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Arturo Ripstein Talks ‘Devil Between The Legs,’ Desire in Old Age, Black and White

  • Variety
Arturo Ripstein Talks ‘Devil Between The Legs,’ Desire in Old Age, Black and White
Mexico’s Arturo Ripstein, who began his career as an A.D. on Luis Buñuel’s 1962 “The Exterminating Angel,” is back, bringing his latest collaboration with screenwriter Paz Alicia Garciadiego, a black and white film that picks up on most all of the director’s hallmarks.

A weighty drama, “Devil Between the Legs” dives from the get-go into unsettling territory as it follows the strained relationship of a married couple in their old age that struggles between desire, jealousy, violence and love. Beatriz (skillfully portrayed by Sylvia Pasquel) endures the wrath of her husband (Alejandro Suárez) while playing along to fulfill his fantasies. This dark love relationship unspools in the confines of a shabby house under the gaze of a maid. The film, that plays with a 19th century Spanish and high high-contrast cinematography, eludes naturalism to deliver a reminder of the complexities of human relationships in a modern world
See full article at Variety »

Marlene Dietrich Retrospective Screening at the Metrograph in NYC

Marlene Dietrich in “Shanghai Express”: mptvimages.com/IMDb

If you’re a fan of actress, camp icon, and anti-fascist Marlene Dietrich or want to learn more about her, you’re in luck. The Metrograph theater in New York City is hosting “Marlene,” a retrospective featuring 19 of Dietrich’s films. The festivities kicked off May 23 and will continue until July 8.

Marie Magdalene “Marlene” Dietrich was born in Berlin in 1901. Dietrich began her career as a vaudeville performer in Weimar Germany. She moved to Hollywood and eventually became a revered film actress, “bisexual sex symbol, willful camp icon, [and] paragon of feminine glamour” — “comfortable in top hat and tails, ballgown, or gorilla suit.” But the actress did not forget about what was happening back home in Germany; Dietrich became involved in the fight against fascism during WWII. She “used her likeness to fundraise for Jewish refugees escaping Nazi Germany and performed on Uso tours, earning her the Metal of Freedom and Légion d’honneur by the French government,” the press release details. Dietrich died in 1992 at the age of 90.

The “Marlene” retrospective will feature Dietrich’s seven films with director Josef von Sternberg: “The Blue Angel,” “Morocco,” “Blonde Venus,” “Dishonored,” “Shanghai Express,” “The Devil Is A Woman,” and “The Scarlet Empress.” The actress’ collaborations with Alfred Hitchcock (“Stage Fright”), Orson Welles (“Touch of Evil”), and Billy Wilder (“A Foreign Affair”) are among the other films screening at the Metrograph. A documentary about Dietrich, Maximilian Schell’s “Marlene,” will also screen. All of the films, besides “Marlene,” will be shown in 35mm.

Head over to The Metrograph’s site for showtimes and more information. The featured films and their synopses are below, courtesy of the Metrograph.


1937 / 91min / 35mm

Director: Ernst Lubitsch

Cast: Marlene Dietrich, Herbert Marshall, Melvyn Douglas

While English statesman Herbert Marshall worries over international affairs, his glamorous wife (Dietrich) concerns herself with, well, international affairs, beginning a tryst with a dashing stranger (Melvyn Douglas) who she only allows to know her as “Angel.” Dietrich’s last film on her Paramount contract is a spry, surprising love triangle, one of the least-known of Lubitsch’s essential works from his Midas touch period.

Blonde Venus

1932 / 93min / 35mm

Director: Josef Von Sternberg

Cast: Marlene Dietrich, Herbert Marshall, Cary Grant

A.k.a “The One with the Gorilla Suit,” which Dietrich dons to perform her big number “Hot Voodoo.” It’s all for a good cause: she’s an ex-nightclub chanteuse who’s gone back to work to pay for husband Herbert Marshall’s radium poisoning treatments, though she later allows herself to become the plaything of Cary Grant’s dashing young millionaire, earning only contempt for her sacrifice.

Der Blaue Engel

1930 / 106min / 35mm

Director: Josef Von Sternberg

Cast: Marlene Dietrich, Emil Jannings, Kurt Gerron, Rosa Valetti

Mild-mannered, uptight schoolteacher Emil Jannings lives a faultlessly law-abiding, by-the-book existence, but it’s all over when he gets a glimpse of Dietrich’s nightclub chanteuse Lola-Lola, and is immediately ready to ruin himself for her amusement. The first collaboration between Dietrich and von Sternberg made her an international star, and linked her forever to her seductive, world-weary delivery of the song “Falling in Love Again.” We’re showing the German-language version, preceded by a four-minute-long Dietrich screen test.


