Emma Thomson & Alan Rickman in “Love Actually”/ Carrie-Anne Moss
& Alan Rickman in “Snow Cake”, Alan Rickman &
Ian Hart in “Harry Potter and the Philosopher’s Stone”/ Alan Rickman & Johnny Depp in “Sweeney Todd: The Demon Barber of Fleet Street”, Alan Rickmanas Eli Michaelson in “Nobel Son”/ Alan Rickman as King Louis XIV in “A little Chaos”, Alan Rickman as Sheriff of Nottinghamin
“Robin Hood: Prince of Thieves“/ as
The Metatron in “Dogma”, as Severus Snape in“Harry Potter and the Deathly Hallows – Part 2″/ Antoine Richis in
“Perfume: The Story of a Murderer”
You forget that this is Whitechapel. For all that we have done here, she is still the merciless bitch of the east.Whitechapel is life. In all its wild and rotten splendour. Beside it, the rest of the world seems a tomb.It is rotten and wild. It is heaving, and pitiless, and ignorant…And yet I have seen nowhere to match it. It is our heartland, Bennet Drake.It is our life’s work, Edmund Reid.
Almost 70 years ago, when a teenage Ginger Rogers had just graduated from dancing the Charleston in Texas to performing in vaudeville in New York City, she was pleased to discover how effortlessly she was able to establish rapport with an audience. “I realized that there was a trick,” she said later, “and that was being warm with them.” A simple enough credo, but it carried Rogers through 73 movies, including the ten unforgettable musicals in which, paired with Fred Astaire, she whirled across elegant Art Deco sets trailing feathers and chiffon, setting an unmatchable standard for dancing on film. There were also her straight-shooting performances in 1937’s “Stage Door,” 1940’s “Kitty Foyle” and 1942’s “The Major and the Minor.” Robust yet glamorous, with a purposeful stride and a beauty mark on the left side of her chin, Rogers was, as TIME pronounced in 1941, “the flesh-and-blood symbol of the United States working girl.” - Tom Gliatto, People Weekly, May 8, 1995