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- a dramatic work intended for performance by actors on a stage; "he wrote several plays but only one was produced on Broadway"
- participate in games or sport; "We played hockey all afternoon"; "play cards"; "Pele played for the Brazilian teams in many important matches"
- Engage in (a game or activity) for enjoyment
- a theatrical performance of a drama; "the play lasted two hours"
- Amuse oneself by engaging in imaginative pretense
- Engage in activity for enjoyment and recreation rather than a serious or practical purpose
- two: being one more than one; "he received two messages"
- two: the cardinal number that is the sum of one and one or a numeral representing this number
- .2 Network (pronounced Dot-Two Network) is the name of an upcoming television network designed for digital television subchannels (hence the ".2") owned by Guardian Enterprise Group that will replace the GTN network on a date yet to be announced.
French postcard. Cinemagazine, nr. 148. Phoo Studio V. Henry.
Henry Baudin (1882-1953) was a French actor who was highly active in French silent cinema of the 1920s.
Born 11 March 1882, in Lyon, France, Henry Pierre Baudin started his film career during the First World War in Sous les phares (1916), directed by Andre Hugon and co-starring Marie-Louise Derval and Andre Nox. With an interval of some 4 years, Baudin performed in film again in 1920, and from then on he had a steady and prolific film acting career, which continued into the early 1930s, so after sound film had set in. After the crime film Le piege d’amour (Alexandre Ryder 1920) with Huguette Duflos and L’Idole brisee (Maurice Mariaud 1920) starring Lina Cavalieri, Baudin was Macquart in the Zola adaptation L’Assommoir (Mariaud 1921), with Jean Dax and Louise Sforza, and Rochefort in the Alexandre Dumas adaptation Les Trois mousquetaires (Henri Damant-Berger 1921) with a.o. Aime Simon-Girard, Pierre de Guingand and Edouard de Max. Next Baudin played the lead in the drama L’Homme qui pleure (Louis d’Hee/Louis de Verande 1922) which co-starred Jennie Meris, Andre Nox and Charles de Rochefort. Subsequently he performed in Yakov Protazanov’s adaptation of Paul Bourget’s Le Sens de la mort (1922), starring italo-slavic diva Diana Karenne, Andre Nox and a young Rene Clair (not yet a film director). He performed in La vengeance (1922) by Georges Durand, was king Henri IV In La Bouquetiere des innocents (Jacques Robert 1922), with Claude Merelle and he even played the title role in the drama Sarati le terrible (Louis Mercanton 1922). Sarati is a ruthless landlord in Algiers who lets rooms to poor coal miners. He refuses his niece Rose (Ginette Maddie) to marry Gilbert (Andre Feramus), the man of her dreams, as he loves her as well and he also treated Gilbert brutally in the past. Because of mechanization the coal miners are licensed and Sarati loses his tenants. When Rose marries Gilbert, Sarati commits suicide [this content description is based on the 1937 remake of the film, directed by Hugon and starring Harry Baur].
In 1923 Henry Baudin acted as bad guy Jacques Garraud in La Porteuse de pain (Rene LeSomptier), with an all-star cast of Suzanne Despres, Gabriel Signoret, Genevieve Felix and Germaine Rouer. Despres plays a young widow, who is innocently accused of the murder of her boss. Twenty years after she is released and working as a bread peddler she searches for the real culprit: Garaud (Baudin), the man whom she once refused. Also this adaptation of the novel of Xavier de Montepin was often filmed again. Baudin also played Noel Rambert in the Jules Claretie adaptation of Le Petit Jacques (1923) by Georges Lannes. In this film Rambert, who lives alone with his son Jacques, is falsely accused of a murder committed by a rich speculator. Baudin also acted that year in Le Cousin Pons (Jacques Robert 1923), with Maurice de Feraudy, and in the Spanish production Para toda la vida (1923), a drama directed by Benito Perojo, which starred the Russian (Ukrainian) actress Rachel Devirys.
In 1924 Baudin only played in L’Arriviste (Hugon 1924), starring Pierre Blanchar, but in the subsequent year he was the shepherd Santo Ricci in Abel Gance’s mega-production Napoleon (released in 1927), Spendius in the Franco-Austrian epic film Salammbo by Pierre Marodon, professor Aldrich in Terreur by Gerard Bourgeois and Edward Jose and starring American serial queen Pearl White, (probably, as sources are unclear)) Vitalis in Sans famille (Georges Monca, Maurice Keroul). Also in 1926 Baudin was highly productive in La Fille des pachas (Adrien Caillard/Joe Hammann), Le Berceau de Dieu (Fred Leroy-Granville) starring Leon Mathot, the Jean Richepin adaptation Le Chemineau (Monca/Keroul) in which Baudin played the title role, Eh bien! dansez-maintenant (Emilien Champetier) which also had Baudin in the lead, the Franco-German production Les Mensonges/Der gute Ruf by Marodon, starring Germaine Rouer, and the Franco-German documentary Les voleurs de la gloire/Die Frau in Gold by again Marodon.