1936 / 95min / 35mm

Director: Frank Borzage

Cast: Marlene Dietrich, Gary Cooper, John Halliday, William Frawley

Dietrich and Gary Cooper reunite in this delightful urbane comedy by Borzage, a master of romantic delirium, here working somewhat after the style of producer Ernst Lubitsch. La Dietrich’s stylish jewel thief stashes a clutch of pearls in the pocket of an upstanding American businessman, and while trying to get back the goods she can’t help but notice the big lug isn’t half bad-looking. An excuse to recall the following lines from the 1936 Times review: “Lubitsch, the Gay Emancipator, has freed Dietrich from von Sternberg’s artistic bondage.” Those were the days.

Destry Rides Again

1939 / 94min / 35mm

Director: George Marshall

Cast: Marlene Dietrich, James Stewart, Mischa Auer, Charles Winninger

Jimmy Stewart, still in his rangy, impossibly-good-looking phase, is a marshal who sets out to clean up the wide-open town of Bottleneck without firing a shot in this charming Western musical comedy. The local roughnecks present him one kind of challenge; Dietrich’s saloon singer Frenchy, belting out her rowdy standard “The Boys in the Back Room,” quite another.

The Devil Is A Woman

1935 / 80min / 35mm

Director: Josef Von Sternberg

Cast: Marlene Dietrich, Lionel Atwill, Edward Everett Horton

Dietrich and von Sternberg’s final collaboration, and an apotheosis of sorts. In Spain in the early years of the 20th century, Lionel Atwill’s loyal suitor Pasqualito and the revolutionary Cesar Romero are teased into a frenzy by legendary coquette Concha (Guess who?). The coolly scrolling camera and baroque compositions are courtesy of an uncredited Lucien Ballard and Von Sternberg himself, doing double duty as cinematographer.


1931 / 91min / 35mm

Director: Josef Von Sternberg

Cast: Marlene Dietrich, Victor McLaglen

Dietrich plays X-27, a Mata Hari-esque spy for the Austrian Secret Service tasked with using a bevy of costume changes (Russian peasant, feathered helmet, leather jumpsuit) to gather information on the Russians during World War I. Outrageous plotting, high chiaroscuro style, and the star’s earthy sensuality mark this unforgettable pre-code treasure, beloved by Godard and Fassbinder both. Says Victor McLaglen: “the more you cheat and the more you lie, the more exciting you become.”

A Foreign Affair

1948 / 116min / 35mm

Director: Billy Wilder

Cast: Marlene Dietrich, Jean Arthur, John Lund, Millard Mitchell

Against the backdrop of a ruined postwar Berlin, another conflict is just heating up, as Dietrich’s cabaret singer with rumored Nazi ties vies with Jean Arthur’s Iowa congresswoman-on-a-fact-finding-mission for the affection of American officer John Lund. Wilder’s penultimate collaboration with co-writer Charles Brackett is a black comic delight full of crackling, piquant dialogue, and Dietrich’s knowing slow-burn has never been better.

Judgment At Nuremberg

1961 / 186min / 35mm

Director: Stanley Kramer

Cast: Spencer Tracy, Burt Lancaster, Richard Widmark, Marlene Dietrich, Maximilian Schell, Judy Garland, Montgomery Clift, William Shatner

Dietrich’s last truly substantial screen appearance came as part of the ensemble for Kramer’s courtroom drama, playing the widow of a German general executed by the Allies who’s befriended by investigating judge Spencer Tracy in this fictionalized retelling of the events of a 1947 military tribunal addressing war crimes by civilians under the Third Reich. Rounding out the all-star cast are Burt Lancaster, Richard Widmark, Judy Garland, William Shatner, and Maximilian Schell, who would win the Academy Award for Best Actor, and later directed a portrait of Dietrich.

The Lady Is Willing

1942 / 92min / 35mm

Director: Mitchell Leisen

Cast: Marlene Dietrich, Fred MacMurray, Aline MacMahon, Stanley Ridges

Leisen, considered a comic talent on-par with Lubitsch during the screwball era, lends characteristic sparkle to this mid-career attempt at reconfiguring Dietrich’s very 1930s star persona to fit the needs of the 1940s women’s picture; here she plays a glamor-gal diva whose life changes when she discovers a baby on Eighth Avenue and decides to adopt, passing through melodramatic coincidences and a vale of tears before falling into the arms of Fred MacMurray.


