take a vacation, and on the morning he was expecting to leave, he received a phone call from the production company Eurociné asking if he would be interested directing the horror film which was due to start filming the next morning, as Franco could not be located  Rollin agreed, and arrived on set the following morning  The company could not attach Rollin's name to the project due to issues with the contact, as a Spanish name had to be credited for the film and J A  Lazer was chosen  Le lac des morts vivants was released in 1981 and Rollin admitted that he never really cared for the film  It contains most of the elements which one would expect from a Franco film, and includes Franco's frequent collaborators such as actors Howard Vernon, Nadine Pascal, Antonio Mayans and Alain Petit, and composer Daniel White  Photography for the film was courtesy of Max Monteillet, who Rollin would later work with in several projects  Rollin himself made a cameo appearance in the film In 1981, Rollin returned with the drama film, Les paumées du petit matin (The Escapees or The Runaways)  It marks a departure to the usual horror tones which his films are notable for, and here mixes drama with elements of adventure, thriller and crime, while maintaining erotic and poetic themes and remains a distinctive and unique piece of work from Rollin  The story follows two young women who are confined to mental asylum in the countryside; Michelle (Laurence Dubas), a troubled teenager, has been returned to the asylum after escaping and is forced into a straitjacket  She manages to get the attention of Marie (Christiane Coppé), a teenage girl who is who sits in the garden on a rocking chair, while staring into space and never speaks, by dropping a tin food dish from her bedroom window and the sound somehow brings Marie back to reality  They escape from the asylum and encounter a group of burlesque dancers, a bar singer and a group of women who proceed to rape Marie  Their journey ends when they become involved in crime and death  The cast includes Rollin's usual collaborators Louise Dhour, Nathalie Perrey, Brigitte Lahie and a cameo appearance from Rollin himself  Les paumées du petit matin unfortunately failed to receive a proper theatrical in 1981 which resulted in it being one of the most difficult Rollin films to find in future  It did however receive its first DVD release in 2009 in the United States courtesy of Redemption Films, with a subsequent release in the United Kingdom  Again with a limited budget an issues with the script, Rollin stated that there were many problems with the production right from the beginning; that it was "an incredible mess", filled with "clichés and platitudes of melodrama
Context 3: Passage 1:
Domitila de Castro, Marchioness of Santos
Domitila (or Domitília) de Castro do Canto e Melo (27 December 1797 — 3 November 1867), 1st Viscountess with designation as a Grandee, then 1st Marchioness of Santos, was a Brazilian noblewoman and the long-term mistress and favorite of Emperor Pedro I 

Life
Birth and family
Daughter of João de Castro do Canto e Melo, 1st Viscount of Castro and Escolástica Bonifácia de Oliveira e Toledo Ribas, Domitila belonged to a traditional São Paulo noble family: she was the granddaughter of Colonel Carlos José Ribas, great-grandfather of Simão de Toledo Piza, patriarch of this family in São Paulo  Born on 27 December 1797, she was baptized three months later, on 7 March 1798 in the Church of Nossa Senhora da Assunção (Sé) in São Paulo  According to her baptismal record, her godfather was Ensign José Duarte e Câmara 
The Brigadier João de Castro Canto e Melo was born in the Terceira Island in the Azores, and died in Rio de Janeiro in 1826  He was the son of João Batista do Canto e Melo and Isabel Ricketts, and descended from Pero Anes do Canto, from Terceira Island  He passed to Portugal, setting up a cadet square at the age of 15 on 1 January 1768, named Standard-Bearer on 17 October 1773  He was 21 when, in 1774, he went to Rio de Janeiro and months later to São Paulo  He was transferred to the Santos Infantry line Regiment, promoted to Ensign in 1775 and to Lieutenant in the same year, to Adjudant in 1778; he was Captain in 1798, Major in the same year, and in 1815 Lieutenant Colonel  Later, after his daughter's love with the emperor, he was made Gentleman of the Imperial Chamber and still received the noble title of Viscount of Castro on 12 October 1825 Domitila's full siblings were:
João de Castro do Canto e Melo (March 1786 – 11 September 1853), 2nd Viscount of Castro, Field Marshal and Gentleman of the Imperial Chamber; married with Inocência Laura Vieira de Azambuja, with whom he had issue 
José de Castro do Canto e Melo (baptized 17 October 1787 – died ca  1842), Brigadier of the Brazilian Army  Soldier at the age of five on 1 July 1792, Standard-Bearer in 1801, Ensign in 1807, Lieutenant in 1815, Commander of the Cavalry Squad of the Legion of São Paulo and in the Battle of Itupuraí, in the 1816 campaign  Captain in 1818, Sergeant Major of the 2nd Line Cavalry Regiment of Vila de Curitiba, then São Paulo Province, in 1824  Colonel of the Army Staff in 1827  He was licensed due to health reasons in 1829  Brigadier retired from the Army  Gentleman of the Imperial Chamber, dismissed in 1842  Knight of the Military Order of Saint Benedict of Aviz in 1824 and was promoted to Commander in the same order in 1827  Officer of the Order of the Southern Cross in 1827; married with his niece Francisca Pinto Coelho de Mendonça e Castro, with whom he had issue 
Maria de Castro do Canto e Melo (baptized February 1790; died in infancy) 
Pedro de Castro do Canto e Melo (baptized 26 May 1791; died in infancy) 
Maria Benedita de Castro do Canto e Melo (18 December 1792 – 5 March 1857), married to Boaventura Delfim Pereira, Baron of Sorocaba, with whom she had issue; her second son Rodrigo Delfim Pereira, although recognized by her husband, was in fact an illegitimate son of Emperor Pedro I, her sister's lover 
Ana Cândida de Castro do Canto e Melo (January 1795 – 27 May 1834), married to Carlos Maria de Oliva, Veador of the Imperial Chamber and Colonel of the Army, with whom she had issue 
Fortunata de Castro do Canto e Melo (baptized 12 January 1797; died in infancy) 
Francisco de Castro do Canto e Melo (5 April 1799 – 21 June 1869), Gentleman of the Imperial Chamber, Major retired of the Army; married firstly with Francisca Leite Penteado and secondly with Lina Pereira de Castro  He had issue from his second marriage 
Jeronimo de Castro do Canto e Melo (baptized 13 September 1803; died in infancy) In addition, Domitila had an older illegitimate half-sister, Maria Eufrásia de Castro, born from her father's earlier relationship (in fact, betrothal later terminated) with Teresa Braseiro 

First Marriage
On 13 January 1813, Domitila, at the age of fifteen, married an officer from the second squad of the Corps of Dragons in the city of Vila Rica (now Ouro Preto), Ensign Felício Pinto Coelho de Mendonça (26 February 1790 – 5 November 1833), cited by several historians as a violent man, who beat and raped her, and from whom she divorced on 21 May 1824 After the wedding in São Paulo, Felício and Domitila left for Vila Rica  Three children were born from the marriage:

Due to her husband's mistreatment, Domitila obtained permission from his family in São Paulo to return to her father's home with her children  He arrived back in São Paulo at the end of 1816  Felício managed to transfer his post in the army from Vila Rica to Santos and settled in São Paulo, trying to reconcile with his wife and in 1818 they returned to live together  However, given his drinking and gambling problems, it did not take long for Felício to return with his old behavior, and began the beatings and death threats to his wife  On the morning of 6 March 1819, Felício surprised Domitila next to the Santa Luiza fountain and stabbed her twice, one stab caught in the thigh and the other in the belly  Felício was arrested and taken to Santos, next to his barracks, from where he left for Rio de Janeiro  Domitila spent two months between life and death  When she recovered from her injuries, she had to fight legally against her father-in-law, who wanted to take the couple's children to educate them in the Captaincy of Minas Gerais  Domitila asked for Felício's legal separation but only obtained it five years later, when she was already the Emperor's mistress  Domitila's detractors would accuse her after being assaulted because she betrayed Felício, when in reality, through documentation and witnesses in the divorce process, he had tried to kill her to sell the land that both, with the death of his mother, had jointly inherited in Minas Gerais 

