Hammer Film Productions, the British company which made a series films from the mid-1950s until the 1970s is best known for which genre?

Hammer Film Productions | Universal Monsters Wiki | Fandom powered by Wikia Official website Hammer Film Productions is a film production company based in the United Kingdom. Founded in 1934, the company is best known for a series of Gothic "Hammer Horror" films made from the mid-1950s until the 1970s. Hammer also produced science fiction , thrillers , film noir and comedies  – and in later years, television series . During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success. This success was due, in part, to distribution partnerships with major United States studios, such as Warner Bros. During the late 1960s and 1970s the saturation of the horror film market by competitors and the loss of American funding forced changes to the previously lucrative Hammer-formula, with varying degrees of success. The company eventually ceased production in the mid-1980s and has since then been, in effect, in hibernation. In 2000, the studio was bought by a consortium including advertising executive and art collector Charles Saatchi . [1] The company announced plans to begin making films again after this, but none were produced. In May 2007, the company behind the movies was sold again, this time to a group headed by Big Brother backers, the Dutch consortium Cyrte Investments, who have announced plans to spend some $50m (£25m) on new horror films. The new owners have also acquired the Hammer group's film library. Contents Edit In November 1934 William Hinds , a comedian and businessman registered his own film company – Hammer Productions Ltd. [2] [3]  – based in a three-room office suite at Imperial House, Regent Street , London. The company name was taken from Hinds' stage name, Will Hammer, which he had taken from the area of London in which he lived, Hammersmith. [4] Work began almost immediately on the first Hammer film, The Public Life of Henry the Ninth at the MGM/ATP studios, with shooting concluding on 2 January 1935. The film tells the story of Henry Henry, an unemployed London street musician, and the title was a "playful tribute" to Alexander Korda 's The Private Life of Henry VIII which had been Britain's first ever Academy Awards 'best picture' nominee in 1934. [5] During this period Hinds met Spanish émigré Enrique Carreras , a former cinema owner, and on 10 May 1935 they formed film distribution company Exclusive Films, operating from a single office at 60-66 National House, Wardour Street . [6] Hammer produced a further four films distributed by Exclusive: Sporting Love (1937) The Bank Messenger Mystery (1936) A slump in the British film industry forced Hammer into bankruptcy and the company went into liquidation in 1937. Exclusive, however, survived and on 20 July 1937 purchased the leasehold on 113-117 Wardour Street, and continued to distribute films made by other companies. [7] Resurrection (1938 to 1955) – Hammer Film Productions Edit James Carreras joined Exclusive in 1938, closely followed by William Hinds' son, Anthony. At the outbreak of World War II, both James Carreras and Anthony Hinds left to join the armed services and Exclusive continued to operate only in a limited capacity. In 1946, James Carreras rejoined the company after demobilisation . He resurrected Hammer as the film production arm of Exclusive with a view to supplying ' quota-quickies ' - cheaply made domestic films designed to fill gaps in cinema schedules and support more expensive features. [8] He convinced Anthony Hinds to rejoin the company, and a revived 'Hammer Film Productions' set to work on Death in High Heels, The Dark Road, and Crime Reporter. Not being able to afford top stars, Hammer acquired the film rights to several BBC radio series such as The Adventures of PC 49 [9] and Dick Barton Special Agent (an adaptation of the successful Dick Barton radio show). All were shot at Marylebone Studios during 1947. During production of Dick Barton Strikes Back (1948), it became apparent that the company could save a considerable amount of money by shooting i


The 2009 biographical film The Last Station starring Christopher Plummer and Helen Mirren is about the last year in the life of which literary figure who died in 1910 at Astapovo train station?

Kerry Condon - News NEWS 25 December 2009 3:12 AM, PST  | Filmofilia | See recent Filmofilia news » Take a look at these brand new trailer and poster for the upcoming “ The Last Station ,” a drama about the last year in the life of Russian novelist Leo Tolstoy . “ The Last Station ” synopsis: After almost fifty years of marriage, the Countess Sofya ( Helen Mirren ), Leo Tolstoy ’s ( Christopher Plummer ) devoted wife, passionate lover, muse and secretary?she?s copied out War and Peace six times…by hand!?suddenly finds her entire world turned upside down. In the name of his newly created religion, the great Russian novelist has renounced his noble title, his property and even his family in favor of poverty, vegetarianism and even celibacy. After she’s born him thirteen children! When Sofya then discovers that Tolstoy’s trusted disciple, Chertkov ( Paul Giamatti )?whom she despises?may have secretly convinced her husband to sign a new will, leaving the rights to his iconic novels to the Russian » - Allan Ford 13 December 2009 11:31 PM, PST  | Upcoming-Movies.com | See recent Upcoming-Movies.com news » Movie Jungle has new clips in from Sony Pictures Classics ' Helen Mirren , Christopher Plummer , Paul Giamatti , James McAvoy and Kerry Condon . Michael Hoffman directs from the writing by Jay Parini. After almost fifty years of marriage, the Countess Sofya ( Helen Mirren ), Leo Tolstoy ’s ( Christopher Plummer ) devoted wife, passionate lover, muse and secretary—she’s copied out War and Peace six times…by hand!—suddenly finds her entire world turned upside down. In the name of his newly created religion, the great Russian novelist has renounced his noble title, his property and even his family in favor of poverty, vegetarianism and even celibacy. After she’s born him thirteen children! When Sofya then discovers that Tolstoy’s trusted disciple, Chertkov ( Paul Giamatti )—whom she despises—may have secretly convinced her husband to sign a new will, leaving the rights to his iconic novels to the Russian people rather than his very own family, » Kerry Condon and James McAvoy in The Last Station Photo: Sony Pictures Classics I haven't read a word of Leo Tolstoy 's novels so some may say I was approaching The Last Station at a disadvantage as it focuses on the final days of Tolstoy's life. Looking even further, I haven't seen any of writer/director Michael Hoffman 's films prior to watching The Last Station , a film that appears to have gained Oscar attention out of a sheer lack of competition. That is to say this is a good film, but hardly worthy of such lofty acclaim as this is little more than a made-for-tv story acted out by some of the feature film world's elite. James McAvoy stars as Valentin, and make no mistake about it, he is the sole lead of this film as he is introduced to the Tolstoy camp as the famous writer has renounced his noble title, » - Brad Brevet 25 November 2009 10:56 AM, PST  | Filmofilia | See recent Filmofilia news » The first trailer for a historical drama that illustrates Russian author Leo Tolstoy ’s struggle to balance fame and wealth with his commitment to a life devoid of material things – “ The Last Station ” has been released. Both written and directed by Michael Hoffman , the movie stars Christopher Plummer , Helen Mirren , James McAvoy , Paul Giamatti and Anne-Marie Duff among others. After almost fifty years of marriage, the Countess Sofya ( Helen Mirren ), Leo Tolstoy ’s ( Christopher Plummer ) devoted wife, passionate lover, muse and secretary, she’s copied out War and Peace six times…by hand! suddenly finds her entire world turned upside down. In the name of his newly created religion, the great Russian novelist has renounced his noble title, his property and even his family in favor of poverty, vegetarianism and even celibacy. After she’s born him thirteen children! 24 November 2009 9:49 PM, PST  | Upcoming-Movies.com | See recent Upcoming-Movies.com news » See the trailer as well as previously added images from Sony Pictures Classics ' " The Last Station ," starring Helen Mirren , Chri


What 1997 science fiction drama that deals with eugenics takes its title from a combination of the initial letters of the four DNA bases of Adenine, Cytosine, Guanine, and Thymine?

Gattaca Tuesday, March 18, 2008 "As     night-fall does not come at once, neither does oppression... It is in     such twilight that we all must be aware of change in the air — however     slight — lest we become victims of the darkness." Justice     William O. Douglas It is the near future, and Vincent/Jerome       Morrow has a problem. A genetic problem. He is an imperfect       man in a perfect world. Every day it seems as if people are       discovering new uses for the human genetic code. Hardly a day passes       when there isn't a researcher who claims to have found another       miracle gene. One for obesity, for cancer, for asthma, for       manic-depression, and so forth. Gene therapy is on the rise, already       some people have been used for the first leading forms of       treatments, using recombinant DNA, injected by genetically-altered       viruses. There is even talk (and perhaps an attempt) to clone a       human. Ever since the decryption of the human genetic code, a burst       of new research in the field of genetics has occurred, and       certainly, as our ability to manipulate our DNA increases, so too       will the debate over designer babies escalate. GATTACA is a refreshing and       fascinating view into the possibilities which lie ahead, should       humanity continue on its present path. On one hand it depicts a       clean society: of cars run on electricity, fields of solar energy,       and advanced space exploration. Under this thin veneer, however,       lies a dark world stagnating under the simple fact of genetic purity       and lack of individuality. It ends on an optimistic note, however,       quite uncharacteristic of a dystopia. At the end Jerome/Vincent       succeeds in his dreams, despite his shortcomings, proving that       imperfect humans can succeed in the GATTACA world. The end result       leaves us with one question: Who knows what lies ahead? And       that is an interesting quandary for us all to ponder and act on — for better or for worse. By: Harriet Paguyo Gattaca Gattaca is a movie about the genetics. They descriminate people who are naturally fertilized. In that scene, the scene happens in the future and if we say future, more inventions. In the movie, there was a machine that can make perfect babies. But Vincent is not a perfect baby. So his parents liked his brother more because his brother was perfectly made. Jerome Murrow, got paralyzed because he had an accident when he went swimming with Vincent. He sell his identity to Vincent so that Vincent will no be descriminated. He sell to Vincent his blood,his skin,and everything of his body. He even scru his body for Vincent. He did all of that just for Vincent can pursue his dreams before he die. To be in space. Vincent knew when hw will die. Fo me, The genetic descrimination that Vincent experienced is wrong. It is not good to make perfect babies because God made us not perfect so I am not also approving of it because for me, people who have experienced that is not only affected their whole lives but also their emotions. So I just wish it will not happen in the future because it is really really wrong. Gatacca is a nice movie and full of lesson and alo futuristic. by: Gracielle Beatriz B. Cenit HS II-D EVOLUTION... EVOLUTION The satisfaction of curious minds can never be drenched over with full-bloom answers if we are to confer the fundamental topic, evolution. Until now, it remains but largely as theoretical assumptions of significant people who parley knowledge that remains assumed by non-skeptic individuals, yet has never been proven clearly factual by any of those great thinkers. Evolution in its biological sense, whether a science fact or a fiction for me doesn’t matter any more, for the vitality in its existence alone has procured man its sources for its survival years back then and will continue to contribute to man’s learning years from now. In


Which 2001 film is based on the story Super-Toys Last All Summer Long by Brian Aldiss that deals with the age of machines where child creation is controlled?

