The Woman Upstairs is a 1921 British drama film directed by Fred Paul and starring Joan Beverley and Frank Hill. It was part of a Grand Guignol series of films. It focuses on the relationship between a demi-mondaine and a newly married man.
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G. Pigeard was a sailor from France, who represented his country at the 1900 Summer Olympics in Meulan, France. G. Pigeard as helmsman, din not start in first race of the 0.5 to 1 ton and finished 10th in the second race. He did this with the boat Demi-Mondaine.
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Méry Laurent, born Anne Rose Suzanne Louviot (born 29 April 1849, Nancy- d. 26 November 1900), was a demi-mondaine (courtesan) and the muse of several Parisian artists. She used to run her own “salon” where she hosted many French (and even American) writers and painters of her time: Stéphane Mallarmé, Émile Zola, Marcel Proust, François Coppée, Henri Gervex, James Whistler and Édouard Manet.
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The story begins at the Gare de l'Ouest, where the employees list the provenance of trains arriving from different places in France ("Nous sommes employés de la ligne de l'Ouest"). Two Parisian dandies, Bobinet and Gardefeu are waiting for the train from Rambouillet, but avoid each other while they walk around. They have fallen out over the demi-mondaine Métella. She arrives with a third man and pretends not to recognize the two previous lovers.
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Nestor Roqueplan, the Goncourt brothers, Paul de Kock, Alexandre Dumas fils, and Henri Murger often found inspiration from these frivolous and naive demi-mondaine women. Gustave Doré engraved them in their glory and decay. Nana, by Émile Zola, describes the life and the tragic destiny of one of these lorettes. Balzac was the subject of vehement critiques for his iniquitous treatment of prostitutes through Coralie, heroine of Illusions perdues, Esther, heroine of Splendeurs et misères des courtisanes and in Le Père Goriot.
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In writing his 1924 play Easy Virtue, Noël Coward stated his object was to present a comedy in the structure of a tragedy "to compare the déclassée woman of to-day with the more flamboyant demi- mondaine of the 1890s." Colette's Gigi (1944) also describes the demimonde and their lifestyle. Gigi is schooled from childhood to be a kept woman, to stifle her feelings in return for a life of ease. "We never marry in our family", says Gigi's grand-mother.
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Andrée Rose Godard, known by her stage-name as Andrée Lafayette, also known by her self-invented title as Countess Andrée de la Bigne, (born May 19, 1903, in Achères (today in Yvelines), and died 3 October, 1989, in Équemauville, Calvados. She was a French stage and film actress, and granddaughter of the infamous demi-mondaine (prostitute) Émilie Louise Delabigne who was known by her self-invented title as Countess Valtesse de La Bigne.Goble p. 136. She was the lover of Prince Andrew of Greece and Denmark.
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Easy Virtue was produced at a time when Coward was riding a wave of success. The Vortex (1924) had been a controversial sensation on both sides of the Atlantic with its portrayal of recreational drug taking and veiled references to homosexuality; his comedy Hay Fever (1925) achieved box- office success in the West End.Mander and Mitchenson, pp. 67 and 72 In his autobiography, Present Indicative, Coward said that his object in writing the play was to present a comedy in the structure of a tragedy "to compare the déclassée woman of to-day with the more flamboyant demi-mondaine of the 1890s".
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A love triangle develops pitting the young revolutionary Antonio (Cesar Romero) against the middle-aged former military officer Don Pasqual (Lionel Atwill) in a contest for the love of the devastatingly beautiful demi-mondaine Concha (Dietrich). Despite the gaiety of the setting, the film has a dark, brooding, reflective quality. The contest ends in a duel where Don Pasqual is wounded, perhaps mortally: the denouement is never made explicit.Baxter, 1971. p. 122Sarris, 1966. p. 40 More so than any of his previous pictures, Sternberg picked a leading man (Atwill) who is the director's double in more than facial appearance: short stature, stern countenance, proud bearing, verbal mannerisms and immaculate attire.
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In the semifinal, she sang France Gall's "Diego libre dans sa tête" and was chosen by the public for the final over B. Demi Mondaine. In the final held on 12 May 2018, Maëlle performed first Harry Styles' "Sign of the Times", then Vianney's "Je m'en vais" in duo with him, and finally Michel Berger's "Seras-tu là" in duo with Zazie. She won the final with 55,3 % of the public vote, becoming the first female and, at 17 years of age, the youngest candidate to ever win the French talent show. On 14 July 2018, in Louhans, Maëlle gave her first public concert.
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What shocked contemporary audiences was not Olympia's nudity, nor the presence of her fully clothed maid, but her confrontational gaze and a number of details identifying her as a demi-mondaine or prostitute. These include the orchid in her hair, her bracelet, pearl earrings and the oriental shawl on which she lies, symbols of wealth and sensuality. The black ribbon around her neck, in stark contrast with her pale flesh, and her cast-off slipper underline the voluptuous atmosphere. "Olympia" was a name associated with prostitutes in 1860s Paris.Clark, T.J. (1999) The Painting of Modern Life: Paris in the Art of Manet and His Followers.
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In April 1779 he set out to return to England, charged by the English inhabitants of Calcutta to deliver, at their expense, a petition to Parliament in England that they should be entitled to trial by jury. After a difficult journey travelling via Cape Town and Holland he arrived back in England, at the port of Harwich, on 28 June 1780. In October he first met and later took up with a demi-mondaine called Charlotte Barry, who was then aged 18 and with whom he fell in love. He offered to marry her; she refused marriage, but agreed to live with him as his partner.
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She sang Aminta in the first Italian performances of Richard Strauss's Die schweigsame Frau, and Egloge in the 1935 world-premiere of Mascagni's Nerone (in which she stole all the reviews), both at La Scala, where she continued to appear until 1955. Returning to London in 1946 London, as a leading star of the visiting San Carlo company of Naples, she sang a peculiarly affecting Violetta in La traviata. She had previously been much admired by the troops who had seen her in this role in Naples. Elegant, pretty, petite and with a gift of charm mixed with pathos, the madonna-faced Carosio portrayed the demi-mondaine as to the manner born.
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Coward's play was adapted to the screen by Stephan Elliott and Sheridan Jobbins but hardly any feature of the original play remains besides the main characters, and even they do not greatly resemble Coward's cast. In his autobiography, Present Indicative published in 1937, Coward describes his object in the play as being "to compare the declasse woman of to-day with the more flamboyant demi-mondaine of the 1890s." He goes on to say, "The line that was intended to establish the play on a basis of comedy rather than tragedy, comes at the end of the second act when Larita, the heroine, irritated beyond endurance by the smug attitude of her 'in-laws', argues them out of the room." Although the play was made into a silent film in 1928 directed by Alfred Hitchcock and starring Isabel Jeans and Franklin Dyall, this film is not mentioned in Coward's autobiography.
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