Imperial Mistress
Domitila met Dom Pedro de Alcântara, Prince-Regent of Brazil days before the Proclamation of the Independence on 29 August 1822  The Prince-Regent was returning from a visit to Santos when he received, on the banks of the Ipiranga Brook, in São Paulo, two missives (one from his wife, Princess Maria Leopoldina of Austria and another from José Bonifácio de Andrada e Silva) that informed him about the decisions of the Portuguese Courts, in which Dom Pedro stopped being Prince-Regent and received orders to return to the continent  Outraged by this "interference with his acts as ruler", and influenced by whose defended the break with the metropolis, especially by José Bonifácio de Andrada, he decided to separate the Kingdom of Portugal and the Algarves 

Domitila was not the only lover of Dom Pedro, but she was the most important and the one with whom he had the longest relationship  Before his marriage, the Prince-Regent had been involved with a French ballerina, named Noémi Thierry, with whom he had a son  During his relationship with Domitila he had other parallel ones, such as Adèle Bonpland (wife of French naturalist Aimé Bonpland) and the dressmaker Clemence Saisset (whose husband had a store on Rua do Ouvidor), with whom he had a son  In addition to these liaisons, Domitila's own sister, Maria Benedita de Castro do Canto e Melo, Baroness of Sorocaba, also had a son with Dom Pedro 
In 1823, the now Emperor Pedro I installed Domitila at the Barão de Ubá street (today the Estácio neighborhood) which was her first residence in Rio de Janeiro  One year later, and thanks to the support of her lover, Domitila was able to have her first marriage nullified  In 1826, she received as a gift the "Casa Amarela", as her mansion became known, at number 293 of the current Avenida D  Pedro II, near Quinta da Boa Vista, in São Cristóvão (where the Museum of the First Reign now operates)  The Emperor bought the house from Dr  Teodoro Ferreira de Aguiar and ordered a renovation in a neoclassical style to the architect Pierre Joseph Pézerat  The internal mural paintings are the work of Francisco Pedro do Amaral, while the internal and external bas-reliefs by Zéphyrin Ferrez Domitila was being elevated by her lover little by little  In 1824 she was created Baroness of Santos; on 4 April 1825 she was appointed Lady-in-waiting of Empress Maria Leopoldina, on 12 October of the same year was created Viscountess of Santos with designation as a Grandee and, on 12 October 1826 she was finally created Marchioness of Santos  Besides all this titles, on 4 April 1827 the Emperor invested his mistress with the Order of Saint Isabel, who was solely granted "to women of irreproachable conduct"  Although Domitila was not born in that city, the Emperor, in an attempt to attack de Andrada brothers, born in Santos, would have given the titles to his mistress  José Bonifácio de Andrada, upon learning of this fact in his exile in France, wrote to his friend Counselor Drummond: "Who would dream that the michela (prostitute) Domitila would be Viscountess of the homeland of the Andradas! What a brazen insult!"  Domitila's family also received several imperial benefits: Her father became Viscount of Castro, her brother Francisco became the Emperor's Field Assistant and the rest of her siblings received Hidalgo precedence  Domitila's brother-in-law, Boaventura Delfim Pereira (husband of Maria Benedita), was made Baron of Sorocaba 
From her relationship with Emperor Pedro I, Domitila had five children:

Empress Maria Leopoldina died in 1826 due to complications caused by a miscarriage, amidst rumours who blame Domitila of the illness and death of the beloved Empress  The Marchioness of Santos' popularity, which was no longer the best, worsened, with her house in São Cristóvão being stoned and her brother-in-law, a butler of the Empress, received two shots  Her right to preside over medical appointments of the Empress, as her lady-in-waiting, was denied, and ministers and officials of the palace suggested that she should not continue to attend court 

  
Emperor Pedro I ended his relationship with Domitila in 1829 due to his second marriage with Amélie of Leuchtenberg  Already since 1827 he had been looking for a noble blood bride but the sufferings caused to his late wife by him and the scandalous link with the Marchioness of Santos were seen with horror by European courts and several princesses refused to marry the Emperor 
The Austrian ambassador to Rio de Janeiro, Baron Wenzel Philipp von Mareschal, wrote to Vienna about the future marriage of the Emperor and the banishment of the mistress: "Emperor D  Pedro was eventually convinced that the presence of the Lady of Santos would always be inopportune and that a simple change of residence would not satisfy anyone; he insisted on the sale of her properties, the which I heard was already provided and on her departure to São Paulo in eight or ten days" 
The Emperor bought the properties of the Marchioness of Santos in Rio de Janeiro for 240 contos (240 insurance policy of the Public Debt from the Amortization Box, of 1 contos de réis), returning to Domitila "in banknotes of São Paulo" of the amount of 14 contos de réis, two contos for the Amortization Box with which she had presented it, an allowance of 1 conto de réis per month put at your order, "at par or in banknotes"  Regarding the residence bought from the former mistress, Mareschal says: "It will serve the young Queen and her court"  It was Dona Maria da Glória, future Queen Maria II of Portugal; that is why it would later be known as the Queen's Palace, as effectively Dona Maria da Glória settled there, albeit for a short period  Later was bought by the Viscount of Mauá and around 1900 the residence was acquired by the doctor Abel Parente, the protagonist of one of the biggest scandals in Rio de Janeiro, in 1910  It became the Museum of the First Reign in the late 1980s until 2011 when it was deactivated and the restoration and adaptation of the space began to receive the Fashion Museum - Casa da Marquesa de Santos 

Second Marriage
Since 1833 Domitila began to cohabitated with the Brigadier Rafael Tobias de Aguiar (4 October 1794 – 7 October1857), with whom she officially married in the city of Sorocaba on 14 June 1842  Rafael Tobias de Aguiar was not only a politician but a wealthy Sorocaban farmer: the base of his fortune was the trade in mules, but in time he ended up diversifying his business with sugar farms, cattle and horse breeding  The Tobian coat was created by him  Nicknamed the "Reizinho de São Paulo" (Little King of São Paulo) thanks to his fortune, he held the position of President of the Province of São Paulo for two terms and was elected Provincial Deputy for São Paulo  He ran twice for the position of Senator of the Empire, but his name was never chosen by Emperor Pedro II of Brazil  In 1842, as one of the main leaders of the Liberal Revolution, after his marriage to the Marchioness of Santos and the eminent invasion of Sorocaba by the troops of Luís Alves de Lima e Silva, fled to the south where he was captured  Taken to Rio de Janeiro, he was incarcerated in the Fortress of Laje, located on a rock in the middle of Guanabara Bay  Domitila, on hearing of his arrest, arrived to the Imperial court where, by means of a representant, she pleaded to the Emperor that she could live with her husband in the Fortress of Laje to take care of his health, which was granted 
In 1844, Rafael Tobias de Aguiar was given an amnesty and the couple returned to São Paulo, where they were received with a great party  Rafael Tobias de Aguiar died on board the Vapor Piratininga on 7 October 1857 when on his way to Rio de Janeiro in search of medical help  He was accompanied by his wife and one of the couple's children  Domitila's relationship with Rafael Tobias de Aguiar was the longest one of hers, lasting 24 years, during which the couple had six children, of which 4 managed to reach adulthood:

The Solar da Marquesa de Santos
On her return to São Paulo after the end of her relationship with Emperor Pedro I of Brazil, Domitila acquired in 1834 a vast mansion on the old Rua do Carmo, currently Rua Roberto Simonsen in the city center  The first owner of the property was Brigadier José Pinto de Morais Leme according to documentation from 1802  Previously, on the site, there were two houses that were renovated and gave rise to a single building  Domitila was the owner of these house from 1834 until her death in 1867 
The property became the center of São Paulo society, animated by masquerade balls and literary evening parties given by the Marchioness of Santos  In 1880, the house was put up for auction and was acquired by the local Diocese, who transformed the Manor into the Episcopal Palace  The House today belongs to the City Hall of São Paulo, which has the Museum of the City installed there  Its historical importance is great not only because his link to Domitila but because the property is the only urban remnant built using the technique known as rammed earth still existing in the historic center of the city



ground_truth: drowning

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Are both directors of films La Morte Vivante and Stranger On Horseback from the same country?

The following are given passages.
Context 2: " Later reviews of the film have been quite positive; Cathal Tohill and Pete Tombs would go so far as to call it a schizophrenic work in their wonderful Immoral Tales, but they would also note that "the beginning and end are pure Rollin" and "what is good in (The Escapees) is very good "
His 1982 film, La morte vivante (The Living Dead Girl) was his most commercial and successful work since Les raisins de la mort  In addition to its small budget, Rollin again had to contend with producers to construct a film that he wanted, as they required another zombie piece  He was reluctant to do so and was influenced to create a film with combinations from his previous works  Rollin described that the living dead girl is sort of a vampire woman who devours the blood of humans, taking the idea from his vampire works, but not exactly making her a vampire  The gore is a notable aspect taken from Les raisins de la mort  His usual poetic, supernatural and horror themes are still present within the film  Rollin created the story of a young woman named Catherine Valmont (Françoise Blanchard) who has been dead and buried in her family vault beneath the Valmont mansion for the past two years  As three thieves enter the vaults and plan to rob Catherine and her deceased relative of their jewellery as they lay in their coffins, an earth tremor occurs, which suddenly resurrects Catherine  Unaware of her surroundings, she must acquire human victims and drink their blood to prevent her descending into madness and possibly death, with drifting in and out of childhood memories of her childhood friend, Hélène (Marina Pierro)  During which, a photographer, Barbara (Carina Barone), becomes fascinated by Catherine when she discovers her and thinks she is quite peculiar, and sets out to uncover a mystery  Catherine's childhood friend, Hélène is intending to buy the Valmont mansion, which is currently on the market and a strange phone call leads her to the home where she discovers that Catherine is alive and the bodies of the thieves and the real estate agent and her boyfriend  Trying to convince herself that Catherine did not actually die, she realises that she has returned from the dead and must help her by bringing her unsuspecting victims  Some of the financing for the film was courtesy of Jacques Raif, who co-wrote the feature  The film's photographer Pierre LeBlond, found a castle which would become the Valmont mansion, which they rented  The castle provided accommodation for the cast and crew, in which the owner offered to cook  According to Rollin, the owner insisted on being referred to as "His Lordship" and that he was very difficult to get along with  Actress, Françoise Blanchard was introduced to Rollin by Fanny Magier, a co-star actress who appeared in the film  When Blanchard arrived, Rollin was unsure whether to offer her the role of Catherine due to the fact that in the first scene in which her character is resurrected, Blanchard appeared wearing trousers which wasn't required for the scene and Rollin did not ask her to remove them  She did however receive the role due to good contact  Blanchard showed great professionalism in her role and in one particular scene, the final scene of the film, in which Blanchard's character cries and screams after devouring her childhood friend, the crew became concerned over her mental state as they thought she has descended into madness  She gave an amazing performance for the role  During the preparation of the film, Rollin had been to Rome with Lionel Wallman to find an actress to portray the role of Hélène  Rollin had Teresa Ann Savoy in mind for the role, whom he was greatly impressed with  After speaking with Savoy and showing her a script for a pornographic picture which was in English and devoid of interest and not for La morte vivante, as she didn't speak French, she refused the role and told her agent that she would never in her life shoot with a guy like him  His second choice was actress Marina Pierro, a recurring collaborator with director Walerian Borowczyk, whom Rollin instantly liked  Pierro accepted the role  In the role of the photographers, American actor Mike Marshall, whom Rollin enjoyed working with during the production received the role of Greg and Canadian actress Carina Barone, was offered the role of Barbara due to a previous actress who featured in Les paumées du petit matin turning it down as she unmistakable believed that it was supposedly an erotic film  The film was a commercial success within theatres and received quite a positive reception, especially in Italy  Upon its release, Rollin was betrayed by a dishonest distributor who premiered in a select number of small theatres behind his back, as the film deserved a much larger audience in highly established theatres  However, La morte vivante was selected in many festivals which gave the film little success, particularly in Rome where Rollin's friend, Andriano Pintaldi presented the film in his festival where it was given the public's award After directing three additional pornographic features following La morte Vivante, Rollin's next feature film, Les trottoirs de Bangkok (The Sidewalks of Bangkok) was released in 1984  It is a rare production for Rollin, in that it does not contain his traditional fare of the supernatural, horror, or the fantastique genre  It is highly influenced by Rollin's childhood passion for old serials as it contains themes of adventure, crime and mystery, comic-book fantasy and is inspired by the 1932 Boris Karloff classic The Mask of Fu Manchu  The leading protagonist of the film is pornographic actress, Yoko, whom Rollin mentioned that he had "never worked with an actor who was so open-minded and easy to direct " She portrays the role of Eva, who is on the run from the French Secret Service and a rival syndicate who desperate require a deadly chemical which she possesses  This is her only mainstream role outside of the pornographic industry  Françoise Blanchard returns in her second film with Rollin, as she appears in the role of Claudine, a woman who works for the syndicate and is forced to locate Eva and hand her over to her villainous boss, instead she chooses to protect Eva  Supporting cast includes Argentina actor Gérard Landry, Israeli actress Brigitte Borghese, Jean-Pierre Bouyxou, whom Rollin has worked with on numerous occasions throughout his career, and a cameo appearance from Rollin  On a limited budget, and again working with producer Lionel Wallman and cinematographer Claude Becognee, the production of Les trottoris de Bangkok was filmed in several locations, many of which were not given permission to; the Chinese Quarter of Porte d'Italie and on the docks where goods from Asia were unloaded, an abandoned den near the Champs-Élysées, and on part of the French railroad  The film became a success and Rollin admitted that despite the fact that the film was a mess, he said "the entire shoot was great fun " Working with Yoko prompted Rollin to write a new film which included her alongside Brigitte Lahaie which unfortunately never became a film as Yoko retired from acting in the early nineties Rollin received minor work following Les trottoirs de Bangkok; in 1985, he resumed his pseudonymous work as "Michel Gentil" with a non-pornographic feature, the slapstick comedy, Ne prends pas les poulets pour des pigeons which reunited Brigitte Borghese and Gérard Landry from his previous film, and included French actor and comedian Popeck  Rollin was hired, and therefore his real name was not attached to the project  In 1988, he received the uncredited directorial role in the erotic sequel Emmanuelle 6, for which he wrote the screenplay  The film suffered many flaws during production under direction from Bruno Zincone and Rollin became involved in an attempt to salvage what he could and see that production was completed for the financiers At the end of the decade, Rollin created Perdues dans New York (Lost in New York) which was produced in 1989  Rollin mentioned that the film was "an anthology of all the themes and obsessive images I have used in my films", and that it, "brought to an end what had been started within the previous 13 films " A friend of Rollin's who was a producer insisted his help as he need location shots of New York an upcoming TV series he was working on  Rollin agreed and travelled to New York with a small film crew and a 16mm camera  While filming the shots, Rollin was struck with an idea to improvise a theme in which two young women are separated and desperately search for one another  He produced the film with a runtime of just under one hour and immediately struggled to find distribution, whether it be released to theatres or television  It was difficult to find distribution for independent and exploitation pictures in the late eighties as in a time of revolution and change, distributors would only pick up more commercial and high-budget film  It was not until the following years that the film found its audience on the home video market  Initially, Perdues dans New York was to be the final production of Rollin's canon as he has become ill during this period, and he expressed gratitude to his many fan by paying homage to his early works 
Despite his intentions to retire from directing following Perdues dans New York, his final film of the 1980s, Killing Car (working title Femme dangereuse) was produced in 1989  It is a revenge thriller and one of his most underrated and overlooked works  Initially intended to be a softcore production under the Michel Gentil pseudonym, Rollin attached his own name to the project and made it one of his most personal and self-referential of all his works  The film was shot on 16mm and in less than a week on a minimal budget of under $100,000  Australian model Tiki Tsang, originally of Brisbane, Queensland, had been residing in Paris, France for sometime when she was discovered by Rollin and offered her the role of "The Car Woman", a strange woman who steals an old Buick and proceeds to kill a number of people to seek revenge for a past tragedy  The part of "The Car Woman" was written especially for Tsang in what is the only film credit to her name  Killing Car gives nod to previous Rollin works including Tsang emerging from a grandfather clock (as did Dominique in an iconic scene from Les frisson des vampires)  Max Monteillet returned as cinematographer and Philippe Brejean provided the score  Cast includes recurring collaborators Jean-Pierre Bouyxou and Jean-Loup Philippe  Following the production, Rollin was hospitalized due to exhaustion and started editing the film after his recovery  The editing process lasted two years  Several problems would arise during post-production, as the film found it difficult to receive distribution, like Perdues dans New York, if it could not receive a theatrical distribution, Rollin would settle for a video or television release  The film was eventually released in 1993  It was announced that no usable print or negative of the film exists today, and all known film negatives are considered lost 

