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

Question: Where was the place of death of Thomas E. Noell's father?

The following are given passages.
Context 1: Passage 1:
Motherland (disambiguation)
Motherland is the place of one's birth, the place of one's ancestors, or the place of origin of an ethnic group 
Motherland may also refer to:

Music
"Motherland" (anthem), the national anthem of Mauritius
National Song (Montserrat), also called "Motherland"
Motherland (Natalie Merchant album), 2001
Motherland (Arsonists Get All the Girls album), 2011
Motherland (Daedalus album), 2011
"Motherland" (Crystal Kay song), 2004

Film and television
Motherland (1927 film), a 1927 British silent war film
Motherland (2010 film), a 2010 documentary film
Motherland (2015 film), a 2015 Turkish drama
Motherland (2022 film), a 2022 documentary film about the Second Nagorno-Karabakh War
Motherland (TV series), a 2016 British television series
Motherland: Fort Salem, a 2020 American science fiction drama series

Other uses
Motherland Party (disambiguation), the name of several political groups
Personifications of Russia, including a list of monuments called Motherland

See also
All pages with titles containing Motherland
Mother Country (disambiguation)
Passage 2:
Beaulieu-sur-Loire
Beaulieu-sur-Loire (French pronunciation: ​[boljø syʁ lwaʁ], literally Beaulieu on Loire) is a commune in the Loiret department in north-central France  It is the place of death of Jacques MacDonald, a French general who served in the Napoleonic Wars 

Population
See also
Communes of the Loiret department
Passage 3:
Place of birth
The place of birth (POB) or birthplace is the place where a person was born  This place is often used in legal documents, together with name and date of birth, to uniquely identify a person  Practice regarding whether this place should be a country, a territory or a city/town/locality differs in different countries, but often city or territory is used for native-born citizen passports and countries for foreign-born ones 
As a general rule with respect to passports, if the place of birth is to be a country, it's determined to be the country that currently has sovereignty over the actual place of birth, regardless of when the birth actually occurred  The place of birth is not necessarily the place where the parents of the new baby live  If the baby is born in a hospital in another place, that place is the place of birth  In many countries, this also means that the government requires that the birth of the new baby is registered in the place of birth 
Some countries place less or no importance on the place of birth, instead using alternative geographical characteristics for the purpose of identity documents  For example, Sweden has used the concept of födelsehemort ("domicile of birth") since 1947  This means that the domicile of the baby's mother is the registered place of birth  The location of the maternity ward or other physical birthplace is considered unimportant 
Similarly, Switzerland uses the concept of place of origin  A child born to Swiss parents is automatically assigned the place of origin of the parent with the same last name, so the child either gets their mother's or father's place of origin  A child born to one Swiss parent and one foreign parent acquires the place of origin of their Swiss parent  In a Swiss passport and identity card, the holder's place of origin is stated, not their place of birth  In Japan, the registered domicile is a similar concept 
In some countries (primarily in the Americas), the place of birth automatically determines the nationality of the baby, a practice often referred to by the Latin phrase jus soli  Almost all countries outside the Americas instead attribute nationality based on the nationality(-ies) of the baby's parents (referred to as jus sanguinis) 
There can be some confusion regarding the place of birth if the birth takes place in an unusual way: when babies are born on an airplane or at sea, difficulties can arise  The place of birth of such a person depends on the law of the countries involved, which include the nationality of the plane or ship, the nationality(-ies) of the parents and/or the location of the plane or ship (if the birth occurs in the territorial waters or airspace of a country) 
Some administrative forms may request the applicant's "country of birth"  It is important to determine from the requester whether the information requested refers to the applicant's "place of birth" or "nationality at birth"  For example, US citizens born abroad who acquire US citizenship at the time of birth, the nationality at birth will be USA (American), while the place of birth would be the country in which the actual birth takes place 

Reference list
8 FAM 403 4 Place of Birth
Passage 4:
Sennedjem
Sennedjem was an Ancient Egyptian artisan who was active during the reigns of Seti I and Ramesses II  He lived in Set Maat (translated as "The Place of Truth"), contemporary Deir el-Medina, on the west bank of the Nile, opposite Thebes  Sennedjem had the title "Servant in the Place of Truth"  He was buried along with his wife, Iyneferti, and members of his family in a tomb in the village necropolis  His tomb was discovered January 31, 1886  When Sennedjem's tomb was found, it contained furniture from his home, including a stool and a bed, which he used when he was alive His titles included Servant in the Place of Truth, meaning that he worked on the excavation and decoration of the nearby royal tombs 

See also

TT1 – (Tomb of Sennedjem, family and wife)
Passage 5:
John William Noell
John William Noell (February 22, 1816 – March 14, 1863) was a U S  Representative from Missouri, father of Thomas Estes Noell 
Born in Bedford County, Virginia, Noell attended the rural schools there  At the age of seventeen, he settled near Perryville, Missouri  He engaged in milling and storekeeping, studied law, was admitted to the bar in 1843, and commenced practice in Perryville  He served as clerk of the circuit court for Perry County in 1841–1850  He was elected to the state senate, and served in 1851–1855 
Noell was elected U S  Representative as a Democrat in 1858, to the Thirty-sixth Congress, re-elected in 1860 to the Thirty-seventh Congress, and re-elected as an Unconditional Unionist to the Thirty-eighth Congress in 1862  He served from March 4, 1859, until his death on March 14, 1863, in Washington, D C  He was interred in St  Mary's Cemetery, in Perryville 

See also
List of United States Congress members who died in office (1790–1899)
Passage 6:
Thomas E  Noell
Thomas Estes Noell (April 3, 1839 – October 3, 1867) was a U S  Representative from Missouri, son of John William Noell 
Born in Perryville, Missouri, Noell attended the public schools  He studied law and was admitted to the bar in 1858 and commenced practice in Perryville, Missouri, the same year 
During the Civil War Noell was appointed a military commissioner in 1861  He served as major in the state militia from July 1861 to April 1862  He was appointed captain unassigned in Company C, Nineteenth Infantry, United States Army, and served from April 1, 1862, until his resignation on February 20, 1865, to take his seat in the House of Representatives 
Noell was elected as a Republican to the Thirty-ninth Congress  He was reelected as a Democrat to the Fortieth Congress and served from March 4, 1865, until his death in St  Louis, Missouri, on October 3, 1867 
He was interred in St  Mary's Cemetery, Perryville, Missouri 

See also
List of United States Congress members who died in office (1790–1899)
Passage 7:
Where Was I
"Where Was I?" may refer to:

Books
"Where Was I?", essay by David Hawley Sanford from The Mind's I
Where Was I?, book by John Haycraft 2006
Where was I?!, book by Terry Wogan 2009

Film and TV
Where Was I? (film), 1925 film directed by William A  Seiter  With Reginald Denny, Marian Nixon, Pauline Garon, Lee Moran 
Where Was I? (2001 film), biography about songwriter Tim Rose
Where Was I? (TV series) 1952–1953 Quiz show with the panelists attempting to guess a location by looking at photos
"Where Was I?" episode of Shoestring (TV series) 1980

Music
"Where was I", song by W  Franke Harling and Al Dubin performed by Ruby Newman and His Orchestra  with vocal chorus by  Larry Taylor and Peggy McCall  1939
"Where Was I", single from Charley Pride discography 1988
"Where Was I" (song), a 1994 song by Ricky Van Shelton
"Where Was I (Donde Estuve Yo)", song by Joe Pass from Simplicity (Joe Pass album)
"Where Was I?", song by Guttermouth from The Album Formerly Known as a Full Length LP (Guttermouth album)
"Where Was I", song by Sawyer Brown (Billy Maddox, Paul Thorn, Anne Graham) from Can You Hear Me Now 2002
"Where Was I?", song  by  Kenny Wayne Shepherd from Live On  1999
"Where Was I", song by Melanie Laine (Victoria Banks, Steve Fox) from Time Flies (Melanie Laine album)
"Where Was I", song by Rosie Thomas from With Love (Rosie Thomas album)
Passage 8:
Dance of Death (disambiguation)
Dance of Death, also called Danse Macabre, is a late-medieval allegory of the universality of death 
Dance of Death or The Dance of Death may also refer to:

Books
Dance of Death, a 1938 novel by Helen McCloy
Dance of Death (Stine novel), a 1997 novel by R  L  Stine
Dance of Death (novel), a 2005 novel by Douglas Preston and Lincoln Child

Theatre and film
The Dance of Death (Strindberg play), a 1900 play by August Strindberg
The Dance of Death, a 1908 play by Frank Wedekind
The Dance of Death (Auden play), a 1933 play by W  H  Auden

Film
The Death Dance, a 1918 drama starring Alice Brady
The Dance of Death (1912 film), a German silent film
The Dance of Death (1919 film), an Austrian silent film
The Dance of Death (1938 film), crime drama starring Vesta Victoria; screenplay by Ralph Dawson
The Dance of Death (1948 film), French-Italian drama based on Strindberg's play, starring Erich von Stroheim
The Dance of Death (1967 film), a West German drama film
Dance of Death or House of Evil, 1968 Mexican horror film starring Boris Karloff
Dance of Death (1969 film), a film based on Strindberg's play, starring Laurence Olivier
Dance of Death (1979 film), a Hong Kong film featuring Paul Chun

Music
Dance of Death (album), a 2003 album by Iron Maiden, or the title song
The Dance of Death & Other Plantation Favorites, a 1964 album by John Fahey
The Dance of Death (Scaramanga Six album)
"Death Dance", a 2016 song by Sevendust

See also
Dance of the Dead (disambiguation)
Danse Macabre (disambiguation)
Bon Odori, a Japanese traditional dance welcoming the spirits of the dead
La danse des morts, an oratorio by Arthur Honegger
Totentanz (disambiguation)
Passage 9:
Thomas Noell
Thomas Noell was the 26th Mayor of New York City, who served from 1701 to 1702   He was an English-born merchant from an aristocratic family who became a citizen of New York in 1698  He was appointed mayor on September 29, 1701, and took the oath of office on October 14 of that year   He died in 1702 at his farm in Bergen, New Jersey of smallpox 

See also
List of mayors of New York City
Passage 10:
Peter Gravesen
Peter Gravesen  (born February 11, 1979) is a Danish former footballer who played as a midfielder  He started his career with Danish Superliga clubs Vejle Boldklub and Herfølge Boldklub, and has played for Fylkir in Iceland and APEP in Cyprus 
He is the younger brother of Thomas Gravesen 

External links
Vejle Boldklub profile
Danish Superliga statistics
Peter Gravesen at WorldFootball net
Context 2: Passage 1:
Duke Louis of Mecklenburg-Schwerin
Ludwig, Hereditary Prince of Mecklenburg-Schwerin (German: Ludwig zu Mecklenburg; 6 August 1725 – 12 September 1778) was heir to the Dukedom of Mecklenburg-Schwerin for twenty-two years from 1756 to his death in 1778  He was also the father of the first Grand Duke of Mecklenburg-Schwerin, Frederick Francis I 

Early life
Louis was born at Grabow, Mecklenburg-Schwerin, third child and second son of Christian Ludwig II, Duke of Mecklenburg-Schwerin (1683–1756), (son of Frederick, Duke of Mecklenburg-Grabow and Landgravine Christine Wilhelmine of Hesse-Homburg) and his wife, Duchess Gustave Caroline of Mecklenburg-Strelitz (1694–1748), (daughter of Adolphus Frederick II, Duke of Mecklenburg-Strelitz and Duchess Marie of Mecklenburg-Güstrow) 
After the death of the father in 1756, his brother Frederick succeed to the Dukedom  Since his brother died without any surviving issue he was appointed heir, but he died in 1778, and at the death of his brother in 1785 his son Frederick Francis, succeeded as the Duke of Mecklenburg-Schwerin who later became the Grand Duke of Mecklenburg-Schwerin 

Marriage
Louis married 13 May 1755 at Schwerin to Princess Charlotte Sophie of Saxe-Coburg-Saalfeld (1731–1810), daughter of Francis Josias, Duke of Saxe-Coburg-Saalfeld, and his wife, Princess Anna Sophie of Schwarzburg-Rudolstadt 
They had one son and one daughter:

Frederick Francis I, Grand Duke of Mecklenburg-Schwerin (10 December 1756 – 1 February 1837); married in 1775 Princess Louise of Saxe-Gotha-Altenburg, had issue 
Duchess Sophia Frederica of Mecklenburg-Schwerin (24 August 1758 – 29 November 1794); married in 1774 to Frederick, Hereditary Prince of Denmark and Norway, had issue 

Ancestry
Passage 2:
Barthold A  Butenschøn Sr 
Hans Barthold Andresen Butenschøn (27 December 1877 – 28 November 1971) was a Norwegian businessperson 
He was born in Kristiania as a son of Nils August Andresen Butenschøn and Hanna Butenschøn, and grandson of Nicolay Andresen  Together with Mabel Anette Plahte (1877–1973, a daughter of Frithjof M  Plahte) he had the son Hans Barthold Andresen Butenschøn Jr  and was through him the father-in-law of Ragnhild Butenschøn and grandfather of Peter Butenschøn  Through his daughter Marie Claudine he was the father-in-law of Joakim Lehmkuhl, through his daughter Mabel Anette he was the father-in-law of Harald Astrup (a son of Sigurd Astrup) and through his daughter Nini Augusta he was the father-in-law of Ernst Torp He took commerce school and agricultural school  He was hired in the family company N  A  Andresen & Co, and became a co-owner in 1910  He eventually became chief executive officer  The bank changed its name to Andresens Bank in 1913 and merged with Bergens Kreditbank in 1920  The merger was dissolved later in the 1920s  He was also a landowner, owning Nedre Skøyen farm and a lot of land in Enebakk  He chaired the board of Nydalens Compagnie from 1926, having not been a board member before that He also chaired the supervisory council of Forsikringsselskapet Viking and Nedre Glommen salgsforening, and was a supervisory council member of Filharmonisk Selskap  He was a member of the gentlemen's club SK Fram since 1890, and was proclaimed a lifetime member in 1964 He was buried in Enebakk 
Passage 3:
Ludwig von Westphalen
Johann Ludwig von Westphalen (11 July 1770 – 3 March 1842) was a liberal Prussian civil servant and the father-in-law of Karl Marx 

Biography
Early life
Johann Ludwig von Westphalen was born on 11 July 1770 in Bornum am Elm  He was the youngest son of Philipp von Westphalen (1724–92), who himself was the son of a Blankenburg postmaster  Philipp von Westphalen had been ennobled in 1764 with the predicate Edler von Westphalen by Duke Ferdinand of Brunswick for his military services  He had served as the duke's de facto "chief of staff" during the Seven Years' War  Through his mother, Jane Wishart of Pittarrow, he was the descendant of many Scottish and European noble families He received extensive education and spoke German and English, and read Latin, Greek, Italian, French and Spanish  He studied at the Collegium Carolinum, the forerunner of today's Braunschweig University of Technology, and at Göttingen 

Career
In 1794, he entered government's service in Brunswick  In 1797 he married Elisabeth von Veltheim, who bore him four children  In 1804 he entered the government service of the Duchy of Brunswick and Lunenburg (Wolfenbüttel) 
With the establishment of the Napoleonic state in Westphalia (the Kingdom of Westphalia) in 1807, he entered its service  He was likely motivated in this by a desire to see reforms carried out  He did, however, oppose the French dominance of the local government, and other policies, and for his critique he was eventually arrested by orders from Louis-Nicolas Davout and imprisoned in the fortress of Gifhorn  In the same year, he lost his first wife  In the summer of 1809 Louis was appointed sub-prefect of Salzwedel, where three years later in 1812 he married Karoline Heubel; they had three children  After Salzwedel was again under Prussian administration, in 1816 Ludwig von Westphalen was transferred to the newly established regional government in Trier 