Analysis Of a Summer Tragedy Free Essays Analysis Of A Summer Tragedy An Analysis of the Classic, "Summer Solstice" "Summer Solstice", also known as Tatarin, is a short story... that has garnered much attention since its publish date in 1972. It was made into a feature film in 2001, and has been studied in many college classes. Read an analysis of the story here. "Summer Solstice" Analysis "Summer Solstice" is a short story that has received recognition both critical and praising. Written by Nick Joaquin, the story takes place in 1850s Philippines... Femininity, Gender, Husband 969  Words | 3  Pages A Postcolonialist Analysis of the Tragedy of Othello A Postcolonialist Analysis of the Tragedy of Othello Syllabus 1. Introduction  Different people have different opinions... towards the tragedy of Othello. Personally, I am deeply impressed by the racial bias in this tragedy; therefore I try to analyze it from the view of postcolonialism.  As you know, the tragedy of Othello has a close relation with Othello’s blackness identity. In the play, the viperous Iago makes full use of Othello’s special Moor identity, which is different from the dominant... Black people, Colonialism, Desdemona 858  Words | 3  Pages Analysis of the Tragedy Othello playwrights that have ever lived. He has written dozens and dozens of brilliant plays, most of those plays have been made into movies. One such play that has... been made into a movie is “Othello.” The play “Othello” is one of Shakespeare’s greatest tragedies. It is about a black general in the Italian army, Othello, and what happened between him and his wife, Desdemona. The main villain in this play is Iago; who is a soldier under Othello’s command. Iago tells Othello numerous lies about Desdemona and... Betrayal, Iago, Love 944  Words | 3  Pages Analysis of Summer of the Seventeenth Doll Summer of the Seventeenth Doll, by Ray Lawler was a ‘bottling’ performance. A highly effective use of lighting, set design, props and... additional sensory stimulus; were powerful tools in creating a realistic production. The skilful use of the elements of drama; human context; language, movement, mood and dramatic tension, enabled the audience to relate to the characters and plot. The development of sub-plots also added to the creation of a realistic performance, by mirroring the human condition. Through... Audience, Drama, Neil Armfield 1476  Words | 4  Pages Tragedy Tragedy is an imitation of an action that is serious, complete and of a certain magnitude." (Aristotle). Examine the statement critically and... substantiate your answer with the examples from any two of the plays you have read." ‘The Poetics The Poetics is chiefly concerned with Tragedy which is regarded as the highest poetic form. In it the theory of tragedy is worked out so admirably, with such insight and comprehension, that ‘it becomes the type of the theory of literature’ (Abercrombie). Aristotle... Aristotle, Catharsis, Character 1938  Words | 5  Pages summer farm analysis we will find him at the centre. Note how once again he is at the centre as if he is at ‘the centre of the universe’ once again, after doing it time and... time again, that he is the omniscient one in this world that is his mind. We can pair the Summer farm with The Cockroach in the sense that we see a reflection of the cockroach on the human, similar to how we see the dream world as a reflection of MacCaig. ... Chicken, Hen, Mind 1445  Words | 4  Pages Summer Heights High T.V. Analysis Good Morning my name is Sam Wockner and today I will be analysing and expressing my thoughts on the show Summer Heights High.  INTRODUCTION:... Summer Heights High is a show based on a public school education using both the positives and negatives in all forms of comedy. The show is based around three individual and extremely unique characters: Jonah Takalua, an early developed Year 8 student with very little intelligence or consideration due to the way he has been raised. He uses the fact that... Big Bite, Chris Lilley, Comedy 1370  Words | 3  Pages summer Summer Activity


If you are given the words - City Slickers and push-ups, can you name the person?

Jack Palance -- bad guy of Westerns also poet, painter - SFGate Jack Palance -- bad guy of Westerns also poet, painter Myrna Oliver, Los Angeles Times Published 4:00 am, Saturday, November 11, 2006 Photo: JOHN HAYES Close Image 1 of 8 ** FILE** Actor Jack Palance poses on his ranch in Tehachapi, Calif., on a foggy afternoon, in this Jan. 27, 1997 file photo. Palance, the craggy-faced menace in "Shane," "Sudden Fear" and other films who turned successfully to comedy at 70 with his Oscar-winning self-parody in "City Slickers," died Friday. (AP Photo/John Hayes, file) less ** FILE** Actor Jack Palance poses on his ranch in Tehachapi, Calif., on a foggy afternoon, in this Jan. 27, 1997 file photo. Palance, the craggy-faced menace in "Shane," "Sudden Fear" and other films who ... more Photo: JOHN HAYES Image 2 of 8 Jack Palance appears in this undated publicity photo as co-star of the 1953 western "Shane," directed by George Stevens. Oscar-winning actor Palance, who starred as a heartless gunslinger in "Shane," died at his California home on November 10, 2006 at age 87, his spokesman said. NO ARCHIVES EDITORIAL USE ONLY REUTERS/AMPAS/Handout (UNITED STATES) less Jack Palance appears in this undated publicity photo as co-star of the 1953 western "Shane," directed by George Stevens. Oscar-winning actor Palance, who starred as a heartless gunslinger in "Shane," died at ... more Photo: HO Image 3 of 8 ** FILE ** Actor Jack Palance does a one-handed push-up on stage at the 64th annual Academy Awards in this March 30, 1992, file photo after winning an Oscar for best actor in a supporting role for his performance in the film "City Slickers." Palance died Friday, Nov. 10, 2006, of natural causes at his home in Montecito, Calif., surrounded by family, said spokesman Dick Guttman. His family indicated he was 87. (AP Photo/Craig Fuji) less ** FILE ** Actor Jack Palance does a one-handed push-up on stage at the 64th annual Academy Awards in this March 30, 1992, file photo after winning an Oscar for best actor in a supporting role for his ... more Photo: CRAIG FUJI Image 4 of 8 ** FILE ** Jack Palance, right, is seen with Billy Crystal in this undated file photo on the set of "City Slickers". Palance, the craggy-faced menace in "Shane," "Sudden Fear" and other films who turned successfully to comedy in his 70s with his Oscar-winning self-parody in "City Slickers," died Friday, Nov. 10, 2006. Palance died of natural causes at his home in Montecito, Calif., surrounded by family. He was 87. (AP Photo) less ** FILE ** Jack Palance, right, is seen with Billy Crystal in this undated file photo on the set of "City Slickers". Palance, the craggy-faced menace in "Shane," "Sudden Fear" and other films who turned ... more Image 5 of 8 **FILE** Actor Jack Palance, right, poses for a photograph with fellow actor Billy Crystal prior to the 18th annual American Museum of the Moving Image benefit in New York in this Feb. 12, 2003 file photo. Palance, the craggy-faced menace in "Shane," "Sudden Fear" and other films who turned successfully to comedy at 70 with his Oscar-winning self-parody in "City Slickers," died Friday. (AP Photo/Shawn Baldwin, file) less **FILE** Actor Jack Palance, right, poses for a photograph with fellow actor Billy Crystal prior to the 18th annual American Museum of the Moving Image benefit in New York in this Feb. 12, 2003 file photo. ... more Photo: SHAWN BALDWIN Image 6 of 8 ** FILE** Jack Palance holds his Emmy award in the Hollywood section of Los Angeles in this March 16, 1957 file photo. Palance, the craggy-faced menace in "Shane," "Sudden Fear" and other films who turned successfully to comedy in his 70s with his Oscar-winning self-parody in "City Slickers," died Friday, Nov. 10, 2006. Palance died of natural causes at his home in Montecito, Calif., surrounded by family. He was 87. (AP Photo) less ** FILE** Jack Palance holds his Emmy award in the Hollywood section of Los Angeles in this March 16, 1957 file photo. Palance, the craggy-faced menace in "Shane," "Sudden Fear" and other films who turned ... more Image 7 of 8 A m


What word that refers to a rite of passage among aborigines is also the title of an acclaimed 1971 British film that features an urban brother and sister in the Australian outback?

Aboriginal Reconciliation and the Dreaming - Warramiri Yolngu and the Quest for Equality - Documents Aboriginal Reconciliation and the Dreaming - Warramiri Yolngu and the Quest for Equality Share Aboriginal Reconciliation and the Dreaming - Warramiri Yolngu and the Quest for Equality Embed
  Aboriginal Reconciliation and the Dreaming - Warramiri Yolngu and the Quest for Equality
 size(px) Aboriginal Reconciliation and the Dreaming - Warramiri Yolngu and the Quest for Equality by kevin-kaiser Download Aboriginal Reconciliation and the Dreaming - Warramiri Yolngu and the Quest for Equality Transcript Aboriginal Reconciliation and the Dreaming  CULTURAL SURVIVAL STUDIES N ETHNICITY AND CHANGE A lly n & B a c o n Series Editors, David Maybury-Lewis and Theodore Macdonald, Jr., Cultural Survival, Inc., Harvard University Indigenous Peoples, Ethnic Groups, and the State, by David Maybury-Lewis Malaysia and the “Original People”: A Case Study of the Impact of Development on Indigenous Peoples, by Robert Knox Dentan, et al. Gaining Ground? Evenkis, Land, and Reform in Southeastern Siberia, by Gail A. Fondahl Ariaal Pastorialists of Kenya: Surviving Drought and Development in Africa’s Arid Lands, by Elliot Fratkin Ethnicity and Culture amidst New “Neighbors”: The Runa of Ecuador’s Amazon Region, by Theodore Macdonald, Jr. Aboriginal Reconciliation and the Dreaming: Warramiri Yolngu and the Quest for Equality, by Ian S. McIntosh Defending the Land: Sovereignty and Forest Life in James Bay Cree Society, by Ronald Niezen Forest Dwellers, Forest Protectors: Indigenous Models for International Development, by Richard Reed  and the Dreaming: Warramiri Yolngu and the Quest for Equality Ian S. McIntosh Cultural Survival, Inc. Allyn and Bacon Boston • London • Toronto • Sydney • Tokyo • Singapore  ‘Father you gave us the Dreaming’ Rev. Dr. Djiniyini Gondarra 1988 Series Editor: Sarah L. Kelbaugh Editor-in-Chief, Social Science: Karen Hanson Series Editorial Assistant: Jennifer DiDomenico Marketing Manager: Brooke Stoner Manufacturing Buyer: Julie McNeil Cover Administrator: Jenny Hart Editorial-Production Service: Omegatype Typography, Inc. Copyright © 2000 by Allyn & Bacon A Pearson Education Company Needham Heights, Massachusetts 02494 Internet: www.abacon.com All rights reserved. No part of the material protected by this copyright notice may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without the written permission of the copyright holder. ISBN: 0-205-29793-5 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 04 03 02 01 00 99 All photographs are credited to Ian S. McIntosh.  Contents Foreword to the Series...............................................................ix Preface ............................................................................................xi The Warramiri, 1920 Onwards .................................................1 A Divided Nation ..........................................................................7 AUSTRALIA AT THE CROSSROADS................................................ 13 THE BEGINNING AND THE END OF THE RECONCILIATION PROCESS? ........................................................ 14 LEGAL RECOGNITION OF ABORIGINAL HUMAN RIGHTS .... 17 MABO AND RECONCILIATION ....................................................... 21 SEEKING A “COM


The landmark 1960s films I Am Curious (Yellow) and I Am Curious (Blue) were named after the colors of the flag of which country?

