#Boxes: The Secret Life of Howard Hughes

[unpopularwiththepopulace]

Katharine Hepburn and ‘The Philadelphia Story’

From pen, to stage, to film – and why it all mattered. 

Google any list along the lines of ‘Best Old Hollywood Films To Watch’, or ‘Best Classic Movies Of All Time’, or ‘Best Romcoms Ever’, and this film from 1940 is probably unfailingly on it. 

In short, it’s an incredibly well regarded entity and undoubtedly beloved by many. And it isn’t hard to understand why. It stars one of the world’s most well-regarded actresses, supported by some of Old-Hollywood’s most famous leading men in Cary Grant and James Stewart, and was directed by George Cukor as one of the most acclaimed directors in history. A recipe for success, surely.

And it’s a sum of more than just its parts. It’s a film you like to recommend to all of your friends who “don’t like old films” – countering instead, “Look look, they were funny back then! They said funny things! They had witty and clever banter! They got drunk! There’s crackling sexual tension! It’s not boring at all!” 

And it’s not.

It’s not boring at all. Watching this film in this day and age and not in the ‘40s for the first time, its brilliance is immediately apparent. Yes, it’s also apparent some of the ways in which today’s world differs from the 1940s, but it’s more than possible to be swept up in a wave of sparkling dialogue and the rapid build of a screwball comedy plot – completely enraptured. 

What’s not immediately apparent is the tumult of what was Katharine Hepburn herself was facing behind the scenes at the time when this film entered the world, and more broadly, why this film’s creation was so necessary in the first place.

By 1940, Katharine Hepburn needed something to save her.

Two Oscar nominations before this date and the other numerous such accolades since makes it easy to smooth over the fact things weren’t always plain sailing.

After her disastrously received turn in The Lake, she had not set foot on Broadway since 1934. Come 1937, she’d had four financially unsuccessful films in a row, culminating with Quality Street.

Holiday and Bringing up Baby, both with Cary Grant and both released in 1938, are praised and lauded now. But at the time, they both sank and failed to find her the foothold she was increasingly desperately needing.

Public opinion was only wavering further. Years of being unconventional were taking their toll. Challenging attitudes to the press, masculine behaviours and fashion senses, living with women, secretive and failed marriages, and ostensibly provocative political views were all snowballing behind her on top of the deteriorating critical acclaim. The time came where seldom was she referred to without the infamous "box-office poison" suffix.

Katharine knew there was work to be done.

Inviting playwright Phillip Barry to spend weeks with the Hepburn family at Fenwick, The Philadelphia Story in its first iteration as a Broadway play was born. Tracy Lord is as much Katharine Hepburn as much as Katharine Hepburn was Tracy Lord. Barry stitched a mould for Tracy out of the very fabric of Katharine and her life at Fenwick, sat on the jetty or observing the continual carousel of associates and relatives passing through the house. And Katharine didn’t just watch. “Make her like me,” she instructed Barry. “But make her all soft.”

He did. And it worked.

On the stage in New York as the play opened, she earned the reviews she’d so long sought after – Miss Hepburn had “at last found the joy she had always been seeking in the theatre.”

Success holding ground, she made her next shrewd action in purchasing the rights to the motion picture, with herself conditionally attached to the starring role. It was some fine advice from Howard Hughes, and one of the most important gifts he ever gave her. Well, what else are rich aviator beaus for?

Now film audiences all over the world, not just the privileged theatregoers of Broadway, needed to see this icy queen cut down to size.

Most literally, her opening scene watches her flattened horizontally to the floor while Grant as Dexter shoves her by the face through the doorway.

When Dexter confronts Tracy as his ex-wife to place the blame at her feet for the failure of their marriage, or when her father comes forth with further accusations of culpability, one might expect Katharine Hepburn to argue. To protest. To defend. To quip. Tracy Lord doesn’t. She cries.

No more the overt intimation of subversion and there being other ways to live. No more tomboyish wildness as in Little Women. No more masquerading as men as in Sylvia Scarlett. No more ruining her leading man’s life and work as in Bringing up Baby and being happy about it. No more rumours of the inclinations garnered by living with women and wearing trousers as in her own life. Here, she nestles herself comfortably into convention. Deferentially tempering that Hepburn fire and accepting her ‘mistakes’ head on, she slots into one of Hollywood’s most favoured neat endings – the comedy of remarriage and an acquiescence to loving her man.

She learns her lesson, Hollywood reasons. The New and Improved Kate.

Critical acclaim and another Oscar nomination? Why, but of course – nothing but the finest for our darling Katharine.