From 1927 on, Baudin’s activity slowed down. In 1927 he played in the Andre Theuriet adaptation La Maison sans amour, directed by Champetier and starring Jean Coquelin, and the Balzac adaptation La Cousine Bette, by Max de Rieux and starring Alice Tissot. In 1928 followed Grain au vent by Keroul and Jacques Mills, starring Alexandra, and a major part in the German production Marter der Liebe/Liebesholle, directed by an Italian (Carmine Gallone), starring a Russian actress (Olga Tschechowa) and with Italian actors in supporting parts (Oreste Bilancia, Angelo Ferrari). In 1928 he played in one film only: the mystery and adventure film Le secret du cargo (Mariaud), Baudin’s last silent film; the film was re-issued with a sound score. In the early French sound cinema Baudin was still active in films like La Chanson des nations (Maurice Gleize/Rudolf Meinert 1930) with A
City Hall & 2 Museums. Placerville
This is present day Placerville, Idaho's city center. Most buildings, still standing, have been well restored and cared for. L-R: City Hall, museum #1; Magnolia Saloon or museum #2.
I drove through Garden Valley, Idaho on Monday and visited the pioneer cemetery while there. Then it was on to Iron Creek Campground where I camped for the night to get an early morning start on a hike up into the Sawtooth Mountain wilderness (Sawtooth Lake).
After I returned from a 10 to 11 mile enjoyable hike to Sawtooth Lake and up above it, I decided to return to Garden Valley, Idaho and make an 11 mile “side trip” up to Placerville, Idaho and back. Placerville is a colorful old mining town (as most were and are).
Fortunately, I was enjoying the drive so much that I missed my turn back down the South Fork of the Payette River to Garden Valley, and instead ended up in another mining town: Idaho City, Idaho. Serendipity. I drove around Idaho City a bit, and then took forest service roads up to Placerville, Idaho. There I “toured town” and the Placerville, Idaho pioneer cemetery.
I found the same wonderful ornate wrought iron grave-site enclosures that I had seen at Garden Valley the day before. I didn’t notice until I reviewed my photographs that there was an “emblem” on the gate of most of the enclosures and had I been a bit more observant, I would have known the person or company that did this beautiful work. A reason to go back.
The steep winding dirt road from Placerville down to Garden Valley was a joy to drive slowly with the window rolled down in my old pickup truck.
NOTE: In my photo stream I have chosen to upload my photos so that the Idaho City and Placerville, Idaho photos are close to the Garden Valley, Idaho photos. The photos of my hike into the Sawtooth Wilderness will be uploaded last. So photos aren’t in chronological order in this photo set.
[“Idaho for the Curious” by Cort Conley]
Excerpts from Conley’s fine book of the roadside history of the state of Idaho:
“This was the first camp encountered by miners and freighters who entered the Boise Basin via the Payette River and Harris Creek. Because of the advantageous location, the settlement grew rapidly - to 3,200 by September 1863”.
“Gradually, Placerville’s fortunes diminished. The population at present would not fill a jury box. The Magnolia Saloon, once a fancy bar, contains the Henrietta Penrod Museum.”
“The community cemetery is one mile south of Placerville. It shelters a grave with a stout yellow pine growing at each corner. The small concrete slab carries this inscription: ‘Fiddler’s murdered in Ophir Creek’.”
“Two fiddlers played for a dance at Placerville; the next day they walked toward Centerville to fiddle at that camp’s dance. En route they apparently stumbled upon the murder of a miner who had been carrying gold. The murder then killed the fiddlers. When the three bodies were discovered, the whole Basin was outraged.” Conley then goes into more detail of the search for the culprit. In the end he states: “No one was ever indicted for the murder of the fiddlers”.
QUARTZBURG, IDAHO (The town painted over on the road sign in Placerville, Idaho)
“3 miles northwest of the Placerville intersection at Ophir and Granite Creeks. IN 1864 W.W. Raymond set up a ten-stamp mill on Granite Creek and developed the Gold Hill claim. This mine propped the camp for several decades. A forest fire in 1931 destroyed all but one building. Quartzburg is dead as last year’s leaves among the tailing dumps.”
IDAHO CITY, IDAHO
“This sleepy little town, with its grid four blocks by four, was once larger than Portland. It was, in fact, the largest town in the Pacific Northwest. In August, 1862, a prospecting party with Moses Splawn, Dave Fogus, and George Grames discovered placer gold seven miles northwest of what is now Idaho City. Grimes was shot, perhaps by Indians, and the party returned to Walla Walla. Their news made the area, known as Boise Basin (eighteen miles square), the scene of the biggest gold rush since California’s Mother Lode.” Conley continues with the rich and colorful history of the town and the miner’s who made it.
To read "The full Story" that goes with these photos, please open the "Sawtooth Trip Sept 2009" photo set folder and read the narrative contained within. Thank you. OMT
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