1990s
Rollin's final adult production came in 1994 when he made a brief return to direct (uncredited) and wrote the scenario for Le Parfume de Mathilde (The Scent of Mathilde)  Rollin was initially required as a screenwriter for the production due to the fact that he was to replace producer Marc Dorcel's in-house auteur Michele Ricaud, who has just recently passed away  However, Rollin became co-director of the made-for-video film  Following his final time working on a sex film, Rollin later returned to his traditional works when he would go on to resume what he was best known for Rollin continued his career into the 1990s, following what was intended to be a brief return in 1994 when he directed and wrote a final pornographic film  He remained true to form for what were to be his final years of film making, and his next feature went into production in 1995; Les deux orphelines vampires (The Two Orphan Vampires) saw the return of his most recognizable work, and his first vampire film since 1975's Levres de sang  With the then recent increase in popularity of Rollin's works, and with the resurgence with the vampire genre in general, most notable with Bram Stoker's Dracula, this prompted Rollin to create a new vampire feature, quite different from Francis Ford Coppola's 1992 blockbuster, as he stated that it was "not a good film at all", and that "it just doesn't work for one second"  The idea of the film was based upon Rollin's novel of the same name and went into production in June 1995 for a mere ₣3,000,000, which is actually more than his prior works received  Locations for the shoot included four days in New York at the beginning, with the remaining three weeks in Paris  Cinematography was provided by Norbert Marfaing-Sintes, who previously worked with Italian director Duccio Tessari, as Max Monteillet was not available  Nathalie Perrey introduced Rollin to Marfaing-Sintes, as she had experience working with Marfaing-Sintes in many films; to show his gratitude, Rollin offered Perrey a role in Les deux orphelines vampires  The leading roles were offered to two inexperienced actresses, Alexandra Pic and Isabelle Teboul, whom Rollin choose while answering a newspaper ad they had printed  Brigitte Lahaie received a minor role in the film  Following an extensive period in post-production, the film was eventually released on 9 July 1997 
His next directorial feature, La fiancée de Dracula (The Fiancée of Dracula) went into production in 1999  Rollin had written the screenplay for the film, as he did with many of his previous works  During which time, Rollin was receiving dialysis for kidney disease and for periods of time, did not remain with the film crew and production was shared with Jean-Noël Delamarre in his absence, while Rolling was staying at a hotel in Caen  Filming locations included the islands of Chausey where the majority of the filming took place, a cemetery in Épinay-Champlâtreux, a castle in Blandy, Seine-et-Marne, and port of Pourville-lès-Dieppes  Long-time collaborators Brigitte Lahaie, Catherine Castel and Nathalie Perrey returned for prominent roles in the film  Rollin's niece, Sandrine Thoquet appeared in the film as a young vampire burned by the rays of the sun  Following production, Rollin received a kidney transplant in October 2000 during the post-production which lasted for almost two years  The film was successfully shown in theatres on 14 August 2002, for which Rollin was not completely satisfied of the release date  However, he was pleased that it was released to theaters and was somewhat well received 

Personal life and death
Rollin was married to Simone Rollin Roth Le Gentil (née Morel), with whom he had two sons, Serge and Carel  He was married to Simone until his death 
Rollin died on 15 December 2010 after a long battle with cancer and was survived by his wife Simone, son Serge and granddaughter Gabrielle  He is buried at Père Lachaise Cemetery in Paris  Rollin's son, Carel (1973–2001), and his wife, Simone (1934–2016), rest alongside him 

Selected filmography
The following list consists of Jean Rollin's mainstream works as both director and writer and not of his pseudonym or pornographic works  For a complete list of his entire work, including producer and acting credits, see full filmography 