It seems upsetting to think of it like that and witness such a calculated and contrived humbling of our beloved untameable wildcat as we think of her now.

But we’ve had 80 years to settle into the ripples around the context of its creation and parse through the politics of its existence. What ever all of the surrounding paraphernalia may be, it does not negate any of the film's primary and immediate impacts.

Is it still markedly charming, clever, entertaining, funny, aesthetically wonderous and engaging to begin with? Arguably, yes.

There is no denying the wittiness of the dialogue. Regardless of what they were subliminally intended to make audiences at the time think, the endurance is shown by the fact the lines still have the capacity to make audiences today sit up, pay attention, and laugh. Even those who don’t ‘like’ classic films. The costumes are beautiful to behold. Her hungover hissing at the sunlight is one of the finest “Oh curse the follies and decisions of the night before!” sequences ever fixed into film. There's diversion too from all angles to sustain the variation and pace, with added moments of brilliance being provided by Ruth Hussey as Elizabeth and Virginia Wielder as crafty Dinah.

Ultimately, The Philadelphia Story holds up. It is still a remarkable film in its own right. But perhaps, it’s even more significant when considered in the context of its whole existence. 

[razorsadness]

2020 Book List

An incomplete list of books I read in 2020 (not counting books I started but haven’t finished yet, or books I reread only sections of, or zines), divided into fiction, non-fiction, and poetry categories. Some of these books are hybrid works, in which case I put them into the category I felt they best fit into. An asterisk means it was a reread. I’ve bolded the ones I particularly loved. I’ve also included links to quotations/excerpts from some of them.

Fiction

Shine of the Ever, by Claire Rudy Foster

A Cathedral of Myth and Bone, by Kat Howard

On Earth We’re Briefly Gorgeous, by Ocean Vuong

The Mythic Dream, edited by Dominik Parisien and Navah Wolfe

We Had No Rules, by Corinne Manning

The Faery Reel: Tales from the Twilight Realm, edited by Ellen Datlow and Terri Windling

The Haunting of Hill House, by Shirley Jackson

In a Lonely Place, by Dorothy B. Hughes

And I Do Not Forgive You: Stories & Other Revenges, by Amber Sparks

The Necrophiliac, by Gabrielle Wittkop

Before and Afterlives, by Christopher Barzak

Finding Baba Yaga: A Short Novel in Verse, by Jane Yolen

Wild Milk, by Sabrina Orah Mark

Nonfiction

Aim and Wish, by A.L. Staveley

Make It Scream, Make It Burn, by Leslie Jamison

After Confession: Poetry as Autobiography, edited by Kate Sontag and David Graham

The Poem That Changed America: “Howl” Fifty Years Later, edited by Jason Shinder

Boss Broad, by Megan Volpert

Go Ahead in the Rain: Notes to a Tribe Called Quest, by Hanif Abdurraqib

A Field Guide to Getting Lost, by Rebecca Solnit*

100 Times: A Memoir of Sexism, by Chavisa Woods

Recollections of My Nonexistence, by Rebecca Solnit

In the Dream House, by Carmen Maria Machado

Erosion: Essays of Undoing, by Terry Tempest Williams

The Thorn Necklace: Healing Through Writing and the Creative Process, by Francesca Lia Block

Tracing the Desire Line: A Memoir in Essays, by Melissa Mathewson

What is the Grass: Walt Whitman in My Life, by Mark Doty

Dancing at the Devil’s Party: Essays on Poetry, Politics, and the Erotic, by Alicia Ostriker

Censorship Now!!, by Ian F. Svenonius

Funny Weather: Art in an Emergency, by Olivia Laing

Madness, Rack, and Honey: Collected Lectures, by Mary Ruefle

The Wet Collection, by Joni Tevis

Black and Blue: The Bruising Passion of Camera Lucida, La Jetee, Sans soleil, and Hiroshima mon amour, by Carol Mavor

In the Blue Pharmacy: Essays on Poetry and Other Transformations, by Marianne Boruch

Jane: A Murder, by Maggie Nelson

Mean, by Myriam Gurba

I’ll Be Gone in the Dark: One Woman’s Obsessive Search for the Golden State Killer, by Michelle McNamara

