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 Maria (Wife Of Boris I Of Bulgaria)'s husband?

The following are given passages.
Context 1: Passage 1:
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 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:
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 4:
Place of origin
In Switzerland, the place of origin (German: Heimatort or Bürgerort, literally "home place" or "citizen place"; French: Lieu d'origine; Italian: Luogo di attinenza) denotes where a Swiss citizen has their municipal citizenship, usually inherited from previous generations  It is not to be confused with the place of birth or  place of residence, although two or all three of these locations may be identical depending on the person's circumstances 

Acquisition of municipal citizenship
Swiss citizenship has three tiers  For a person applying to naturalise as a Swiss citizen, these tiers are as follows:

Municipal citizenship, granted by the place of residence after fulfilling several preconditions, such as sufficient knowledge of the local language, integration into local society, and a minimum number of years lived in said municipality 
Cantonal (state) citizenship, for which a Swiss municipal citizenship is required  This requires a certain number of years lived in said canton 
Country citizenship, for which both of the above are required, also requires a certain number of years lived in Switzerland (except for people married to a Swiss citizen, who may obtain simplified naturalisation without having to reside in Switzerland), and involves a criminal background check The last two kinds of citizenship are a mere formality, while municipal citizenship is the most significant step in becoming a Swiss citizen  
Nowadays the place of residence determines the municipality where citizenship is acquired, for a new applicant, whereas previously there was a historical reason for preserving the municipal citizenship from earlier generations in the family line, namely to specify which municipality held the responsibility of providing social welfare  The law has now been changed, eliminating this form of allocating responsibility to a municipality other than that of the place of residence  Care needs to be taken when translating the term in Swiss documents which list the historical "Heimatort" instead of the usual place of birth and place of residence 
However, any Swiss citizen can apply for a second, a third or even more municipal citizenships for prestige reasons or to show their connection to the place they currently live – and thus have several places of origin  As the legal significance of the place of origin has waned (see below), Swiss citizens can often apply for municipal citizenship for no more than 100 Swiss francs after having lived in the same municipality for one or two years  In the past, it was common to have to pay between 2,000 and 4,000 Swiss francs as a citizenship fee, because of the financial obligations incumbent on the municipality to grant the citizenship 
A child born to two Swiss parents is automatically granted the citizenship of the parent whose last name they hold, so the child gets either the mother's or the father's place of origin  A child born to one Swiss parent and one foreign parent acquires the citizenship, and thus the place of origin, of the Swiss parent 

International confusion
Almost uniquely in the world (with the exception of Japan, which lists one's Registered Domicile; and Sweden, which lists the mother's place of domicile as place of birth), the Swiss identity card, passport and driving licence do not show the holder's birthplace, but only their place of origin  The vast majority of countries show the holder's actual birthplace on identity documents  This can lead to administrative issues for Swiss citizens abroad when asked to demonstrate their actual place of birth, as no such information exists on any official Swiss identification documents  Only a minority of Swiss citizens have a place of origin identical to their birthplace  More confusion comes into play through the fact that people can have more than one place of origin 

Significance and history
A citizen of a municipality does not enjoy a larger set of rights than a non-citizen of the same municipality  To vote in communal, cantonal or national matters, only the current place of residence matters – or in the case of citizens abroad, the last Swiss place of residence 
The law previously required that a citizen's place of origin continued to bear all their social welfare costs for two years after the citizen moved away  In 2012, the National Council voted by 151 to 9 votes to abolish this law  The place of domicile is now the sole payer of welfare costs In 1923, 1937, 1959 and 1967, more cantons signed treaties that assured that the place of domicile had to pay welfare costs instead of the place of origin, reflecting the fact that fewer and fewer people lived in their place of origin (1860: 59%, in 1910: 34%) In 1681, the Tagsatzung – the then Swiss parliament – decided that beggars should be deported to their place of origin, especially if they were insufficiently cared for by their residential community In the 19th century, Swiss municipalities even offered free emigration to the United States if the Swiss citizen agreed to renounce municipal citizenship, and with that the right to receive welfare 

See also
Ancestral home (Chinese)
Bon-gwan
Registered domicile


== Notes and references ==
Passage 5:
Maria Pietersdr Olycan
Portrait of Maria Pietersdochter Olycan is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1638, now in the São Paulo Museum of Art  It is considered a pendant to the portrait of Maria's husband Andries van Hoorn 

Life
Maria Pietersdr Olycan was born in Haarlem in 1607 as the daughter of the wealthy brewers Pieter Jacobsz Olycan and Maritge Claesdr  Voogt  She was the younger sister of the brewer Jacob Pietersz Olycan  Maria's older sister Dorothea married Cornelis van Loo, the son of another brewer, Claes van Loo  Her brother Nicolaes van Olycan married Agatha Dicx, the daughter of the brewer and mayor, Dirk Dicx  Maria's younger sister Hester married the brewer Tyman Oosdorp 
On 25 July 1638 Maria married the widower Andries van Hoorn, also a brewer  He had a daughter Christine by his first marriage and a brewery of his own  His sister Agatha had married the brewer Cornelis Guldewagen  Andries and Maria had a daughter of their own, also called Maria, in 1639, but Maria Pietersdr Olycan died only five years later in 1655  Andries survived his second wife by 22 years and lived to see his daughter Christine's wedding in 1657 to Adriaan Noirot, and his daughter Maria's wedding in 1662 to the diplomat jhr  mr  Cornelis Ascanius van Sypesteyn  He also lived to see the Sypesteyn house be searched by a mob in 1672 on suspicion of hiding Johan de Witt, and though nothing was found, C A  van Sypesteyn continued to be mistrusted and was stabbed to death in 1673 in Gorinchem  Maria van Hoorn outlived both her parents and her husband and died in 1704 

Painting
Maria's dress reflects the height of fashion in 1638  The millstone collar has made way for layers of intricate lace that edge see-through linen collars that come together with a brooch in a manner that suggests a decolleté  She is holding a fan and wears matching pearl bracelets and a pearl necklace  Her hair is wrapped around a diadem that is studded with gold dangles  This portrait was documented by Hofstede de Groot in 1910, before the sitter was identified  He wrote "384  PORTRAIT OF A WOMAN  M  206  Half-length  She is turned slightly to the left, and looks at the spectator  Her left hand is at her breast ; her right hand holds her fan  She wears a black dress trimmed with lace, a close-fitting cap, a white lace collar and wristbands, and a pearl necklace  Grey background  Painted about the years 1635-40  Canvas, 31 1/2 inches by 25 1/2 inches  Exhibited in the Royal Academy Winter Exhibition, London, 1903, No  45  Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New York, 1909, No  31  Purchased in the Isle of Wight, 1896, from the grandson of George IV 's cook, who had formerly owned it, by the London dealers Dowdeswell  In the possession, successively, of the London dealer C  Wertheimer ; of the Paris dealer C  Sedelmeyer ; and the London dealers T  Agnew and Sons  In the collection of J  Pierpont Morgan, London "
Of this portrait's pendant, Hofstede de Groot noted that it did not resemble the wedding portrait of Michiel de Wael that he included as #242  Of this portrait of an as yet unidentified man, he wrote:282  PORTRAIT OF A MAN SEATED  M  135  Half-length  He faces right, and leans his left hand on a stick  He has a moustache and slight imperial  He wears a large black felt hat, a black costume, a white ruff, and yellowish-grey gloves  Doubtfully identified as a portrait of Michiel de Wael  [Compare 242 ] Inscribed, "AETAT SVAE 32 AN 1638" (the last numeral is not clear); canvas, 34 inches by 26 1/2 inches  Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New York, 1909, No  30  Bought in Paris by an elder Seymour (for  40)  Sale  Arthur Seymour, London, April I, 1897, No  113 (T  Agnew and Sons)  In the collection of J  Pierpont Morgan, London  
In 1974 Seymour Slive tried to trace the remark about the king's cook but there is no reference in the Royal collections of such a statement  He remarked on Andries' portrait bearing an inscription and coat of arms while Maria's portrait lacks this, but notes that coats of arms were generally added by later descendants 

Wedding pendant
See also
List of paintings by Frans Hals
Passage 6:
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 7:
Boris I of Bulgaria
Knyaz Boris I (also Bogoris), venerated as Saint Tsar Boris I (Mihail) the Baptizer  (Church Slavonic: Борисъ А҃  / Борисъ-Михаилъ Bulgarian: Борис I / Борис-Михаил; died 2 May 907), was the ruler of the First Bulgarian Empire in 852–889  At the time of his baptism in 864, Boris was named Michael after his godfather, Emperor Michael III  The historian Steven Runciman called him one of the greatest persons in history Despite a number of military setbacks, the reign of Boris I was marked with significant events that shaped Bulgarian and European history  With the Christianization of Bulgaria in 864 paganism (i e  Tengrism) was abolished  A skillful diplomat, Boris I successfully exploited the conflict between the Patriarchate of Constantinople and the Papacy to secure an autocephalous Bulgarian Church, thus dealing with the nobility's concerns about Byzantine interference in Bulgaria's internal affairs 
When in 885 the disciples of Saints Cyril and Methodius were banished from Great Moravia, Boris I gave them refuge and provided assistance which saved the Glagolithic and later promoted the development of the Cyrillic script in Preslav and the Slavic literature  After he abdicated in 889, his eldest son and successor tried to restore the old pagan religion but was deposed by Boris I  During the Council of Preslav which followed that event, the Byzantine clergy was replaced with Bulgarian, and the Greek language was replaced with what is now known as Old Church Slavonic 
He is regarded as a saint in the Orthodox Church, as the Prince and baptizer of Bulgaria, and as Equal-to-the-Apostles, with his feast day observed on May 2 and in Synaxis of all venerable and holy Fathers of Bulgaria (movable holiday on the 2nd Sunday of Pentecost) 

