In “Swordfish”, we visit the wonderful world of Gabriel Shear (John Travolta, looking all the world like a 21st century Dracula) - renowned playboy, super-fly criminal genius and determined to pull off the heist of the century. He’s James Bond, Shaft and Austin Powers in one, if you can imagine so much ego fitting into an Armani suit. He recruits washed-up former hacker Stanley Jobson (Hugh Jackman) to provide various worm programs and hacking expertise to steal 9.5 billion dollars from under the US Government’s nose. As you do. For Stanley, it’s a no-win situation. Enticed by the prospect of a major pay-off and custody of his daughter from his ex-wife, Jobson would tell Gabriel to shove his job if it wasn’t for the mysterious but sexy Ginger (Halle Berry) egging him on. And jitters are the last thing the ruthless Gabriel needs.

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Hi, women and gentlmen! Some words about “From Paris with Love” with John Travolta.
Yes, me friends, i like this film. It`s rather funny and interesting. i like the way Travolta plays, and he is interesting for me as an actor in general.
So, have a look at some puctures from this movie. The acting was great, the story is amazing! I Like it.

Read More about Travolta`s life and the way of an actor!

From Paris with Love - John Travolta

From Paris with Love - John Travolta

———————- YouTube And From Paris with Love - John Travolta———————

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June Allyson (Ella Geisman), b, Bronx, New York, 1917 Trained as a dancer, she was a chorus girl while still at school, and went on to play in Broadway musicals. Her film debut was in Best Foot Forward (43, Edward Buzzell), which repeated a stage role. She was put under contract by MGM—as the sort of girl men overseas might like to come home to— for Girl Crazy (43, Norman Taurog); Thousands Cheer (43, George Sidney); Two Girls and a Sailor {44, Richard Thorpe); and Music for Millions (44, Henry Koster). Her petite, sore-throated charm was perfected in Tilt the Clouds Roll By (46, Richard Whorf); Good Netvs (47, Charles Walters); Words and Music (48, Taurojj); as Jo in Little Women (49, Mervyn Le Roy); with her husband, Dick Powell, in The Reformer and the Redhead (50, Melvju Frank and Norman Panama); and Too Young to Know (51, Robert Z. Leonard). Her image of cheerful wholesomeness found its apotheosis in the wife and, supremely, the widow in The Glenn Miller Story (53, Anthony Mann). With that experience of tears, she took on more dramatic roles, wilh little success: Battle Circus (53, Richard Brooks), incredibly as the object of Bogart’s affections; Executive Suite (54, Robert Wise); was surprisingly good (and nasty) in The Shrike (55, Jos6 Ferrer) and Strategic Air Command (55, Mann), in which she was forever looking for James Stewart in the sky. Thereafter she dwindled into romances and tame comedies: You Can’t Run Away From It
(56), produced and directed by Dick Powell and allegedly a remake of /( Happened One Night; The Opposite Sex (56, David Miller), legally a remake of The Women; My Man Godfrey (57, Koster), so removed in tone and effect that it made the term “remake” null; Interlude (57, Douglas Sirk); and A Stranger in My Arms (58, Helmut Kautner), She moved briefly into TV, but retired when Powell died in 1963. More recently, she was the murderess in They Only Kill Their Masters (72, James Goidstone).