Dime-Store Alchemy: The Art of Joseph Cornell, by Charles Simic

Waking the Witch: Reflections on Women, Magic, and Power, by Pam Grossman

The Art of Recklessness, by Dean Young

Poetry

An American Sunrise, by Joy Harjo

Stay, by Tanya Olson

Be Recorder, by Carmen Giménez Smith

Soft Targets, by Deborah Landau

No Matter, by Jana Prikryl

The Obliterations, by Matt Hart

Made in Detroit, by Marge Piercy 

Walking Distance, by Debra Allbery

Exploding Chippewas, by Mark Turcotte

Neon Vernacular, by Yusef Komunyakaa

The Jazz Poetry Anthology, edited by Sascha Feinstein and Yusef Komunyakaa

Black Milk, by Tory Dent

A Fortune for Your Disaster, by Hanif Abdurraqib

Witch, by Rebecca Tamás

The Carrying, by Ada Limón

Homie, by Danez Smith

The Wendys, by Allison Benis White

Babel, by Patti Smith*

Alive Together, by Lisel Mueller

Night Sky with Exit Wounds, by Ocean Vuong

Advice from the Lights, by Stephanie Burt

This Is Not a Frank Ocean Cover Album, by Alan Chazaro

Blood on Blood, by Devin Kelly

American Sonnets for My Past and Future Assassin, by Terrance Hayes

Teahouse of the Almighty, by Patricia Smith

Fantasia for the Man in Blue, by Tommye Blount

Louise in Love, by Mary Jo Bang

Come the Slumberless to the Land of Nod, by Traci Brimhall

The Queer Body Anthology, edited by Yes, Poetry

Wolf Face, by Matt Hart

Living Room, by June Jordan

Trickster Feminism, by Anne Waldman

Here is the Sweet Hand, by Francine J. Harris

Dead Girls, by Francesca Lia Block

Inside the Wolf, by Niamh Boyce

I live in the country & other dirty poems, by Arielle Greenberg

The Death Metal Pastorals, by Ryan Patrick Smith

Bestiary of Gall, by Emilia Phillips

Toxicon and Arachne, by Joyelle McSweeney

Blood Box, by Zefyr Lisowski

Indictus, by Natalie Eilbert

This Is Still Life, by Tracy Mishkin

The Time Unraveller’s Travel Journal, by Upfromsumdirt

Love Poems, by Pablo Neruda

Excerpts from a Secret Prophecy, by Joanna Klink

Sorry for Your Troubles, by Pádraig Ó Tuama

Saranac Lake Ghost Poems, by Maurice Kenny

Light-Headed, by Matt Hart

The Tiny Jukebox, by Nate Slawson

Sham City, by Evan Harrison

Modern and Normal, by Karen Solie

My Tall Handsome, by Emily Corwin

When My Brother Was an Aztec, by Natalie Diaz

Guidebooks for the Dead, by Cynthia Cruz

Dandarians, by Lee Ann Roripaugh

Her book, by Éireann Lorsung

44 Poems for You, by Sarah Ruhl

Imaginary Menagerie, by Ailbhe Darcy

The Girl Aquarium, by Jen Campbell

Still Life with Two Dead Peacocks and a Girl, by Diane Seuss*

War of the Foxes, by Richard Siken

[moviereviewstation]

The Movie List

Hi all, 

As promised, here’s the list. Once a movie has been reviewed, I’ll turn the movie into a link to the review on this list. Any movie we can’t find will be marked with a cross through. There were double ups in the categories, movies being listed twice, so I’ve only let them be in the first category they show up in (Hence why there isn’t 100 movies in the fourth category). The list is below: 

1. GENRE 

Action-Aventure

The Mark of Zorro (Fred Niblo, 1920)

The Adventures of Robin Hood (Michael Curtiz and William Keighley, 1938)

The Seven Samurai (Akira Kurosawa, 1954)

Top Gun (Tony Scott, 1986)

Lethal Weapon (Richard Donner, 1987)

Thelma and Louise (Ridley Scott, 1991)

Mission: Impossible (Brian De Palma, 1996)

Kill Bill: Volume 1 (Quentin Tarantino, 2003)

Animation

Steamboat Willie (Ub Iwerks, 1928)

Snow White and the Seven Dwarfs (David Hand and William Cottrell, 1937)

Pinocchio (Ben Sharpsteen and Hamilton Luske, 1940)

Yellow Submarine (George Dunning, 1968)

Akira (Katsuhiro Otomo, 1988)

Toy Story (John Lasseter, 1995)

Spirited Away (Hayat Miyazaki, 2001)

Belleville Rendez-vous (Sylvain Chomet, 2003)

Wallace and Gromit: The Curse of the Were-Rabbit (Steve Box and Nick Park, 2005)

Wall-E (Andrew Stanton, 2008)

Up (Pete Docter and Bob Peterson, 2009)

How To Train Your Dragon (Chris Sanders and Dean DeBlois, 2010)

Avante-Garde

L’Inhumaine (Marcel L’Herbier, 1924)