Name and titles
The most common theory is that the name Boris is of Bulgar origin  After his official act of conversion to Christianity, Boris adopted the Christian name Michael  He is sometimes called Boris-Michael in historical research 
The only direct evidence of Boris's title are his seals and the inscription found near the town of Ballsh, modern Albania, and at Varna  There he is called by the Byzantine title "Archon of Bulgaria", which is usually translated as "ruler", and in the 10-11th centuries also as "Knyaz" (Кнѧзъ, Bulg )  In the Bulgarian sources from that period, Boris I is called "Knyaz" or "Tsar" ("Царь", Bulg ), and during the Second Bulgarian Empire, "Tsar" In modern historiography Boris is called by different titles  Most historians accept that he changed his title after his conversion to Christianity  According to them, before the baptism he had the title Khan or Kanasubigi, and after that Knyaz 

Reign
Central Europe in the 9th century
The early 9th century marked the beginning of a fierce rivalry between the Greek East and Latin West, which would ultimately lead to the schism between the Orthodox Church in Constantinople and the Catholic Church in Rome 
As early as 781, the Empress Irene began to seek a closer relationship with the Carolingian dynasty and the Papacy  She negotiated a marriage between her son, Constantine, and Rotrude, a daughter of Charlemagne by his third wife Hildegard  Irene went as far as to send an official to instruct the Frankish princess in Greek; however, Irene herself broke off the engagement in 787, against her son's wishes  When the Second Council of Nicaea of 787 reintroduced the veneration of icons under Empress Irene, the result was not recognized by Charlemagne since no Frankish emissaries had been invited even though Charlemagne was by then ruling more than three provinces of the old Roman empire  While this improved relations with the Papacy, it did not prevent the outbreak of a war with the Franks, who took over Istria and Benevento in 788 
When Charlemagne was proclaimed Emperor of the Holy Roman Empire by Leo III, the Pope was effectively nullifying the legitimacy of Irene  He certainly desired to increase the influence of the papacy and to honour his protector Charlemagne  Irene, like many of her predecessors since Justinian I, was too weak to protect Rome and its much reduced citizenry and the city was not being ruled by any emperor  Thus, Charlemagne's assumption of the imperial title was not seen as an usurpation in the eyes of the Franks or Italians  It was, however, seen as such in Byzantium, but protests by Irene and her successor Nicephorus I had no great effect 
Mojmír I managed to unite some Slavic princes and established Great Moravia in 833  His successor, Rastislav, also fought against the Germans  Both states tried to maintain good relations with Bulgaria on account of its considerable military power 

Military campaigns
Boris I was the son and successor of Presian I of Bulgaria  In 852 he sent emissaries to Eastern Francia to confirm the peace treaty of 845  At the time of his accession he threatened the Byzantines with an invasion, but his armies did not attack, and he received a small area in Strandzha to the southeast  The peace treaty was not signed, however, although both states exchanged temporary delegations  In 854 the Moravian Prince Rastislav persuaded Boris I to help him against East Francia  According to some sources, some Franks bribed the Bulgarian monarch to attack Louis the German  The Bulgarian-Slav campaign was a disaster, and Louis scored a great victory and invaded Bulgaria  At the same time the Croats waged a war against the Bulgarians  Both peoples had coexisted peacefully up to that time, suggesting that the Croats were paid by Louis to attack Bulgaria and distract Boris' attention from his alliance with Great Moravia  Kanasubigi Boris could not achieve any success, and both sides exchanged gifts and settled for peace  As a result of the military actions in 855, the peace between Bulgaria and Eastern Francia was restored, and Rastislav was forced to fight against Louis alone  In the meantime, a conflict between the Byzantines and Bulgarians had started in 855–856, and Boris, distracted by his conflict with Louis, lost Philippopolis (Plovdiv), the region of Zagora, and the ports around the Gulf of Burgas on the Black Sea to the Byzantine army led by Michael III and the caesar Bardas 

Serbia
After the death of Knez Vlastimir of Serbia circa 850, his state was divided between his sons  Vlastimir and Boris' father had fought against each other in the Bulgarian-Serbian War of 839–842, which resulted in a Serbian victory, and Boris sought to avenge that defeat  In 853 or 854, the Bulgarian army led by Vladimir-Rasate, the son of Boris I, invaded Serbia, with the aim of replacing the Byzantine overlordship over the Serbs  The Serbian army was led by Mutimir and his two brothers; they defeated the Bulgarians, capturing Vladimir and 12 boyars  Boris I and Mutimir agreed to peace (and perhaps an alliance), and Mutimir sent his sons Pribislav and Stefan to the border to escort the prisoners, where they exchanged items as a sign of peace  Boris himself gave them "rich gifts", while he was given "two slaves, two falcons, two dogs, and 80 furs"  An internal conflict among the Serbian brothers resulted in Mutimir banishing the two younger brothers to the Bulgarian court  Mutimir, however, kept a nephew, Petar, at his court for political reasons  The reason for the feud is not known, though it is postulated that it was a result of treachery  Petar would later defeat Pribislav, Mutimir's son, and take the Serbian throne 

Motivations for baptism and conversion to Christianity
There are a number of versions as to why Boris converted to Christianity  Some historians attribute it to the intervention of his sister who had already converted while being at Constantinople   Another story mentions a Greek slave in the ruler's court   A more mythological version is the one in which Boris is astonished and frightened by an icon of Judgement day and thus decides to adopt Christianity  Richard B  Spence sees the decision as deliberate, practical, and politic For a variety of diplomatic reasons, Boris became interested in converting to Christianity  In order to both extend his control over the Slavic world and gain an ally against one of the most powerful foes of the Bulgars, the Byzantine Empire, Boris sought to establish an alliance with Louis the German against Ratislav of Moravia  Through this alliance, Louis promised to supply Boris with missionaries, which would have effectively brought the Bulgars under the Roman Church   However, late in 863, the Byzantine Empire under Emperor Michael III declared war on Boris and the Bulgars during a period of famine and natural disasters   Taken by surprise, Boris was forced to make peace with the Byzantines, promising to convert to Christianity according to the eastern rites, in exchange for peace and territorial concessions in Thrace (he regained the region of Zagora recently recovered by the Byzantines)   At the beginning of 864, Boris was secretly baptized at Pliska by an embassy of Byzantine clergymen, together with his family and select members of the Bulgarian nobility   With Emperor Michael III as his godfather, Boris also adopted the Christian name Michael Separate from diplomatic concerns, Boris was interested in converting himself and the Bulgarians to Christianity to resolve the disunity within the Bulgarian society  When he ascended to the throne, the Bulgars and Slavs were separate elements within Boris' kingdom, the minority Bulgars constituting a military aristocracy  Richard Spence compares it to the relationship between the Normans and Saxons in England  Religious plurality further contributed to divisions within the society  The Slavs had their own polytheistic belief system while the Bulgar elite believed in Tangra, the Sky God, or God of Heaven 
The arrival of Methodius and his followers introduced the Cyrillic alphabet, freeing the Bulgarians from dependence on Greek as a written and liturgical language  A Slavic Christian culture developed that helped unify the realm 

Baptism of the Bulgarians and the establishment of the Bulgarian Church
After his baptism, the first major task that Boris undertook was the baptism of his subjects and for this task he appealed to Byzantine priests between 864 and 866  At the same time Boris sought further instruction on how to lead a Christian lifestyle and society and how to set up an autocephalous church from the Byzantine Patriarch Photios   Photios' answer proved less than satisfactory, and Boris sought to gain a more favorable settlement from the Papacy   Boris dispatched emissaries led by the kavhan Peter with a long list of questions to Pope Nicholas I at Rome in August 866, and obtained 106 detailed answers, detailing the essence of religion, law, politics, customs and personal faith   Stemming from his concerns with the baptism of the Bulgarians, Boris also complained to Nicholas about the abuses perpetrated by the Byzantine priests responsible for baptizing the Bulgarians and how he could go about correcting the consequences resulting from these abuses  The pope temporarily glossed over the controversial question of the autocephalous status desired by Boris for his church and sent a large group of missionaries to continue the conversion of Bulgaria in accordance with the western rite  Bulgaria's shift towards the Papacy infuriated Patriarch Photios, who wrote an encyclical to the eastern clergy in 867 in which he denounced the practices associated with the western rite and Rome's ecclesiastical intervention in Bulgaria  This occasioned the Photian Schism, which was a major step in the rift between the eastern and western churches 
To deliver his response to Boris’ questions, Pope Nicholas I sent two bishops to Bulgaria: Paul of Populonia and Formosus of Porto  The Pope expected that these priests would execute their episcopal responsibilities to address Boris’ concerns, but did not intend for them to be elevated to the positions that they assumed in the Bulgar hierarchy  In Bulgaria, the activities of Bishop Formosus (later Pope Formosus) met with success, until the pope rejected Boris' request to nominate Formosus as archbishop of Bulgaria  Nicholas justified the rejection of the request by arguing that it was “uncanonical to transfer an already established bishop from one see to another”  The new Pope Adrian II refused Boris' request for a similar nomination of either Formosus or Deacon Marinus (later Pope Marinus I), after which Bulgaria began to shift towards Constantinople once again   At the Fourth Council of Constantinople in 870 the position of the Bulgarian church was reopened by Bulgarian envoys, and the eastern patriarchs adjudicated in favor of Constantinople   This determined the future of the Bulgarian Orthodox Church, which was granted the status of an autocephalous archbishopric by the Patriarchate of Constantinople and an archbishop of its own  Later in the 870s, the Patriarch of Constantinople surrendered Bulgaria to the Papacy, but this concession was purely nominal, as it did not affect the actual position of Bulgaria's autocephalous church The Christianization of the Bulgarians as a result of Boris’ actions had profound effects not only on the religious belief system of the Bulgarians but also the structure of the Bulgarian government  Upon embracing Christianity, Boris took on the title of Tsar and joined the community of nations that embraced Christ, to the great delight of the Eastern Roman Empire, which was later given the name Byzantium by historians Toward the end of his reign, Boris began to increase the number of native Bulgarian clergy  Consequently, Boris began to send Bulgarians to Constantinople to obtain a monastic education and some of these Bulgarians returned to their homeland to serve as clergymen  In 885, Boris was presented with a new opportunity to establish a native clergy when Slavic-speaking disciples of St  Cyril and St  Methodius were forced to flee from Moravia after a German-inspired reaction to the death of the apostle 