Woody Allen (Allen Stewart Konigsberg), b. New York, 1935
1969: Take the Money and Run. 1971: Bananas. 1972: Even/thing You Always Wanted to Know About S«x But Were Afraid to Ask. 1973: Sleeper, 1975: Lace and Death 1977: Annie Hall. 1978: Interiors. 1979: Man-
hattan. 19&0: Stardust Memories. 1982: A Midsummer Night’s Sex Comedy. 1983: Zelig. 1984: Broadway Danny Rase. 1985: The Pur-pie Rose of Cairo. 1986: Hannah and Her Sisters. 1987: Radio Days; September. 1988: Another Woman, 1989: Crimes and Misdemeanors; “Oedipus Wrecks,” an episode from New York Stories. 1990: Alice. 1991: Shadows and Fog. 1992: Husbands and Wives. 1993; Manhattan Murder Mystery.
“Woody” is by now the most famous film director in America, a reluctant household name as his famed soul-searching took a banana-skin skid into public scandal. Can he maintain his way of working? Is there funding for films whose budgets have steadily risen, and whose audience has never been larse? Gan he be merely amusing when he has drawn so melodramatic a trail through the courts and the public prints? More important, can he develop as an artist? Has he ever shown that unmistakable promise?
I am skeptical. In his films he seems so averse to acting yet so skittish about real confession that he risks dealing in self-glorification by neurosis. As an actor he stills momentum and betrays his films’ reach for reality. Moreover, some of bis films are so small and inconsequential, so much a matter of habit, that they make his productivity seem artificial.
But his sense of movie theatre and narrative intricacy soared in the eighties (along with the budgets and the photographic quality), and there are two films that even this sour spectator adores—The Purple Rase of Cairo and Radio Days, In neither does Allen figure as an actor (he is the narrator of Radio Days). The first is a wonderfully clever, blithely light comedy about movies and dogged real life, while the latter is a new kind of film, a sort of imagined documentary montage, or a notebook of memories and scenes, utterly consistent m tone, a true portrait of a time. Yet Radio Days has not been a seed. Instead, it looks like a random brainwave in the night.
Can he break out of the claustrophobic self-regard that has always threatened to make yet more “Woody Allen” films? Can he hold his small but influential following, when they are the group most quickly (or automatically?) offended by reports of “incorrectness” in an idol? Part of Allen’s problem is only sharpened by the very messy battle with Mia Farrow and his own undeniable humiliation. For he always insisted on making movies about his own angst as a cunning diversion from true self-examination. For years, there had been an air of dissociation in his work that now seems fulfilled by some of his remarks during the year of public scandal. Has this authority on sensitivity ever trusted his own feelings or been their authentic victim?
Despite the fun of Sleeper and Bananas, Allen has never made a film free from his own panic. He has been a Chaplin hero for the chattering classes, yet he is trapped by something like Chaplin’s neurotic vanity. No director works so hard to appear at a loss. The thought of his making a Bergman movie (and the thought runs from Interiors to Shadwus and Fog) is grotesque. He is so near to Bergman already, yet so timid about the Swede’s strength of commitment.
Allen is heset by certain death, elusive sex, the farfetched theory of romance, the immorality of pleasure, and the fracturing of cultural and personal ties that are replaced with chains. It sounds like respectable angst, but perhaps the ideals and the dismay were always precious and adolescent. The note of complaint in Allen’s work is shrill and even frivolous because it prefers the quick flash of one-liners and mocked stereotypes. Woody is so jumpy he has no patience with developed humor. Though his films have gained in polish and visual depth, the humor remains in the words and the meetings. There is very little sense of purpose, principle, or character in Allen’sway of looking at the worlds he creates. Thus we cannot escape the feeling of being trapped in an elevator with people who talk too much.

Anouk Aimee (Franijoise Sorya Dreyfus), b. Paris, 1932
Anouk — -as she was originally known — is a princess of the French cinema, but a princess whose heart has been touched by Grimm cold. Those wide eyes and the grave face appeared to see a tragic destiny that could not be avoided, and that at times even held enchantment for her. She began in her teens in La Motion sous la Mer (47, Henri Calef); in Game’s unfinished La Fleur de I’ Age (47); as a young lover on the outskirts of moviemaking in Let Amants de Verone (48, Andr£ Cayatte); to England for The Golden Salamander (49, Ronald Neame), The part that best captured her fragile pessimism was in a short, The Crimson Curtain (52, Alexandre Astruc), as the girl who has a weak heart but submits nevertheless to her lover and dies. That soulful contemplation of self-destruction was borne out in Les Mauvaises Rencontres (55, Astruc); as one of Modigliani’s suffering women in Mont-purnasKi: J9 (57, jacijues Becker); and as the helpless girlfriend in La Tit? Cimtre les Mure 1.58, Georges Franju). At this time, she moved vaguely between the new French cinema— Les Dragueurs (59, Jean-Pierre Mocky); Le Farceur (60, Philippe de Broca)—”international” parts, like the nymphomaniac in La Dvlce Vita. (60, Federico Fellini); and small parts in the Resistance in Carte Her Name With Pride (58, Lewis Gilbert) and The journey (58, Anatole Litvak).
Lola (60, Jacques Demy) came, as a surprise and a relief: at last she was allowed to giggle, flutter, to be animated, and to breathe a cryptic song into the camera—”C’est moi. C’est Lola.” The most magical of the New Wave films, Lola freed Princess Anonk and allowed her the flighty, romantic self-absorption of a chambermaid. However, Anouk’s newfound freedom did not result in an organized career, although she may not have cared too much, then or now. It must be said that serious roles have sometimes found her wanting. Perhaps so handsome and commanding a woman is really frivolous; certainly Lola has that effortless beauty that comes from relaxation.
After that, Anouk worked rather haphazardly: L’imprevisto (61, Alberto Lattuada); II Giudizio [Jniversale (fil, Vittorio de Sica); as one of Aldrich’s first lesbians in Sodum and Gomorrah (62); Les Grands Chemlns (63, Christian Marquand); looking severe in spectacles in 8′A (63, Fellini); ll Terrorista (63, Gianfranco De Bosio); A Man and a Woman (66, Claude Lelouch), which harked back to her capacity for being hurt; (Jn Soir tin Train (69, Andre1 Delvanx); The Appointment (69, Sidney Lumet); as Lola again, stranded in America, in Model Shop (69, Demy)—a resigned woman now who sells herself to the fantasies of amateur photographers.
She was curiously indifferent to Justine (69, George Cukor). That normally most generous of directors called her “the great disaster… the only time I’ve ever had anything to du with somebody who didn’t try… indomitably refined.”
Well past forty, married to and divorced from Albert Finney, she appeared for Lelouch again in the forlorn Second Chance (76). Since then, she has been in Salto Nei Vuoto (80, Marco Bellocchio); as the wife in Tragedy of a Ridiculous Mart (HI, Bernardo Berto-lueci); Ou’est-ce (jui fait courir Dacid? (82, Elie Chouraqui); Le General de I’Amide Marte (83, Luciano Tovoli); briefly in Success Is the Best Revenge (84, Jerzy Skolimowsld); and increasingly as a touchstone for Lelouch— A Man and a Woman 20 Years Later (86) and Hyadesjours. . etdesLvnes (90),

