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Lawyers In Shanghai
- Force (someone) to join a ship lacking a full crew by drugging them or using other underhanded means
- Coerce or trick (someone) into a place or position or into doing something
- take (someone) against his will for compulsory service, especially on board a ship; "The men were shanghaied after being drugged"
- the largest city of China; located in the east on the Pacific; one of the largest ports in the world
- Shanghai (; Shanghainese: Zanhae ; ) is the most populous city in China and one of the most populous cities in the world. A global city, Shanghai exerts influence over global commerce, finance, culture, art, fashion, research and entertainment.
- A person who practices or studies law; an attorney or a counselor
- (Lawyer (fish)) The burbot (Lota lota), from old french barbot, is the only freshwater gadiform (cod-like) fish. It is also known as mariah, the lawyer, and (misleadingly) eelpout, and closely related to the common ling and the cusk. It is the only member of the genus Lota.
- (lawyer) a professional person authorized to practice law; conducts lawsuits or gives legal advice
- A lawyer, according to Black's Law Dictionary, is "a person learned in the law; as an attorney, counsel or solicitor; a person licensed to practice law.
lawyers in shanghai - The Lady
The Lady from Shanghai
A man falsely accused of murdering two others escapes from jail to find the real murderer.
Genre: Feature Film-Drama
Release Date: 3-OCT-2000
Media Type: DVD
Legend has it that Orson Welles more or less conned studio boss Harry Cohn over the phone into making this movie by grabbing the title from a nearby paperback. In any case, The Lady from Shanghai is one of Welles's most fascinating works, a bizarre tale of an Irish sailor (Welles) who accompanies a beautiful woman (Rita Hayworth) and her handicapped husband (Everett Sloane) on a cruise and becomes involved in a murder plot. But never mind all that (the aforementioned legend also claims that Cohn offered a reward to anyone who could explain the plot to him). The film is really a dream of Welles's driving preoccupations on- and offscreen at the time: the elusiveness of identity, the mystique of things lost, and most of all the director's faltering marriage to Hayworth. In the tradition of male filmmakers who indirectly tell the story of their love affairs with leading ladies, Welles tells his own, photographing Hayworth as a deconstructed star, an obvious cinematic creation, thus reflecting, perhaps, a never-satisfied yearning that leads us back to the mystery of Citizen Kane. --Tom Keogh
Carmen Boni (1901-1963), is best known for her roles in later Italian and German silent cinema. Born in Rome as Maria Carmela Bonicatti, had a career in Italian cinema in the early and mid-1920s with directors such as Guglielmo Zorzi and Augusto Genina, her Pygmalion and her husband. In her first films she still wore her own name, afterwards she shifted to the easier 'Carmen Boni'. Her first film was Ave Maria (1920) directed by and starring Diana Karenne. Boni played the daughter of a countess (Karenne) who enables her daughter to marry a poor but honest guy in spite of class distinctions. Soon after Boni played in a variation on the theme: the mother (Karenne) sacrificing herself for the well-being of her daughter (Boni) in Miss Dorothy (Giulio Antamoro 1921). Actor Romano Calo was often the male lead in Boni's films of the early 1920s, not only in Ave Maria and Miss Dorothy but also in the Pirandello adaptation Ma non e una cosa seria (Augusto Camerini 1921). Boni also played in films with female leads like Elena Sangro (Barbassous, 1921), Cecil Tryan (Passione di popolo, 1921) and Maria Jacobini (La preda, 1922), Pina Menichelli (La dame de chez Maxim's, 1923). After Zorzi's La preda, Boni played again in his L'ignota (1923), Il riscatto (1924), and La bocca chiusa (1924). Carmen Boni did her first film with Augusto Genina in 1924: La moglie bella, a banker's drama starring Linda Moglia and Ruggero Ruggeri; followed by Il focolare spento (1925). In Genina's films, Boni was often paired with the young actor Lido Manetti as her love interest.. In Genina's L'ultimo Lord (1926) Boni had her breakthrough as star. Boni's first lead in a film marked her 'gamine' look, namely a girl crossdressing as a boy, i.e. Frances Hodgson Burnett's Little Lord Fountleroy (though in a liberal stage adaptation by Ugo Falena). Dressed up as a boy, Boni's Freddie tries to fool her women hating grandfather, while falling in love with a prince (Manetti). L'ultimo Lord was a big hit in France and thus paved the way for Genina and Boni to go and work abroad. NB Falena's comedy was so successful that it was refilmed in 1932 with again Boni, in 1934 with Dolly Haas, and in 1943 with Paola Veneroni. Before leaving Italy, Boni starred opposite young German heartthrob Walter Slezak in Genina's touching stage play adaptation Addio giovinezza (1927), a melodrama about two last year's students who must separate. After that, Berlin called and Boni went there to star in one German film after another: Der fidele Bauer/The Jolly Peasant (Franz Seitz 