Personal life
It was in Trier that he met and befriended Heinrich Marx, the father of Karl Marx  The children of the respective families, in particular Jenny and Edgar von Westphalen, and Sophie and Karl Marx, became close friends as well  In 1836, Jenny von Westphalen and Karl Marx became engaged; at first secretly but Ludwig approved the marriage in 1837, even though some saw Marx, who was both middle class and younger than her, as well as of Jewish descent, as an inappropriate partner for the noble daughter  In fact, Ludwig was seen as the mentor and role model of Karl Marx, who referred to him as a "dear fatherly friend"  Ludwig filled Marx with enthusiasm for the romantic school and read him Homer and Shakespeare, who remained Marx's favorite authors all his life  Marx also read Voltaire and Racine with Ludwig  Ludwig devoted much of his time to the young Marx and the two went for intellectual walks through "the hills and woods" of the neighbourhood  It was Ludwig who first introduced Marx to the personality and socialist teachings of Saint-Simon  Marx dedicated his doctoral thesis "The Difference Between the Democritean and Epicurean Philosophy of Nature" written in 1841 to Ludwig in a most effusive manner in which Marx wrote "You, my fatherly friend, have always been for me the living proof that idealism is no illusion, but the true reality" In 1842, Marx was present at the deathbed of Ludwig von Westphalen  Jenny and Karl became married in 1843, a year after Ludwig's death 
He was the father of Ferdinand von Westphalen, a conservative and reactionary Prussian Minister of the Interior 

Death
He died on 3 March 1842 in Trier 
Passage 4:
Ogawa Mataji
Viscount Ogawa Mataji (小川又次, 22 August 1848 – 20 October 1909) was a general in the early Imperial Japanese Army  He was also the father-in-law of Field Marshal Gen Sugiyama 

Life and military career
Ogawa was born to a samurai family; his father was a retainer to the daimyō of Kokura Domain, in what is now Kitakyushu, Fukuoka  He studied rangaku under Egawa Hidetatsu and fought as a Kokura samurai against the forces of Chōshū Domain during the Bakumatsu period 
After the Meiji Restoration, Ogawa attended the Imperial Japanese Army Academy and was commissioned as a second lieutenant in January 1871 and promoted to lieutenant in February 1874  He participated in the Taiwan Expedition of April 1874  Afterwards, he served with the IJA 1st Infantry Regiment under the Tokyo Garrison, and as a battalion commander with the IJA 13th Infantry Regiment from April 1876  From February 1877, he fought in the Satsuma Rebellion, but was wounded in combat in April and promoted to major the same month 
In March 1878, Ogawa was Deputy Chief-of-Staff to the Kumamoto Garrison  He was sent as a military attaché to Beijing from April to July 1880  In February 1881, he was promoted to lieutenant-colonel and chief of staff of the Osaka Garrison  In March 1882, he was chief of staff of the Hiroshima Garrison  Promoted to colonel in October 1884, he was assigned the IJA 8th Infantry Regiment  In May 1885, he joined the Imperial Japanese Army General Staff Office  German General Jakob Meckel, hired by the Japanese government as a foreign advisor and instructor in the Imperial Japanese Army Academy highly praised Ogawa and fellow colonel Kodama Gentarō as the two most outstanding officers in the Imperial Japanese Army  Ogawa was especially noted for his abilities as a military strategist and planner, and earned the sobriquet “the modern Kenshin") from General Kawakami Soroku 

First Sino-Japanese War
Ogawa was promoted to major general in June 1890, and given command of the IJA 4th Infantry Brigade, followed by command of the 1st Guards Brigade  At the start of the First Sino-Japanese War in August 1894, he was chief of staff of the Japanese First Army  In August 1895, he was elevated to the kazoku peerage with the title of danshaku (baron)  He commanded the 2nd Guards Brigade from January 1896 and was subsequently promoted to lieutenant general in April 1897, assuming command of the IJA 4th Infantry Division  In May 1903, he was awarded the Order of the Sacred Treasures, first class 

Russo-Japanese War
During the Russo-Japanese War of 1904-1905, Ogawa retained command of the IJA 4th Division under the Japanese Second Army of General Oku Yasukata   The division was in combat at the Battle of Nanshan, Battle of Telissu and Battle of Liaoyang  At the Battle of Liaoyang, Ogawa was injured in combat, and forced to relinquish his command and return to Tokyo  In January 1905, he was promoted to general, but took a medical leave from December 1905  He was awarded the Order of the Golden Kite, 2nd class in 1906   In September 1907 he was elevated to viscount (shishaku) He officially retired in November 
Ogawa died on 20 October 1909 due to peritonitis after being hospitalized for dysentery  His grave is located at Aoyama Cemetery in Tokyo, and he also has a grave in his hometown of Kokura 

Decorations
1885 –  Order of the Rising Sun, 3rd class  
1895 –  Order of the Sacred Treasure, 2nd class 
1895 –  Order of the Rising Sun, 2nd class 
1895 –  Order of the Golden Kite, 3rd class 
1903 –  Grand Cordon of the Order of the Sacred Treasure 
1906 –  Grand Cordon of the Order of the Rising Sun
1906 –  Order of the Golden Kite, 2nd class
Passage 5:
John Adams (merchant)
John Adams (1672 or 1673 – c  1745) was an American-born Canadian merchant and member of the Nova Scotia Council  He was the father-in-law of Henry Newton 

Biography
Adams was born in Boston in either 1672 or 1673 to John and Avis Adams  Growing up as a petty merchant, Adams joined Sir Charles Hobby's New England regiment, participating in the capture of Port-Royal in 1710  Shortly thereafter, Adams settled in Annapolis Royal, Nova Scotia, returning to civilian life  There, he traded manufactured goods with the province's Acadian and Native Americans, and took up the role of a real estate agent and contractor  Adams joined the Executive Council of Nova Scotia on 28 April 1720, holding his position there for 20 years; the records show that few served as long as he did  He also held several other public positions in the province  Adams was appointed a notary public and deputy collector of customs for Annapolis Royal in 1725, and he was commissioned a justice of the peace in March 1727 Around the mid-1720s, Adams' poor eyesight began to fail, leading to his near-blindness in 1730  After this, he was less active in community activities and trade  Adams petitioned to the king for a pension several times, but failed  He blamed his disability on over-exposure to the sun during an Indian attack on Annapolis Royal in 1724  In December 1739, Lieutenant Governor Lawrence Armstrong died  With the absence of Major Mascarene to take Armstrong's place, Adams became the new president of the council and head of the civil government  (Alexander Cosby was also vying for the position ) In a meeting on 22 March 1740, with the return of Mascarene, the councilors declared that he was the council's rightful president  This turn of events led Adams to retire to Boston in late August or early September 1740, where he stayed for the rest of his life  He died some time after 1745 

Notes
Passage 6:
John VI, Duke of Mecklenburg
John VI, Duke of Mecklenburg (1439–1474) was a Duke of Mecklenburg 

Life
John was the second son of Henry IV, Duke of Mecklenburg, and his wife Dorothea, daughter of Elector Frederick I of Brandenburg 
His earliest documented official act (jointly with the father) was in 1451   In 1464 he ruled an apanage of several districts jointly with his brother Albert VI, but did not participate actively in administering them



ground_truth: Washington

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

Question: Who is the father-in-law of Duke William Of Mecklenburg-Schwerin?