Un Chien Andalou (Luis Bunuel, 1929)

L’Age d’Or (Luis Bunuel, 1930)

Biopic

Young Mr. Lincoln (John Ford, 1939)

Gandhi (Richard Attenborough, 1982)

A Beautiful Mind (Ron Howard, 2001)

The Aviator (Martin Scorsese, 2004)

Ray (Taylor Hackford, 2004)

The Last King of Scotland (Kevin Macdonald, 2006)

Milk (Gus Van Sant, 2008)

Comedy

The General (Clyde Bruckman and Buster Keaton, 1927)

Duck Soup (Leo McCarey, 1933)

His Girl Friday (Howard Hawks, 1940)

The Ladykillers (Alexander Mackendrick, 1955)

The Pink Panther (Blake Edwards, 1963)

Annie Hall (Woody Allen, 1977)

Airplane! (Jim Abrahams, David Zucker, and Jerry Zucker, 1980)

Four Weddings and a Funeral (Mike Newell, 1994)

The Full Monty (Peter Cattaneo, 1997)

Meet the Parents (Jay Roach, 2000)

Bridget Jone’s Diary (Sharon Maguire, 2001)

The Devil Wears Prada (David Frankel, 2006)

Costume Drama

Jezebel (William Wyler, 1938)

Les Enfants du Paradis (Marcel Carne, 1945)

Senso (Luchino Visconti, 1954)

Barry Lyndon (Stanley Kubrick, 1975)

Dangerous Liaisons (Stephen Frears, 1988)

Howards End (James Ivory, 1992)

Sense and Sensibility (Ang Lee, 1995)

Bright Star (Jane Campion, 2009)

Cult

Plan 9 from Outer Space (Edward D. Wood, 1958)

Faster, Pussycat! Kill! Kill! (Russ Meyer, 1965)

Pink Flamingos (John Waters, 1972)

The Wicker Man (Robin Hardy, 1973)

The Rocky Horror Picture Show (Jim Sharman, 1975)

Withnail and I (Bruce Robinson, 1987)

Fight Club (David Finch, 1999)

Disaster

Airport (George Seaton, 1970)

The Poseidon Adventure (Ronald Neame, 1972)

The Towering Inferno (John Guillermin, 1974)

Independence Day (Roland Emmerich, 1996)

Titanic (James Cameron, 1997)

Documentary

Man with a Movie Camera (Dziga Vertov, 1929)

Night and Fog (Alain Resnais, 1955)

Don’t Look Back (D.A. Pennebaker, 1967)

The Sorrow and the Pity (Marcel Ophuls, 1969)

Bowling for Columbine (Michael Moore, 2002)

Capturing the Friedmans (Andrew Jarecki, 2003)

The Story of the Weeping Camel (Byambasuren, Dava and Luigi Falorini, 2003)

March of the Penguins (Luc Jacquet, 2005)

An Inconvenient Truth (Davis Guggenheim, 2006)

Epic

The Birth of a Nation (D.W. Griffith, 1915)

Alexander Nevsky (Sergei M. Eisenstein and Dmitri Vasilyev, 1938)

The Robe (Henry Koster, 1953)

The Ten Commandments (Cecil B. DeMille, 1956)

Ben-Hur (William Wyler, 1959)

Spartacus (Stanley Kubrick, 1960)

Doctor Zhivago (David Lean, 1965)

Gladiator (Ridley Scott, 2000)

Kingdom of Heaven (Ridley Scott, 2005)

Film Noir

Double Indemnity (Billy Wilder, 1944)

Fallen Angel (Otto Preminger, 1945)

The Big Sleep (Howard Hawks, 1946)

Kiss Me Deadly (Robert Aldrich, 1955)

Touch of Evil (Orson Welles, 1958)

Chinatown (Roman Polanski, 1974)

L.A. Confidential (Curtis Hanson, 1997)

Sin City (Frank Miller and Robert Rodriguez, 2005)

Gangster

Little Caesar (Mervyn Leroy, 1931)

Public Enemy (William Wellman, 1931)

Angels with Dirty Faces (Michael Curtiz, 1938)

Bonnie and Clyde (Arthur Penn, 1967)

The Godfather (Francis Ford Coppola, 1972)

GoodFellas (Martin Scorsese, 1990)

Pulp Fiction (Quentin Tarantino, 1994)

Snatch (Guy Ritchie, 2000)

Gangs of New York (Martin Scorsese, 2002)

Road to Perdition (Sam Mendes, 2002)

Horror

Nosferatu (F.W. Murnau, 1922)

The Bride of Frankenstein (James Whale, 1935)