I Am Curious Yellow/I Am Curious Blue (1967) -- Gary Giddins, http://www.criterionco.com/asp/release.asp?id=180&eid=283&section=essay Description I Am Curious (Yellow) is a Swedish film (Jag �r nyfiken - en film i gult) of 1967, directed by Vilgot Sj�man and staring Lena Nyman as herself. It was a landmark film that helped define the emergent change in Swedish film of the 1960s. Like a French New Wave film , the movie used jump cuts, featured a story not structured in the usual, Hollywood structure. The film includes scenes of nudity and sexual intercourse . In 1969, the film was banned in the United States for being pornography . After three court battles the Supreme Court legalized the movie by overturning the anti-obscenity law that regulated motion pictures. In 1968 Sj�man released a second "version" of the movie titled I Am Curious (Blue) which tells mostly the same story, but with different footage . Initially, I Am Curious (Blue) and I Am Curious (Yellow) were meant to be one 3 1/2 hour film. This is revealed in director Vilgot Sj�man's book I Was Curious: Diary of the Making of a Film (published in English by Grove Press in 1968). -- http://en.wikipedia.org/wiki/I_Am_Curious_(Yellow) [Apr 2005] Blurb to the book One of the most significant films of the past ten years is I Am Curious - Yellow, which was made by the Swedish director, Vilgot Sj�man , whose earlier films included My Sister, My Love and 491. Wherever the film has been shown in Europe - in Sweden, Denmark, Germany, France, and now in the United States - it has been acclaimed by critics as an important work of art in its honest and forthright portrayal of the social, political, and sexual problems of today's youth. blurb via http://www.users.globalnet.co.uk/~jimthing/oyellow.htm Amazon review In 1966-67, with 100,000 meters of black-and-white film and freedom to shoot without a script, director Vilgot Sjöman created a motion picture so rangy and multilayered that it became two separate, overlapping movies released a year apart: I Am Curious Yellow and I Am Curious Blue. Those are the colors of the Swedish flag, and Sjöman's film tapped into the political, social, and psychosexual condition of his nation on the eve of worldwide cultural revolution. It also became a envelope-pushing event in the history of sex in the cinema. A feisty, rather zaftig actress-activist named Lena Nyman played a radical activist named Lena Nyman who, in between interviewing her fellow Swedes about everything from gender inequities to the morality of vacationing in Franco's Spain, spent lots of raunchy time in bed (and elsewhere). The copious frontal nudity and a glimpse of oral-genital contact ensured an epic court battle in America, and I Am Curious Yellow became a must-see conversation piece. Decades later, it all seems not only fresher than it did then but oddly tender, even sweet. Sjöman, 42 years old to Nyman's 22, cast himself as her lover (which he was) as well as her director, and the film is occasionally "interrupted" by its own filming. Sjöman/"Sjöman" has to watch Lena/"Lena" doing some very intimate things with costar Börje Ahlstedt. Börje is playing a car salesman, but also playing "himself" as an actor sometimes intriguing against his director with "Lena"--not "Lena the activist" but "Lena the actress," both of whom Lena the actress-for-real is playing. The Pirandellianism is witty, raw, and lingeringly ambiguous. And now DVD adds another layer if you happen to watch with the commentary track engaged and listen to the seventysomething Sjöman, still musing wryly on the radical fusion of film and life at whose creation he was present. --Richard T. Jameson, amazon.com Amos Vogel review: A cluttered room, a hastily made floor bed, an eager young couple: a scene from the legendary work that opened commercial cinema to eroticism and pornography. Sex is demystified, desentimentalized, shown as a part of life. Coital activity is frequently and directly shown; but there are no erections not penetrations, as there are in today's hardcore films. SC The historical


In what 1949 classic English comedy from Ealing Studios does Alec Guinness play 8 roles?

Ealing Studios Collection: Volume 1 1949 Blu-ray: Amazon.co.uk: Alec Guinness, Stanley Holloway, Joan Greenwood, Dennis Price, Sidney James, Robert Hamer, Alexander Mackendrick, Charles Crichton: DVD & Blu-ray By Amazon Customer on 3 May 2014 Verified Purchase THE EALING STUDIOS COLLECTION VOL.1 [1949/1951/1951] [Blu-ray] A Hilarious Study of the Gentle Art of MURDER! The Men Who Broke the Bank – And Lost the Cargo! The Classic Ealing Comedy – Spotless Restored! Ealing Studios’ output from the 1940s and the 1950s helped define what was arguably the golden age for British cinema. This Blu-ray collection brings together three much loved comedy classics, directed by Ealing stalwarts Robert Hamer, Charles Crichton and Alexander Mackendrick, and starring the great Sir Alec Guinness in some of his most memorable roles. FILM FACT: Kind Hearts and Coronets: This is listed in Time magazine's top 100 and also in the BFI [British Film Institute] Top 100 British films. In 2011 the film was digitally restored and re-released in selected British cinemas FILM FACT: Lavender Hill Mob: The title refers to Lavender Hill, a street in Battersea, a district of South London, in the postcode district SW11, near to Clapham Junction railway station. Audrey Hepburn makes an early film appearance in a small role as Chiquita near the start of the film. Robert Shaw also made his first film appearance, playing a police laboratory technician towards the end of the film. English actress Patricia Garwood made her first film appearance in this film at the age of nine. British 1960s children's television icon Valerie Singleton also had an uncredited part in the film. FILM FACT: The Man in the White Suit: It followed a common Ealing Studios theme of the "common man" against the Establishment. In this instance the hero falls foul of both trade unions and the wealthy mill owners who attempt to suppress his invention. It was one of the most popular films of the year in Britain. Read more ›


With 11 wins and 34 nominations, which country holds the record for most honors in the Best Foreign Film category at the Oscars (as of 2009)?

Oscars Foreign-Language Film shortlist: ‘Son of Saul,’ ‘Labyrinth of Lies,’ ‘The Fencer,’ ‘Mustang,’ ‘Viva’ … - Goldderby Oscars Foreign-Language Film shortlist: ‘Son of Saul,’ ‘Labyrinth of Lies,’ ‘The Fencer,’ ‘Mustang,’ ‘Viva’ … John Benutty Dec 18, 2015 7:37 am The academy just unveiled the nine films still in the running for the Best Foreign-Language Film at the Oscars. Over the last two months a screening committee, divided into groups, has been watching the 80 submissions and rating each from 6 to 10. Those ratings determined a top six which makes up two-thirds of the shortlist. The other three films were hand-selected by a 20-member executive committee. The five Oscar nominees will be determined by another committee who will screen the nine semi-finalists in early January. Four of the five Golden Globe nominees — “ The Brand New Testament ” (Belgium), “ The Fencer ” (Finland), “ Mustang ” (France) and “ Son of Saul ” (Hungary) — number among these nine. The fifth Globe contender is “ The Club ” (Chile). By comparison, the Critics’ Choice Awards previewed only two of these potential Oscar nominees (“The Mustang ,” “ Son of Saul ”) as they opted for “The Assassin” (Taiwan), “Goodnight Mommy” (Austria) and “The Second Mother” (Brazil).  Those films that did not reap bids from either precursor group but are in the running at the Oscars are: “ Embrace of the Serpent ” (Colombia), “ Labyrinth of Lies ” (Germany), “ Theeb ” (Jordan), “ Viva ” (Ireland) and “ A War ” (Denmark),  Beside those films cited by the Globes and BFCA but left off this list, the most notable snub was Venice champ and European Film awards winner “A Pigeon Sat on a Branch Reflecting on Existence” (Sweden).  Below, our take on each of these films in terms of the Oscars. “ The Brand New Testament ” (Belgium) Belgium has never won the award despite seven bids, including in 2011 (“Bullhead”) and 2013 (“The Broken Circle Breakdown”). Considered by its director, Jaco Van Dormael to be “a comedy that mixes laughs, emotion and poetry,” “The Brand New Testament” brings levity to a race often bogged down by serious material taken very seriously. Its excellent ensemble cast, including screen legend and Oscar nominee Catherine Deneuve, a fantastic script and gorgeous cinematography as well as a Golden Globe nomination make this a strong competitor. “ Embrace of the Serpent ” (Colombia) One of only two non-European films to make the shortlist, “Embrace of the Serpent” comes to the final stretch of the race with a slew of South American awards as well as the Art Cinema Award at Cannes under its belt. One look at our forum topic on the subject shows that many users have it at the top of their predictions. Colombia has yet to earn its first nomination. “ The Fencer ” (Finland) Finland has only contended once (“The Man Without a Past” in 2002) but deserves to be back with “The Fencer,” an endearing and hopeful film about an Estonian fencer and newly established sports instructor at a local school set against the backdrop of Eastern European politics during the Second World War. This marks director Klaus Härö’s fourth film to be entered by Finland. An adorable cast of children is led by Estonian actor Märt Avandi who holds you in captivity for the film’s pleasantly short, but efficient runtime. After receiving a Golden Globe nomination, the film’s profile has been significantly raised.  “ Labyrinth of Lies ” (Germany) Sony Pictures Classics, which has a strong contender with Hungary’s “Son of Saul,” also has this Holocaust-themed film that exposes the conspiracy of prominent German institutions and government branches to cover up Nazi crimes. While the reunified Germany was a mainstay in the category in the first decade of this century with two wins from six nominations, it has yet to return to the big show since 2009 when “The White Ribbon” contended. “Mustang” (France) Never underestimate France: they are the most nominated country in category history (39) and second to Italy in wins (12). While many assumed it would submit Palme d’Or winning “Dheepan,” France ent


Which French comedian is best known for his portrayal of an irascible Italian village priest at war with the town's Communist mayor in the Don Camillo series of motion pictures?