1981 / 113min / 35mm

Director: Rainer Werner Fassbinder

Cast: Barbara Sukowa, Armin Mueller-stahl, Mario Adorf, Matthias Fuchs

Dietrich had for all purposes retired from the screen by the time that Fassbinder began his frontal assault on West German popular culture, but her image and her unlikely combination of cool irony and torrid emotion left a profound mark on his films. Lola, the candy-colored, late-1950s-set capstone of his “Brd Trilogy” in particular draws heavily from The Blue Angel, with bordello singer Barbara Sukowa torn between Mario Adorf’s sugar daddy and Armin Mueller-Stahl’s incoming building commissioner in boomtown Coburg.


1984 / 94min / Digital

Director: Maximilian Schell

More than twenty years after Schell had co-starred with Dietrich in Judgment at Nuremberg, during which period she’d retired to a life of very private seclusion, he tried to get her to participate in a documentary about her life. She finally gave in — sort of. Dietrich offered only her memories and her famous voice, refusing to appear on camera, but necessity became a boon to the resulting film, a sort of guided tour of Dietrich’s life and work, which simultaneously reveals much and deepens her mystery.


1930 / 92min / 35mm

Director: Josef Von Sternberg

Cast: Marlene Dietrich, Gary Cooper, Adolphe Menjou

After The Blue Angel, shot in Germany, was a hit, von Sternberg was given full run of the Paramount backlot, where he would conjure up all manner of exotic destinations out of thin air. First stop: North Africa, where French legionnaire Gary Cooper competes with sugar daddy Adolphe Menjou for the favors of Dietrich’s cabaret star Amy Jolly, who in one scene famously rocks a men’s tailcoat and plants a smooch on a female fan.

Rancho Notorious

1952 / 89min / 35mm

Director: Fritz Lang

Cast: Marlene Dietrich, Arthur Kennedy, Mel Ferrer, William Frawley

Teutons Lang and Dietrich team up in a Technicolor wild west of deliberate, garish artifice in this singularly claustrophobic oater, in which a revenge-mad Burt Kennedy goes looking for his fiancée’s killers at a hideaway inn run by Dietrich, and discovers dangerous, unbidden desires instead. As the chant of the film’s recurring, persecutorial Brechtian ballad goes: “Hate, murder, and revenge.”

The Scarlet Empress

1934 / 104min / 35mm

Director: Josef Von Sternberg

Cast: Marlene Dietrich, John Lodge, Sam Jaffe, Louise Dresser

Have ever a screen persona and a historical personage found such a hand-in-glove-fit as did Dietrich and Empress Catherine the Great of Russia? While the Motion Picture Production Code was preparing to chasten American movies, Dietrich and von Sternberg got together to throw one last lavish S & M orgy, a flamboyant film of 18th century palace intrigues and ludicrously lapidary décor.

Shanghai Express

1932 / 82min / 35mm

Director: Josef Von Sternberg

Cast: Marlene Dietrich, Clive Brook, Anna May Wong

“It took more than one man to change my name to Shanghai Lily,” proclaims Marlene Dietrich with the disdain of an empress, though in fact she’s a high-class courtesan, re-encountering former lover Clive Brook on an express train rolling through civil war-wracked China. The fourth of Dietrich and von Sternberg’s collaborations is a riot of delirious chinoiserie artifice and sculpted shadowplay — Dietrich’s co-star Anna May Wong was never again shot so caressingly.

The Song Of Songs

1933 / 90min / 35mm

Director: Rouben Mamoulian

Cast: Marlene Dietrich, Brian Aherne, Lionel Atwill

So often the instrument of corruption, Mamoulian’s film allows Dietrich to be the corrupted one, playing a country girl, Lily, who comes to big-city Berlin and quickly becomes the model and muse of sculptor Brian Aherne. Lionel Atwill’s preening decadent Baron von Merzbach admires Lily’s nude form in marble, and decides to bring the original home with him, where she slips into the role of the cynical sophisticate, though her heart remains with the artist.