Cat People (Jacques Tourneur, 1942)

The Night of the Living Dead (George A. Romero, 1968)

The Exorcist (William Friedkin, 1973)

Halloween (John Carpenter, 1978)

Ring (Hideo Nakata, 1998)

The Blair Witch Project (Daniel Myrick and Eduardo Sanchez, 1999)

Martial Arts

Fists of Fury (Wei Lo, 1971)

The Chinese Connection (Wei Lo, 1972)

Enter the Dragon (Robert Clouse, 1973)

The Karate Kid (John G. Avildsen, 1984)

Once Upon a Time in China (Tsui Hark, 1991)

Crouching Tiger, Hidden Dragon (Ang Lee, 2000)

Hero (Zhang Yimou, 2002)

Melodrama

Imitation of Life (John M. Stahl, 1934)

Stella Dallas (King Vidor, 1937)

Now, Voyager (Irving Rapper, 1942)

Mildred Pierce (Michael Curtiz, 1945)

Brief Encounter (David Lean, 1945)

The Life of Oharu (Kenji Mizoguchi, 1952)

Musical

Le Million (Rene Clair, 1931)

42nd Street (Lloyd Bacon, 1933)

The Merry Widow (Ernst Lubitsch, 1934)

Top Hat (Mark Sandrich, 1935)

Meet Me in St. Louis (Vincente Minnelli, 1944)

Singin’ in the Rain (Gene Kelly and Stanley Donen, 1952)

Gigi (Vincente Minnelli, 1958)

West Side Story (Robert Wise and Jerome Robbins, 1961)

Cabaret (Bob Fosse, 1972)

Grease (Randal Kleiser, 1978)

Dirty Dancing (Emile Ardolina, 1987)

Moulin Rouge! (Baz Luhrmann, 2001)

Hairspray (Adam Shankman, 2007)

Propaganda

The Triumph of the Will (Leni Riefenstahl, 1935)

The Plow that Broke the Plains (Pare Lorentz, 1936)

Der Fuehrer’s Face (Jack Kinney, 1943)

Science Fiction and Fantasy

Metropolis (Fritz Lang, 1927)

The Wizard of Oz (Victor Fleming, 1939)

The Time Machine (George Pal, 1960)

2001: A Space Odyssey (Stanley Kubrick, 1968)

Solaris (Andrei Tarkovsky, 1972)

Star Wars (George Lucas, 1977)

The Matrix (Larry and Andy Wachowski, 1999)

Avatar (James Cameron, 2009)

Inception (Christopher Nolan, 2010)

Serial

The Perils of Pauline (Louis Gasnier, 1914)

Flash Gordon (Frederick Stephani, 1936)

The Lone Ranger (John English and William Witney, 1938)

Series

Charlie Chan (Various, 1931-49)

Don Camillo (Various, 1951-65)

Zatoichi (Various, 1962-2003)

The Lord of the Rings (Peter Jackson, 2001-03)

Harry Potter (Various, 2001-11)

The Chronicles of Narnia (Various, 2005-)

Teens

Rebel Without a Cause (Nicholas Ray, 1955)

American Graffiti (George Lucas, 1973)

The Breakfast Club (John Hughes, 1985)

Mean Girls (Mark Waters, 2004)

Thriller

The Third Man (Carol Reed, 1949)

Psycho (Alfred Hitchcock, 1960)

The Silence of the Lambs (Jonathan Demme, 1991)

The Constant Gardener (Fernando Meirelles, 2005)

The Girl Who Played with Fire (Daniel Alfredson, 2009)

Underground

Meshes of the Afternoon (Maya Deren, 1943)

Wavelength (Michael Snow, 1967)

Flesh (Paul Morrissey, 1968)

War

J’Accuse (Abel Gance, 1919)

Paths of Glory (Stanley Kubrick, 1957)

Apocalypse Now (Francis Ford Coppola, 1979)

Das Boot (Wolfgang Peterson, 1981)

Full Metal Jacket (Stanley Kubrick, 1987)

Saving Private Ryan (Steven Spielberg, 1998)

No Man’s Land (Danis Tanovic, 2001)

The Hurt Locker (Kathryn Bigelow, 2008)

Western

Stagecoach (John Ford, 1939)

The Man from Laramie (Anthony Mann, 1955)

The Searchers (John Ford, 1956)

The Magnificent Seven (John Sturges, 1960)

The Man who Shot Liberty Valance (John Ford, 1962)

The Wild Bunch (Sam Peckinpah, 1969)

Once Upon a Time in the West (Sergio Leone, 1968)

Unforgiven (Clint Eastwood, 1992)