Changes to Bulgarian culture brought on by Clement and Naum
In 886 Boris' governor of Belgrade welcomed the disciples of Saint Cyril and Saint Methodius, who were exiled from Great Moravia into Bulgaria and sent them on to Boris in Pliska  Boris happily greeted two of these disciples, Clement of Ohrid and Naum of Preslav, who were of noble Bulgarian Slavic origin  To utilize the disciple's talents, Boris commissioned Clement to be a “teacher” in the province of Kutmichevitsa 
Both Clement and Naum were instrumental in furthering the cultural, linguistic and spiritual works of Cyril and Methodius  They set up educational centers in Pliska and in Ohrid to further the development of Slavonic letters and liturgy  Clement later trained thousands of Slavonic-speaking priests who replaced the Greek-speaking clergy from Constantinople still present in Bulgaria  The script that was originally developed by Cyril and Methodius is known as the Glagolitic alphabet 
In Bulgaria, Clement of Ohrid and Naum of Preslav created (or rather compiled) the new Bulgarian script, later called Cyrillic that was declared the official alphabet in  893  Old Bulgarian was declared as the official language in the same year  In the following centuries this script was adopted by other Slavic peoples and states  The introduction of Slavic liturgy paralleled Boris' continued development of churches and monasteries throughout his realm 

Reactions to religious conversion
Conversion to Christianity met great opposition among the Bulgarian elite  Some refused to become Christians while others apostatized after baptism and started a rebellion against Boris for forcing them to be baptized  Some people did not object necessarily to the Christian religion but to the fact that it was brought by foreign priests, which, as a result, established external foreign policy  By breaking the power of the old cults, Boris reduced the influence of the boyars, who resisted the khan's authority  In the summer of 865 a group of Bulgar aristocrats (boyars) started an open revolt  Boris ruthlessly suppressed it and executed 52 boyars together with their entire families  Thus the Christianization continued 

End of Boris' reign
In 889 Boris abdicated the throne and became a monk  His son and successor Vladimir attempted a pagan reaction, which brought Boris out of retirement in 893  Vladimir was defeated and Boris had him blinded, his wife shaved and sent to a monastery  Boris gathered the Council of Preslav placing his third son, Tsar Simeon I of Bulgaria, on the throne, threatening him with the same fate if he too apostatized  Boris returned to his monastery, emerging once again in c  895 to help Simeon fight the Magyars, who had invaded Bulgaria in alliance with the Byzantines  After the passing of this crisis, Boris resumed monastic life and died in 907  The location of his retreat, where perhaps he was interred, is not certain; it may be near Preslav, or Pliska, or in a monastery near Varna or Ravda 

Legacy
St  Boris Peak on Livingston Island in the South Shetland Islands, Antarctica is named for Boris I of Bulgaria 
Boris I's life is featured in the 1985 film "Boris I" (Борис Първи), with Stefan Danailov in the title role 

See also
Christianization of Bulgaria
Cyril and Methodius
Glagolitic alphabet

Footnotes
Passage 8:
Maria (wife of Boris I of Bulgaria)
Maria (Bulgarian: Мария) was a Bulgarian royal consort as the wife of the Knyaz Boris I of Bulgaria  Her parents are unknown  She is mentioned in one charter from 850/96, together with her family members  
These are the children of Boris and Maria:

Vladimir of Bulgaria
Gavriil (Gabriel)
Simeon I of Bulgaria
Jacob
Anna

Footnotes


== External links ==
Passage 9:
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 10:
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)



ground_truth: Preslav

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

Question: What nationality is Princess Charlotte Of Saxe-Meiningen's husband?

The following are given passages.
Context 2: Passage 1:
Georg, Prince of Saxe-Meiningen
Georg, Prince of Saxe-Meiningen (11 October 1892 – 6 January 1946) was the head of the house of Saxe-Meiningen from 1941 until his death 

Biography
He was born in Kassel the eldest son of Prince Frederick Johann of Saxe-Meiningen (1861-1914) and Countess Adelaide of Lippe-Biesterfeld (1870–1948)  His father was a son of Georg II, Duke of Saxe-Meiningen and his mother a daughter of Count Ernst of Lippe-Biesterfeld  Georg studied law at the Universities of Munich and Jena Georg suspended his studies to serve in World War I and saw action as a Captain in a cavalry regiment  His uncle Bernhard III abdicated on 10 November 1918 following the German Revolution as the German monarchies were abolished  After the war he resumed his law studies and for a time served as a substitute judge for the town of Hildburghausen in the Free State of Thuringia  On 1 May 1933 he joined the Nazis, becoming NSDAP member (# 2 594 794) 
After the death of his uncle Ernst on 29 December 1941, Georg succeeded to the headship of the house of Saxe-Meiningen and assumed the title of Duke of Saxe-Meiningen and style Georg III 
Georg died in the Russian prisoner of war camp near Cherepovets (Tscherepowetz in German) in Northern Russia  His heir was his second and only surviving son Prince Frederick Alfred who renounced the succession, being a monk in 1953, allowing it to pass to his uncle Bernhard 

Marriage and children
He was married in Freiburg im Breisgau on 22 February 1919 to Countess Klara Marie von Korff genannt Schmising-Kerssenbrock (Darmstadt, 31 May 1895 - Högerhof bei Türnitz, Lower Austria, 10 February 1992)  They had four children:

Ancestry
Passage 2:
Ernest II, Duke of Saxe-Gotha-Altenburg
Ernest II, Duke of Saxe-Gotha-Altenburg (Gotha, 30 January 1745 – Gotha, 20 April 1804) was the reigning Duke of Saxe-Gotha-Altenburg from 1772 to 1804  He was the third but second surviving son of Frederick III, Duke of Saxe-Gotha-Altenburg and Luise Dorothea of Saxe-Meiningen  The death of his older brother Frederick in 1756 made him the heir to the duchy of Saxe-Gotha-Altenburg 

Early life
Luise Dorothea was intensely worried about the training of her surviving sons, Ernest and her youngest son August, and had them educated by a select group of teachers  In 1768 and 1769, both princes went on an educational journey to the Netherlands, England and France, and Ernest met important people in politics, science and the arts 

Succession
In 1772 his father died, and Ernest inherited the duchy of Saxe-Gotha-Altenburg  As a liberal and enlightened prince, he was interested in the arts and sciences and used his reign to further them  He promoted the educational system, the economy, theatre, art collections and libraries as well as the natural sciences in his duchy, which was thereby ranked in the top place of the Saxon duchies in Thuringia  Privately, he was particularly interested in astronomy and physics  He appointed competent specialists in all of these areas like the mechanic and clockmaker Johann Andreas Klindworth to whom he granted the title of court mechanic For his special interests, he employed the services of the important astronomer Franz Xaver von Zach for Gotha  With him, he established the Observatory of Gotha (Sternwarte Gotha), which developed into a European centre of astronomy  His will stated that this institution should survive as the only visible indication of his existence  It was so successful that Gotha, despite its size, was thought of as a place that important people of the time should visit  One such person was Goethe, who visited several times 

Freemasonry
From 1774 he was a Freemason in the Zinnendorf system and a member of the Gotha Lodge Zum Rautenkranz, which had been founded by Abel Seyler, Konrad Ekhof and other members of the Seyler Theatre Company in the same year  In 1775, he was appointed Grand Master of the Landesloge of Germany (Zinnendorf system)  In 1783, he became a member of the Bavarian Illuminati under the name of Quintus Severus and/or Timoleon, and in 1784, he was made Supervisor of Abessinien (a name for Upper Saxony)  In 1787, he granted Adam Weishaupt, the founder of the secret society, asylum in Gotha  He was buried wrapped in a white cloth on the park island 

Descendants
In Meiningen on 21 March 1769, Ernest married Princess Charlotte of Saxe-Meiningen, the half-first cousin of his mother  They had four sons:

Ernest (b  Gotha, 27 February 1770 – d  Gotha, 3 December 1779) 
Emil Leopold August, Duke of Saxe-Gotha-Altenburg (b  Gotha, 23 November 1772 – d  Gotha, 27 May 1822), known as Augustus 
Frederick IV, Duke of Saxe-Gotha-Altenburg (b  Gotha, 28 November 1774 – d  Gotha, 11 February 1825) 
Ludwig (b  Gotha, 21 October 1777 – d  Gotha, 26 October 1777) 

Ancestors
Passage 3:
Karl Wilhelm, Duke of Saxe-Meiningen
August Friedrich Karl Wilhelm, Duke of Saxe-Meiningen (Frankfurt, 19 November 1754 – Sonneberg, 21 July 1782), was a duke of Saxe-Meiningen 

Family
He was the first son of Anton Ulrich, Duke of Saxe-Meiningen and Charlotte Amalie of Hesse-Philippsthal 

Reign
August Friedrich succeeded his father in the duchy of Saxe-Meiningen (1763) when he was only eight years old  Because of this, his mother, the Dowager Duchess Charlotte Amalie, acted as regent during his minority, which ended in 1779  He was succeeded by his last younger surviving brother, Georg 

Marriage
In Gedern on 5 June 1780, Karl Wilhelm married Louise of Stolberg-Gedern  They had no children  The widowed Louise later married Duke Eugen of Württemberg and had issue 

Ancestry
Passage 4:
Princess Feodora of Saxe-Meiningen
Princess Feodora of Saxe-Meiningen (Feodora Viktoria Auguste Marie Marianne; 12 May 1879 – 26 August 1945) was born at Potsdam, the only child of Bernhard III, Duke of Saxe-Meiningen, and his wife, Princess Charlotte of Prussia (the eldest daughter of Frederick III, German Emperor, and Victoria, Princess Royal)  Feodora was the first great-grandchild of both Queen Victoria of Great Britain and Emperor William I of Germany 

