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  1. May 27, 2024 · Her first credited film appearance was in Munkbrogreven (1935; The Count of the Old Monk’s Bridge), and it was followed by challenging roles in such Swedish films as the original Intermezzo (1936) and En kvinnas ansikte (1938; A Woman’s Face). In 1939 she starred in the Hollywood version of Intermezzo, which was a box-office hit.

    • The Editors of Encyclopaedia Britannica
  2. 6 days ago · A woman’s face can be a captivating subject for art, photography, and digital creations. The human face, with its intricate features and expressions, has ins...

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    • woman Fashion AI
  3. May 16, 2024 · As a relatively rare example of a movie with a plastic surgeon as a major character, I love “A Woman’s Face” (1938) directed by Gustaf Molander. The cast included Ingrid Bergman, as a woman criminal with a disfigured face, and Anders Henrikson, as a plastic surgeon who operates on her.

    • jokerhg@hanmail.net
  4. 4 days ago · Film noir is not a clearly defined genre (see here for details on the characteristics). Therefore, the composition of this list may be controversial. To minimize dispute the films included here should preferably feature a footnote linking to a reliable, published source which states that the mentioned film is considered to be a film noir by an expert in this field, e.g.

  5. 5 days ago · RKO; Academy Award Best Original Screenplay; voted AFI and Sight & Sound greatest film of all time City of Missing Girls: Elmer Clifton: Astrid Allwyn, H. B. Warner, John Archer: Crime: Independent: Come Live with Me: Clarence Brown: James Stewart, Hedy Lamarr, Ian Hunter: Comedy: MGM: Confessions of Boston Blackie: Edward Dmytryk

  6. May 27, 2024 · About Press Copyright Contact us Creators Advertise Developers Terms Privacy Policy & Safety How YouTube works Test new features NFL Sunday Ticket Press Copyright ...

  7. 6 days ago · Jen reviews Harrison Butker’s famous speech, as a fellow member of the Catholic ghetto. Listen to the end for Jen’s version of the speech!She also asks if sh...

    • 81 min
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    • Jen Fulwiler
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