Stage Fright

1950 / 110min / 35mm

Director: Alfred Hitchcock

Cast: Marlene Dietrich, Jane Wyman, Michael Wilding, Richard Todd, Alastair Sim

Hitchcock’s last film in his native England until 1972’s Frenzy is an audaciously-structured thriller, making use of an extended flashback and a whiplash narrative about-face. Acting student Jane Wyman tries to save beau Robert Todd from taking the fall for a murder committed by stage star Dietrich, who shows her hypnotic charm in a show-stopper performance of “I’m the Laziest Gal in Town.”

Touch Of Evil

1958 / 95min / 35mm

Director: Orson Welles

Cast: Marlene Dietrich, Charlton Heston, Janet Leigh, Orson Welles

It’s not the size of the part, but what you do with it. Playing a brothel keeper in a seedy border town in Welles’s magnificently baroque late noir, Dietrich only has a clutch of lines, but they’re the ones you remember, whether her famous requiem for crooked cop Hank Quinlan, or her reading of his “fortune”: “Your future’s all used up.” Bold and self-evidently brilliant, you could use Touch of Evil to explain the concept of great cinema to a visiting Martian.

Marlene Dietrich Retrospective Screening at the Metrograph in NYC was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Pfandom: "Falling in Love Again" and "...Dragon Queen"

Pfeiffer instantly sentimentalized, with a halo no less, in her first scene in "Falling in Love Again"P F A N D O M  

Michelle Pfeiffer Retrospective. Episode 7 

by Nathaniel R 

There are an infinite number of worse people to grow up to look like than British star Susannah York but somehow it's hard to buy that that's who Michelle Pfeiffer would become. Pfeiffer was still a pre-teen when Susannah York hit her career peak, most notably in a string of erotically charged and sometimes controversial 1960s movies like Tom Jones, The Killing of Sister George, X Y and Zee, and They Shoot Horses Don't They (the latter brought her her only, but well deserved, Oscar nomination). By the time Pfeiffer was hitting the movies and cast to play York as a young girl, York's star was fading. York had recently been reduced to a merely decorative alien maternal presence
See full article at FilmExperience »


This adult film noir masterpiece showcases the most glamorous pin-up dream girl of the 1940s. Rita Hayworth, a young Glenn Ford and a sinister George Macready form a sophisticated, poisonous love triangle. Criminal intrigues and killer striptease fill out the bill. Gilda Blu-ray The Criterion Collection 795 1946 / B&W / 1:37 flat Academy / 110 min. / available through The Criterion Collection / Street Date January 19, 2016 / 39.95 Starring Rita Hayworth, Glenn Ford, George Macready, Joseph Calleia, Steven Geray, Joe Sawyer, Gerald Mohr, Ludwig Donath, Argentina Brunetti, Eduardo Ciannelli, Ruth Roman. Cinematography Rudolph Maté Film Editor Charles Nelson Music underscore Hugo Friedhofer Written by Marion Parsonnet, Jo Eisinger, E.A. Ellington Produced by Virginia Van Upp Directed by Charles Vidor

Reviewed by Glenn Erickson

Some of the best 'movie' times I remember were seeing classic pictures cold, with no knowledge beforehand. Back at film school they'd show us things we'd never heard of, often in prints of incredible good quality.
See full article at Trailers from Hell »

The Blue Angel

(Josef von Sternberg, 1930; Eureka!, PG)

Among the first enduringly great movies of the sound era, The Blue Angel was made simultaneously in German and English versions (both contained in this three-disc set) by the 35-year-old Viennese-born Hollywood director Josef von Sternberg. The great German character actor Emil Jannings, who'd won the first ever Oscar for best actor under Sternberg's direction in The Last Command (1928), insisted on Sternberg being brought to Berlin for his first talking film.

This turned out to be The Blue Angel (based on a novel by Thomas Mann's brother Heinrich), in which Jannings gives an exquisitely detailed performance as the pompous, middle-aged Professor Rath, a high-school teacher whose life is destroyed through his romantic infatuation with Lola Lola, a wilful young singer he meets at the eponymous nightclub. Sternberg cast the little-known Marlene Dietrich as the mercurial enchantress, a role that brought her world stardom and took her to the States,
See full article at The Guardian - Film News »

Sleep No More: 'The Thing Is Just So Overwhelming'

New York — They were hooked: The moment singer-songwriter Jim James and his bandmates from My Morning Jacket first wandered into the immersive, genre-bending show "Sleep No More," there was no turning back.