Early life
Princess Feodora was born on 12 May 1879 as the only child of Bernhard, Hereditary Prince of Saxe-Meiningen, and his wife Princess Charlotte of Prussia, herself the eldest daughter of German Crown Prince Frederick William and Crown Princess Victoria  The new baby was the first grandchild of the Crown Prince and Princess, and through her mother was also the first great-grandchild of the British Queen Victoria Charlotte, who loved to socialize, had hated being pregnant, believing that it limited her activities  Preferring to return to enjoying social life in Berlin, she declared after Feodora's birth that she would have no further children, dismaying her mother, Crown Princess Victoria  It was unusual to be an only child in European royal families, and Feodora likely endured a lonely childhood  Charlotte loved to travel, and often left her daughter with Vicky at Friedrichshof, whom she viewed as the source of a convenient nursery  The Crown Princess, for her part, loved having the chance to spend time with her eldest granddaughter  Describing Feodora on one visit, she wrote that "she is really a good little child, & far easier to manage than her Mama" Victoria, who became German empress in 1888, perceived a deficit in Feodora's upbringing and gradually became concerned about the girl's physical appearance and mental development, describing the thirteen-year-old as possessing "sharp pinched features" and an unusually short stature  Feodora also cared little for her studies, preferring instead to discuss fashion  Her grandmother, who placed a high value on education, blamed insufficient parental guidance for the girl's lack of studiousness, commenting that the "atmosphere of her home is not the best for a child of her age    With Charlotte for an example, what else can one expect    Her parents are rarely ever at home or together    She hardly knows what home life is!"Queen Victoria was fond of her eldest great-grandchild  In June 1887, the young Feodora and her parents attended the queen's  Golden Jubilee in London  While her parents stayed at Buckingham Palace, Feodora stayed with her young cousin Princess Alice of Battenberg at the home of the Dowager Duchess of Buccleuch at Whitehall, allowing the girls to watch the royal procession as it made its way to Westminster Abbey  Queen Victoria described her as "sweet little Feo, who is so good and I think grown quite pretty  We were delighted to have her and I think the dear child has enjoyed herself "

Marriage
As Feodora grew older, her marriage began to be a consideration  The exiled Prince Peter Karađorđević, thirty-six years older than Feodora, proposed himself as a suitor, though this was likely a bid to gain support for succeeding to the Serbian throne  Charlotte declared that "for such a throne Feodora is far too good"  Her mother's maternal first cousin Alfred, Hereditary Prince of Saxe-Coburg and Gotha, the only son of Charlotte's friend (and Feodora's maternal grandaunt) the Duchess of Saxe-Coburg and Gotha, was also considered Several months after returning from Queen Victoria's Diamond Jubilee celebrations in June 1897, Feodora became engaged to Prince Heinrich XXX Reuss of Köstritz (1864-1939), with the betrothal announced in early October  Born in Castle Neuhoff, he was the youngest son of Prince Heinrich IX Reuss of Köstritz (1827-1898) and Baroness Anne Marie Wilhelmine Helene of Zedlitz und Leipe (1829-1907)  Henry's father died in early 1898, forcing a temporary postponement of the marriage  Rumours that the marriage had been cancelled proved to be untrue, and they married at Breslau on 24 September 1898 in  a Lutheran ceremony  Princess Feodora was the only great-grandchild of Queen Victoria and only grandchild of German Empress Victoria to be married in their lifetimes; she married in 1898 and both the Queen and the German Empress died in 1901 
Prince Henry was a captain in the Brunswick Infantry Regiment No  92, though not particularly wealthy or high-ranked  Feodora's grandmother Empress Victoria was surprised at the choice of groom, particularly his lack of position, but observed that the bride at least seemed happy  Of the fifteen-year age gap, Victoria commented, "I am very glad he is older than she is, and if he is wise and steady and firm, he may do her a vast deal of good, and it may turn out very well, but she has had a strange example in her mother, and is a strange little creature " The historian John Van der Kiste writes that Feodora was "evidently besotted" with her new husband, and she likely also sought marriage as an escape from her "irksome home life" Once returned from their honeymoon, Henry spent much of his time on duty with his regiment, while Feodora joined a reading group and attended the opera and theatre in Berlin  Feodora also often accompanied her husband during his military assignments, travelling throughout Germany 

Last years
Feodora suffered most of her adult life from ill health, describing it as "the old story" of her life  Like her mother and maternal grandmother, and maternal great grandmother Feodora's illnesses included dizziness, insomnia, nausea, various pains, paralysis, constipation, and diarrhoea  She underwent several operations to treat her illnesses and alleviate her infertility, each without success Feodora visited Windsor Castle in 1900, which would be the last time she saw her great-grandmother before Queen Victoria's death the following year  Henry attended her funeral, but ill health kept Feodora from attending  Feodora blamed malaria for her condition, though Charlotte told family members that Henry had given his wife a venereal disease, an allegation Feodora furiously denied  Charlotte asked her daughter to get tested by Charlotte's personal physician; when Feodora refused, it confirmed to Charlotte that her beliefs were correct  In reaction, Feodora refused to enter her mother's house and complained to family members of Charlotte's "incredible" actions In 1903, the couple moved to Flensburg upon Henry being transferred, where they lived in a small house  Feodora found that the region's mild climate had a positive impact on her health  To further improve it and increase the probability of becoming pregnant, she took pills of arsenic and thorium  Her poor health recurred, however, and she again began suffering from toothache and migraines  In October 1904, a serious illness was blamed on influenza  Her further efforts to conceive included numerous visits to private clinics through the years, which often led to painful surgeries and procedures 

Two World Wars
With the outbreak of World War I, Henry was dispatched to the Western Front, while his wife opened a small hospital to treat wounded soldiers  By this stage, relations between him and his wife had deteriorated; Henry believed Feodora enjoyed complaining about being sick and seeing doctors  He wrote that her illness "consists mainly in complete lack of energy and mental apathy", and complained that "she grossly exaggerates her illnesses and causes me and others quite unnecessary anxiety"  Henry died in 1939 
After the war concluded with Germany's defeat, Feodora's father's rule over the Duchy of Saxe-Meiningen was ended  Her post-war life is mostly unknown, and records of her subsequent medical history have mainly been lost  She spent her final years at the Sanatorium Buchwald-Hohenwiese, near Hirschberg, Silesia, in what is now southwestern Poland  She died by suicide on 26 August 1945, dying shortly after World War II ended  In describing Feodora's life, the historian John Van der Kiste writes that "the princess who had so desperately wanted children of her own had instead continued to battle with constant physical ailments, insomnia and severe depression, and endured many years of ill-health similar to that of her mother" 

Medical analysis
In the 1990s, the historian John Röhl and his colleagues Martin Warren and David Hunt found Feodora's grave in Poland, exhuming the body for DNA analysis in the belief that it would reveal signs of the genetic disease porphyria however, it was proved inconclusive 

Ancestry
Passage 5:
Princess Charlotte of Saxe-Meiningen
Princess Charlotte of Saxe-Meiningen (German: Marie Charlotte Amalie Ernestine Wilhelmine Philippine, Prinzessin von Sachsen-Meiningen) (11 September 1751, Frankfurt am Main, Free Imperial City of Frankfurt, Holy Roman Empire – 25 April 1827, Genoa, Kingdom of Sardinia) was a member of the House of Saxe-Meiningen and a Princess of Saxe-Meiningen by birth and a member of the House of Saxe-Gotha-Altenburg and Duchess consort of Saxe-Gotha-Altenburg through her marriage to Ernest II, Duke of Saxe-Gotha-Altenburg 

Early life and family
Princess Charlotte was born on 
11 September 1751  She was the eldest child and daughter of Anton Ulrich, Duke of Saxe-Meiningen and his second wife, Landgravine Charlotte Amalie of Hesse-Philippsthal  Charlotte was an elder sister of Charles William, Duke of Saxe-Meiningen and George I, Duke of Saxe-Meiningen 

Marriage
Charlotte married Ernest, Hereditary Prince of Saxe-Gotha-Altenburg (later Duke of Saxe-Gotha-Altenburg), son of Frederick III, Duke of Saxe-Gotha-Altenburg and his wife Luise Dorothea of Saxe-Meiningen, on 21 March 1769 in Meiningen  Charlotte and Ernest had four children:

Ernest, Hereditary Prince of Saxe-Gotha-Altenburg (b  Gotha, 27 February 1770 – d  Gotha, 3 December 1779) 
Augustus, Duke of Saxe-Gotha-Altenburg (b  Gotha, 23 November 1772 – d  Gotha, 27 May 1822)
Frederick IV, Duke of Saxe-Gotha-Altenburg (b  Gotha, 28 November 1774 – d  Gotha, 11 February 1825) 
Prince Ludwig of Saxe-Gotha-Altenburg (b  Gotha, 21 October 1777 – d  Gotha, 26 October 1777) Charlotte's husband, Ernest, was regarded as an enlightened monarch and a great patron of art and science, who led his country into a cultural flowering  He was assisted in his cultural undertakings by his wife, Charlotte 
Like her husband, Charlotte was a patron of astronomy  She counted relief panels for the court astronomer Franz Xaver von Zach and she also participated in observations  Charlotte also participated in the First European Astronomy Congress in 1798 at the Seeberg Observatory and independently corresponded with the leading astronomers of her time 

Later life
After her husband's death in 1804, there were difficulties with Charlotte's son, Augustus, upon his succession  Charlotte left Gotha with Zach and spent some time in Eisenberg  Later she traveled with Zach throughout southern Europe and lived several years in Marseilles, and later in Genoa, where she died in 1827 

Ancestry
Passage 6:
Bernhard, Prince of Saxe-Meiningen
Bernhard, Prince of Saxe-Meiningen (German: Bernhard, Prinz von Sachsen-Meiningen; 30 June 1901 – 4 October 1984) was the head of the House of Saxe-Meiningen from 1946 until his death 