The following are given passages.
Context 2: 
In 1472, John VI was engaged to Sophie, the daughter of Duke Eric II of Pomerania   The marriage was set to be celebrated in 1474   However, John VI died before the marriage took place   The exact date of his death is unknown; he is last mentioned in a document dated 20 May 1474 
His last illness was contracted on a journey to Franconia to visit his uncle Elector Albrecht III Achilles of Brandenburg   In Kulmbach, he was infected with the plague and died   He was probably buried in Poor Clares monastery in Hof 

External links
Genealogical table of the House of Mecklenburg
Passage 7:
Duke William of Mecklenburg-Schwerin
Duke Frederick William Nicholas of Mecklenburg-Schwerin (German: Friedrich Wilhelm Nicolas; 5 March 1827 – 28 July 1879) was the second son of Paul Frederick, Grand Duke of Mecklenburg-Schwerin, and his wife Princess Alexandrine, daughter of King Frederick William III of Prussia 

Life
He enlisted in the Prussian Army and became commander of the 6th (Brandenburg) Cuirassiers "Emperor Nicholas I of Russia"  William had a reputation for drunkenness and a dissolute character  On two occasions he was deprived of his command in the Prussian army and he proposed marriage to the celebrated ballerina Marie Taglioni; consequently he was generally considered to be the "black sheep" of the family  Under family pressure, on 9 December 1865, he married Alexandrine of Prussia, daughter of his uncle Albert of Prussia and Marianne of Orange-Nassau  William settled with his wife at Bellevue Palace in Berlin  The marriage was unhappy and the couple had an only child: Charlotte (1868-1944) who married Prince Heinrich XVIII Reuss of Köstritz 
William took part in the Austro-Prussian War of 1866 as a major general in command of a cavalry brigade in the First Army  He managed, with difficulty, to secure a command in the Prussian Army during the Franco-Prussian War, leading the 6th Cavalry Division, but he was wounded on 9 September 1870 in Laon  As a result, he was long absent from the front and he showed a great lack of energy at the Battle of Le Mans  In 1873 he became commander of the 22nd Division in Kassel, completed in 1874 but it was only an honorary position  He died on 28 July 1879 

Issue
By his wife, he had an only daughter:

Duchess Charlotte of Meclemburgo-Schwerin (7 November 1868-20 Dicember 1944)  She married firstly Henry XVII of Reuss-Köstritz and secondly Robert Schmidt 

Honours
He received the following orders and decorations:

Ancestors


== Notes ==
Passage 8:
Prince Wilhelm of Prussia (1906–1940)
Prince Wilhelm Friedrich Franz Joseph Christian Olaf of Prussia (4 July 1906 – 26 May 1940) was the eldest child of Wilhelm, German Crown Prince, and Duchess Cecilie of Mecklenburg-Schwerin  At his birth, he was second in line to the German throne and was expected to succeed to the throne after the deaths of his grandfather, Emperor Wilhelm II, and his father, Crown Prince Wilhelm  Both, however, outlived him 

Early life and childhood
Wilhelm was born on 4 July 1906 at the Hohenzollern family's private summer residence, Marmorpalais, or Marble Palace, near Potsdam, where his parents were residing until their own home, Schloss Cecilienhof, could be completed  His father was Crown Prince Wilhelm, the eldest son and heir to the German Emperor, Wilhelm II  His mother was Duchess Cecilie of Mecklenburg-Schwerin  Emperor Franz Joseph of Austria was one of the Prince's godfathers 
The selection of a nanny for Wilhelm and his younger brother, Louis Ferdinand (born in 1907) caused considerable distress within the family On his tenth birthday in 1916, Wilhelm was made a lieutenant in the 1st Guards Regiment, and was given the Order of the Black Eagle by his grandfather  Two years later, when he was only twelve, the German monarchy was abolished  Wilhelm and his family remained in Germany, though his grandfather, the former Emperor, went into exile in the Netherlands  The former Crown Prince and his family remained in Potsdam, where Wilhelm and his younger brothers attended the local gymnasium 

After graduating from secondary school, Wilhelm went on to study at the Universities of Königsberg, Munich and Bonn  In 1926, while a student at the University of Bonn, Wilhelm joined the Borussia Corps, a student organization of which his father, grandfather, and other members of the Prussian royal family were members 

Marriage and children
While a student at Bonn, Wilhelm fell in love with a fellow student, Dorothea von Salviati (10 September 1907 – 7 May 1972)  Her parents were Alexander Hermann Heinrich August von Salviati and Helene "Ella" Crasemann (of the well-established Hamburg merchant family, Crasemann)  Her maternal grandfather was the Hamburg parliamentarian Gustav August Rudolph Crasemann 
Wilhelm's grandfather did not approve of the marriage of a member of the minor nobility with the second in line to the German throne  At the time, the former Kaiser still believed in the possibility of a Hohenzollern restoration, and he would not permit his grandson to make an unequal marriage  Wilhelm told his grandson, "Remember, there is every possible form of horse  We are thoroughbreds, however, and when we conclude a marriage such as with Fräulein von Salviati, it produces mongrels, and that cannot be allowed to happen "However, Wilhelm was determined to marry Dorothea  He renounced any rights to the succession for himself and his future children in 1933  Wilhelm and Dorothea married on 3 June 1933 in Bonn  They had two daughters  In 1940, the ex-Emperor recognized the marriage as dynastic and the girls were accorded the style of Princesses of Prussia, although their father was not restored to his former place in the putative line of succession,

Princess Felicitas Cecilie Alexandrine Helene Dorothea of Prussia, (7 June 1934 – 1 August 2009), married Dinnies von der Osten (1929–1998) on 12 September 1958 and they were divorced in 1972, with issue  She married secondly Jörg von Nostitz-Wallwitz (b  1937), with issue 
Princess Christa Friederike Alexandrine Viktoria of Prussia, (31 October 1936) she married Peter von Assis Liebes (1926–1967), son of Martin Liebes and Countess Clementine von Montgelas on 24 March 1960, without issue 

Military services
During the Weimar Republic, Wilhelm inadvertently caused a public scandal by attending Army manoeuvres in the uniform of the old Imperial First Foot Guards without first seeking government approval  The commander of the Reichswehr, Hans von Seeckt, was forced to resign as a result  The Oster conspiracy of 1938 sought to restore Wilhelm to the throne 
At the beginning of World War II, Wilhelm was among a number of princes from the former German monarchies who enlisted to serve in the Wehrmacht, the unified armed forces of Germany 

Death and reaction
In May 1940, Wilhelm took part in the invasion of France  He was wounded during the fighting in Valenciennes and died in a field hospital in Nivelles on 26 May 1940  His funeral service was held at the Church of Peace, and he was buried in the Hohenzollern family mausoleum in the Antique Temple in Sanssouci Park  The service drew over 50,000 mourners, by far the largest unofficial public turnout during Nazi rule in Germany Shortly after Wilhelm's death, a decree known as the Prinzenerlaß, or Prince's Decree, was issued, barring all members of the former German royal houses from service in the Wehrmacht 

Ancestry
Passage 9:
Duchess Gustave Caroline of Mecklenburg-Strelitz
Duchess Gustave Caroline of Mecklenburg-Strelitz (12 July 1694 – 13 April 1748) was a daughter of Adolphus Frederick II, Duke of Mecklenburg and Princess Marie of Mecklenburg-Güstrow 

Family
Gustave Caroline was the fourth daughter and youngest child of Adolphus Frederick II, Duke of Mecklenburg by his first wife Princess Maria of Mecklenburg  She was a younger sister of Adolphus Frederick III, Duke of Mecklenburg  Through her father's third marriage, she was an aunt of Queen Charlotte of the United Kingdom 

Marriage
On 13 November 1714, Gustave Caroline married her cousin Christian Ludwig of Mecklenburg  He was the third eldest son of Frederick, Duke of Mecklenburg-Grabow and his wife Princess Christine Wilhelmine of Hesse-Homburg  Christian Ludwig succeeded as Duke of Mecklenburg-Schwerin in 1747, the year before Gustave Caroline's death 
They had five children:

Frederick II, Duke of Mecklenburg-Schwerin (1717–1785); married Duchess Louise Frederica of Württemberg
Louis (1725–78); married Princess Charlotte Sophie of Saxe-Coburg-Saalfeld (1731–1810)   They were the parents of Frederick Francis I, Grand Duke of Mecklenburg-Schwerin 
Ulrike Sofie (1723–1813)
Luise (1730)
Amalie (1732–1775)

Ancestry
Passage 10:
Princess Alexandrine of Prussia (1842–1906)
Princess Friederike Wilhelmine Luise Elisabeth Alexandrine of Prussia (1 February 1842 – 26 March 1906) was a member of the House of Hohenzollern as the daughter of Prince Albert of Prussia and his wife Princess Marianne of the Netherlands 

Family and early life
Alexandrine ('Addy') was the youngest child born to Prince Albert of Prussia and his first wife Princess Marianne of the Netherlands  She was named after her aunt (and later mother-in-law) the Grand Duchess of Mecklenburg-Schwerin  She had two elder surviving siblings, Princess Charlotte (and Prince Albert  Her parents' marriage was dissolved on 28 March 1849  Her father later remarried in 1853 to one of the court maids-of-honor, Rosalie von Rauch, who was created Countess of Hohenau  The couple had two sons  Their mother also remarried morganatically to a former coachman, producing issue with Johannes van Rossum 
Due to the troubled marriage of her parents, Alexandrine was to all intents and purposes the adopted daughter of her otherwise childless uncle and aunt, King Frederick William IV of Prussia and Queen Elisabeth Ludovika, and became their ward  They took Alexandrine to live with them, bringing her up as their own offspring 

Marriage
Marriage prospects
As a young woman, Alexandrine was considered as a potential bride for the one-year older Albert Edward, Prince of Wales (the future Edward VII of the United Kingdom), but was not considered "clever or pretty" enough by his sister Crown Princess Victoria of Prussia (‘Vicky’)  The prince married Alexandra of Denmark instead  Despite her comment, Vicky had a fondness for Alexandrine, writing to her mother that she was "such an excellent girl and much admired here"  There were also financial advantages to a marriage to Alexandrine; she already had one million dollars through her mother, and would have even more wealth when she married  Consequently, Vicky tried again to marry her off to another British relative, Prince George, Duke of Cambridge  Nothing came of this either, however 

Wedding
On 9 December 1865, Alexandrine married her much-older cousin Duke William of Mecklenburg-Schwerin  He was a younger son of Paul Frederick, Grand Duke of Mecklenburg and Alexandrine's aunt and namesake Princess Alexandrine of Prussia  Though the marriage was meant to give her financial security in the future, it was certainly not a love match; Alexandrine cried during the entire wedding ceremony  Vicky described the wedding to her mother, 
"The wedding was celebrated with the greatest pomp, but had something of the solemnity of a funeral about it – nothing gay, festive or bridal  The only thing that made a pleasing impression on me was dear Addy herself, who although she cried the whole time, had such a dignified and touching appearance that I never saw her look so well  She went through it all with the most perfect tenue – though I never saw her smile once  She did not look a bit like a bride but I must say very elegant and distinguee    The bridegroom's tenance looked as evil as possible the whole time  I looked in vain for a trace of softness of feeling" 
 Furthermore, William had a reputation for drunkenness and a dissolute character, so it was surprising that the exceedingly pious and recently widowed Queen Elisabeth gave her consent to the match  On two occasions William had been deprived of his command in the Prussian army and had recently proposed marriage to the celebrated ballerina Marie Taglioni; consequently he was generally considered to be the "black sheep" of the family  Regardless, the Queen granted her permission, endowing her with a grand trousseau of lavish clothing and jewelry  Her other uncle Emperor Wilhelm I gave her an opulent diamond necklace, while her mother Princess Marianne gave her a necklace of Siberian amethysts as well as an emerald diadem 

Marriage and later life
William's older brother Frederick Francis already had many children from his two marriages, so there was no chance of William and Alexandrine succeeding to the throne of Mecklenburg-Schwerin  During their marriage, the couple lived at Bellevue Palace in Berlin; Alexandrine saw little of Mecklenburg, her husband's native country  The marriage was unhappy, and she tried to escape several times, only to be forced back by pressure from her powerful Aunt Alexandrine  William managed with difficulty to secure an unimportant command in the Prussian army during the Franco-Prussian War  He was badly injured from an explosion during the war, but continued to live on until 1879 

After her husband's death, Alexandrine dedicated her life to her daughter, and played very little part in public life  Alexandrine died on 26 March 1906 at Schloss Marley, near Potsdam, Brandenburg, Germany  Bellevue Palace was next occupied by Prince Eitel Friedrich of Prussia and his new bride Duchess Sophia Charlotte of Oldenburg 

Issue
By her husband, she had an only daughter:

Duchess Charlotte of Mecklenburg-Schwerin (7 November 1868 - 20 December 1944)  She married firstly Henry XVII of Reuss-Köstritz and secondly Robert Schmidt 

Ancestry
Context 3: 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



ground_truth: Prince Albert of Prussia

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 4:  She acted in the 1997 film Praner Cheye Priyo with Riaz  She also appeared in Sabdhan and Dolopoti, again opposite Riaz 

Selected filmography
Praner Cheye Priyo
Sabdhan
Dolopoti
Passage 7:
Querelle
Querelle is a 1982 West German-French English-language arthouse film directed by Rainer Werner Fassbinder and starring Brad Davis, adapted from French author Jean Genet's 1947 novel Querelle of Brest  It was Fassbinder's last film, released shortly after his death at the age of 37 

Plot
The plot centers on the handsome Belgian sailor Georges Querelle, who is also a thief and murderer  When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, is Querelle's brother  Querelle has a love/hate relationship with his brother: when they meet at La Feria, they embrace, but also punch one another slowly and repeatedly in the belly  Lysiane's husband Nono works behind the bar and also manages La Feria's underhanded affairs with the assistance of his friend, the corrupt police captain Mario 
Querelle makes a deal to sell opium to Nono  During the execution of the deal, he murders his accomplice Vic by slitting his throat   After delivering the drugs, Querelle announces that he wants to sleep with Lysiane   He knows that this means he will have to throw dice with Nono, who has the privilege of playing a game of chance with all of her prospective lovers  If Nono loses, the suitor is allowed to proceed with his affair  If the suitor loses, however, he must submit to anal sex with Nono first, according to Nono's maxim that "That way, I can say my wife only sleeps with arseholes " Querelle deliberately loses the game, allowing himself to be sodomized by Nono  When Nono gloats about Querelle's "loss" to Robert, who won his dice game, the brothers end up in a violent fight   Later, Querelle becomes Lysiane's lover, and also has sex with Mario 
Luckily for Querelle, a builder, Gil, murders his work mate Theo, who had been harassing and sexually assaulting him   Gil hides from the police in an abandoned prison, and Roger, who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee  Querelle falls in love with Gil, who closely resembles his brother   Gil returns his affections, but Querelle betrays Gil by tipping off the police  Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil 
Querelle's superior, Lieutenant Seblon, is in love with Querelle, and constantly tries to prove his manliness to him  Seblon is aware that Querelle murdered Vic, but chooses to protect him   Later, Seblon reveals his love and concern to a drunken Querelle, and they kiss and embrace before returning to Le Vengeur 

Cast
Brad Davis as Querelle
Franco Nero as Lieutenant Seblon
Jeanne Moreau as Lysiane
Laurent Malet as Roger Bataille
Hanno Pöschl as Robert / Gil
Günther Kaufmann as Nono
Burkhard Driest as Mario
Roger Fritz as Marcellin
Dieter Schidor as Vic Rivette
Natja Brunckhorst as Paulette
Werner Asam as Worker
Axel Bauer as Worker
Neil Bell as Theo
Robert van Ackeren as Drunken legionnaire
Wolf Gremm as Drunken legionnaire
Frank Ripploh as Drunken legionnaire