Percy Adlon, b. Munich, Germany

1978-The Guardian and His Poet (d). 1981: Celeste. 1982; Letze Fiinf Tape/The Last Five Day*. 1983: Die Schaukel/The Swing. 1985: ZQckerbabif/Sugarhabt/. 1987-. Bagdad Cafe. 1989: Rosalie Goes Shopping. 1991: Salrnonberries.

After years working in theatre, in radio, and doing television documentaries, Adlon made his debut with a fascinating, full-length documentary on the relationship between writer Robert Walser and publisher Carl Seelig which is far from conventional—the film’s deepest intent is to undermine any set idea of the facts in the case. Celeste, explored the way a maid viewed her employer, Marcel Proust, In botli cases, there was a refreshingly practical and explorative sense of how creative people lead (and transform) their lives.
Since then, Adlon has moved toward a whimsical view of comedy that has won some international art-house following, Sugarbaby told the love story between a subway driver and a large woman who works in a funeral home. The woman was played by Marianne Sagebrecht, who went on to star in Bagdad Cafe and Rosalie Goes Shopping. These films are entertaining and serene screwball comedies, if not as challenging as Celeste or The Guardian and His- Poet,

Isabelle Adjani, b. Paris, L955

There is something so frank, so modern in her feelings, yet so classical in her aura, so passionate and so wounded, that Isabelle Adjani seems mads to play Sarah Rernhardt one day. Why not? She is a natural wearer of costume capable of making us believe that the “period” world we are watching is happening now. She is bold, a mistress of her career, and has been a fiercely equal partner in her romantic relationships with Bruno Nuytten, Warren Beatty, and Daniel Day-Lewis.
Her mother was German, anil her father Algerian and Turkish, When only a teenager, she was invited to join the Comedie Fran-e.aise, playing to great praise in Lores and MoHere. She has been making movies since the age of fourteen: Le Petit BouRtuit (69, Bernard T. Michel); Faustine ou \e Bel Ete (71, Nina Companeez); La Gtfle (74, Claude Pinoteau); and made an international impact as the love-crazed girl in L’Hixtoire d’Adele H. (75, Frangois Tmffaut), tor which she won an Oscar nomination.
She was on the. brink again in The Tenant (76, Roman Polanski); Barocc.o (76, Andre” T6chin6); Violalte et frangois (76, Jacques Rouffio); made an uneasy American debut in The Driver (78, Walter Hill); as a woman infatuated with the vampire in tiosfentttt, Phantom der Nacht (79, Weroer Herzog); as Emily in The Bronte Sisters (79, Techine); Possession (80, Andrzej Zulawski); and Clara et lea Chic Types (80, Jacques Monnet).
She played the central victim, a version of Jean Rhys, in Quartet (81, James Ivory); L’Annee frochnme si (out va hien (81, Jean-Loup Hubert); Tout Feu, Toute Flamme (82, Jean-Paul Rappeneau); Mortelle Randonnee (82, Claude Miller); Doktor Faustus (92. Frank Seta); as Antonieta Rivas Mercadi, n melodramatic arts patron, in Antonieta (82, Carlos Saura); was stark naked for much of L’£t£ Meurtricr (82, Jean Becker), something between an erotic force ot nature and a village idiot; Subway (85, Luc Besson); entirely wasted in Ishtar (87, Elaine May).
She was the producer as well as the star of Camille Ciaudel (88, Bruno Nuytten), her most overwhelming and characteristic performance, as a woman in love with art, exhilaration, and danger. Once more, she was nominated for the Oscar. If only Warren Beatty could have given her a role as strong. After four years, she made La Reine Margot (94, Patrice Ch£reau).

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