Prince of Saxe-Meiningen
Bernhard was born in Köln the third son of Prince Frederick Johann of Saxe-Meiningen and Countess Adelaide of Lippe-Biesterfeld  His father was the second son of Georg II, Duke of Saxe-Meiningen and his mother a daughter of Count Ernst of Lippe-Biesterfeld 
After the death of his older brother Prince Georg in 1946 his nephew Prince Frederick Alfred renounced his succession rights and so Bernhard succeeded to the headship of the house of Saxe-Meiningen and the nominal title of Duke of Saxe-Meiningen (as Bernhard IV) 
As his first marriage was morganatic his second son Prince Frederick Konrad succeeded him as head of the ducal house following his death in Bad Krozingen 
Bernhard and his first wife were declared guilty of a Nazi conspiracy against Austria in 1933; he was sentenced to six weeks in prison, while she was placed under house arrest  After intervention of the German envoy, he was released from prison, upon which they escaped to Italy  Three weeks later he was arrested while trying to return to his castle of Pitzelstaetten

Family
Bernhard was married morganatically to Margot Grössler (1911–1998), a merchant's daughter from Breslau (today: Wrocław) in Eichenhof im Riesengebirge on 25 April 1931  This union ended in divorce on 10 June 1947  They had two children, both of whom had no succession rights:

Princess Feodora of Saxe-Meiningen (27 April 1932) she married Burkhard Kippenberg on 6 April 1967  They have one son:
Walter Johannes Kippenberg (27 January 1968)
Prince Frederick Ernest of Saxe-Meiningen  (21 January 1935 – 13 July 2004) he married Ehrengard von Massow on 3 March 1962  He remarried Princess Beatrice of Saxe-Coburg and Gotha on 12 June 1977  They have two children and one grandson:
Princess Marie Alexandra of Saxe-Meiningen (5 July 1978) married Benno Beat Christian Wiedmer on 27 July 2004 
Prince Friedrich Constantin of Saxe-Meiningen (3 June 1980) He has one son with Sophia Lupus:
Michael of Saxe-Meiningen (July 2015)Bernhard married secondly in Ziegenberg über Bad Nauheim on 11 August 1948 to Baroness Vera Schäffer von Bernstein (1914–1994)  They had three children, whose son Konrad with full rights to the succession to the house of Saxe-Meiningen:

Princess Eleonore Adelaide of Saxe-Meiningen (9 November 1950) she married Peter Eric Rosden on 22 October 1982 
Prince Frederick Konrad of Saxe-Meiningen (14 April 1952)
Princess Almut of Saxe-Meiningen (25 September 1959) she married Eberhard von Braunschweig on 16 October 1993  They have two children:
Marie Cecilie von Braunschweig (4 August 1994)
Julius-Alexander von Braunschweig (20 October 1996)

Ancestry
Passage 7:
Princess Marie Elisabeth of Saxe-Meiningen
Princess Marie Elisabeth of Saxe-Meiningen (23 September 1853 – 22 February 1923) was the only daughter of Georg II, Duke of Saxe-Meiningen, by his first wife, Princess Charlotte of Prussia  She was notable as a musician and composer  One of her most famous works is Romanze in F major for clarinet and piano 

Early life
Princess Marie Elisabeth was born on 23 September 1853 in Potsdam  She was the third child and only daughter of Georg, Hereditary Prince of Saxe-Meiningen, by his first wife, Princess Charlotte of Prussia, and had one surviving brother, Hereditary Prince Bernhard  Her parents' marriage was very happy, as it was the rare instance of a love match rather than a marriage of state  In 1855, tragedy struck with the death of their younger infant brother; Charlotte died three months later of complications after childbirth of a baby son, two months earlier  This youngest brother died, one day old  Georg was inconsolable, but remarried several years later to Princess Feodora of Hohenlohe-Langenburg in order to provide a mother for his remaining young children  Marie Elisabeth's father succeeded as Duke Georg II of Saxe-Meiningen in 1866  His second marriage was unhappy; it produced three younger brothers (Ernst, Friedrich, and Viktor) for Marie Elisabeth before Feodora's death in 1872 Marie Elisabeth's father participated in the Franco-Prussian War, where he fought in nearly every battle  After the war, Georg II devoted himself to the stage, and his court became famous for its brilliance and culture  A year after Feodora's death, Georg II married for a third and last time to Ellen Franz, a stage actress  A happy marriage, together they founded the Meiningen Ensemble, which became the centre for dramatic art in Germany 

Music
As her father was a great patron of the stage and the founder of a national theater, Marie Elisabeth was raised in this environment, consequently becoming artistic and a great lover of music like her parents  She received a thorough education under the tutelage of Theodor Kirchner, a talented pianist  Her father was a great patron of German composer and pianist Johannes Brahms, who worked as a music teacher in Meiningen for various pupils, including Marie Elisabeth, whom he gave piano lessons to  In addition to Brahms, Marie Elisabeth was in close contact with other famous musicians, such as Richard Strauss, Franz Mannstädt, and Hans von Bülow 
Marie Elisabeth was a student of the Conservatorium; she and Prince Alexander of Hesse, another royal pupil of Brahms, celebrated the birthday of musician Joachim Raff in Frankfurt in 1886  There, they interpreted Brahm's Sonata (Op  78) for pianoforte and violin in a special feature for the ceremony  At the 1878 wedding of her elder brother Bernhard to Princess Charlotte of Prussia, eldest daughter of German Crown Prince Frederick William, Marie Elisabeth composed a piece of music specially meant for the occasion entitled torch dance 
As of 1913, Marie Elisabeth was the author of Einzugsmarsch for orchestra, Fackeltanz for piano as well as several other piano compositions  She also wrote a "pretty" Cradle Song for violin and piano, and, in 1892, she produced a Romanze in F major for clarinet and piano which had been influenced by Brahms' teachings  At her residence in Berchtesgaden, Marie Elisabeth received a regular circle of artists and encouraged talented singers by financing their education 
Marie Elisabeth died on 22 February 1923 in Obersendling  She never married, and is buried in the cemetery park in Meiningen 

Ancestry
Passage 8:
Princess Louise Eleonore of Hohenlohe-Langenburg
Princess Louise Eleonore of Hohenlohe-Langenburg (11 August 1763, in Langenburg – 30 April 1837, in Meiningen) was a German regent   She was duchess of Saxe-Meiningen by marriage to George I, Duke of Saxe-Meiningen, and Regent of Saxe-Meiningen during the minority of her son from 1803 to 1821 

Life
Louise Eleonore was a daughter of Prince Christian Albert Louis of Hohenlohe-Langenburg (1726-1789) and his wife Princess Caroline of Stolberg-Gedern (1732–1796) 
On 27 November 1782, in Langenburg, she married George I, Duke of Saxe-Meiningen 

Regency
When her husband died on 24 December 1803, she took over as regent of the duchy for their son Bernhard II  She ruled with energy, courage, and good sense during the Napoleonic Wars, which for the next decade ravaged the Saxon states The duchy was forced to join the Confederation of the Rhine during these Wars and provide it with troops; afterwards the duchy was struck with famine, which Luise sought to prevent by importing wheat   French armies, and later those of Russia, marched back and forth across the country, but Luise refused to flee; she stayed with her infant son and two daughters inside their castle She used every strategy to preserve the autonomy of her regency, so that when she joined the Allies in 1813, she had saved the duchy for her son  He became the ruling Duke of Meiningen eight years later By adjustments in the duchy's administration she ensured the duchy was better managed and in 1821 opened the Gymnasium Bernhardinum in Meiningen (already begun by her husband)  
Her children were carefully educated, with a grand tour to Italy under their tutor Johann Heinrich Pestalozzi   After her son came of age, Luise retired as regent and went on several foreign trips, including one to England to visit her daughter Adelaide 

Issue
Adelheid  (later Adelaide, 13 August 1792 – 2 December 1849), with whom Luise had a very close relationship; in 1818 she married King William IV of the United Kingdom while Luise was regent and special taxes needed to be instituted in the duchy to raise funds for her enormous dowry (6,000 florins per year) 
Ida (25 June 1794 – 4 April 1852), married Prince Bernhard of Saxe-Weimar-Eisenach 
Stillborn daughter (16 October 1796) 
Bernhard II, Duke of Saxe-Meiningen, (17 December 1800 – 3 December 1882), married Princess Marie Frederica of Hesse-Kassel (1804–1888) 

Ancestry
Passage 9:
Friedrich Wilhelm, Duke of Saxe-Meiningen
Friedrich Wilhelm, Duke of Saxe-Meiningen (16 February 1679 in Ichtershausen – 10 March 1746 in Meiningen), was a duke of Saxe-Meiningen 

Life
He was the fifth son of Bernhard I, Duke of Saxe-Meiningen and his first wife, Marie Hedwig of Hesse-Darmstadt 
When his father died in 1706, according to his will, he inherited the duchy of Saxe-Meiningen with his older full-brother, Ernst Ludwig I, and his younger half-brother, Anton Ulrich 
But, shortly after, Ernst Ludwig signed a contract between himself and his brothers, and they were compelled to leave full control of the duchy in his hands 
When Ernst Ludwig died (1724), Friedrich Wilhelm and Anton Ulrich took again the government of the duchy as guardians of his nephews until 1733 
After the death of his nephew, Karl Frederick (1743), he inherited the duchy of Saxe-Meiningen 
Friedrich Wilhelm never married and died after only three years of reigning  He was succeeded by his younger half-brother, Anton Ulrich 

Ancestors
Passage 10:
Bernhard III, Duke of Saxe-Meiningen
Bernhard III (German: Bernhard Friedrich Wilhelm Albrecht Georg; 1 April 1851 – 16 January 1928), was the last reigning duke of Saxe-Meiningen 