Production
According to Genet's biographer Edmund White, Querelle was originally going to be made by Werner Schroeter, with a scenario by Burkhard Driest, and produced by Dieter Schidor  However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including John Schlesinger and Sam Peckinpah, before finally settling on Fassbinder  Driest wrote a radically different script for Fassbinder, who then "took the linear narrative and jumbled it up"  White quotes Schidor as saying "Fassbinder did something totally different, he took the words of Genet and tried to meditate on something other than the story  The story became totally unimportant for him  He also said publicly that the story was a sort of third-rate police story that wouldn't be worth making a movie about without putting a particular moral impact into it" Schroeter had wanted to make a black and white film with amateur actors and location shots, but Fassbinder instead shot it with professional actors in a lurid, expressionist color, and on sets in the studio  Edmund White comments that the result is a film in which, "Everything is bathed in an artificial light and the architectural elements are all symbolic "

Soundtrack
Jeanne Moreau – "Each Man Kills the Things He Loves" (music by Peer Raben, lyrics from Oscar Wilde's poem "The Ballad of Reading Gaol")
"Young and Joyful Bandit" (Music by Peer Raben, lyrics by Jeanne Moreau)Both songs were nominated to the 1984 Razzie Awards for "Worst Original Song" 

Release
Querelle sold more than 100,000 tickets in the first three weeks after its release in Paris, the first time that a film with a gay theme had achieved such success  On review aggregator Rotten Tomatoes, which categorizes reviews as positive or negative only, the film has an approval rating of 57% calculated based on 14 critics comments  By comparison, with the same opinions being calculated using a weighted arithmetic mean, the rating is 6 10/10  Writing for The New York Times critic Vincent Canby noted that Querelle was "a mess   a detour that leads to a dead end "
Penny Ashbrook calls Querelle Fassbinder's "perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay male sensibility to come from a major filmmaker " Edmund White considers Querelle the only film based on Genet's book that works, calling it "visually as artificial and menacing as Genet's prose " Genet, in discussion with Schidor, said that he had not seen the film, commenting "You can't smoke at the movies "
Passage 8:
Claude Chabrol
Claude Henri Jean Chabrol (French: [klod ʃabʁɔl]; 24 June 1930 – 12 September 2010) was a French film director and a member of the French New Wave (nouvelle vague) group of filmmakers who first came to prominence at the end of the 1950s  Like his colleagues and contemporaries Jean-Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine Cahiers du cinéma before beginning his career as a film maker 
Chabrol's career began with Le Beau Serge (1958), inspired by Hitchcock's Shadow of a Doubt (1943)  Thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity  This is especially apparent in Les Biches (1968), La Femme infidèle (1969), and Le Boucher (1970) – all featuring Stéphane Audran, who was his wife at the time 
Sometimes characterized as a "mainstream" New Wave director, Chabrol remained prolific and popular throughout his half-century career  In 1978, he cast Isabelle Huppert as the lead in Violette Nozière  On the strength of that effort, the pair went on to others including the successful Madame Bovary (1991) and La Cérémonie (1995)  Film critic John Russell Taylor has stated that "there are few directors whose films are more difficult to explain or evoke on paper, if only because so much of the overall effect turns on Chabrol's sheer hedonistic relish for the medium   Some of his films become almost private jokes, made to amuse himself " James Monaco has called Chabrol "the craftsman par excellence of the New Wave, and his variations upon a theme give us an understanding of the explicitness and precision of the language of the film that we don't get from the more varied experiments in genre of Truffaut or Godard "

Life and career
Early life
Claude Henri Jean Chabrol was born on 24 June 1930 to Yves Chabrol and Madeleine Delarbre in Paris and grew up in Sardent, France, a village in the region of Creuse 400 km (240 miles) south of Paris  Chabrol said that he always thought of himself as a country person, and never as a Parisian  Both Chabrol's father and grandfather had been pharmacists, and Chabrol was expected to follow in the family business  But as a child, Chabrol was "seized by the demon of cinema" and ran a film club in a barn in Sardent between the ages of 12 and 14  It was at this time that he developed his passion for the thriller genre, detective stories and other forms of popular fiction 

Early years in Paris
After World War II, Chabrol moved to Paris to study pharmacology and literature at the Sorbonne, where he received a licence en lettres  Some biographies also state that he briefly studied law and political science at the École Libre des Sciences Politiques  While living in Paris Chabrol became involved with the postwar cine club culture and frequented Henri Langlois's Cinémathèque Française and the Ciné-Club du Quartier Latin, where he first met Éric Rohmer, Jacques Rivette, Jean-Luc Godard, François Truffaut and other future Cahiers du Cinéma journalists and French New Wave filmmakers  After graduating, Chabrol served his mandatory military service in the French Medical Corps, serving in Germany and reaching the rank of sergeant  Chabrol has said that while in the army he worked as a film projectionist  After he was discharged from the army, he joined his friends as a staff writer for Cahiers du Cinéma, who were challenging then-contemporary French films and championing the concept of Auteur theory  As a film critic, Chabrol advocated realism both morally and aesthetically, mise-en-scene, and deep focus cinematography, which he wrote "brings the spectator in closer with the image" and encourages "both a more active mental attitude on the part of the spectator and a more positive contribution on his part to the action in progress " He also wrote for Arts magazine during this period  Among Chabrol's most famous articles were "Little Themes", a study of genre films, and "The Evolution of Detective Films" In 1955 Chabrol was briefly employed as a publicity man at the French offices of 20th Century Fox, but was told that he was "the worst press officer they'd ever seen" and was replaced by Jean-Luc Godard, who they said was even worse  In 1956 he helped finance Jacques Rivette's short film Le coup du berger, and later helped finance Rohmer's short Véronique et son cancre in 1958  Unlike all of his future New Wave contemporaries, Chabrol never made short film nor did he work as an assistant on other directors' work before making his feature film debut  In 1957 Chabrol and Eric Rohmer co-wrote Hitchcock (Paris: Éditions Universitaires, 1957), a study of the films made by director Alfred Hitchcock through the film The Wrong Man  Chabrol had said that Rohmer deserves the majority of the credit for the book, while he mainly worked on the sections pertaining to Hitchcock's early American films, Rebecca, Notorious, and Stage Fright  Chabrol had interviewed Hitchcock with François Truffaut in 1954 on the set of To Catch a Thief, where the two famously walked into a water tank after being starstruck by Hitchcock  Years later, when Chabrol and Truffaut had both become successful directors themselves, Hitchcock told Truffaut that he always thought of them when he saw "ice cubes in a glass of whiskey "