Fernandel Fernandel Fernandel, Fernandels Kontandens, Фернандель, Ферна́н Жозе́ф Дезире́ Контанде́н, Fernandels Categories: Person   Fernand Joseph Désiré Contandin (8 May 1903 – 26 February 1971), better known as Fernandel, was a French actor and singer. Born in Marseille, France, he was a comedy star who first gained popularity in French vaudeville, operettas, and music-hall revues. His stage name is the diminutive form of his first name in Occitan. In 1930, Fernandel appeared in his first motion picture and for more than forty years he would be France's top comic actor. He was perhaps best-loved for his portrayal of the irascible Italian village priest at war with the town's Communist mayor in the Don Camillo series of motion pictures. His horse-like teeth became part of his trademark. He also appeared in Italian and American films. His first Hollywood motion picture was 1956's Around the World in Eighty Days in which he played David Niven's coachman. His popular performance in that film led to his starring with Bob Hope and Anita Ekberg in the 1958 comedyParis Holiday. In addition to acting, Fernandel also directed or co-produced several of his own films. Fernandel died from lung cancer and is buried in the Cimetière de Passy, Paris, France. Literature In The Stranger by Albert Camus, Meursault and his female friend Marie Cordona watch a movie starring Fernandel on the day after Meursault's mother died. Source: wikipedia.org


Which classic 1966 film by Gillo Pontecorvo was shown in the Pentagon in 2003 with the flyer reading as follows? How to win a battle against terrorism and lose the war of ideas. Children shoot soldiers at point-blank range. Women plant bombs in cafes. Soon the entire Arab population builds to a mad fervor. Sound familiar? The French have a plan. It succeeds tactically, but fails strategically. To understand why, come to a rare showing of this film.

The Battle of Algiers | Criterion Collection | Foreign Film | Movie Review | 1966 CATEGORIES: Criterion Collection | Film Essays | French "Isn't it cowardly to use your women's baskets to carry bombs, which have taken so many innocent lives? "Isn't it even more cowardly to attack defenseless villages with napalm bombs that kill many thousands of times more? Obviously, planes would make things easier for us. Give us your bombers, sir, and you can have our baskets." Gillo Pontecorvo's The Battle of Algiers is one of the most powerful political films about terrorism and guerrilla warfare and its political themes and ideologies are frighteningly still relevant in today's universal headlines. The Battle of Algiers was a film that was made in 1965 but released in late 1967 as it tells the fights and emerging tactics in Algeria between the years of 1954 and 1962, where France tried and failed to contain a nationalist uprising, and as its methods were successful in Algeria they would later be adapted by the Cubans, the Palestinians, the Viet Cong, the IRA and South African militants, and the United States of America. For The Battle of Algiers, Gillo Pontecorvo and cinematographer Marcello Gatti took from the cinematic masters of Soviet Montage and Italian neorealism and experimented with various styles and techniques including shooting in stark black and white cinematography, casting non-actors in the roles of its Algerians, and shooting everything live and on location including Algiers and in the European quarters of Casbah; all which would help create an authentic look of newsreel and documentary like footage. When the film was released this effect convinced audiences into believing they were watching real life war footage and so Americans released a disclaimer for the film that said "Not one foot of newsreel was used." In a film that was cast almost entirely with non-actors, Pontecorvo decided to use a Paris stage actor to play Col. Mathieu, a commander of the paratroopers sent in to back up the French police. Mathieu, himself a member of the French resistance to the Nazis, is calm, analytical, strategic in his thinking, and considers the FLN to be the enemy, not a malevolent force. Pontecorvo brilliantly cuts back and forth between Col. Mathieu and a raggedy band of FLN fighters, most importantly Ali la Pointe, a petty criminal who converted to the FLN after witnessing a beheading in prison. And yet The Battle of Algiers is legendary in its explicit documentary-like detail of its iconography of police shootings, terrorist bombings, child martyrs, interrogation rooms, general strikes, torture chambers, security breaches, riot demonstrations, and violent reprisals, which supposedly adapted the film into a training manuel for the Black Panthers, Provisional Irish Republican Army and the Jammu Kashmir Liberation Front. Because of that The Battle of Algiers gained a reputation for inspiring political violence with France banning it for five years and Jimmy Breslin declaring on TV in 1968, "The Battle of Algiers is a training film for urban guerrillas." Even today, The Battle of Algiers is still a cinematically important and crucial film, and as of recently in September 2003 the New York Times reported that the movie was being shown in the Pentagon to military and civilian experts, regarding it as a useful illustration of the problems faced in Iraq. One of the most unforgettable moments in the film is the sequence in which three Algerian women masquerading as upscale French women, plant bombs at various public hangouts in the French quarter. We then get vivid snapshots of teenagers dancing, men sipping drinks and a toddler licking his ice cream cone, all before its unenviable explosion. This disturbing act of terrorism followed by the powerful and unsentimental score by Ennio Morricone is still relatable to us all as it is a frightening and prophetic parallel to the bombings in Israel, the U.K.,  Iraq, and of the tragic 2001 September 11th attacks in the United States of America.   PLOT/NOTES It first begins in 1957 in Alger as Fr


What series of documentary films directed by Michael Apted follow the lives of fourteen British children since 1964, when they were seven years old?

Michael Apted, Aging With The '7 Up' Crew : NPR Michael Apted, Aging With The '7 Up' Crew Embed Embed Michael Apted, Aging With The '7 Up' Crew Michael Apted, Aging With The '7 Up' Crew Embed Embed Enlarge this image Jackie, Lynn and Sue — pictured here at age 7 — are three of the children featured in the landmark 1964 documentary 7 Up. The series returns this year with 56 Up, checking in with a group of 14 men and women whose lives have been documented since they were kids. First Run Features hide caption toggle caption First Run Features Jackie, Lynn and Sue — pictured here at age 7 — are three of the children featured in the landmark 1964 documentary 7 Up. The series returns this year with 56 Up, checking in with a group of 14 men and women whose lives have been documented since they were kids. First Run Features This interview was originally broadcast on Feb. 5, 2013 . Every seven years since 1964, in what's known as the Up series, Granada Television has caught us up on the lives of 14 everyday people. The subjects of the documentary series were 7 years old when it began; in the latest installment, 56 Up, they are well into middle age. The original idea behind the series was to examine the realities of the British class system at a time when the culture was experiencing extraordinary upheaval. "We weren't interested in the personalities so much," says Michael Apted, who was a researcher on the original episode and has directed all the subsequent ones. "We needed children ... who weren't fazed by us, who could speak to us, but we weren't looking for any particular characteristics. We were just interested in their backgrounds. "[T]he idea was that we would get some 7-year-old children from different backgrounds — from rich backgrounds, from poor backgrounds, from rural backgrounds ... and have them talk about their lives ... and see whether that told us anything. And of course it did, because it was both very funny and also chilling, showing that, in fact, the class system was very active, and that people in certain backgrounds had a real vision of their future, and others really didn't know what day it was." Article continues after sponsorship The breadth of a project like this inevitably translates into a great deal of intimacy between the subjects and the audience. These people have repeatedly shared with millions of strangers some of their most private thoughts on screen. It's not an easy exercise, as one of the subjects — Nick Hitchon — tells Fresh Air's Terry Gross. Hitchon never watches the films; they make him deeply uncomfortable. While he is happy and willing to be a part of the project because he thinks it's an important exploration of life, "that doesn't change the fact that it's kind of terrifying at times." Michael Apted, the director of the Up series, also directed the James Bond film The World Is Not Enough. Murray Close/Bristol Bay Productions, LLC hide caption toggle caption Murray Close/Bristol Bay Productions, LLC Michael Apted, the director of the Up series, also directed the James Bond film The World Is Not Enough. Murray Close/Bristol Bay Productions, LLC The intimacy the audience has come to feel for the subjects of the Up series is inevitably even greater for Apted, for whom these people have become not just subjects, but friends. He was 22 when they were 7 — but the age difference has long since ceased to matter, he says. Interview Highlights Hitchon on why he doesn't watch the Up films "I don't like the sound of my own voice. I think I look ridiculous, and I just am uncomfortable. ... If I say that I am uncomfortable with this, it doesn't mean that I don't like the project, and it doesn't mean that I am mad at Michael, but I am deeply uncomfortable doing the interviews. I pretend while I'm being interviewed that it's just a chat. I pretend to myself that nobody else is watching, and I don't want that particular bubble burst." Hitchon on whether he feels pressure to demonstrate positive change in his life every seven years "Actually, no. Some of the people involved do feel that way. I never ha


David Chase, the creator of which super-hit TV series called the movie Goodfellas his inspiration?

Mad Men - TV - Matthew Weiner - The New York Times The New York Times Television |In Act 2, the TV Hit Man Becomes a Pitch Man Search Continue reading the main story Photo Matthew Weiner on the set of his new series on AMC, Mad Men. Credit Stephanie Diani for The New York Times LOS ANGELES, July 12 — Like a trusted Mafia lieutenant, Matthew Weiner helped suffocate Christopher Moltisanti in an S.U.V. and shoot Bobby Baccalieri in a model-train shop. He did so in his capacity as an executive producer of “The Sopranos,” and he shared a writing credit on those particular episodes, and was listed as the sole writer on many others during the series’s final three seasons. For his next act, Mr. Weiner, 42, has crossed the Hudson River from New Jersey to Madison Avenue and turned the clock back nearly 50 years to the late 1950s, where “Mad Men,” the new dramatic series he has created, begins. It makes its debut on AMC on Thursday night at 10. Though nobody is killed, at least early on, Mr. Weiner’s lead character, an archetypal  advertising man named Don Draper, is surrounded by a supporting staff of misogynistic executives who engage in enough lying, backbiting, drinking and sexual shenanigans during the industry’s golden age to rival the bad behavior of the crew at the Bada Bing club. There is also a disproportionate amount of spirited conversation in office hallways in the series’s initial episodes — as if “The West Wing” had been restaged in a haze of cigarette smoke, among neat rows of desks topped with typewriters — though not necessarily a lot of action, beyond a low-speed car crash and some overt flirting. Continue reading the main story “Talking can be heroic,” Mr. Weiner said in an interview here on the studio set serving as Mr. Draper’s living room, arrayed with linen drapes, needlepoint pillows and copies of Flair, the popular ’50s magazine. “I loved ‘The Sopranos.’ But not every problem can be solved by killing someone. When you take that out of the mix, talking is kind of what you have left, although a lot of problems on this show are solved by sleeping with people.” Advertisement Continue reading the main story The arrival of “Mad Men,” which is being given an initial run of 13 one-hour episodes, comes at a particularly opportune time for both Mr. Weiner and AMC, the basic cable channel that is formally known as American Movie Classics. Mr. Weiner, whose previous writing experience was mostly on two network comedies, “Becker” and “The Naked Truth,” wrote the pilot episode seven years ago, as a so-called spec script, Hollywood’s version of a calling card. It so impressed David Chase, the creator of “The Sopranos,” that he hired Mr. Weiner largely because of it. “It was what you’re always hoping to see,” Mr. Chase said, calling from a post-“Sopranos” vacation in Europe. “It was lively and it had something new to say. Here was someone who had written a story about advertising in the 1960s, and was looking at recent American history through that prism.” Though Mr. Weiner mostly put the script for “Mad Men” aside to focus on “The Sopranos,” he revived it last year as the series was winding down. That happened to be the very moment that AMC was searching for an idea for an original series that was cinematic in its ambitions — one that might complement the mix of older and newer movies ( including “Goodfellas” and “Something About Mary” this week) that are the channel’s stock in trade. In other words, AMC, which is operated by Rainbow Media, a unit of Cablevision, was looking to rip a page out of the HBO playbook, and wound up hiring one of that channel’s star assistant coaches. And it didn’t hurt that he had helped diagram the plays on the equivalent of a perennial Super Bowl champion. “Matt’s pedigree is second almost to none,” said Charlie Collier, executive vice president and general manager of AMC. But in the end, it was Mr. Weiner’s ability to transport himself and his audience to a period that predated his birth — in 1965 — that persuaded AMC to make his series. Mr. Weiner, who studied philosophy, l