Bibliography
Coulthart, John (8 December 2014)  "Review of Saga de Xam by Nicolas Devil (1967)"  { feuilleton }  Retrieved 16 October 2016 Rollin, Jean (1990)  Le temps d'un visage  Éd  Saint-Germain de Prés  ISBN 2-243-03253-8 — (1993)  Les deux orphelines vampires  Fleuve Noir  ISBN 978-2-265001-11-4  Other titles in the same series include Anissa, Les Voyageuses, Les Pillardes, Les Incendiaires— (1996)  Ombres vives  Éd  Saint-Germain-des-Prés  ISBN 978-2-243-03542-1 — (1998)  Les dialogues sans fin: précédés de quelques souvenirs sur George Bataille, Maurice Blanchot et Michel Fardoulis-Lagrange  Éd  Mirandole  ISBN 978-2-912965-10-3 — (1998)  Cauchemar d'anniversaire  R  de Surtis  ISBN 978-2-912271-25-9 — (1998)  Monseigneur Rat roman  Paris: Sortilèges  ISBN 978-2-251-49126-4 — (1998)  La cabriole a disparu  Illustrated by Michel Solliec  Le Faouët: Liv'éditions  ISBN 978-2-910781-66-8 — (1998)  Enfer privé  Belles lettres  ISBN 978-2-251-82004-0 — (1998)  La statue de chair  Belles lettres  ISBN 978-2-251-82007-1 — (1999)  La promeneuse romans  Belles lettres  ISBN 978-2-251-49137-0 — (2001)  Vies et aventures de Jean-Pierre Bouyxou  Éd  Films ABC  ISBN 978-2-84672-009-0 — (2001)  Tuatha  Belles lettres  ISBN 978-2-251-49154-7 — (2001)  Gargouillis glauques (Pour une fontaine de feu)  R  de surtis  ISBN 978-2-912271-98-3 — (2001)  La petite fille au cerceau  Éd  Films ABC  ISBN 978-2-84672-010-6 — (2003)  Estelle et Edwige, les demoiselles de l'étrange  Paris: E-dite  ISBN 978-2-84608-108-5 — (2004)  Rien n'estvrai  Éd  Films ABC  ISBN 978-2-915160-02-4 — (2004)  Jean-Pierre Bouyxou contre la femme au masque rouge  Paris: E-dite : Films ABC  ISBN 978-2-84608-121-4 — (2004)  Les voleuses de foudre  Éd  Films ABC  ISBN 978-2-915160-00-0 — (2006)  Alice et Aladin détectives de l'impossible  Éd  Films ABC  ISBN 978-2-915160-03-1 — (2005)  Déraison  Éd  Films ABC  ISBN 978-2-915160-04-8 — (2005)  Bestialité  Oulon: Éd  Nuit d'avril  ISBN 978-2-35072-015-9 — (2007)  La petite Ogresse  Films ABC  ISBN 978-2-91516-007-9 — (2008)  MoteurCoupez!: mémoires d'un cinéaste singulier  ISBN 978-2-84608-253-2 — (2009)  Bille de clown  Paris: E-dite  ISBN 978-2-84608-254-9 — (2010)  Jean Rollin: Écrits complets Volume 1  Paris: Édite  ISBN 978-2-84608-277-8 — (2011)  Jean Rollin: Écrits complets Volume 2  E/dite  ISBN 978-2-84608-281-5 

Notes
Passage 6:
Françoise Blanchard
Françoise Denise Aline Blanchard (6 June 1954 – 24 May 2013) was a French actress and voice dubbing artist  Her most notable work is that of her role in the 1982 French film La morte vivante, directed by Jean Rollin  Blanchard had collaborated with Rollin on several occasions in films Les trottoirs de Bangkok (1984), À la poursuite de Barbara (1991) and La nuit des horloges (2007)  She had worked frequently with directors Richard Balducci and Jesús Franco  She was also known for her work as a voice artist, having dubbed films, such as, Robert Altman's Popeye (1980), The NeverEnding Story III (1994) and Hackers (1995), and animated television series, Teenage Mutant Ninja Turtles and Totally Spies!

Career
Blanchard's career stretched from between the late 1970s until the early 1990s  She may have been best known for playing Catherine Valmont in 1982 horror La Morte Vivante (The Living Dead Girl), a film from Jean Rollin 
She also appeared in films by directors Jess Franco and Bruno Mattei  She recalled her career in an interview, which was featured on the Encore release of La Morte Vivante, she mentioned that it was a tragedy and a coincidence that started her career in the late 1970s  While trying to make ends meet as a hand model, she lost her brother in the late 1970  Around that same time she was offered her first role, coincidentally as someone who had also lost a family member  Françoise approached the part skeptically as she remembered that at that time she was, "aggressive against people but also a bit confused" due to the death of her brother  She enjoyed the experience and took a serious interest in acting, so decided to take acting lessons afterwards Blanchard soon became involved in several B movies when her career quickly became intertwined with the legendary Eurocine company  "I liked the feel of these B movies, especially horror", Françoise noted to Encore, which perhaps explains why she became so popular to several of the most noteworthy genre directors of the late 1970s  She also mentioned that she didn't mind nudity and even went so far as to pose for Lui Magazine in the early 1980s  After several films directors such as Pierre Chevalier, Françoise took a role in Bruno Mattei's Caligula and Messalina in 1981  The following year she appeared in Jess Franco's Revenge In The House Of Usher, and she liked Franco and admired his creativity and fire She then appeared in the La Morte Vivante with Rollin  The night shoot on the film was mostly difficult and there were many problems with the special effects but, despite some disagreements, she liked and admired Rollin and admitted to Encore that, "he is really nice and is very much there"  She enjoyed working with and admired her co-star in the film, Italian actress Marina Pierro, and noted, "she is very maternal with me " Françoise worked again with Rollin in Les Trottoirs De Bangkok (The Sidewalks Of Bangkok), a film which she had a lot of fun making, and she appeared in his newest film production La nuit des horloges (The Night of Clocks) opposite Ovidie 

Death
Blanchard died on 24 May 2013, twelve days before her 59th birthday  The cause of death was not disclosed 

Filmography
Passage 7:
Giulio Questi
Giulio Questi (18 March 1924 – 3 December 2014) was an Italian film director and screenwriter Questi was born in Bergamo   He wrote short stories and filmed several documentaries before he started as assistant director and script writer in the movie business 
He is best known for the films La morte ha fatto l'uovo and Django Kill! (If You Live Shoot!) 
Questi died in Rome, aged 90 

Filmography
Passage 8:
Mr  Right (2009 film)
Mr  Right is a 2009 British film directed by David Morris and Jacqui Morris  The jointly-made gay-themed film is the debut for both directors 

Synopsis
The film presents life of a number of individuals who live in London's Soho area in their quest for their "Mr  Right"  One of the highlights of the film is when all the characters gather for an excruciatingly awkward and hilarious dinner party at which wine and secrets are spilled 
Harry (James Lance) is a TV producer but dreams to get way  He loves Alex (Luke de Woolfson), an aspiring yet insecure actor who also works as a caterer  Meanwhile Alex is struggling to create an identity for himself and decides to live independently through monetary help from his brother despite Harry wanting him back
Tom (David Morris, the co-director of the film) is a successful art dealer who is in a precarious relationship with Lars (Benjamin Hart), a handsome sometime-model  Tom finds excuses for Lars' flings so long as Lars doesn't leave him  Meanwhile Lars has this attraction to Harry and can't get over his feelings
William (Rocky Marshall) a divorced former rugby player finds it difficult very difficult to parent his nine-year-old daughter Georgie while trying to get on a new relationship with Lawrence (Leon Ockenden), a striving soap actor  Their relationship is complicated as Georgie is intent on sabotaging his relationship 
Louise (Georgia Zaris), a fag hag, is dating Paul (Jeremy Edwards), but suspects Paul is gay  Paul is slowly but surely getting drawn into the gay scene, despite visibly and verbally protesting every step of the way By the end of the film three months later, the characters are still striving to make new paths for themselves  Harry is appealing for Alex, now in a small studio residence to return, but the latter turns him gently down despite having feelings for him  Things are much better between William and Lawrence as Georgie becomes more accepting of their relationship  Things have soured between Lars and William  Devastated Lars catches Harry while the latter has just packed to leave everything behind for his long-planned trip away from his dreaded work  Meanwhile Paul is getting more and more into the gay scene despite putting a brave face that he is still straight 