True Grit (Joel and Ethan Coen, 2010)

2. WORLD FILM

Africa

The Money Order (Ousmane Sembene, Senegal, 1968)

The Night of Counting the Years (Shadi Abdelsalam, Egypt, 1969)

Xala (Ousmane Sembene, Senegal, 1975)

Chronicle of the Burning Years (Mohammed Lakhdar-Hamina, Algeria, 1975)

Alexandria… Why? (Youssef Chahine, Egypt, 1978)

Man of Ashes (Nouri Bouzid, Tunisia, 1986)

Yeelen (Souleymane Cisse, Mali, 1987)

The Silences of the Palace (Moufida Tlatli, Tunisia, 1994)

Waiting for Happiness (Abderrahmane Sissako, Mauritania, 2002)

The Middle East

Divine Intervention (Elia Suleiman, Palestine, 2002)

The Syrian Bride (Eran Riklis, Palestine, 2004)

Thirst (Tawfik Abu Wael, Palestine, 2004)

Paradise Now (Hand Abu-Assad, Palestine, 2005)

Iran

The Cow (Dariush Mehrjui, 1968)

The White Balloon (Jafar Panahi, 1995)

Taste of Cherry (Abbas Kiarostami, 1997)

The Children of Heaven (Majid Majidi, 1997)

Blackboards (Samira Makmalbaf, 2000)

The Day I Became a Woman (Marzieh Meshkini, 2000)

Secret Ballot (Babek Payami, 2001)

Kandahar (Mohsen Makmalbaf, 2001)

Turtles Can Fly (Bahman Ghobadi, 2004)

Eastern Europe

Knife in the Water (Roman Polanski, Poland, 1962)

The Shop on the High Street (Jan Kadar, Czechoslovakia, 1965)

The Round-Up (Miklos Jansco, Hungary, 1965)

Loves of a Blonde (Milos Foreman, Czechoslovakia, 1965)

Daisies (Vera Chytilova, Czechoslovakia, 1966)

Closely Observed Trains (Jiri Menzel, Czechoslovakia, 1966)

Man of Marble (Andrzej Wajda, Poland, 1976)

The Three Colours trilogy (Krzysztof Kieslowski, Poland, 1993-94)

Divided We Fall (Jan Hrebejk, Czech Republic, 2000)

The Turin Horse (Bela Tarr, Hungary, 2011)

The Balkans

A Matter of Dignity (Michael Cacoyannis, Greece, 1957)

I Even Met Happy Gypsies (Aleksandar Petrovic, Yugoslavia, 1967)

The Goat Horn (Metodi Andonov, Bulgaria, 1972)

Yol (Yilmaz Güney and Serif Goren, Turkey, 1982)

Underground (Emir Kusturica, Yugoslavia, 1995)

Eternity and a Day (Theo Angelopoulos, Greece, 1998)

Uzak (Nuri Bilge Ceylan, Turkey, 2002)

The Death of Mr. Lazarescu (Cristi Puiu, Romania, 2005)

4 Months, 3 Weeks, and 2 Days (Cristian Mungiu, Romania, 2007)

Russia

The Battleship Potemkin (Sergei Eisenstein, 1925)

Storm Over Asia (Vsevolod Pudovkin, 1928)

Earth (Alexander Dovzhenko, 1930)

Ivan the Terrible Parts I and II (Sergei Eisenstein, 1944/58)

The Cranes are Flying (Mikhail Kalatozov, 1957)

Ballad of a Soldier (Grigori Chukhrai, 1959)

The Colour of Pomegranates (Sergei Parajanov, 1969)

Come and See (Elem Klimov, 1985)

Russian Ark (Aleksandr Sokurov, 2002)

The Nordic Countries

The Phantom Carriage (Victor Sjostrom, Sweden, 1921)

Day of Wrath (Carl Dreyer, Denmark, 1943)

Persona (Ingmar Bergman, Sweden, 1966)

Babette’s Feast (Gabriel Axel, Denmark, 1987)

Festen (Thomas Vinterberg, Denmark, 1998)

Songs from the Second Floor (Roy Andersson, Sweden, 2000)

O’Horten (Bent Hamer, Norway, 2007)

The Girl with the Dragon Tattoo (Niels Arden Oplev, Sweden/Denmark/Germany/Norway, 2009)

Germany

The Last Laugh (F.W. Murnau, 1924)

Pandora’s Box (G.W. Pabst, 1929)

The Blue Angel (Josef von Sternberg, 1930)

M (Fritz Lang, 1931)

The Bridge (Bernhard Wicki, 1959)