Mehran Karimi Nasseri, an Iranian refugee who lived in the departure lounge of the Charles de Gaulle Airport from 1988 until 2006 may have been the inspiration behind what 2004 movie?

Mehran Karimi Nasseri - Wikipedia, the free encyclopedia Mehran Karimi Nasseri Masjed Soleiman , Iran Mehran Karimi Nasseri (مهران کریمی ناصری pronounced [meɦˈrɔːn kʲæriːˈmiː nɔːseˈriː] ; born 1942), also known as Sir, Alfred Mehran (including the comma), is an Iranian refugee who lived in the departure lounge of Terminal One in Charles de Gaulle Airport from 8 August 1988 until July 2006, when he was hospitalized for an unspecified ailment. His autobiography has been published as a book and he may have been the basis for the movie The Terminal . Contents [ edit ] Early life Nasseri was born in the Anglo-Persian Oil Company settlement located in Masjed Soleiman , Iran. His father was an Iranian physician working for the company. Nasseri stated that his mother was a nurse from Scotland working in the same place. [1] He arrived in the United Kingdom in September 1973, to take a three-year course in Yugoslav studies at the University of Bradford . [ edit ] Current position Nasseri was expelled from Iran in 1977 for protests against the Shah and after a long battle, involving applications in several countries, was awarded refugee status by the United Nations High Commission for refugees in Belgium . This permitted residence in any European country. Having one British parent, he decided to settle in the UK in 1986, but en route to there in 1988, he had his briefcase containing his papers stolen in Paris. [2] Despite this setback, he boarded the plane for London but was promptly returned to France when he failed to present a passport to British immigration. He was initially arrested by the French, but then released as his entry to the airport was legal and he had no country of origin to be returned to and his residency at Terminal 1 began. His case was later taken on by French human rights lawyer Christian Bourget . In 1992, French courts ruled that, having entered the country legally, he could not be expelled from the airport, but it could not grant him permission to enter France. Attempts were then made to have new documents issued from Belgium, but the authorities there would only do so if Naserri presented himself in person. However, under Belgian law a refugee who voluntarily leaves a country that has accepted him cannot return. In 1995, the Belgian authorities granted permission for him to return, but only if he agreed to live there under supervision of a social worker. Naserri refused this on the ground of wanting to enter the UK as originally intended. [2] Nasseri's life at the airport ended in July 2006 when he was hospitalized and his sitting place dismantled. Towards the end of January 2007, he left the hospital and was looked after by the airport's branch of the French Red Cross ; he was lodged for a few weeks in a hotel close to the airport. On March 6, 2007, he transferred to an Emmaus charity reception centre in Paris 's twentieth arrondissement. As of 2008, he continues to live in a Paris shelter. [2] [ edit ] Life in Terminal 1 During his eighteen year long stay at Terminal 1 in the Charles de Gaulle Airport , Nasseri would have his luggage at his side, and be either reading, writing in his diary, or studying economics. [3] He would receive food and newspapers from employees of the airport. [ edit ] Documentaries and fictionalizations Nasseri's story provided the inspiration for the 1994 Tombés du ciel French film, starring Jean Rochefort , internationally released under the Lost in Transit title. The short story , "The Fifteen-Year Layover," written by Michael Paterniti and published in GQ and The Best American Non-Required Reading, chronicles Nasseri's life. Alexis Kouros made a documentary about him, Waiting for Godot at De Gaulle in 2000. Glen Luchford made the Here to Where mockumentary in 2001, also featuring Nasseri. Nasseri was reportedly the inspiration behind the 2004 movie The Terminal ; however, neither publicity materials, nor the DVD "special features" nor the film's website mentions Nasseri's plight as an inspiration for the film. Despite this, in September 2003, The New York Times noted that St


According to the British tabloid The Sun, which much-loved 1965 musical was selected by BBC executives as one to be broadcast after a nuclear strike to improve the morale of survivors?

The Sound Of Music: These Are A Few Of My Favourite Facts Your Post Has Been Launched! Fabulous! Don't forget to share with your friends on Twitter and Facebook. The Sound Of Music: These Are A Few Of My Favourite Facts As much information about The Sound Of Music in one article as you can find! trappfamily.com / Via parade.com After the von Trapps fled Austria in 1938, their home was taken over by Heinrich Himmler, one of the key players of the Nazi party. Adolf Hitler personally visited Himmler there several times. After fleeing Austria, the family bought a farm amid the mountains of Stowe, Vermont in 1942. By 1950 they had opened the Trapp Family Lodge, a 27-room structure. It was gutted by fire in 1980 but replaced with a 96-room resort. Today it’s overseen by Maria and Georg’s tenth and youngest child, Johannes, now 74 and his son Sam, 41. The big-screen version of The Sound of Music, starring Julie Andrews, was based on the real-life Maria’s 1949 book, The Story of the Trapp Family Singers, but there were a few alterations and omissions. ID: 2186723 2. Facts To Impress Your Friends 1. Maria came to the von Trapp family in 1926 as a tutor for one of the children who was recovering from scarlet fever, not as governess to all the kids. 2. Maria and Georg married in 1927, 11 years before the family left Austria, not right before the Nazi takeover of Austria. 3. Maria and Georg von Trapp’s love story wasn’t quite as romantic as portrayed on the big screen. In her autobiography, she admitted that it was the children she fell in love with at first sight. “I really and truly was not in love. I liked him but didn’t love him. However, I loved the children, so in a way I really married the children… . [B]y and by I learned to love him more than I have ever loved before or after.” 4. There were 10, not 7 von Trapp children. 5. The names, ages, and sexes of the children were changed. 6. The family was already musically inclined before Maria arrived, but she did teach them to sing madrigals. 7. Georg wasn’t as harsh and cold-blooded as he’s portrayed in the film. He was described as being a gentle, warmhearted parent who enjoyed musical activities with his family. 8. The family did not secretly escape over the Alps in Switzerland, carrying their suitcases and musical instruments. “We did tell people that we were going to America to sing. And we did not climb over mountains with all our heavy suitcases and instruments. We left by train, pretending nothing,” daughter Maria said in a 2003 interview with Opera News. 9. The family left Austria for Italy (not Switzerland) in June 1938. That fall, they arrived in New York under six month visitors’ visas and began a concert tour in Pennsylvania. In 1944, several of the von Trapps applied for U.S. citizenship at the U.S. District Court in Burlington, Vermont. 10. Maria died in 1987 and is buried in the family cemetery at the Trapp Family Lodge. Her husband Georg, who died lung cancer in 1947, is also buried in the family cemetery. edelweisspatterns.com / Via imdb.com In the film Maria’s wedding train was 14 feet long! When setting up for filming the Captain and Maria’s wedding scene, there was nobody at the altar to wed them when they reached the top of the stairs. Someone had forgotten to summon the actor playing the bishop. According to Julie Andrews, the real bishop of Salzburg is seen in the movie. ID: 2186734 4. Maria Von Trapp and her daughter Rosmarie can be seen in the background of this shot from the film blogger.com / Via imdb.com The movie is based on Maria Von Trapp’s 1949 memoir, “The Story of the Von Trapp Family Singers”. She also published another book, “Maria”, in 1972 and said that while she was able to attend the opening of the musical on Broadway, she did not have the same luck with the film premiere in 1965. She was able to convince 20th Century Fox to let her see a preview of the movie and expected an invitation to the premiere but “when I didn’t hear anything about it and no invitation arrived, I really humbled myself to go and ask the producer whether I would be a


The title of which 2003 movie comes from the work of Dr. Duncan MacDougall who sought to measure the weight purportedly lost by a human body when the soul departed it upon death?