1957–67: Early film career
The most prolific of the major New Wave directors, Chabrol averaged almost one film a year from 1958 until his death  His early films (roughly 1958–1963) are usually categorized as part of the New Wave and generally have the experimental qualities associated with the movement; while his later early films are usually categorized as being intentionally commercial and far less experimental  In the mid-sixties it was difficult for Chabrol to obtain financing for films so he made a series of commercial "potboilers" and spy spoofs, which none of the other New Wave filmmakers did Chabrol had married Agnès Goute in 1952 and in 1957 his wife inherited a large sum of money from relatives  In December of that year Chabrol used the money to make his feature directorial debut with Le Beau Serge  Chabrol spent three months shooting in his hometown of Sardent using a small crew and little known actors  The film's budget was $85,000  The film starred Jean-Claude Brialy as François and Gérard Blain as Serge, two childhood friends reunited when the recent medical school graduate François returns to Sardent and discovers that Serge has become an alcoholic after the stillbirth of his physically retarded first child  Despite suffering from tuberculosis, François drags Serge through a snowstorm to witness the birth of his second child, thus giving Serge a reason to live while killing himself in the process  Le Beau Serge is considered the inaugural film of the French New Wave Film movement that would peak between 1959 and 1962  Chabrol was the first of his friends to complete a feature film (although Jacques Rivette had already begun filming his first feature Paris nous appartient), and it immediately received critical praise and was a box office success  It won the Grand Prix at the Locarno Film Festival and the Prix Jean Vigo  Critics noticed similarities to Hitchcock's films, such as the motifs of doubling and re-occurrences and the "Catholic guilt transference" that Chabrol had also written about extensively in his and Rohmer's book the year earlier  Chabrol stated that he made the film as a "farewell to Catholicism", and many critics have called his first film vastly different from any of his subsequent films Chabrol quickly followed this success up with Les Cousins in 1958  The film is a companion piece and a reversal to Le Beau Serge in many ways, such as having the responsible student Brialy now play the decadent and insensitive Paul while the reckless Blain now plays the hard-working law student Charles  In this film, the country cousin Charles arrives in the big city of Paris to live with his corrupt cousin Paul while attending school  This was the first of many Chabrol films to include characters named Paul and Charles, and later films would often include a female named Hélène  More so than his first film, Les Cousins features many characteristics that would be seen as "Chabrolian", including the Hitchcock influence, a depiction of the French bourgeoisie, characters with ambiguous motives and a murder  It was also Chabrol's first film co-written with his longtime collaborator Paul Gégauff, of whom Chabrol once said "when I want cruelty, I go off and look for Gégauff  Paul is very good at gingering things up   He can make a character look absolutely ridiculous and hateful in two seconds flat " Les Cousins was another box office success in France and won the Golden Bear at the 9th Berlin International Film Festival Chabrol formed his own production company AJYM Productions (acronym based on the initials of his wife's and children's names) at the time of making Le Beau Serge   After the success of Le Beau Serge and Les Cousins, Chabrol began funding many of the films of his friends  AJYM helped fund Eric Rohmer's feature debut The Sign of Leo, partially funded Rivette's Paris nous appartient, and Philippe de Broca's films Les Jeux de l'amour and Le farceur  He also donated excess film stock from Les Cousins to Rivette to complete Paris nous appartient  Chabrol was also a technical advisor on Jean-Luc Godard's feature debut Breathless and acted in small parts in many of his friends' and his own early films  For his support to the early careers of so many of his friends, Chabrol has been referred to as "the godfather of the French New Wave", although many film histories tend to overlook this contribution and dismiss Chabrol altogether After two box office hits in a row, Chabrol was given a big budget to make his first color film, À double tour (Léda) in the spring of 1959  The film stars Jean-Paul Belmondo as Laszlo and Antonella Lualdi as Léda, two outsiders of a bourgeois family who experience different results when attempting to enter that family  Chabrol adapted the script with Paul Gégauff from a novel by Stanley Ellin, and the film is known for its oedipal sex triangle and murder scenario  The film was shot on location in Aix-en-Provence with cinematographer Henri Decaë and includes choppy, hand-held camera footage that is atypical of a Chabrol film despite being present in many of the New Wave films made at the same time  The film was both a box office and critical disappointment, and critic Roy Armes criticized "Chabrol's lack of feeling for his characters and love of overacting "In 1960 Chabrol made what is considered by many critics as his best early film, Les Bonnes Femmes  The film stars Bernadette Lafont, Clotilde Joano, Stéphane Audran and Lucile Saint-Simon as four Parisian appliance store employees who all dream of an escape from their mediocre lives, and the different outcomes for each girl  Most critics praised the film, such as Robin Wood and James Monaco  However some left-wing critics disliked Chabrol's depiction of working-class people and accused him of making fun of their lifestyles  The film was another box office disappointment for Chabrol  It was followed with two films that were also financially unsuccessful and which Chabrol has admitted to making purely for "commercial reasons"  Les Godelureaux was made in 1960 and hated by Chabrol  The Third Lover (L'Œil du Malin), released in 1961, received better reviews than Chabrol's previous films, with critics pointing out that the films that Chabrol wrote without Paul Gégauff were much more compassionate and realistic than the ones with Gégauff  It was shot on location in Munich  Although she had appeared in supporting roles in several Chabrol films before, The Third Lover was the first Chabrol film in which Stéphane Audran appeared as the female lead  They later married in 1964 and worked together until the late 1970s In 1962 Chabrol made Ophelia, a loose adaptation of Hamlet that was another box office disappointment  Later that year he had a minor hit film with Landru, written by Françoise Sagan and starring Charles Denner, Michèle Morgan, Danielle Darrieux and Hildegard Knef  The film depicts the famous French serial killer Henri Désiré Landru, a story that had previously inspired Charlie Chaplin's film Monsieur Verdoux From 1964 to 1967 Chabrol made six films and one short that were critically and commercially disastrous, and this period is considered a low point of his career  Four of these films were in the then-popular genre of spy spoof films, including Le Tigre aime la chair fraiche and Le Tigre se parfume à la dynamite  Chabrol had said that "I like to get to the absolute limit of principles   In drivel like the Tiger series I really wanted to get the full extent of the drivel  They were drivel, so OK, let's get into it up to our necks " During this period a Variety headline read "Vital To Keep Making Pictures, and What Sort Not Relevant; Chabrol No 'Doctrinaire' Type " In 1965 Chabrol also contributed to the New Wave portmanteau film Six in Paris with the segment "La Muette"  Chabrol co-starred with Stéphane Audran as a middle aged couple dealing with their rebellious teenage daughter  In 1964 Chabrol also directed a stage production of MacBeth for the Théâtre Récamier 

1968–78: "Golden Era"
In 1968 Chabrol began working with film producer André Génovès and started to make more critically acclaimed films that would later be considered his "Golden Era"  Most of these films revolved around themes of bourgeois characters and a murder is almost always part of the plot  Unlike his earlier films, most of these films centered around middle aged people  Chabrol often worked with the same people during this period including actors Audran and Michel Bouquet, cinematographer Jean Rabier, editor Jacques Gaillard, sound technician Guy Chichignoud, composer Pierre Jansen, set designer Guy Littaye, as well as producer Génovés and co-writer Paul Gégauff In 1968 Chabrol made Les Biches, one of his most acclaimed works  The film stars Stéphane Audran as the dominant and bisexual Frédérique, who finds a young protege in the bisexual Why (Jacqueline Sassard), until they both become the lover of a young architect named Paul (Jean-Louis Trintignant)  Why ends up killing Frédérique, but it is unclear whether she murdered her cheating lover or the person that her lover was cheating with  The film received critical praise and was a box office hit  Chabrol followed this with a similar film The Unfaithful Wife (La Femme infidèle), in which a husband named Charles murders the lover of his cheating wife  It was later remade in 2002 by director Adrian Lyne  Chabrol finished the decade with This Man Must Die (Que la bête meure) in 1969  Based on an original story by Cecil Day-Lewis, in the film Charles (Michel Duchaussoy) plots to kill Paul (Jean Yanne) after Paul killed Charles' son in a hit and run car accident  However the film's ending is left intentionally ambiguous, and Chabrol has stated that "you'll never see a Charles kill a Paul  Never " The film was especially praised for its landscape cinematography In 1970 Chabrol made The Butcher (Le boucher) starring Jean Yanne and Stéphane Audran  Yanne plays Popaul, a former war hero known for his violent behavior, much like that depicted in the prehistoric cave drawings that the characters look at in their Périgord community  The French newspaper Le Figaro called it "the best French film since the liberation " After another examination of bourgeois life in The Breach (La Rupture) in 1970, Chabrol made Just Before Nightfall (Juste avant la nuit) in 1971  The film stars Michel Bouquet as an ad executive named Charles who kills his mistress but cannot handle the guilt, so he confesses his crime to her husband (François Périer) and his wife (Stéphane Audran), expecting their condemnation  To his surprise they are only compassionate and forgiving to his crime and Charles cannot find relief from the guilt of what he has done  Later in 1971 Chabrol made Ten Days' Wonder (La Décade prodigieuse), based on a novel by Ellery Queen  The film was shot in English and starred Michel Piccoli, Anthony Perkins and Orson Welles  It received poor critical reviews  He followed this with the equally disliked Dr  Popaul, starring Jean-Paul Belmondo and Mia Farrow  Critics compared the film unfavorably with Chabrol's earlier film that centered on a "Landru-like" theme  Critic Jacques Siclier said that "the novelty of Docteur Popaul comes from the offhandedness with which the criminal history is treated "Chabrol took a slight change of pace with his 1973 film Wedding in Blood (Les Noces rouges) by making his first film with political themes  The film stars Audran and Michel Piccoli as lovers who plot to murder Audran's husband, who is the corrupt gaullist mayor of their town  To their surprise the President of France orders that no investigation be made of the mayor's death, leading the murdering couple to suspect political interest in their crime  In the spring of 1973 the French government banned the film for one month, allegedly so that it would not influence members of the jury of a controversial criminal trial  Chabrol followed this political theme with Nada, in which a group of young anarchists kidnap an American ambassador  It was Chabrol's first film to not center on the bourgeois since Le Beau Serge  Chabrol returned to more familiar ground in 1975 with A piece of pleasure (Une partie de plaisir)  In this film screenwriter Paul Gégauff plays a writer with a troubled marriage that ends in tragedy  (In 1983, Gégauff was stabbed to death in real life by his second wife ) Gégauff's wife is played by his real-life first wife Danièle Gégauff (already divorced when this film was made) and his daughter is played by real life daughter Clemence Gégauff  The film received poor critical reviews, with Richard Roud calling it "rather interestingly loathsome "Chabrol ended his Golden Period with one of his most admired and his most controversial films Violette Nozière in 1978  The film starred a young Isabelle Huppert as a real life Parisian girl from a respectable petit-bourgeois family in the 1930s  At night Violette sneaks out to pick up men and eventually contracts syphilis, which she convinces her parents must be hereditary before she kills them  The film was controversial in France but praised in other countries 