The five guys spent hours wandering around the 100,000-square-foot warehouse space in Chelsea, visiting dozens of carefully designed rooms, following mysterious actors and generally having their minds blown.

"I've never experienced a piece of art like that before," James says by phone from Louisville, Ky. "The thing is just so overwhelming. And you get a sense that you created your experience."

James was so excited that he and some of the band returned the next night and he also came back a few months later. So it comes as no surprise that he picked "Sleep No More" as one of the stops on his new tour promoting "Regions of Light and Sound of God," his first full-length solo album.
See full article at Huffington Post »

Clip joint: Angels

Clip joint sheds its wings with the best of the men and women who fell to Earth

Flashy or modest, doting or self-seeking, timid or sassy: cinema angels seem to have little in common with one another other than the power to inflame our senses.

The winged creatures have descended on Earth and acquired human features. In the movies, they strut everywhere, tending would-be suicides, singing, dancing – they even travel on the underground.

But erratic behaviour and contradictory feelings are utterly human; often distracted, flustered and disorganised, angels are a pure reflection of their mortal proteges. So much so that some of them envy us and would renounce their feathery appendages if they could. So keep your eyes open: angels could be watching you right now ... and their intentions may not be pious.

1) Our first angel is a well-meaning guardian. It's a Wonderful Life's Clarence Oddbody earns his wings
See full article at The Guardian - Film News »

Watch Video: Justin Bieber DJs For Selena Gomez At Her Tour After Party In Las Vegas! How Cute!

Justin entertained the party-goers with his spinning skills! Watch the video!

Justin Bieber and Selena Gomez are clearly crazy about each other! Following a date in Las Vegas, Selena performed her concert with Justin’s name written on her arm. In return, Justin played DJ at her after party!

Justin’s choice of tracks included Usher’s “DJ Got Us Falling In Love Again” — is that a special message to his lady love?

Tell us, HollywoodLifers, what do you think of Justin’s skills?

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More Justin & Selena News!

Selena Gomez Wrote Justin Bieber’s Name On Her Wrist In Concert — She’s So Adorable! Justin Bieber & Selena Gomez’s Hot Las Vegas Date — He Rushed Back To See Her! Pics! Justin Bieber & Selena Gomez’s Time Spent Apart: Who Is Having More Fun Without Their Other Half?
See full article at HollywoodLife »

Marlene Dietrich on TCM Pt.2: A Foreign Affair, The Blue Angel, Manpower

Marlene Dietrich on TCM: Shanghai Express, The Scarlet Empress, The Devil Is A Woman Raoul Walsh's unpretentious Manpower (1941) is a surprisingly entertaining drama about a love triangle featuring good-time gal Marlene Dietrich and unlikely partners Edward G. Robinson and George Raft. As an ex-Nazi chanteuse/black marketer (photo), Dietrich nearly steals the show in Billy Wilder's post-war Berlin-set A Foreign Affair (1948); I say nearly because Jean Arthur is Dietrich's equal as the goody-goody American congresswoman who learns that goody-goodiness may take you far at work (at least in the movies) but not in life. In the hands of someone like Ernst Lubitsch, A Foreign Affair would have been a humorously romantic masterpiece, cleverly and subtly interweaving the personal, the social, and the political. As it is, the comedy works great whenever Arthur and Dietrich are on-screen; else, A Foreign Affair suffers from Wilder's heavy hand; lapses in judgment in Wilder,
See full article at Alt Film Guide »

New Europe: A history of German cinema in clips

From the invention of horror under the Weimar republic to recent re-examinations of the second world war, German cinema has an amazingly creative history

German cinema got off to a fantastic start straight after the first world war, as the liberal atmosphere of the Weimar republic triggered an explosion across all creative disciplines. Film-makers responded by appropriating the techniques of expressionist painting and theatre, incorporating them into twisted tales of madness and terror – thereby virtually inventing what would become known as the horror film. With its angled, distorted set designs, tortured eye-rolling, and layers of dreams and visions, The Cabinet of Dr Caligari (1920) is generally acknowledged as a landmark of international cinema, not just Germany's own. Two years later came an equally groundbreaking film, Nosferatu – an unauthorised adaptation of Bram Stoker's novel Dracula that enshrined some of the creepiest cinema images ever recorded.