Biography
Bernhard was born on 1 April 1851 at Meiningen in what was then the German Confederation,
as the eldest son of Georg II, Duke of Saxe-Meiningen and his first wife Princess Charlotte of Prussia Bernhard had one full sister, Princess Marie Elisabeth, and several half-brothers by his father's second marriage  
From 1860 Bernhard was schooled by a Prof  Rossmann before he went to study at Heidelberg University in 1869  For the war against France he interrupted his studies and served as Ordonnanz-Offizier  After the war ended he resumed his studies at Leipzig  From 1873 he again served in the military and rose into the highest echelons: By 1905 he was Generaloberst and inspector general of the 2nd Army Inspection (Central Germany)  In 1909, he became Generaloberst im Range eines Generalfeldmarschalls and retired from active service in 1912 

He married in Berlin on 18 February 1878 Princess Charlotte of Prussia, his second cousin, daughter of Frederick III, German Emperor and granddaughter of the Queen Victoria  They had one daughter: Princess Feodora of Saxe-Meiningen (b  Potsdam, 12 May 1879 - d  Schloß Neuhoff, 26 August 1945), married on 24 September 1898 to Heinrich XXX of Reuss-Köstritz 

Reign
Bernhard assumed the Duchy of Saxe-Meiningen after the death of his father in 1914  With the start of World War I Bernhard hoped to be assigned command over an army but was disappointed  In reaction he also withdrew from his role in the Duchy's government After Germany lost the war, the German revolution forced Bernhard to abdicate as duke on 10 November 1918  Like all the German princes he lost his title and state  He spent the rest of his life in his former country as a private citizen Bernhard died on 16 January 1928 in Meiningen  He is buried next to his wife in the park at Altenstein 

Interests
Despite his military career he also took a great interest in the arts  He was active as a composer, poet and translator  He was known in particular as an expert on Modern Greek and was renowned for translating German literature into Greek  For his historical studies, for which he repeatedly travelled to Greece and Asia Minor, the University of Breslau awarded him an honorary doctorate 

Honours
Ernestine duchies: Grand Cross of the Saxe-Ernestine House Order, 1869; Joint Grand Master, 25 June 1914
 Kingdom of Prussia:Iron Cross (1870), 2nd Class
Grand Commander's Cross of the Royal House Order of Hohenzollern, 2 April 1877
Knight of the Order of the Black Eagle, 23 April 1877; with Collar, 1878
 Saxe-Weimar-Eisenach: Grand Cross of the Order of the White Falcon, 1870
 Grand Duchy of Hesse: Grand Cross of the Grand Ducal Hessian Order of Ludwig, 18 February 1878
 Belgium: Grand Cordon of the Order of Leopold (military division), 25 February 1878
 Oldenburg: Grand Cross of the House and Merit Order of Duke Peter Friedrich Ludwig, with Crown in Gold, 18 February 1878
 Baden:Knight of the House Order of Fidelity, 1881
Knight of the Order of Berthold the First, 1881
 Kingdom of Saxony: Knight of the Order of the Rue Crown, 1885
  Austria-Hungary: Grand Cross of the Royal Hungarian Order of St  Stephen, 1887
 United Kingdom: Honorary Knight Grand Cross of the Most Honourable Order of the Bath (civil division), 21 June 1887
 Empire of Japan: Grand Cordon of the Supreme Order of the Chrysanthemum, 5 February 1896
 Russian Empire: Knight of the Imperial Order of St  Alexander Nevsky, 1896

Ancestry
Context 3: Passage 1:
Our Agent Tiger
Le tigre se parfume à la dynamite (Our Agent Tiger) is a 1965 secret agent spy film directed by Claude Chabrol and starring and written by Roger Hanin as the Tiger  It is a sequel to the 1964 film Le Tigre aime la chair fraiche 

Plot
The Tiger is sent to oversee the excavation of a sunken ship  While busy retrieving the gold treasure inside the vessel, The Tiger is constantly thwarted by international enemies  Among them is an old Nazi named Hans von Wunchendorf who dreams of world domination  He hides behind the codename "The Orchid" and needs the treasure to sustain a worldwide network of exiled former comrades  Once sanified by the gold his organisation plans to realise the endsieg after all 

Cast
Roger Hanin as Louis Rapière, "le Tigre"
Margaret Lee as Pamela Mitchum / Patricia Johnson
Michel Bouquet as Jacques Vermorel
Micaela Pignatelli as Sarita Sanchez
Carlos Casaravilla as Ricardo Sanchez
José Nieto as Pepe Nieto
José María Caffarel as Colonel Pontarlier
George Rigaud as Commander Damerec

Bibliography
Blake, Matt; Deal, David (2004)  The Eurospy Guide  Baltimore: Luminary Press  ISBN 1-887664-52-1 
Passage 2:
Le Tigre aime la chair fraiche
Le Tigre aime la chair fraîche ("The Tiger loves fresh meat"), English title Code Name: Tiger, is a 1964 French Eurospy film directed by Claude Chabrol and starring Roger Hanin as the spy Louis Rapière, code named "The Tiger"  The screenplay was written by Chabrol and Hanin  It was an attempt to create a French franchise equal to James Bond, and its female lead, Daniela Bianchi, had the previous year appeared in the James Bond film From Russia with Love  The film had a sequel in 1965, Le tigre se parfume à la dynamite (Our Agent Tiger) 

Plot
The French government plans an international arms deal with the help of a Turkish diplomate named Baskine  But a group of terrorists menaces the diplomat  When the government receives intelligence concerning a looming attempt on Baskine's life, they assign Louis Rapière a k a  "The Tiger" to guard Baskine and his family  Rapière immediately proves this decision right by scarcely foiling an assassination  Unfortunately more than one group is after Baskine  They are closing in on Baskine independently from each other 

Cast
Roger Hanin as Louis Rapière a k a  'le Tigre'
Maria Mauban as Madame Baskine
Daniela Bianchi as Mehlica Baskine
Roger Dumas as Duvet
Antonio Passalia as Coubassi
Jimmy Karoubi as Jean-Luc
Roger Rudel as Benita
Carlo Nell as the assassin in the theatre

Crew
Josée Dayan was the assistant director on the movie 

Bibliography
Blake, Matt; Deal, David (2004)  The Eurospy Guide  Baltimore: Luminary Press  ISBN 1-887664-52-1 
Passage 3:
Herbert Wilcox
Herbert Sydney Wilcox  CBE (19 April 1890 – 15 May 1977) was a British film producer and director  
He was one of the most successful British filmmakers from the 1920s to the 1950s  He is best known for the films he made with his third wife Anna Neagle 

Early life
Wilcox's mother was from County Cork, Ireland, and Wilcox considered himself Irish, but he was born in Norwood, south London  His family moved to Brighton when Wilcox was eight years old; he was one of five children 
His family were poor and Wilcox had to do a number of part-time jobs, including some work as a chorus boy at the local Hippodrome  His mother died of tuberculosis when she was 42  Wilcox left school before the age of fourteen to find work  Shortly afterwards, his father died at the age of 42  Wilcox began earning money as a professional pool player at the Metropole in Camberwell Green 
The First World War broke out and Wilcox enlisted in the army  He was training cadets in County Cork when the Easter Rising broke out in 1916 and Wilcox was wounded  He then enlisted in the Royal Flying Corps to earn more money and trained as a pilot  A case of appendicitis kept him away from the front for a time but he wound up serving in France and serving as a flight instructor in England 

Film career
After the war, Wilcox went to work for his brother Charles as a film salesman  He began selling American films to Yorkshire exhibitors, occasionally working with Victor Saville 

Astra Films
In 1919, Wilcox used his war gratuity to found his own distribution company, Astra Films, in association with his brother and a colleague, Jack Smart  Wilcox contributed £117, and the others made up the rest  It was based in Yorkshire  "Owing to the war, there were practically no British productions", said Wilcox  "They were almost all American films " The company was immediately successful so they expanded into London 

Graham-Wilcox Productions
Astra had a lot of success with a British film, A Peep Behind the Scenes (1919) so Wilcox decided to produce a British film himself  He raised £1,400 to make The Wonderful Story (1922)  It was directed by a Newcastle exhibitor who shared Wilcox's enthusiasm for D  W  Griffith, Jack Graham Cutts; he and Wilcox established Graham-Wilcox Productions  Wilcox sold the film for £4,000 and the premiere got excellent reviews  This enabled Wilcox to raise funds for a slate of films, before The Wonderful Story was released and flopped at the box office However the next Graham-Wilcox production, Flames of Passion (1922), starring imported Hollywood star Mae Marsh was a big hit, among the first British films sold to the USA  The success of the film inspired Wilcox to steer away from realistic drama and focus on escapist entertainment 

Director
Wilcox optioned the screen rights for Chu-Chin-Chow (1923), with imported American star Betty Blythe   The film was shot in Germany at UFA's studios in association with Eric Pommer with a huge budget but was only a moderate success  He followed it with Southern Love (1924), shot in Vienna, again with Blythe  Wilcox launched the film with a mock bull fight in Albert Hall and says the film returned a profit in England alone Pommer asked Wilcox to collaborate again and they made Decameron Nights (1924) 
Back in Britain he made Paddy the Next Best Thing (1923) 
After what he described as a "series of unimpressive films" he made The Only Way (1926), based on a stage play which was based on A Tale of Two Cities He followed it with Nell Gwyn (1926), starring Dorothy Gish in the title role  This was a big success around the world 

British National Films
The world rights to Nell Gwyn were purchased by British National Films, a company established by J D  Williams, who signed Wilcox and Gish to make three more films, all financed by Paramount:  Madame Pompadour (1926), the first film shot at the newly built Elstree Studios; London (1926); and Tip Toes (1927)  It was later revealed in a court case that Wilcox's fee was £3,000 a film plus 25% of the profits, but there were no profits for the three films 