Cast
MainJames Lance as Harry
Luke de Woolfson as Alex
David Morris as Tom
Benjamin Hart as Lars
Rocky Marshall as William
Leon Ockenden as Lawrence
Georgia Zaris as Louise
Jeremy Edwards as PaulOthersJan Waters as Harry's Mother
Maddie Planer as Georgie, Williams's daughter
Sheila Kidd as William's mother
Andrew Dunn as Alex's Father
Karen Meagher as Alex's Mother
Rick Warden as Alex's Brother
Katy Odey as Presenter
Lucy Jules as Emma
Sarah Carleton as Waitress
Dolly Wells as Fizz
Harry Serjeant as Runner
Ian Tytler as Charlie
Jim Cole as Heath
Archie Kidd as Barnaby
Heather Bleasdale as Barnaby's Mother
Yvonne O'Grady as Business Woman
Max Karie as Marcel
Kate Russell as The Yellow Team
Ian Russell as The Yellow Team
Mark Hayford as The Blue Team
Diane Morgan as The Blue Team
Terry Bird as Red Team
Cheryl Fergison as Red Team
Context 3: 

Later years and death
After being widowed, the Marchioness of Santos became devout and charitable, seeking to help the helpless, protecting the miserable and hungry, caring for the sick and students of the Faculdade de Direito do Largo de São Francisco, in the center of the city of São Paulo 
Domitila de Castro do Canto e Melo, Marchioness of Santos died of enterocolitis in her residence in the Rua do Carmo, now Roberto Simonsen, near the Pátio do Colégio, on 3 November 1867 aged 69  She was buried in the Cemitério da Consolação, whose original chapel was built with a donation made by Domitila by the amount of 2 contos de réis Despite information circulating that the cemetery's land was donated by the Marchioness of Santos, this version is incorrect  In fact, the cemetery was built, partly on land in the public domain and partly on land acquired from Marciano Pires de Oliveira for 200, 000 réis, which donated another part  After the inauguration, the area was enlarged with land expropriated by councilor Ramalho and Joaquim Floriano Wanderley 
Her grave in the Cemitério da Consolação, as well the two other plots she bought adjoining her gravesite —where her younger brother Francisco de Castro do Canto e Melo, her son Felício Pinto Coelho de Mendonça e Castro, and, after a recent discovery, her daughter the Countess of Iguaçu, were also buried—, were all recovered in the 1980s by the Italian accordionist Mario Zan, one of Domitila's most famous and fervent admirers; he took care of the deposit for the maintenance of the gravesites for years and when he died in 2006 he was buried in a tomb in front of the Marchioness  Even after his death, Mario Zan continues, in a way, to pay for the maintenance of Domitila's gravesite, because according to his will, the copyrights of his music were destined to this purpose 
Domitila's grave always receives fresh flowers from people who continue to consider her a popular saint  Among the legends is that she protects the prostitutes of the city and, due to having achieved a good marriage and restructuring worthily after her scandalous relationship with Emperor Pedro I of Brazil, she became an inspiration for girls who wanted to marry well  In her grave headstone there are plaques from devotees thanking her for some grace 

Ancestry
Representations in culture
Movies
In the silent film O Grito do Ipiranga (1917), Domitila was portrayed by Luíza Lambertini 
In the Argentine film Embrujo (1941), with direction and argumentation by Enrique Susini 
In the film Independência ou Morte (1972), Domitila was portrayed by Glória Menezes 

Theater
In Viriato Correia's play A Marquesa de Santos (1938), the Marchioness of Santos was portrayed by Dulcina de Moraes 
At the revue No Paço da Marquesa (1950), with the Vedette Virgínia Lane in the role of Domitila 
In the play O Imperador Galante (1954), written by Raimundo Magalhães Júnior, with Domitila being again portrayed by Dulcina de Moraes 
In the play Um grito de liberdade (1972), by Sérgio Viotti, with actress Nize Silva in the role of Domitila 
In the play Pedro e Domitila (1984), written by Ênio Gonçalves, Domitila was portrayed by Taya Perez 
In the monologue Marquesa de Santos: verso & reverso (2019), written by Paulo Rezzutti, Domitila was portrayed by Beth Araújo 

Radio
Dramatization of A Marquesa de Santos, by writer Paulo Setúbal by Rádio Nacional Rio de Janeiro, in 1946 
D  Pedro e a Marquesa de Santos, written by broadcaster Cassiano Gabus Mendes, was aired by Rádio Record, São Paulo, on 7 September 1950 

Television
In the televised play A Marquesa de Santos, aired on 12 February 12, 1962 on the program Teatro Nove, on TV Excelsior, Channel 9, São Paulo, the role of the Marchioness was portrayed by Cleyde Yáconis 
In the soap opera Helena (1987), the Marchioness was portrayed by Norma Suely 
In the mini-series Marquesa de Santos (1984) on Rede Manchete, the Marchioness was portrayed by Maitê Proença 
In the miniseries Entre o Amor e a Espada (2001), by TVE Brasil, the Marchioness was portrayed by Rejane Santos 
In the Rede Globo miniseries O Quinto dos Infernos (2002), the role of the Marchioness was portrayed by Luana Piovani 
In Rede Globo's soap opera Novo Mundo (2017), the role of the Marchioness was portrayed by Agatha Moreira 

Opera
Marquesa de Santos (1948), composed by João Batista de Siqueira  Opera piece in three acts with libretto by Joaquim Ribeiro 
Chalaça (1973), by conductor Francisco Mignone 
Domitila (2000), with music and libretto by Rio de Janeiro composer João Guilherme Ripper, inspired by the love letters exchanged between Dom Pedro I and Domitila  The soprano Maíra Lauter portrayed Domitila 

Rock
The album "Caso Real" (2015) by the rock band Lítera that was inspired by the love affair between the Emperor Pedro I of Brazil and the Marquesa de Santos, through the book "Titília e o Demonão – Cartas Inéditas de Dom Pedro I à Marquesa de Santos", by the writer Paulo Rezzutti 

Sambas plots
Os amores célebres do Brasil (1966), from Acadêmicos do Salgueiro 
A Favorita do Imperador (1964), from Imperatriz Leopoldinense 
A flecha do cupido me pegou (1981), from Caprichosos de Pilares 
Mulheres que Brilham – a força feminina no progresso social e cultural do país (2012), from Vai-Vai 
Paixões proibidas e outros amores (2014), from Nenê de Vila Matilde 

Notes
Passage 2:
Maria Isabel de Alcântara, Countess of Iguaçu
Maria Isabel de Alcântara Bourbon (28 February 1830 – 5 September 1896) was the third daughter (fifth child) of emperor Pedro I of Brazil and his mistress, Domitila de Castro, Marchioness of Santos 
Maria Isabel received the same name as her second sister, the Duchess of Ceará, who died in 1828 at only two months old  She was never given any titles by her father due to his marriage to Amélie of Leuchtenberg  Still, Pedro I acknowledged her as his daughter in his will but gave her no share of his state, except asking for his widow to aid in her education and upbringing  He had wished that she be given a good European education like her oldest sister, the Duchess of Goiás  However, the Marchioness declined to send the girl to Europe On 2 September 1848, at the age of eighteen, Maria Isabel married Pedro Caldeira Brant, the Count of Iguaçu, son of Felisberto Caldeira Brant, Marquis of Barbacena  At their wedding, Maria Isabel became the second Countess of Iguaçu  The couple had seven children: 