1979–2009: Later work
In the 1980's and 1990's Chabrol engaged himself with many different projects for both TV and the silver screen  His films Poulet au vinaigre (1985) and Masques (1987) were entered into the 38th Cannes Film Festival and 37th Berlin International Film Festival respectively  Madame Bovary (1991) was nominated for the Golden Globe Award for Best Foreign Language Film and for the Academy Award for Best Costume Design  It was also entered into the 17th Moscow International Film Festival  La Cérémonie (1995) is perhaps his most acclaimed film from this period, as it was nominated for numerous César Awards and was entered into the 52nd Venice International Film Festival among other  His 1999 film The Color of Lies was entered into the 49th Berlin International Film Festival In 1995 Chabrol was awarded the Prix René Clair from the Académie française for his body of work 
Chabrol continued directing films and TV series well into the 2000's 

Personal life
Chabrol's first marriage to Agnès Goute (1956–1962) produced a son, Matthieu Chabrol, a composer who scored most of his father's films from the early 1980s  He divorced Agnès to marry the actress Stéphane Audran, with whom he had a son, actor Thomas Chabrol  They remained married from 1964 to 1978  His third wife was Aurore Paquiss, who has been a script supervisor since the 1950s  He had four children  Chabrol was a known gourmet chef and shot 10 Days Wonder in Alsace only because he wanted to visit its restaurants  Although he acknowledges the influence of Alfred Hitchcock in his work, Chabrol has stated that "others have influenced me more  My three greatest influences were Murnau, the great silent film director   Ernst Lubitsch and Fritz Lang "Chabrol died on 12 September 2010 of leukemia  He is buried in Pere Lachaise Cemetery in north-eastern Paris 

Filmography
As director
As actor
TV work
Histoires insolites (1974), 5 episodes
Nouvelles de Henry James (1974), 2 episodes – based on stories by Henry James
Il était un musicien (1978), 3 episodes
Madame le juge (1978), 1 episode
"Jeunesse et Spiritualité" Cyprien Katsaris (1979) Official site
Fantômas (1980), 2 episodes – Remake of Fantômas
Le système du docteur Goudron et du professeur Plume (1981) – based on The System of Doctor Tarr and Professor Fether by Edgar Allan Poe
Les affinités électives (1982) – based on Elective Affinities by Johann Wolfgang von Goethe
M  le maudit (1982, short)
La danse de mort (1982) – based on The Dance of Death by August Strindberg
Les dossiers secrets de l'inspecteur Lavardin (1988), 2 episodes
Les redoutables (2001), 1 episode
Chez Maupassant (2007), 2 episodes – based on stories by Guy de Maupassant
Au siècle de Maupassant: Contes et nouvelles du XIXème siècle (2010), 2 episodes
Passage 9:
Le Masque de la Méduse
Le masque de la Méduse (English: The Mask of Medusa) is a 2009 fantasy horror film directed by Jean Rollin  The film is a modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same name and the 1981 cult classic Clash of the Titans  It was Rollin's final film, as the director died in 2010 

Cast
Simone Rollin as la Méduse
Sabine Lenoël as Euryale
Marlène Delcambre as Sthéno
Juliette Moreau as Juliette
Delphine Montoban as Cornelius
Jean-Pierre Bouyxou as le gardien
Bernard Charnacé as le collectionneur
Agnès Pierron as la colleuse d'affiche au Grand-Guignol
Gabrielle Rollin as la petite contrebassiste
Jean Rollin as l'homme qui enterre la tête
Thomas Smith as Thomas

Production
It was thought that Rollin's 2007 film La nuit des horloges was the final film of his career, as he had mentioned in the past  However, in 2009, Rollin began preparation foe Le masque de la Méduse  Rollin originally directed the film as a one-hour short, which was screened at the Cinémathèque de Toulouse, but after the release, Rollin decided to add 20 minutes of additional scenes and then cut the film into two distinct parts, as he did with his first feature, Le Viol du Vampire   The film was shot on location at the Golden Gate Aquarium and Père Lachaise Cemetery, as well as on stage at the Theatre du Grande Guignol, which is where the longest part of the film takes place  It was shot on HD video on a low budget of €150,000  Before the release, it was transferred to 35mm film 

Release
The film was not released theatrically, although it premiered on 19 November 2009 at the 11th edition of the Extreme Cinema Film Festival at the Cinémathèque de Toulouse  As part of "An Evening with Jean Rollin", it was shown as a double feature with Rollin's 2007 film La nuit des horloges 

Home media
No official DVD was released, although for a limited time, a DVD of La masque de la Méduse was included with the first 150 copies of Rollin's book Jean Rollin: Écrits complets Volume 1 
Passage 10:
Thulasi (1987 film)
Thulasi is a 1987 Indian Tamil-language romantic drama film directed by Ameerjan  The film stars Murali and Seetha  It was released on 27 November 1987 

Plot
Thirunavukarasu is considered as a God by his villagers  Nevertheless, his son Sammadham is an atheist and he doesn't believe in his father's power  Sammadham and Ponni, a low caste girl, fall in love with each other  Sammadham's best friend Siva, a low caste boy, passes the Master of Arts degree successfully  Thirunavukarasu's daughter Thulasi then develops a soft corner for Siva 
Thirunavukarasu cannot accept for his son Sammadham's marriage with Ponni due to caste difference  Sammadham then challenges him to marry her  Thirunavukarasu appoints henchmen to kill her and Ponni is found dead the next day in the water  In the meantime, Siva also falls in love with Thulasi  The rest of the story is what happens to Siva and Thulasi 

Cast
Murali as Sivalingam "Siva"
Seetha as Thulasi
Chandrasekhar as Sammadham
Major Sundarrajan as Thirunavukarasu
Senthil
Charle as Khan
Thara as Ponni
Mohanapriya as Sarasu
Vathiyar Raman
A  K  Veerasamy as Kaliyappan

Soundtrack
The music was composed by Sampath Selvam, with lyrics written by Vairamuthu 

Reception
The Indian Express gave a negative review calling it "thwarted love" 



ground_truth: drowning