Dialogos of Eide: 21 Grams Dr. Duncan MacDougall's Idea I had done this title before under a different heading , in a different time. The subject seems to have been resurrected by Discovery Magazine and thought it worth bringing up here so you get an idea here of the dilemma I faced regarding the substantial weight of things? A man should look for what is, and not for what he thinks  should be. -Albert Einstein (1879-1955) Einstein,  was a materialist? If one has followed my blog postings over the years the idea here is not that I had solely uprooted the essence of the question about substance and the weight of things, but to show the complexity of the idea that points to the hereafter . These, as beliefs retained by a large swath of the population on this planet. The title(of Blog post) refers to the early 20th-century research of physician Dr. Duncan MacDougall who attempted to show scientific proof of the existence of the immortal human soul by recording a loss of body weight (representing the departure of the soul) immediately following death. The research by MacDougall attempted to follow the scientific method and showed some variance in results ("three-fourths of an ounce", which has since been popularized as "21 grams" is the reported weight loss from the death of the first subject). MacDougall's results were published in the peer reviewed journal "American Medicine".[4] - 21 Grams ***  Duncan MacDougall (doctor) *** Do you think that these abstractions, these mental journeys, are all of it? No but it is on the road to the understanding and discovery of what Plato meant by his heaven. It is not about the patriarchal view that as a messenger, that we gain, but by the exploratory adventure given toward the discovery of what that heaven may mean. Pierre Curie(forgive me)mentions that any phenomena is the discovery of asymmetry? The message helps to provide clarity to the ongoing seeking issue of understanding reality and understanding consciousness? What is that understanding?       Pierre Curie (1894): “Asymmetry is what creates a phenomenon.” Plato wasn't wrong about his attempt at a fundamental understanding and the way he went about it. It isn't just about the architecture of matter......but of the progression toward an understanding of what can be done with our imagination when we send it far off in space, or look into the very nature of the sun. Do you think relevant questions you may have is not the next step to what answer is received?         Aperiodic tilings serve as mathematical models for quasicrystals, physical solids that were discovered in 1982 by Dan Shechtman[3] who subsequently won the Nobel prize in 2011.[4] However, the specific local structure of these materials is still poorly understood .Aperiodic tilings - *** Death is Not Final You all have to know the hammer analogy was made aware to me about a week before this debate took place. Also,  a YouTube label given to this demonstration was posted under "gaming" so I find that kind of funny given the seriousness of this debate. I pushed Number 1.  But, you also know my bias right so I did not think providing this image would hurt in an way given that you already have some insight into my perspective? My opinion at Sean's Blog as well pertaining to this subject. So as I am going through the debate I thought it necessary to keep a running tab for my self so as to see from what position one is speaking.  So now that I know Sean is speaking from a Naturalist point of view. I will continue. A metaphysics that goes beyond the commitments of science is simply unsupported by the best available evidence. [27] —Lynne Rudder Baker,  Naturalism and the First-Person Perspective  A naturalistic methodology (sometimes called an "inductive theory of science") has its value, no doubt.... I reject the naturalistic view: It is uncritical. Its upholders fail to notice that whenever they believe to have discovered a fact, they have only proposed a convention. Hence the convention is liable to turn into a dogma. This criticism of the naturalistic view applies not


In The Matrix films, the hovercraft of Morpheus is named after which ancient ruler of Babylon?

Babylon, The Bible, and The Matrix | The Metropolitan Museum of Art Babylon, The Bible, and The Matrix December 2, 2014 Gina Konstantopoulos , Museum Fellow John Martin (British, 1789–1854).  Belshazzar's Feast , 1826. Mezzotint with etching. The Metropolitan Museum of Art, New York, Purchase, the Elisha Whittelsey Fund, 1949 (49.40.262) Prior to the nineteenth-century excavations of the major sites of Mesopotamia—cities such as Nineveh, Nimrud, and Babylon—the Bible was the West's primary reference point for information concerning the region. The echoes of the biblical Babylon can still be heard today, especially through one particular pop-culture reference: the science-fiction trilogy The Matrix. The three films depict a future in which human beings live in a simulated reality resembling modern-day New York, unaware that they are enslaved by sentient machines. Several individuals "wake up" and begin mounting a resistance, eventually led by the foretold savior, Neo. The films include many examples of biblical image and allegory, particularly related to Babylon. The character Morpheus captains a hovercraft called the Nebuchadnezzar. A king of the Neo-Babylonian period, Nebuchadnezzar II reigned from 605 to 562 B.C. and was an active military campaigner, responsible for the sack of Jerusalem in 597 B.C. and the mass deportation of much of its citizenry (an event described in the Bible as the Babylonian Captivity). Cuneiform cylinder: inscription of Nebuchadnezzar II , Neo-Babylonian, ca. 604–562 B.C. The Metropolitan Museum of Art, New York, Purchase 1886 (86.11.57) Nebuchadnezzar is famous—or perhaps infamous—for how he is depicted in the Bible, particularly in the Book of Daniel, which describes events at the close of his reign. The references in the film are overt: just as Daniel interprets Nebuchadnezzar's dreams, the ship's captain is named Morpheus, after the Greek god of dreams. When the ship is destroyed in the second film, he quotes (or rather paraphrases) Daniel, saying: "I dreamed a dream . . . but now that dream is gone from me" (Daniel 2:3). Subtler nods to the Bible appear elsewhere in the films, concealed within references to particular biblical verses. Agent Smith's license plate (seen in The Matrix: Reloaded) reads "IS 5416," referencing Isiah 54:16: "See, it is I who created the blacksmith who fans the coals into flame and forges a weapon fit for its work. And it is I who have created the destroyer to wreak havoc." A plaque aboard the Nebuchadnezzar reads "Mark III, No. 11," as a reference to Mark 3:11: "And whenever the unclean spirits saw him, they fell down before him and cried out, 'You are the son of God.'" Leaving aside the Neo-as-Messiah theme that permeates the entire trilogy, the idea of the fall, preservation, and final rise of humanity echoes throughout the films' use of the city of Zion as the last stronghold of human civilization. The image of Zion itself, in both the film and biblical sources, is tied strongly into the apocalyptic themes of the last book of the New Testament, the Book of Revelation, also known as the Apocalypse of John. This book has been a favored source for artists' woodcut illustrations, the most well known being by Albrecht Dürer (1471–1528), whose style was echoed by other artists, including Jean Duvet (ca. 1485–1561). Duvet illustrated two scenes from the Book of Revelation that highlight the importance of the idea of Zion, as well as the echoes of Babylon as a fallen city: Jean Duvet (French, ca. 1485–after 1562).  The Fall of Babylon (left) and The Angel Shows Saint John the New Jerusalem (right), from the Apocalypse. Engraving. The Metropolitan Museum of Art, New York, Purchase, Harris Brisbane Dick Fund, 1925 (25.2.85 and 25.2.89) In the first of these images, we see the destruction of Babylon, as in Revelations 18:2 "Fallen, fallen is Babylon the great! She has become a dwelling place of demons and a prison of every unclean spirit." Following this, we see the depiction of the new Jerusalem, in Revelations 21:2, "And I saw the holy city, new Jerusalem, coming down


Strange, love. Who became the first man to be put on the cover of Playboy when he appeared on the April, 1964 issue?

“To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Résumé  | Index  | Plan  | Texte  | Bibliographie  | Notes  | Citation  | Auteur Résumé Making extensive use of archival sources, most notably from the Stanley Kubrick Archive at the University of the Arts London, this article examines the production history and marketing of Dr. Strangelove or: How I Learned to Stop Worrying and the Love the Bomb (1964), a film based on Peter George’s 1958 novel Red Alert. The focus is on the complex relationship between Kubrick and the people behind a rival project, Eugene Burdick and Harvey Wheeler's nuclear thriller Fail-Safe which was published in 1962 and eventually released as a film a few months after Dr. Strangelove in 1964. The article also outlines two major efforts to promote Kubrick's forthcoming film through press releases and a press book, interviews, contacts with editors and journalists, paid advertisements as well as theatrical and television trailers. The initial promotional campaign took place in the first half of 1963 and fore-grounded the film's director, its serious, topical theme and the unusual, comical treatment of that theme. The second campaign, which started in November 1963 and was necessitated by delays in the film’s production and release, placed more emphasis than the first one on comedy; it also fore-grounded sex and the film's stars, especially Peter Sellers. PDF Signaler ce document 1On 7 March 1963, five weeks into principal photography for Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, the film’s director, producer and co-writer Stanley Kubrick wrote to Columbia Pictures about the marketability of his latest project: 1 Stanley Kubrick to Rube Jackter, March 7, 1963, SK/11/9/27 1/2, Stanley Kubrick Archive (SKA), Univ (...) My original belief that this subject matter would be very commercial, create an almost unprecedented public and critical reaction, and be possibly the most exploitable film of recent times, has, I believe, been largely proven by the tremendous success of its plagiarised cousin Fail-Safe and the very unusual attention which is being given to the dispute between the two films. ... Naturally, I would like to have the film released as quickly as possible in order to prevent the present heat from dissipating. 1 2 In total, the novel sold in excess of 2 million copies, as did Nevil Shute’s post-apocalyptic novel (...) 3 For details on this law suit, see below. 2The “commercial” subject matter of Kubrick’s film was the outbreak of nuclear war. This topic had already been the focus of several bestselling novels, the latest of which had been Eugene Burdick and Harvey Wheeler’s Fail-Safe, published in October 1962. 2 Because Fail-Safe shared many elements with Peter George’s 1958 novel Two Hours to Doom (published in the US as Red Alert), on which Dr. Strangelove was based, Kubrick, George and Columbia had sued Burdick and Wheeler as well as the film production company planning to adapt the novel, for plagiarism. 3 It is this on-going “dispute” which generated the “heat” that Kubrick wanted to exploit, when one might have expected him to refer instead to developments in the nuclear confrontation between the United States and the Soviet Union, notably the Cuban Missile Crisis of October 1962, which, it was widely perceived, had actually brought the world to the brink of nuclear war. 3In his letter to Columbia, Kubrick acknowledged that the distributor, which had only taken on Dr. Strangelove a few months earlier in November 1962, needed time “for your sales and exploitation forces to manage a co-ordinated national release,” and therefore would have to go “five to six weeks” beyond his preferred release date (which he gave as 15 August 1963) for the as yet unfinished film: If I understand you correctly, your plan is to break the film nationally (...I would assume in somewhere around 50 cities), so


What 2004 sci-fi film starring Vin Diesel that was a sequel to Pitch Black received poor reviews from critics who called it 'riddickulous'?