They also marked the beginning of
See full article at The Guardian - Film News »

Susannah York: a career in clips

Susannah York, film star of the 1960s, has died aged 72. We look back over her career in clips

Susannah Yolande Fletcher was born in Chelsea in 1939. After growing up in Scotland and studying at Rada, she got her screen break in the Highland army drama Tunes of Glory (1960) and her first lead, as a teenager growing into her sexuality, in Lewis Gilbert's The Greengage Summer. She continued her association with frank subject matter opposite Montgomery Clift in Freud. A further boost came with 1963's Oscar-winning Tom Jones, in which York played the true love of Albert Finney's Tom. Although her Sophie was less bawdy than much of the movie, she still had fun, as the trailer shows.

York's career continued to thrive throughout the 1960s, with roles in Sands of the Kalahari, espionage adventures Kaleidoscope and Sebastian, and as Sir Thomas More's daughter in A Man for All Seasons
See full article at The Guardian - Film News »

Susannah York (Rip)

Sad news to report. The lovely, talented 60s star Susannah York, aka Superman's Mom (the biological one back on Krypton) has died at the age of 72. Here's why she'll live on though... They Shoot Horses Don't They? (1969)

They Shoot Horses Don't They (1969)

They Shoot Horses is my personal favorite film of 1969 and an all-time Oscar record holder (most nominations without a corresponding Best Picture citation, a grand total of Nine!) but it's sadly underdiscussed these days. Susannah was nominated for playing Jane Fonda's main dancing rival in the marathon contest at the film's center, a neat metaphorical object, human suffering as entertainment. Susannah's psychotic break in the shower rivals any femme unravelling in Black Swan.

York also holds the distinction of being the only female cast member of Best Picture winner Tom Jones (1963) to not be nominated for Best Supporting Actress. I'm exaggerating but since an incredible three
See full article at FilmExperience »

Usher Ft. Pitbull: "DJ Got Us Falling In Love Again" Music Video

We’re obsessed with this Usher song right now, “DJ Got Us Falling in Love Again” featuring Pitbull. And now there’s a music video to go along with it! The track has thus far climbed to #7 on the Billboard Hot 100 and #51 on the Hot R&B/Hip-Hop Songs chart. The music video depicts a nightclub, and the picture is slowed down for effect, and to catch those signature dance moves from Ush. Check it out below!
See full article at HollyScoop »

Nfb.ca Goes 3D & HD

Nfb.ca Goes 3D & HD
3D isn't only for the movie theaters and televisions, folks. In commemoration of the first anniversary of their online screening room (yesterday!), the National Film Board of Canada is sending out free 3D glasses and launching two new sections of their site to offer viewers goodies in both 3D and HD. This adds to the 1,400+ titles already available for free viewing on the website.

The 3D section is kicking off with the shorts Falling in Love Again, Drux Flux, Sandde, and Facing Champlain, plus a number of making-of feature for Champlain. On the HD side of things, there's a little more variety. While Cordell Barker got his latest short, Runaway, screening at Sundance (brief review here), his Oscar-nominated 1988 short The Cat Came Back is on the site, along with flicks that include the 1965 short High Steel, Chris Landreth's Oscar-winning Ryan, the 2007 Oscar nominee Madame Tutli-Putli, and The Stratford Adventure,
See full article at Cinematical »

Michelle Williams: Falling in Love Again Didn't Save Me

For Michelle Williams, the pain from losing Heath Ledger hasn't gone away - it's just a different kind of hurt. "After the first year, the pain is less intense; it's less immediate," Williams, 29, tells the October issue of Vogue. "But the magical thinking goes away too. And that's a whole new reckoning. But every time I really miss him and wonder where he's gone, I just look at her." The actress is referring to their daughter Matilda, who was just 2 years old when Ledger died in January 2008 of an accidental drug overdose.Williams, who had split from Ledger months before his death,
See full article at PEOPLE.com »

Natalie Imbruglia Terrified Of Falling In Love Again

Natalie Imbruglia is terrified of falling in love again. The Australian beauty - who split from her husband of four-years, Silverchair rocker Daniel Johns in January last year - is happier than she has ever been but is terrified of having another relationship.

She said: "I'm really happy at the moment. I feel much more sexy, more confident."

"I'm quite enjoying the male attention, but I really just love being single and would be terrified of falling in love."

The 34-year-old beauty - who starred in the soap 'Neighbours' in the 90s before hitting the charts with a smash hit single "Torn" in 1997 - is thrilled to be back on the music scene now she is older.
See full article at iCelebz »

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