Kings of the Road (Wim Wenders, 1976)

The Marriage of Maria Braun (Rainer Werner Fassbinder, 1978)

The Tin Drum (Volker Schlöndorff, 1979)

Run Lola Run (Tom Tykwer, 1998)

France

Napoleon (Abel Gance, 1927)

L’Atalante (Jean Vigo, 1934)

La Grande Illusion (Jean Renoir, 1937)

Le Jour se Leve (Marcel Carne, 1939)

Diary of a Country Priest (Robert Bresson, 1951)

Hiroshima Mon Amour (Alain Resnais, 1959)

Jules et Jim (Francois Truffaut, 1962)

Weekend (Jean-Luc Godard, 1967)

La Haine (Mathieu Kassovitz, 1995)

The Taste of Other (Agnes Jaoui, 2000)

The Class (Laurent Cantet, 2008)

A Prophet (Jacques Audiard, 2009)

Of Gods and Men (Xavier Beauvois, 2010)

Italy

The Flowers of St. Francis (Roberto Rossellini, 1950)

Umberto D. (Vittorio De Sica, 1952)

La Notte (Michelangelo Antonioni, 1961)

The Leopard (Luchino Visconti, 1963)

The Gospel According to St. Matthew (Pier Paolo Pasolini, 1964)

Amarcord (Federico Fellini, 1973)

1900 (Bernardo Bertolucci, 1976)

Cinema Pardiso (Giuseppe Tornatore, 1988)

Il Postino (Michael Radford, 1994)

The Best of Youth (Marco Tullio Giordana, 2003)

Gomorrah (Matteo Garrone, 2008)

Vincere (Marco Bellocchio, 2009)

United Kingdom

The Lady Vanishes (Alfred Hitchcock, 1938)

Odd Man Out (Carol Reed, 1947)

Black Narcissus (Michael Powell and Emeric Pressburger, 1947)

Whiskey Galore (Alexander Mackendrick, 1949)

The Servant (Joseph Losey, 1963)

If… (Lindsay Anderson, 1968)

Local Hero (Bill Forsyth, 1983)

Brazil (Terry Gilliam, 1985)

Billy Elliot (Stephen Daldry, 2000)

Touching the Void (Kevin Macdonald, 2003)

The King’s Speech (Tom Hooper, 2010)

Spain

Welcome Mr. Marshall! (Luis Garcia Berlanga, 1953)

Death of a Cyclist (Juan Antonio Bardem, 1955)

Viridiana (Luis Bunuel, 1961)

The Spirit of the Beehive (Victor Erice, 1973)

Cria Cuervos (Carlos Saura, 1976)

Tierra (Julio Medem, 1996)

Talk to Her (Pedro Almodovar, 2002)

The Sea Inside (Alejandro Amenabar, 2004)

Portugal

Hard Times (Joao Botelho, 19880

Abraham’s Valley (Manoel de Oliveira, 1993)

God’s comedy (Joao Cesar Monteiro, 1995)

River of Gold (Paulo Rocha, 1998)

O Delfim (Fernando Lopes, 2002)

Canada

My Uncle Antoine (Claude Jutra, 1971)

The True Nature of Bernadette (Gilles Carles, 1972)

The Apprenticeship of Duddy Kravitz (Ted Kotcheff, 1974)

The Decline of the American Empire (Denys Arcand, 1986)

I’ve Heard the Mermaids Singing (Patricia Rozema, 1987)

Dead Ringers (David Cronenberg, 1988)

Jesus of Montreal (Denys Arcand, 1989)

Exotica (Atom Egoyan, 1994)

The Sweet Hereafter (Atom Egoyan, 1997)

The Barbarian Invasions (Denys Arcand, 2003)

Twist (Jacob Tierney, 2003)

Central America

Maria Candelaria (Emilio Fernandez, Mexico, 1944)

La Perla (Emilio Fernandez, Mexico, 1947)

Los Olvidados (Luis Bunuel, Mexico, 1950)

I am Cuba (Mikhail Kalatozov, Soviet Union/Cuba, 1964)

Memories of Underdevelopment (Tomas Gutierrez Area, Cuba, 1968)

Lucia (Humberto Solas, Cuba, 1968)

Like Water for Chocolate (Alfonso Area, Mexico, 1992)

Amores Perros (Alejandro Gonzales Inarritu, Mexico, 2000)

Y Tu Mama También (Alfonso Cuaron, Mexico, 2001)

Pan’s Labyrinth (Guillermo del Toro, Mexico, 2006)

South America

The Hand in the Trap (Leopoldo Torre Nilsson, Argentina, 1961)