Read User Reviews and Submit your own for The Chronicles of Riddick - Metacritic 8 GregA.Jun 20, 2004 Sure it won't win any Oscars - but if you like sci-fi and action its real fun to watch. 2 of 2 users found this helpful 8 Gus408 Jan 14, 2011 Just seen Riddick on DVD. This is an ambitious attempt to create a coherent universe within a 2 hour action film. The criticisms are Riddickulous. It's escapism folks, it's an action film. All those desperately intelligent critiques claimingJust seen Riddick on DVD. This is an ambitious attempt to create a coherent universe within a 2 hour action film. The criticisms are Riddickulous. It's escapism folks, it's an action film. All those desperately intelligent critiques claiming the plot is difficult to follow, are you joking? Criticisms to be dismissed: that an action film is full or, duh, action; and is light on, duh, character development; and that a modern sci-fi/fantasy story has, duh, taken liberties with scientific principles (in the context of an alternate universe); and lastly that, duh, action film roles are overacted in a hollywood blockbuster. Get over yourselves. It's a highly entertaining action film and it works very well.… Expand 2 of 2 users found this helpful20 10 JoshC.Jul 10, 2004 --Classic-- This movie rules, and i will tell you why....I have five reasons why this is a must see....to begin it has Vin Diesel, by far the greatest actor i have ever seen since Dolph Longren played the Russian in Rocky 4. The dialogue Vin --Classic-- This movie rules, and i will tell you why....I have five reasons why this is a must see....to begin it has Vin Diesel, by far the greatest actor i have ever seen since Dolph Longren played the Russian in Rocky 4. The dialogue Vin Diesel (thus he is probably my favorite actor) has in any movie is above anything else i have ever heard, not to mention the man can barely talk, yet making this movie all the much better (triple xxx's dialogue is even better{i.e. "I want all that in here"}). Two the man is put on planet called "Crematoria," how can you be critical of a movie when the main hero is placed on a planet called Crematoria, not to mention the main enemies race are called "Necromongers." Thirdly how can you not love a movie where the evil leader is half alive and half dead, although this seems impossible, its not for those Hollywood execs who made Riddick. You have to love a movie where the main enemy is half alive and half dead, i know its against the laws of physics but come on, now that is sweetness!!! How in craps name can you be half alive and half dead, but Riddick accomplishes this. Fourthly, now this is incredible, hold onto your hats for this one....Riddick is apparently faster than light, once again this movie breaks the laws of physics. In one of my favorites scenes he outruns sun's rays on the planet Crematoria (yes the more you say the planet's name it gets better, even better is Necromonger). In the sequences of outrunning it he says an amazing line that only Vin Diesel can say," there is only one speed my speed."...come on the first four have got to wet your whistel so far... Five, "You keep what you kill." That is the main theme of the movie if you kill a Necromonger you get all his stuff...now if that isn't sweet i don't know what is.... To conclude, I have never quite seen such an amazing ending as this one. I won't let the cat out of the bag, but you won't be dissappointed by the ending, in one word, "amazing." Please see this movie...… Expand 1 of 1 users found this helpful 9 DukeJon Dec 3, 2014 Just reviewed "Riddick" so thought I would come back and review this. This film is an underrated gem in my opinion. A deep and intelligent story, memorable characters and races, fantastic set design and visuals, lots of exciting set pieces.Just reviewed "Riddick" so thought I would come back and review this. This film is an underrated gem in my opinion. A deep and intelligent story, memorable characters and races, fantastic set design and visuals, lots of exciting set pieces. An interesting universe to hang it all from. Suc


In the 1984 adventure film Romancing the Stone set in Columbia, what type of precious mineral is the stone?

JustFabulousMe - History and style of jewelry and fashion JustFabulousMe - History and style of jewelry and fashion Jewelry in society has evolved from prehistoric time to today. This blog deals with jewelry in different cultures and the splendor, beauty in each piece. Jewelry has been used for status, expression, wealth and juts add bling to your style. It also tells a story about the people who wear it. Google+ Followers Italian & Flemish Renaissance Lapidary Gem Cutters Article Copyright © 2012 AllAboutGemstones.com Perhaps the most significant Renaissance cutter of precious gemstones during the late 15th century was Giovanni delle Corniole (c. 1470 - c. 1516), who studied his craft in Florence, by emulating the detailed gemstone engravings of the Medici family's 'Grand Ducal' art collections [2] . 15th century Genoese gem-engraver Giacomo Tagliacarne is also credited with being one of the founders of Italian Renaissance gem-cutting, having tutored Pier (Pietro) Maria Serbaldi da Pescia (c. 1455 - c. 1522) who became a master gem engraver and jeweler in his own right. Serbaldi eventually went to Rome under the patronage of Pope Leo X  [3] , befriending fellow Renaissance artist, Michelangelo di Lodovico Buonarroti Simoni. Within the main Facade of the Kunsthistorisches Art History Museum in Vienna, Austria, there are several Metopes or relief-carvings of famous Renaissance artists. The Metope of gem-cutter Giacomo Tagliacarne (above, left) is from the early 16th century. Painter, architect and documentarian, Giorgio Vasari included Giacomo Tagliacarne in his biography "Lives of the Artists" (above, right) and credited him with being on a par with the 'ancient masters' in terms of style and technique. Vasari notes that Giovanni delle Corniole (above, middle), was also an incomparable Renaissance gem-cutter of the period. Vetri Domenico (di Polo di Angelo) de' Domenico di Polo (c. 1480 - c. 1547) was another notable Italian gem-engraver of the period. Vasari documented that he was a disciple of Giovanni delle Corniole, and it is known that he studied his craft with Pier Maria Serbaldi da Pescia, whose atelier he joined in 1501. Vetri Domenico spent most of his career as court medallist for Alessandro de' Medici from 1510 to 1537. Image (left): Diamant Museum Brugge The principle of 'absolute symmetry' used in the placement of facets, was introduced by a Flemish stone-cutter from Bruges, Belgium, named Lodewyk (Louis) van Berquem in 1475  [7] . His advancements in faceting symmetry produced the pear-shaped "Pendeloque" or "Briolette" cut (below, left), but the pendeloque was not commercially viable due to the insufficient  fire , brilliance, or 'play of light' from the stone, and the large amount of waste in the cutting process. During the 15th century a new type of cut known as the "Rose" or "Rosette" was introduced (below, center). The Rosette was a popular cut for over a century due to the higher amount of brilliance  it produced when compared with the Pendeloque cut and the reduction in the loss of weight in the cutting process. The drawback was that the stone needed to be cut thick in order to reduce light loss and this cut did not produce sufficient fire. These limitations lead to the invention of the "Mazarin" or "Brilliant" cut in the mid-1600s. Early variations of the "Brilliant" cut were first introduced in the 17th century and are largely credited to Jules Cardinal Mazarin (Giulio Raimondo Mazzarino) (1602 - 1661). The first brilliants were known as "Mazarins" (above, center) and were called "Double-Cut Brilliants." These Double-Cut Brilliants had 17 facets on the crown. A 17th century Venetian polisher named Vincent Peruzzi introduced the "Triple-Cut Brilliant" or "Peruzzi Cut" (above, right) by doubling the number of crown facets from 17 to 33. Copyright © 2012 AllAboutGemstones.com. All rights reserved. You can also find me at: https://www.facebook.com/JustFabMe https://twitter.com/JustFabulousMe Thank you AllAboutGemstones for this article. Posted by Designer Spotlight: Jenny Bird Rising designer Jenny


While shooting a movie in 1981, Warren Beatty lectured his extras on the capitalist exploitation of labour, attempting to inspire them. A magazine called it the 4th dumbest decision in movie history because the extras went on strike, demanding higher wages! What film was Beatty making?

Films HOLLYWOOD & MAKING MOVIES QUOTES "You can take Hollywood for granted like I did, or you can dismiss it with the contempt we reserve for what we don't understand. It can be understood too, but only dimly and in flashes. Not half a dozen men have ever been able to keep the whole equation of pictures in their heads."         - F. Scott Fitzgerald, "The Last Tycoon" (1941) Whereas America in its battered history had and will depend on courage, determination, straight thinking (but not too much), mighty armaments and stretching the truth, show business (a much older institution) needs nothing but insouciance ï¿½ and knowing how to pronounce it.         - David Thomson "I wonder what it's like out there?"         - Van Johnson, breaking the 'fourth wall' in Woody Allen's "Purple Rose of Cairo" "Sir, I have seen your film and it is vulgar!" "Madame, my film rises below vulgarity."         - Mel Brooks, responding to criticism of "The Producers" "Welcome to Hollywood, a land just off the coast of planet Earth. I am never quite certain if I am visiting the zoo, or if I'm one of the animals in a cage."         - Elinor Glyn, gossip columnist, in "The Cat's Meow" "The impact of Hollywood and the movies has been to exaggerate nearly everything about America."         - David Thomson # THE MOVIE BUSINESS "Working for Warner Brothers is like f*****g a porcupine - it's a hundred p***ks against one."         - Overheard at the 2002 Oscar ceremony "The industry is s**t, it's the medium that's great."         - Lauren Bacall "In Hollywood, an equitable divorce settlement means each party getting fifty percent of the publicity."         - Lauren Bacall "Half of the people in this room are more dressed up than on any other day in the year, and the other half are more dressed down."         - Bill Murray, quote from acceptance speech at Independent Spirit Awards "Donï¿½t thank your parents. If you were raised in a nurturing environment, you wouldnï¿½t be in show business." "Don't say, 'Wow, this is heavy.' Of course it's heavy. It contains the shattered dreams of four other people."         - Conan O'Brien, on what not to say when you win an Emmy "Thank you to every American who has not sued me so far."         - Sasha Baren Cohen, accepting a Golden Globe for "Borat" "To refuse awards is another way of accepting them with more noise than is normal."         - Peter Ustinov "That wasnï¿½t an ending. It was just a stopping point."         - Robert Altman, to a reporter confused by the ending of "Dr. T and the Women" "Who better than an Irishman can understand the Indians, while still being stirred by tales of the US cavalry?"         - John Ford "I'm sick of the old cliches. Bring me some new cliches."         - Sam Goldwyn, legendary Movie Mogul "It would have been cheaper to lower the ocean."         - Lord Lew Grade, producer of "Raise The Titanic" "This film cost $31 million. With that kind of money I could have invaded some  country."         - Clint Eastwood Dark, subtle, complex, wicked ï¿½ if only Hollywood movies were half as interesting as Hollywood accounting.         - Stephen Metcalf, "Slate Magazine" All television ever did was shrink the demand for ordinary movies. The demand for extraordinary movies increased. If any one thing is wrong with the movie industry today, it is the unrelenting effort to astonish.         - Clive James "Drama is life with the dull bits left out." "There is no terror in the bang, only in the anticipation of it." "I believe in putting the horror in the minds of the audience, and not necessarily on the screen." "The length of a film should be directly related to the endurance of the human bladder."         - Alfred Hitchcock "The job of the director is to suggest two plus two. Let the viewer say four."         - Ernst Lubitsch "Centuries from now our great-great-great-grandchildren will look back at us with amazement at how we could allow such a precious achievement of human culture as the telling of a story to be shattered into smithereens by commercials, the same amazement we feel today when we


Which 1975 cult movie has taken in over $139 million since its release making it the highest grossing movie to have never played in more than 1,000 theatres at the same time?