Isabel dos Santos
Luís de Alcantâra Caldeira Brant, married Maria Luísa Pereira de Brito
Pedro de Alcântara Caldeira Brant
Deulinda dos Santos, married Claudiano dos Santos
Maria Teresa Caldeira Brant, married Charles Collins
Isabel Maria dos Santos, married Antônio Dias Paes Leme
José Severiano de AlcântaraShe died on 5 September 1896, at sixty-six years of age, in São Paulo 
Passage 3:
Maria Isabel Barreno
Maria Isabel Barreno de Faria Martins GOIH (10 July 1939 – 3 September 2016) was a Portuguese writer, essayist, journalist and sculptor  She was one of the authors of the book Novas Cartas Portugesas (New Portuguese Letters), together with Maria Teresa Horta and Maria Velho da Costa  The authors, known as the "Three Marias," were arrested, jailed and prosecuted under Portuguese censorship laws in 1972, during the last years of the Estado Novo dictatorship  The book and their trial inspired protests in Portugal and attracted international attention from European and American women's liberation groups in the years leading up to the Carnation Revolution 

Biography
Born in Lisbon in the freguesia of Socorro, her parents moved to Areeiro, where she spent her childhood and adolescence  She studied College of Letters at the Universidade de Lisboa, where she graduated in Historico-Philosophical Sciences 
After graduation, she took a job working for the Instituto de Investigação Industrial  She dedicated herself to the cause of feminism, taking part in the Portuguese feminist movement together with the writers Maria Teresa Horta and Maria Velho da Costa, the "Three Marias" (Três Marias) 
On 8 March  2004, she was made a Grand Official in the Ordem do Infante D  Henrique Barreno died on 3 September 2016 at the age of 77 
The sketch shown here is not a portrait of Barreno but of Maria Fatima Velho da Costa  A 1975 photo of the Three Marias published in The Economist shows Isabel Barreno on the right  
A late-life photo of her appears with her obituary on a Portuguese government site, cig gov pt 

Works
Adaptação do Trabalhador de Origem Rural ao Meio Industrial Urbano (1966)
A Condição da Mulher Portuguesa (1968) (collaboration)
De Noite as Árvores São Negras (1968)
Os Outros Legítimos Superiores (1970)
Novas Cartas Portuguesas (1971) (co-authored with Maria Teresa Horta and Maria Velho da Costa)
A Morte da Mãe (1972)
A Imagem da Mulher na Imprensa (1976)
Inventário de Ana (1982)
Contos Analógicos (1983)
Sinos do Universo (1984)
Contos (1985)
Célia e Celina (1985)
O Outro Desbotado (1986)
O Falso Neutro (1989)
O Direito ao Presente (1990)
Crónica do Tempo (1991) – winner of the Fernando Namora Prize
O enviado (1991)
O Chão Salgado (1992)
Os Sensos Incomuns (1993) – winner of the Prémio P E N  Clube Português de Ficção, and the Grande Prémio de Conto Camilo Castelo Branco
O Senhor das Ilhas (1994)
As Vésperas Esquecidas (1999)
Passage 4:
Maria Isabel of Braganza
Maria Isabel of Braganza (Maria Isabel Francisca de Assis Antónia Carlota Joana Josefa Xavier de Paula Micaela Rafaela Isabel Gonzaga; 19 May 1797 – 26 December 1818) was a Portuguese infanta who became Queen of Spain as the second wife of King Ferdinand VII 

Early years
Maria Isabel, born Maria Isabel Francisca de Assis Antónia Carlota Joana Josefa Xavier de Paula Micaela Rafaela Isabel Gonzaga, was born to John VI of Portugal and Carlota Joaquina of Spain on 19 May 1797  She was born as their third child and second daughter  The marriage between her father and mother was unhappy, Carlota Joaquina attempting to have King John VI deemed insane In 1807 Napoleon invaded Portugal, and the royal family unwillingly fled to Brazil  Maria Isabel’s mother Carlota sent her eldest surviving son, Pedro, to join his father and grandmother onboard the ship Principe Real whilst Carlota and the rest of her children would board the Affonso d’Albuquerque Upon their arrival, Carlota and her children were forced to shave their heads and wear white muslin hats 

Upbringing
Maria Isabel and her siblings were carefully educated by her mother liberally  Maria Isabel was noted to be kind, balanced and shy, and was much like her father within her personality 

Marriage
On 20 March 1816, Queen Maria I of Portugal perished  Due to this, Maria Isabel’s father John became the King of Portugal and Brazil  On 22 February 1816 marriage contracts between Ferdinand VII of Spain and Maria Isabel were officially signed; they would soon marry 29 September 1816  Ferdinand was 32 years old and Maria Isabel was 19 
Towards the end 1816 Maria Isabel and Ferdinand were married, and then settled in Madrid  There, Maria Isabel was then quickly pregnant  Maria Isabel gave birth to a daughter, who they named María Luisa Isabel, on 21 August 1817  María Luisa Isabel died four-five months later 

Death
Maria Isabel was pregnant soon after the birth of María Luisa Isabel, but the birth was indeed a difficult one: the baby was in breech and the physicians soon found that the child had died  Maria Isabel stopped breathing soon thereafter and the doctors thought she was dead  
Maria Isabel’s sister protested against the doctors' thoughts on presuming her dead  The king, however, ordered a fatal caesarean  When they started cutting her stomach to extract the dead fetus, she suddenly shouted in pain and collapsed on her bed, bleeding heavily  She died soon afterwards on 26 December 1818 in the Palace of Aranjuez, and was buried at the Escorial — the royal site of San Lorenzo de El Escorial 

Legacy
Queen Maria Isabel's dedication and affection for art led her to gather many treasures from the past and create a royal museum, which would end up being the beginnings of Museo del Prado  It opened on 19 November 1819, a year after the queen's death 

Issue
Ancestors
Honours and arms
Dame of the Order of Queen Maria Luisa
Dame of the Order of Saint Isabel

See also
Napoleonic Wars
Passage 5:
Etan Boritzer
Etan Boritzer (born 1950) is an American writer of children’s literature who is best known for his book What is God? first published in 1989



ground_truth: yes

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What is the date of death of Maria Isabel De Alcântara, Countess Of Iguaçu's mother?

The following are given passages.
Context 3:  His best selling What is? illustrated children's book series on character education and difficult subjects for children is a popular teaching guide for parents, teachers and child-life professionals Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has caused controversy from religious fundamentalists for its universalist views  The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is a Feeling? The series is now also translated into 15 languages 
Boritzer was first published in 1963 at the age of 13 when he wrote an essay in his English class at Wade Junior High School in the Bronx, New York on the assassination of John F  Kennedy  His essay was included in a special anthology by New York City public school children compiled and published by the New York City Department of Education 
Boritzer now lives in Venice, California and maintains his publishing office there also  He has helped numerous other authors to get published through How to Get Your Book Published! programs  Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally  He is also recognized nationally as an erudite speaker on The Teachings of the Buddha 
Passage 6:
Anne Yelverton
Anne Yelverton (1628–1698) was Countess of Manchester and Countess of Halifax 