British and Dominions Film Corporation
Wilcox ended up leaving British National and founded the British and Dominions Film Corporation with Nelson Keys with capital of half a million pounds  HIs first film for them, via Herbert Wilcox Productions, was Mumsie (1927), starring Pauline Frederick and, in his debut, Herbert Marshall 
Wilcox wanted to make another film with Frederick and suggested Noël Coward's The Vortex but Frederick disliked the role  Wilcox instead decided to do a version of the Edith Cavell story, Dawn (1928)  Frederick dropped out of the film, and was replaced by Sybil Thorndike  Filming proved difficult but the resulting movie was a big hit  In 1928 British and Dominion Films insured Wilcox for £100,000 There was some talk he would make a film of the Burke and Wills story  Instead he made what he described as "a series of unimportant but profitable films": The Bondman (1929), The Woman in White (1929),

Sound Films
Generally, Alfred Hitchcock's Blackmail is regarded as the first film with sound, but Wilcox's Black Waters was trade-shown several weeks earlier in May, 1929 He produced more than a hundred films, of which he directed about half   "His film production team were never laid off, even during the worst depressions of the British film industry  They were on full salary 52 weeks of the year "Wilcox built and equipped sound studios next to the British International Pictures studios, which they bought from John Maxwell  Wilcox signed up top stage artists such as Jack Buchanan, Tom Walls and Ralph Lynn and Sydney Howard, with C B  Cochran and Albert de Courville as producers  He announced plans to make nine talkies He produced and directed the first British all talkie ever made, Wolves (1930), with Charles Laughton and Dorothy Gish and produced Canaries Sometimes Sing (1930) He made an arrangement to produce a series of films in association with His Master's Voice gramophone company, with the aim of using their celebrity recording stars  Among the films they were to make together were Cochran's Talkie Revue, a film of C B Cochran's variety show; the play Rookery Nook; an adaptation of the novel The Blue Lagoon, and the life story of Robert Burns However their first movie, The Loves of Robert Burns (1930), with Joseph Hislop, was not a success and the arrangement abruptly ended  Wilcox's plans to make The Life of Beethoven and a version of Don Quixote starring Chaliapin had to be cancelled Wilcox produced Rookery Nook (1930), an Aldwych farce based on the play by Ben Travers and directed by Tom Walls  It led to a series of Aldwych farces from Travers and Walls 
He acted as producer only on  Splinters (1930), high Treason (1930, The Mountain of Mourne (1930), Warned Off (1930), On Approval (1930), Tons of Money (1930), Mischief (1931), The Speckled Band (1931), Plunder (1931), Almost a Divorce (1931), Up for the Cup (1931) with Sydney Howard, The Barton Mystery (1932), Life Goes On (1932), Thark (1932), Leap Year (1932), It's a King (1932),The Love Contract (1932), Say It with Music(1932),  The Mayor's Nest (1932), and A Night Like This (1932) 
As a director he made The Chance of a Night Time (1931) with Ralph Lynn from a play by Ben Travers; Carnival (1931); and The Blue Danube (1933) 

Anna Neagle
Wilcox's professional relationship with Anna Neagle began when he was looking for a leading lady to support Jack Buchanan in Goodnight, Vienna (1932)  He decided to cast her after seeing Neagle support Buchanan on stage in a musical Stand Up and Cheer  Goodnight Vienna was Wilcox's biggest success to that time He used Neagle again in The Flag Lieutenant (1932)
He made some films without her – Money Means Nothing (1932), The King's Cup (1933), General John Regan (1933), The Blarney Stone (1933), The King of Paris (1933), Lord of the Manor (1933), Discord (1933) – then they were reunited on The Little Damozel (1933), a conscious effort on Wilcox's part to ensure that Neagle was not type cast as an "English Rose" He bought the rights to a John Galsworthy play Loyalties and developed a screenplay  He later sold it to William Fox for a profit  He produced That's a Good Girl (1933) 
Bitter Sweet (1933) starred Neagle, based on the operetta by Noël Coward  It was a box office failure Yes, Mr Brown (1933) was a vehicle for Jack Buchanan and Lilies of the Field (1934) without her  Wilcox was back to Neagle for The Queen's Affair (1934)  He and Neagle had a big hit with a new version of Nell Gwynn (1934)  They followed it with Peg of Old Drury (1935) 
He also produced Escape Me Never (1935), starring Elisabeth Bergner, which was a surprise box office hit 

Herbert Wilcox Productions
The success of Peg of Old Drury saw Wilcox approached by Lord Portal to set up his own company, Herbert Wilcox Productions  Wilcox resigned from British Dominion, and set up the new company with C M  Woolf and J  Arthur Rank  The only other shareholders in the company apart from Wilcox were Woolf and his brother Maurice 
Wilcox, Woolf, Portal and Rank soon established themselves as a major player in the industry by buying Universal Pictures' English operations; Wilcox was appointed to the board to directors of Universal English and the Universal American parent company  He also had shares in a new company, General Cinema Finance, which was to control the distribution and production of films and acquire cinemas  This company would go on to acquire Gaumont British and the Odeon circuit and form the back bone of the Rank Film empire Their first film was Street Singer Serenade (1936), aka Limelight, directed by Wilcox with Neagle and Jack Buchanan  It was followed by Fame (1936), which he produced, starring Sydney Howard and new Wilcox discovers Miki Hood and Geraldine Hislop  He and Neagle did a story about trapeze artists, Three Maxims (1936) He made Where's George? (1936) with Sydney Howard 
Wilcox was back with Buchanan with This'll Make You Whistle (1936)  He wanted to make an epic version of The Blue Lagoon with Hollywood stars to be shot mostly on location in Hawaii and a biopic of Lady Hamilton with Neagle but neither was made  Instead he made Millions (1937) 
Wilcox's film studio at Elstree burnt down and Wilcox moved to new studios at Pinewood  There he made London Melody (1937) with Neagle 

RKO
Wilcox wanted to star Neagle in a biopic of Queen Victoria  Woolf refused to finance it, believing it to be a bad investment, so Wilcox raised the bulk of the finance himself  Wilcox invested his entire savings and Neagle put in £10,000  They secured a distribution agreement with RKO  Victoria the Great (1937) was a massive success and led to Wilcox signing a ten-year deal with RKO to help finance and distribute the films He and Neagle promptly made a sequel, Sixty Glorious Years (1938)  Wilcox produced but did not direct A Royal Divorce (1938) starring Ruth Chatterton  Wilcox announced he would make a biopic of Lord Kitchener but the film was never made 

Hollywood
He and Neagle went to the US to work for RKO  They looked into making a biopic of Marie Lloyd but could not find a suitable co-star for Neagle so instead made another biopic, Nurse Edith Cavell (1939)  They were going to follow it with a biopic of Flora MacDonald filmed in Scotland but the declaration of war made that impossible  Instead they made three musicals: Irene (1940), with Ray Milland; No, No, Nanette (1940), with Victor Mature; and Sunny (1941) with Ray Bolger  They were among the many names who worked on Forever and a Day (1943) 
In July 1941, Wilcox and Neagle returned to England to make They Flew Alone (1942) a biopic of Amy Johnson and the war thriller Yellow Canary (1943) 

The London Films
Wilcox and Neagle had a big hit with I Live in Grosvenor Square (1945), co starring Rex Harrison and Dean Jagger  They followed it with Piccadilly Incident (1946), starring Neagle and Michael Wilding, which was even more popular, the second biggest British hit of 1946  Wilcox signed Wilding to a long-term contract 
The Courtneys of Curzon Street (1947) was the most popular film at the British box office in 1947  Another hit was Spring in Park Lane (1948) 
Wilding was not in their next film, Elizabeth of Ladymead (1948) but returned for Maytime in Mayfair (1949), a sequel to Spring in Park Lane, and another massive success 
Wilcox and Neagle returned to war stories with Odette (1950) a biopic of Odette Samson starring Neagle and Trevor Howard, and Wilcox's most profitable movie to date  He planned to make a biopic about Van Gogh starring Trevor Howard, but it was never made Wilcox made a film without Neagle, Into the Blue (1950), with Wilding and Odile Versois; it was not particularly popular  Neagle and Wilding were reunited for The Lady with a Lamp (1951), a biopic of Florence Nightingale and Derby Day (1952), an ensemble film  Both did well at the box office but not as well as the late 40s films 

Margaret Lockwood and Republic Pictures
In the early 1950s Neagle had a long running stage hit, The Glorious Years  In November 1951 Wilcox signed a multi picture deal with Margaret Lockwood to make six films in three years  The following year he signed a six-picture deal with Republic Films 
The first movie Lockwood-Wilcox film, Trent's Last Case (1952) was a solid success, helped by a cast including Wilding and Orson Welles  However Laughing Anne (1953), co-starring Forrest Tucker and Wendell Corey, and Trouble in the Glen (1954), with Welles, did poorly and he made no further films with Lockwood or Republic 
Wilcox was further hurt when a film he produced, The Beggar's Opera (1953), was a box office disaster 

Errol Flynn and Ivor Novello
Wilcox formed a new production company, Everest, and made two musicals with Neagle and Errol Flynn: Lilacs in the Spring (1954), based on The Glorious Years, and King's Rhapsody (1955), based on a musical by Ivor Novello  Both flopped and plans to make a third Novello film, Perchance to Dream did not happen 

Last films
Wilcox had a hit with My Teenage Daughter (1956), a story of Neagle dealing with a juvenile delinquent daughter played by Sylvia Syms  Less successful was These Dangerous Years (1957), produced by Neagle and directed by Wilcox, starring George Baker and Frankie Vaughan, and no Neagle 
He produced but did not direct a war film,  Yangtse Incident (1957), which performed reasonably well at the British box office but ultimately lost money  Wilcox found himself personally liable for some of the film's costs 
He tried a drama with Neagle, The Man Who Wouldn't Talk (1958), and three films with Vaughan: Wonderful Things! (1958), The Heart of a Man (1959), and The Lady Is a Square (1959) 