IMDb: Most Popular People With Biographies Matching "Kiss, The" Most Popular People With Biographies Matching "Kiss, The" 1-50 of 1,024 names. Casey Affleck An accomplished and striking performer, Academy Award® nominee Casey Affleck has established himself as a powerful leading man with performances in multiple upcoming projects. Affleck will next be seen starring opposite Michelle Williams in Manchester by the Sea. The film tells the story of an uncle (Affleck) who is forced to take care of his teenage nephew after the boy's father dies. Written and directed by Kenneth Lonergan, the film will be released on November 18th by Amazon Studios. Affleck was last seen in Triple 9 opposite Woody Harrelson and Kate Winslet. The film follows a gang of criminals and corrupt cops who plan to murder a police office in order to pull off their biggest heist yet. The film was released by Open Road in February. Additionally, Affleck starred in The Finest Hours opposite Chris Pine. The Disney film recounts the story of the Coast Guard's daring rescue attempt off the coast of Cape Cod after a pair of oil tankers are destroyed during a blizzard in 1952. Additional credits include Christopher Nolan's Interstellar opposite Matthew McConaughey, Jessica Chastain, and Anne Hathaway; Out of the Furnace opposite Christian Bale; and Ain't Them Bodies Saints opposite Rooney Mara. Affleck was nominated for an Academy Award®, Golden Globe®, and Screen Actors Guild® Award for his performance in the character drama The Assassination of Jesse James by the Coward Robert Ford. Written and directed by Andrew Dominik ("Chopper"), the Warner Bros. film stars Affleck as 'Ford' opposite Brad Pitt's 'Jesse James.' The story follows 'Ford's' sycophantic obsession with 'James' that quickly turns into growing resentment after he joins the legendary outlaw's gang, leading to his subsequent plan to murder 'James' and claim his rightful glory. Additionally, Casey garnered significant praise for his starring role in the Miramax film Gone, Baby Gone. Based on Dennis Lehane's novel of the same title, and adapted for the screen and featuring the directorial debut by Ben Affleck, the film is the story of two Boston detectives in search of a four-year-old girl who has been kidnapped. The film also stars Ed Harris, Morgan Freeman and Michelle Monaghan. In 2014, Affleck and John Powers Middleton formed The Affleck/Middleton Project, a full service production company designed to develop and produce film and television content across a variety of genres. With a mission to produce quality films and television series that connect with audiences, The Affleck/Middleton Project looks to develop and produce a new wave of great American entertainment. It was recently announced that The Affleck/Middleton Project has secured the rights to Far Bright Star, the second in the book series of the same name by 'Robert Olmstead;' Affleck will direct a script by Damien Ober with three-time Academy Award® nominee Joaquin Phoenix set to star. Affleck also directed I'm Still Here, which he also wrote and produced starring Joaquin Phoenix. On stage, Casey appeared in Kenneth Lonergan's West End debut of his award winning play This is Our Youth. Affleck played the role of 'Warren' alongside Matt Damon and Summer Phoenix. Affleck also co-wrote with and starred alongside Matt Damon in Gus Van Sant's independent road movie Gerry. He has also appeared in Van Sant's Good Will Hunting and To Die For, Hamlet with Ethan Hawke and Julia Stiles, the Oceans trilogy and Tony Goldwyn's The Last Kiss with Zach Braff and Blythe Danner. Keira Knightley Keira Christina Knightley was born in the South West Greater London suburb of Richmond on March 26th 1985. She is the daughter of actor Will Knightley and actress turned playwright Sharman Macdonald . An older brother, Caleb Knightley , was born in 1979. Her father is English, while her Scottish-born mother is of Scottish and Welsh origin. Brought up immersed in the acting profession from both sides - writing and performing - it is little wonder that the young Keir


On which 1953 film poster are Burt Lancaster and Deborah Kerr sharing a passionate kiss on a beach?

From Here To Eternity - Kiss scene on the beach - YouTube From Here To Eternity - Kiss scene on the beach Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Mar 30, 2007 Famous kiss scene between Burt Lancaster and Deborah Kerr from the movie "From Here To Eternity". Burt Lancaster plays a sergeant who is having an affair with the wife of his Commanding Officer (Kerr). The scene caused an outrage in 1953 because of the context and because of the frank sexuality of Kerr's character. I think that this is one of the best kiss scene ever filmed. I actually went to this beach when I visited Hawaii and I stood at the exact spot where this scene was filmed. It felt like I was going back in time and becoming part of movie history... Category


"Referring to a character in which film did Malcolm X say ""When Butterfly McQueen went into her act, I felt like crawling under the rug""?"

Malcolm X: In Print, on Screen Article in Biography 23(1):29-48 · December 2000 with 7 Reads DOI: 10.1353/bio.1999.0011 1st Thomas Patrick Doherty Abstract Biography 23.1 (2000) 29-48 In a rare motion picture memory related in The Autobiography of Malcolm X, the author sits in a Michigan theater watching Gone with the Wind (1939). "When Butterfly McQueen went into her act," he recalls bitterly, "I felt like crawling under the rug" (32). For the young Malcolm Little, as for black Americans everywhere, the classical Hollywood screen was an inventory of negative stereotypes and a 35mm projection of white power. When the mature man came to tell his own story, he naturally turned away from the moving image and toward the written word. Appropriately then, until lately, Malcolm X has been remembered most vividly through the remarkable memoir written "with the assistance of Alex Haley," his posthumous stature due preeminently to what has for years been the most popular autobiography of an African American in print. The Autobiography of Malcolm X--not documentaries or recordings of Malcolm's speeches -- preserved and assured Malcolm's legacy after his murder at the Audubon Ballroom on February 21, 1965. In 1992, however, the Malcolm X of the printed page ceded pride of place, at least temporarily, to the Malcolm X of the motion picture screen. After languishing for over two decades in "development hell," Malcolm X, a $40 million Hollywood biopic, was released amid a torrent of hype, expectation, and skepticism. Director Spike Lee, then and now America's most ambitious and controversial African American filmmaker, billed the film as part labor of love, part declaration of conscience, and every frame his own creation. Though based on the Autobiography and cowritten by screenwriter Arnold Perl, Lee asserted his auteurist primacy over rival interpreters of the life of Malcolm X, whether Perl, Alex Haley, or Malcolm himself. "Malcolm X is my artistic vision," Lee proclaimed, "The film is my interpretation of the man. It is nobody else's" (xiii-xiv). From the outset, Lee conceived of Malcolm X not just as a memorial to a man who had become a demi-god to many African Americans, but as a rebuke to the kind of Hollywood condescension that had so embarrassed and enraged Malcolm Little and generations of African American moviegoers. But if Lee's Malcolm X challenged the Hollywood tradition, it also threatened the status of the Autobiography. In the age of the moving image, after all, what is seen on the screen tends to erase what is read on the page. Tellingly, however, the media face-off between the two images of Malcolm X -- the literary creation and the motion picture version -- indicates that even in an incessantly visual culture, a portrait in literature can outlive a depiction in film. Published in November 1965, The Autobiography of Malcolm X has been perennially popular, selling millions of copies in paperback in the U.S. alone. At once a political tract, a religious conversion narrative, and an underground commentary on twentieth-century American culture, it has entered the restricted canon of American literary classics. Moreover, the Autobiography is one of the few multicultural additions to undergraduate reading lists that has not inspired the usual carping about lower admissions standards for affirmative action entries. Whether as a work of literary merit or cultural historical insight, its virtues have been self-evident. Equally self-evident is the role the Autobiography has played in cementing the extraordinary prestige of Malcolm X since his death. Though today Malcolm X is paired in fame and influence with the Reverend Martin Luther King, Jr.--just as Spike Lee paired them in the end credit crawls to his breakthrough film, Do the Right Thing (1989) --he ranked as a subordinate, even fringe character in 1965, known mainly as a specter haunting white America, and hardly more popular within the elite ranks of the black civil rights leadership. His list of accomplishments in legislation is nil, his message as a religious prophet


Which 1972 movie musical has the distinction of winning the most Oscars (eight) without winning the Best Picture award?

1972 Academy Awards® Winners and History "The       Godfather" Supporting Actress: EILEEN HECKART in "Butterflies Are Free", Jeannie Berlin    in "The Heartbreak Kid", Geraldine Page in "Pete    'n' Tillie", Susan Tyrrell in "Fat City", Shelley    Winters in "The Poseidon Adventure" Director: BOB FOSSE for "Cabaret", John Boorman for "Deliverance" ,    Francis Ford Coppola for "The     Godfather" , Joseph L. Mankiewicz for "Sleuth",    Jan Troell for "The Emigrants" There     was a tremendous incongruity in the 1972 awards between the     top two, front-running films: The      Godfather (with ten nominations and only three      wins) - Best Picture for producer Albert S. Ruddy, Best      Actor (Marlon Brando), and Best Screenplay Adaptation      (for Mario Puzo and Francis Ford Coppola's brilliant      re-working of Puzo's novel). Paramount's The       Godfather told the epic story of the patriarchal,      aging figurehead of a 'Mafia' dynasty who also served      as 'godfather' to the New York Sicilian immigrants in      the late 1940s - one of The Godfather's eleven      nominations was removed, Best Music (Original Dramatic      Score), when it was determined that Nino Rota's score      had been used for a previous film Cabaret (with ten nominations and eight wins)           - this film won many more Oscars - but not Best Picture. Cabaret's           Oscars were for Best Director (Bob Fosse), Best Actress (Minnelli),           Best Supporting Actor (Grey), Best Cinematography, Best Art           Direction, Best Editing, Best Sound, and Best Scoring. It           was a real surprise that The            Godfather lost both the Best Director and Best Supporting           Actor awards to Cabaret [Cabaret set a record - it had the most Oscar wins of           any film without winning the Best Picture award. A            Place in the Sun (1951) and Star             Wars (1977) hold second place with six Oscar wins while           failing to win Best Picture.] The classic musical-drama that revised the Broadway     stage musical Cabaret (based on John Kander's hit musical     taken from the Christopher Isherwood stories) was set in 1931     Germany - it used the cabaret night-club in Berlin as a cinematic     device to tell the story of two young lovers and the political     horrors of the encroaching, surrounding Nazi regime in the     pre-World War II era The other three Best Picture nominees included: the English-dubbed The Emigrants (with      four nominations and no wins) - the sad tale of impoverished      farmers leaving Sweden in the mid 1880s to come to Minnesota      for the promise of a better life in America. [The film was      also nominated for the Best Foreign Language Film award in      1971. It was the third non-English language film to      be nominated for Best Picture. It also set a record - 1972      was the only year in which a film, The Emigrants (1972) (a      Best Picture nominee) and its sequel, The New Land (1972) (Best      Foreign Language film nominee) were both nominated] director Martin Ritt's film of William Armstrong's           adapted novel, Sounder (with four nominations and           no wins) about the struggles of a rural, black sharecropper           family in Depression-era Louisiana the exciting action film based on James Dickey's           novel, Deliverance (with the           fewest number of nominations - only three - and no wins)           about a horrific, holiday weekend canoe trip down a southern           river for four civilized professional men from Atlanta, who           discover primal fear and alienation - and most remembered           for its "Dueling Banjos" sequence. Four