Biography
Anne Yelverton was born in 1628  She was the daughter of Sir Christopher Yelverton, 1st Baronet, and Anne Twysden  She married Robert Montagu, 3rd Earl of Manchester, son of Edward Montagu, 2nd Earl of Manchester, and Lady Anne Rich, on 27 June 1655  They had five sons and four daughters:
Hon  Edward Montagu
Hon  Henry Montagu
Lady Anne Montagu (c  1667–1720), married James Howard, 3rd Earl of Suffolk 
Charles Montagu, 1st Duke of Manchester (c  1656–1722)
Lady Elizabeth Montagu (c  1682)
Lady Catherine Montagu, married Samuel Edwin
Hon  Robert Montagu (d  1693)
Hon  Heneage Montagu (1675–1698)
Lady Eleanor Montague,   (1647-1695) Married to Anthony Haggard (1646-1755) Marriage about 1682 Berkshire, England, United Kingdom Her first husband, Robert Montagu, died in 1683  Her second marriage was to Charles Montagu, 1st Earl of Halifax, son of Hon  George Montagu (the half-brother of Robert Montagu's father, Edward) and Elizabeth Irby, circa 12 May 1688  This marriage was childless, and the Halifax title passed to Charles Montagu's nephew, George Montagu, by special remainder, on the former's death in 1715  Anne Yelverton died on 21 July 1698 
Passage 7:
Theodred II (Bishop of Elmham)
Theodred II was a medieval Bishop of Elmham 
The date of Theodred's consecration unknown, but the date of his death was sometime between 995 and 997 
Passage 8:
Maria Isabel Guerra
Maria Isabel Guerra (born 8 July 1955) is a Brazilian former butterfly and medley swimmer  She competed in three events at the 1972 Summer Olympics  She was a soccer player, rocked soccer skillzz 
Passage 9:
Maribel Martín
María Isabel Martín Martínez (1 November 1954 in Madrid, Spain), better known as Maribel Martín, is a Spanish actress 

Career
She made her acting debut at age seven in the film Tres de la Cruz Roja (1961),a film directed by Fernando Palacios  She had a career as a child actress in films like: La gran familia (1962), by Fernando Palacios and El Camino (1963) directed by Ana Mariscal 
At the end of the 1960s, she took more important roles in films like: The House That Screamed (1969) by Narciso Ibáñez Serrador and La Cera Virgen (1971) directed by Jose Maria Forque  She had her first starring role in The Blood Spattered Bride under the direction of Vicente Aranda  During the 1970s she concentrated her work in the theater and television  Among her films of this period are: Los Viajes Escolares (1973) directed by Jaime Chávarri; La Espada Negra (1976) film directed by Francisco Rovira Beleta Campana del Infierno (1973) by Claudio Guerin 
After her starring role in Últimas tardes con Teresa (1983) directed by  Gonzalo Herralde, she created the production company Ganesh Films with actor Julian Mateos and from then on she has taken roles in some of their production: The Holy Innocents (1984), by Mario Camus and Moon Child (1989), a film directed by Agusti Villaronga  Her most recent film is Engendro (2005) under the direction of Luis Cabeza 

Selected filmography
La gran familia (1962)
The House That Screamed (1969)
The Blood Spattered Bride (1972)
The Bell from Hell (1973)
The Great House (1975)
Forget the Drums (1975)
Fortunata y Jacinta  (1980)
Últimas tardes con Teresa (1983)
The Holy Innocents (1984)
Moon Child (1989)
Passage 10:
Isabel Bacardit
Maria Isabel Preñanosa Bacardit (born 1960 in Barcelona) is a Spanish painter 

Biography
Isabel Bacardit was born in Barcelona, Spain, in 1960  She starts her artistic education at the School of Arts of Poblenou, with Miquel Simó as her teacher, then moves on to the Escola d’Arts Aplicades i Oficis Artistics (Llotja) in Barcelona 
Starting as an abstract painter, she paints on materials she finds in the street: cardboard, wood, etc  Inspired by urban images, she paints using pigments mixed with sawdust and paper-paste to achieve densities and textures  Her compositions are based on primary colours 
In 1984 she is selected for the Fifth Biennale of Barcelona- Young Contemporary Painting  In 1985 she takes part in the First Exhibition of Young Art in Madrid and in the First Biennale of Young Cultural Productions of the European Mediterranean  In 1986 she is again selected for the Second Exhibition of Young Art in Madrid 
With the unexpected death of her partner, the painter Xavier Vidal i Banchs in 1984, Bacardit changes the theme of her work, taking inspiration now from the accidental changes of life  She creates a series of works based on The Disasters of War by Goya and paints proceeding from photographs of accidents taken from newspapers  She also changes her palette, turning to dark and earthen colours 
In 1986, due to the works in preparation for the 1992 Olympics, her paintings reflect the transformation of Barcelona, taking machines and diggers as her main motives 
In 1987 she illustrates the poem Helicón by Bruno Montané Krebs  She travels to Berlin, where she resides for a year  Here her themes are the signs of war, still visible on the buildings in the divided city  She exhibits in the gallery Vendemmia with the title "This is my Silence" 
In 1988 she moves to Mallorca, where she comes in contact with the theatre works of the Polish author Tadeusz Kantor  She creates the portfolio "The right to live in peace", with paintings inspired by the theatre of this author 
In 1989 she takes up residence in Santa Coloma de Farnés (Spain)  In the midst of nature she changes her themes dramatically  Her work finds inspiration in the landscape, light and silence  She leaves her work on the theme of death, with its dense materiality, behind, moving towards watercolours and transparencies 
In 1990 she lives in Rio de Janeiro, where she works with organisations for the welfare of street children, gives painting classes and establishes her studio in the gallery Maria Teresa Vieira  In Salvador de Bahia she exhibits a series of erotic drawings at the University of Fine Arts 
In 1991 she arrives in Chile  She exhibits in the gallery Buchi in Santiago de Chile and lives in Valparaiso  She collaborates with various artists: Edgard del Canto (painter), Alma Martinoia (painter), Ivo Vergara (painter), Cristina Correa (painter), Teresa Olivera (actress), Hernan Varela (stained glass artist) and Víctor Barrientos Ormazábal (actor and theatre director)  With them, she founds the theatre company "Theatre only for Fools" 
She begins her series "Earth, Air, Water and Fire"  On request of the cultural centre Las Condes of Santiago de Chile she builds a large scale sculpture out of papier-mache  and acrylics: "Bird Woman" which is dedicated to the flamenco dancer Carmen Amaya  For the theatre company "Theatre of Silence" she creates the life size puppets of the play "Taca taca mon amour" by Mauricio Celedón In 1994 she returns to Barcelona  She abandons abstract painting and returns to the figurative  In this period stand out:

The installation "Since ever, until when, since ever" for the "Meeting of Street Artists" in Granada 
An Exhibition in the civic centre Can Felipa with the collective "Art by Women", with works based on the theme of the female reproductive organs and birth 
The installation "Shoe-house Zapata"
Poeto-musical actions with Lucho Hermosilla, Steven Forster and Gaspar Lucas with the poem Altazor by Vicente Huidobro In 1996 she travels to Mexico  She meets Ofelia Medina and makes contact with the Zapatista communities in Chiapas, where she becomes strongly influenced by elements of indigenous symbolism and spirituality 
In 1997 she returns to Barcelona  In collaboration with Primitiva Reverter, Judit Bacardit, Montserrat Baqués, Mercè Candó, Caty Fernández and Aina Reverter she initiates the publication of the magazine Adiosas  With the same artists she exhibits in the gallery Espai22a 
In 1998 she works with the Dutch travelling theatre company "Azart Ship of Fools"  She travels and acts on the boat of the company and creates masks and part of the costumes for the work The Pilgrim at the End of the World 
In 1999 she establishes herself in Vilarnadal (Girona, Spain), where she lives for six years in an old mill  She paints and cultivates the earth 
In 2002 she exhibits, together with her sister, the sculptor Judit Bacardit, in the information centre of the Parc dels Aiguamolls de l’Empordà and in the exhibition rooms of the Caixa Girona in Roses 
In 2003 they exhibit again at this location  She participates in the European meeting of woman artists "In Via" in Switzerland 
In 2004 she creates the stage design and decorations for the programme "The Ship of Fools" for the local television in Amsterdam 
Since 2005 she lives in Barcelona 

Notes



ground_truth: November 3, 1867