1927), based on Leo Fall's operetta; Die Gefangene von Shanghai (1927) by Geza Von Bolvary. She played a female lawyer in Robert Lands's Venus im Frack (1927), Asta Nielsen's daughter in Richard Oswald's drama Gehetzte Frauen (1927), the manicurist Lotte/Totte in Genina's Franco-German co-production Der Sprung ins Gluck/Totte et sa chance (1927), co-starring Andre Roanne, and the beggar girl Scampolo in Scampolo/Das Madchen der Strasse (Genina 1927/1928), opposite Livio Pavanelli. With these roles, Boni became the European equivalent of Colleen Moore and Clara Bow. Scampolo, based on Dario Nicodemi's theatre comedy, would also be played by Margot Pellegrinetti (1917), Dolly Haas (1932), Madeleine Ozeray (1932), Lilia Silvi (1942), Maria Fiore (1953) and Romy Schneider (1958). In 1928 followed Carmen Boni's German films Quartier Latin/Paris, Du Stadt der Liebe (dir. Genina; released in 1929), with Ivan Petrovich; Prinzessin Olala (Robert Land), Liebeskarneval (Genina; in which she again dressed up as a boy), with Jack Trevor; Der Adjudant des Zaren (Vladimir Strizevskij), with Ivan Mozzhukin, and in 1929 Katharina Knie (Karl Grune), Boni's last film in Germany (and the film this postcard was issued for). She was also visible in the documentary Paris-Cinema (1928-29) by Pierre Chenal and Jean Mitry, in which the shooting of the last scenes of Quartier Latin at the Gare de Lyon was recorded. The documentary closes with Boni's face. After one more film in Italy, La Grazia (1929) by Aldo De Benedetti, based on Grazia Deledda's La notte, Carmen Boni moved to France where a.o. she performed in several Italian versions of French films in the early 1930s, shot at the Paramount studio's in Joinville (Il richiamo del cuore, 1930; La vacanza del diavolo, 1931; La riva dei bruti, 1931), also in Genina's La femme en homme (1931; a sound version of L'ultimo Lord) and his comedy Ne sois pas jalouse (1932). When Genina divorced Carmen Boni, she tried to commit suicide, according to Martinelli, and focused on other things instead of cinema. Genina himself stated she swallowed sleeping pills in late 1929 because of the advent of sound cinema; she realized her big c
Lianhuanan Road 5
At around 5:30am on June 27 2009, a nearly finished, newly constructed building in Shanghai toppled over, killing one worker. As can be seen in the photos, the 13-story apartment building collapsed with just enough room to escape what would have been a far more destructive domino effect involving other structures in the 11-building complex. Investigations are underway, but it is thought the riverbed it was built right next to rose. The development, known as “Lotus Riverside,” has a total of 629 units, 489 of which have already been sold. Now buyers are clamoring to get their money back, and authorities are making efforts to reassure them. The assets of the project’s developer, Shanghai Meidu Property Development Co., have been frozen and the city officials said the developer’s ability to repay homebuyers was secure, according to a statement on the municipal government’s Web site (in Chinese). A hotline has been set up for Lotus Riverside buyers, and by Sunday afternoon, more than half of them had met with a group of lawyers and officials organized to help them negotiate with the developer, according to the statement. Meanwhile, the cause of the accident is under investigation and nine unidentified people from the developer, contractor and management company have been detained. A representative of Shanghai Meidu could not be reached for comment. The disaster could reveal some uncomfortable facts about lax construction practices in China, where buildings are put up in a hurry by largely unskilled migrant workers, and developers may be tempted to take shortcuts. According to Shanghai Daily, initial investigations attribute the accident to the excavations for the construction of a garage under the collapsed building. Large quantities of earth were removed and dumped in a landfill next to a nearby creek; the weight of the earth caused the river bank to collapse, which, in turn, allowed water to seep into the ground, creating a muddy foundation for the building that toppled. The South China Morning Post noted that the pilings used in the Lotus Riverside development, made of prestressed, precast concrete piles, are outlawed in Hong Kong because they aren’t strong enough to support the kind of ultra-high buildings that are common in Hong Kong. But in mainland China, they are often used because buildings there are typically much shorter. Quality problems have long plagued construction in China, though they seem to be more apparent in rural areas and smaller cities, not in major metropolises such as Shanghai and Beijing. When school buildings were flattened by last year’s massive Sichuan earthquake, a number of parents faulted shoddy construction for creating “tofu buildings” that fell while other nearby structures were able to withstand the impact of the quake. More recently, state media reported that several new dams along the Yellow River are in danger of collapse, a situation attributed to shoddy construction practices, embezzlement and unqualified workers.