Bankruptcy
Wilcox was plagued with financial troubles in the 1950s and 1960s  He missed an early opportunity to invest in television; Anna Neagle's chain of dancing schools failed; he and Neagle invested heavily in British Lion shares and the company went into receivership; he borrowed £341,000 from the Edgware Trust; he and Neagle had guaranteed a £75,000 loan to make the two Errol Flynn films; and he paid £100,000 to Terence Rattigan for the film rights to his play Ross only for him to be unable to get it made   His film company failed in the 1960s  He spent two years trying to make a film about King Edward VII but the Queen refused permission  He was declared bankrupt in 1964, owing £16,000 to the Edgware Trust and £134,313 over all However, the musical play Charlie Girl, starring his wife Anna Neagle, ran for five years and resolved this financial situation Wilcox made some money from writing articles and was discharged as a bankrupt in 1966 after paying about 4 1/2 d in the pound to creditors According to one profile "The conventional view of Wilcox is that, despite his eventual bankruptcy, his considerable entrepreneurial skills enabled him to sustain a continued presence over a long period in a notoriously unstable industry; discussion of his directorial qualities usually acknowledges his professionalism but falls short of crediting him with any authorial status "

Personal life
In June 1917, Herbert Wilcox was granted a divorce from his first wife Dorothy, whom he had married on 2 December 1916 at St Luke's (CoE), Brighton   At the time, Herbert Wilcox was a lieutenant in the Royal Flying Corps   His wife was "carrying on a disgraceful intrigue" with an also-married Mr  Stanley Steel   The jury awarded Wilcox damages, possibly shared with Mrs Steel, of £750 plus costs In 1920, Wilcox married Maude Bower; they had four children together  Wilcox married his third wife, actress Anna Neagle, on 9 August 1943  The couple remained married until Wilcox's death in 1977, but they had no children 
Prior to his death at the age of 87 in London, England after a long illness, Wilcox donated four Daily Mail National Film Awards to the Glebelands Retirement Home in Wokingham 
Wilcox is buried in the City of London Cemetery 

Awards
In 1937, the Wilcox film Victoria the Great was nominated for the Mussolini Cup at the Venice Film Festival, but lost out to the French film Life Dances On (Un carnet de bal)  Wilcox lost the Festival's Best Director award to Robert J  Flaherty and Zoltán Korda for Elephant Boy  However, Victoria the Great and Wilcox won the Festival's Nations Cup for "Best World Premiere" 
Wilcox won four Daily Mail National Film Awards 

1947 – Best Film – Piccadilly Incident (producer and director)
1948 – Best Film – The Courtneys of Curzon Street (producer and director)
1949 – Best Film – Spring in Park Lane (producer and director)
1951 – Best Film – Odette (producer and director)

Selected filmography
Director
Chu-Chin-Chow (1923)
Southern Love (1924)
Decameron Nights (1924)
Nell Gwyn (1926)
London (1926)
Mumsie (1927)
Madame Pompadour (1927)
Tip Toes (1927)
The Only Way (1927)
Dawn (1928)
The Bondman (1929)
The Woman in White (1929)
Splinters (1929)
The Loves of Robert Burns (1930)
The Chance of a Night Time (1931)
Carnival (1931)
The Blue Danube (1932)
Good Night, Vienna (1932)
Money Means Nothing (1932)
The King's Cup (1932)
The Little Damozel (1933)
Bitter Sweet (1933)
Yes, Mr  Brown (1933)
The Queen's Affair (1934)
Nell Gwynn (1934)
Peg of Old Drury (1935)
Where's George? (1935)
Three Maxims (1936)
This'll Make You Whistle (1936)
Limelight (1937)
London Melody (1937)
Victoria the Great (1937)
Sixty Glorious Years (1938)
A Royal Divorce (1938)
Nurse Edith Cavell (1939)
No, No, Nanette (1940)
Irene (1940)
Sunny (1941)
They Flew Alone (1942)
Forever and a Day (1943)
Yellow Canary (1943)
I Live in Grosvenor Square (1945)
Piccadilly Incident (1946)
The Courtneys of Curzon Street (1947)
Spring in Park Lane (1948)
Elizabeth of Ladymead (1948)
Maytime in Mayfair (1949)
Odette (1950)
Into the Blue (1950)
The Lady with the Lamp (1951)
Derby Day (1952)
Trent's Last Case (1952)
Laughing Anne (1953)
Trouble in the Glen (1953)
Lilacs in the Spring 1954)
King's Rhapsody (1955)
My Teenage Daughter (1956)
These Dangerous Years (1957)
The Man Who Wouldn't Talk (1958)
Wonderful Things! (1958)
The Heart of a Man (1959)
The Lady Is a Square (1959)

Producer
The Wonderful Story (1922)
Paddy the Next Best Thing (1923)
Warned Off (1930)
On Approval (1930)
Tons of Money (1930)
Plunder (1931)
The Barton Mystery (1932)
Life Goes On (1932)
Say It with Music (1932)
Thark (1932)
Leap Year (1932)
A Night Like This (1932)
The Flag Lieutenant (1932)
General John Regan (1933)
The Blarney Stone (1933)
Lord of the Manor (1933)
Discord (1933)
Lilies of the Field (1934)
Fame (1936)
Millions (1937)
Passage 4:
Mohsen Eslamzadeh
Mohsen Eslamzadeh is an Iranian documentary filmmaker  He is the director of Alone Among The Taliban  This film has won the best documentary award at the 44th Athens International Film and Video Festival in the United States  
This film has won the best documentary award at the 12th Marbella International Film Festival in Spain  
This film has won the Shahid Avini Award offers 

Filmography
“The Sunnies of Iran”
“Mothers of the Revolution”
“Mysteries of Abu-Salim Prison”
“In the name of Liberty”
“Looking for Peace”
“Alone Among The Taliban”
The Dream of Marjaan

Awards and honors
The competition of the international festival of documentary films "Meetings in Siberia" | Russia, 2018
The competition of the "Tiburon International Film Festival" | USA, 2017
The best documentary of “Athen international film + video festival” | USA, 2017The best documentary of “Marbella international film festival” | Spain, 2017The “Moscow detective film festival” | Russia, 2017
The competition of the “Thin line film festival” | USA, 2017The competition of the “Asia-Pacific Film Festival” | 2016
The competition of the “Human rights film festival” | Italy, 2017The competition of the “Ismailia international film festival” | Egypt, 2017The winner of the “Shahid Avini” international section of the “Cinema Verite” | Iran, 2015
The winner of the “Ammar popular film festival” | Iran, 2015
The 8th “Ammar film festival” for The Documentary of “Qasr-e-Qand” | Iran, 2018
The 7th “Ammar film festival” for The TV show of “Vatandar” | Iran, 2017
The winner of the 5th Ammar festival for the film "Sunnis in Iran"
The winner of the international section of the forth Ammar festival for the film "Journey to the Land of Pashtuns"
The winner of the special section of “Ruyesh” (growth) festival for the film “Mother of the Revolution”
The winner of the international section of the third Ammar festival for the film “ the Thought of Being”
The honored young documentary director from Mashhad in 2010 chosen by Mashhad's Islamic Revolution Cultural Centre 
The honored in the “Awakening Sequence” for the film “the Lover”
The honored in the first Ammar film Festival for the film “the Street of Martyrdom”He is a former guest of the many film festivals such as:

The “Nahj film festival” for The documentary of “Me and the commander” | Iraq, 2016
The Festival as a guest speaker “Aljazeera film festival” for the film “Mysteries of Abusalim Prison” | Qatar, 2013
The “Resistance international film festival” for the film of “Al-Sheikh Sabah” | Iran, 2015Eslamzadeh participated in few film festivals such as: “Fajr”, “Cinema Verity” and “Rooyesh” in Iran 
Eslamzadeh has won numerous awards and fellowships including “Aljazeera” in Qatar and “Human Rights” in Spain and he awarded in some of them 
Passage 5:
London Melody
London Melody is a 1937 British musical film directed by Herbert Wilcox and starring Anna Neagle, Tullio Carminati and Robert Douglas  It was made at British and Dominions Imperial Studios, Elstree and Pinewood Studios  by Wilcox's independent production company and distributed by J  Arthur Rank's General Film Distributors  It was also released with the alternative title Look Out for Love 
It was the first movie shot at Pinewood 

Synopsis and production
A musical with a trial  One of several Anna Neagle - Tullio Carminati vehicles of the era, London Melody was one of five films directed within a year or so by Neagle's future husband, Herbert Wilcox  This time around, Carminatti is cast as Marius Andreani, a cultured Italian diplomat  While in London on business, Marius makes the chance acquaintance of boisterous cockney street entertainer Jacqueline (Neagle)  It is love at first sight, but hero and heroine must undergo a dizzying series of roadblocks and misunderstandings before the climactic clinch  Meanwhile, Jacqueline rises to the top of show-business success, never dreaming (until the end, at least) that it is all the secret handiwork of faithful Marius 
British and Dominions Imperial Studios was destroyed by fire in the early morning of 9 February 1936, necessitating the move of the production to Pinewood 

Cast
Critical reception
In 1937, The Sydney Morning Herald called it an "attractive and well-acted picture   Produced and directed by Herbert Wilcox in a way that contrasts favourably with Hollywood's efforts in a similar direction   Anna Neagle, a gifted actress, with definite charm and personality, makes a delightful Jacqueline  As the diplomat   Tulllo Carminati lends distinction and poise to his role  Perhaps the best character in the film is the priest, Horace Hodges, a lovable and very human person  Robert Douglas makes a good impression in the rather inconsistent part of Nigel Taplow, Andreani's secretary"; whereas more recently, Sky Movies described it as "a very thin musical vehicle for Anna Neagle, bizarrely cast as a cockney street singer  This dated offering   will prove tough going for all but hardened Neagle fans today "
Passage 6:
Ravina (actress)
Ravina is an Indian actress who acted in Dhallywood movies



ground_truth: Duchy of Saxe-Gotha-Altenburg

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

Question: Which film has the director died first, Our Agent Tiger or London Melody?

The following are given passages.
Context 3:  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: London Melody