Barren Lives (Nelson Pereira dos Santos, Brazil, 1963)

Antonio das Mortes (Glauber Rocha, Brazil, 1969)

The Hour of the Furnaces (Fernando Solanas and Octavio Getino, Argentina, 1970)

The Battle of Chile (Patricio Guzman, Chile, 1975/79)

The Official Story (Luis Puenzo, Argentina, 1985)

Central Station (Walter Salles, Brazil, 1998)

City of God (Fernando Meirelles, Brazil, 2002)

The Secret in Their Eyes (Juan Jose Campanella, Argentina, 2010)

China, Hong Kong, and Taiwan

Two Stage Sisters (Xie Jin, China, 1965)

A Touch of Zen (King Hu, Taiwan, 1969)

The Way of the Dragon (Bruce Lee, Hong Kong, 1972)

Yellow Earth (Chen Kaige, China, 1984)

City of Sadness (Hsiou-Hsein Hou, Taiwan, 1989)

Ju Dou (Zhang Yimou and Yang Fengliang, Japan/China, 1990)

Raise the Red Lantern (Zhang Yimou, China, 1991)

Yi Yi (Edward Yang, Taiwan, 2000)

Still Life (Jia Zhang Ke, China, 2006)

Korea

The Day a Pig Fell into the Well (Hong Sang-Soo, 1996)

Shiri (Kang Je-Gyu, 1999)

Chihwaseon (Im Kwon-Taek, 2002)

The Way Home (Lee Jong-Hyang, 2002)

Oasis (Lee Chang-dong, 2002)

Spring, Summer, Fall, Winter… and Spring (Kim Ki-Duk, 2003)

Secret Sunshine (Lee Chang-Dong, 2007)

Japan

Equinox Flower (Yasujiro Ozu, 1958)

An Actor’s Revenge (Kon Ichikawa, 1963)

Boy (Nagisa Oshima, 1969)

Vengeance is Mine (Shohei Imamura, 1979)

Hana-Bi (Takeshi Kitano, 1997)

After Life (Hirokazu Koreeda, 1998)

Still Walking (Hirokazu Koreeda, 2008)

Catepillar (Koji Wakamatsu, 2010)

India

Devdas (Bimal Roy, 1955)

Rather Panchali (Satyajit Ray, 1955)

Mother India (Mehboob Khan, 1957)

Charulata (Satyajit Ray, 1964)

Bhuvan Shome (Mrinal Sen, 1969)

Sholay (Ramesh Sippy, 1975)

Nayagan (Mani Ratnam, 1987)

Salaam Bombay! (Mira Nair, 1988)

Bandit Queen (Shekhar Kapur, 1994)

Dilwale Dulhaniya Le Jayenge (Aditya Chopra, 1995)

Kannathil Muthamittal (Mani Ratnam, 2002)

Shwaas (Sandeep Sawant, 2004)

Harishchandrachi Factory (Paresh Mokashi, 2009)

People Live (Anusha Rizvi, 2010)

Australia and New Zealand

Picnic at the Hanging Rock (Peter Weir, Australia, 1975)

The Getting of Wisdom (Bruce Beresford, Australia, 1977)

Newsfront (Phillip Noyce, Australia, 1978)

My Brilliant Career (Gillian Armstrong, Australia, 1979)

Mad Max (George Millar, Australia, 1979)

Crocodile Dundee (Peter Faiman, Australia, 1986)

An Angel at My Table (Jane Campion, New Zealand, 1990)

Heavenly Creatures (Peter Jackson, New Zealand, 1994)

Happy Feet (George Millar, Australia, 2006)

Australia (Bax Luhrmann, Australia, 2008)

3. DIRECTORS

Woody Allen

Sleeper (1973)

Love and Death (1976)

Manhattan (1979)

Broadway Danny Rose (1984)

The Purple Rose of Cairo (1985)

Hannah and Her Sisters (1986)

Crimes and Misdemeanors (1989)

Husbands and Wives (1992)

Match Point (2005)

Vicky Cristina Barcelona (2008)

Pedro Almodovar

What Have I Done to Deserve This (1984)

Law of Desire (1987)

Women on the Verge of a Nervous Breakdown (1988)

High Heels (1991)

All About My Mother (1999)

Bad Education (2004)

Volver (2006)

Robert Altman

M*A*S*H* (1970)

McCabe and Mrs. Miller (1971)

Nashville (1975)

The Player (1992)

Short Cuts (1993)

Gosford Park (2001)

A Prairie Home Companion (2006)

Theo Angelopoulos

The Traveling Players (1975)

Landscape in the Mist (1988)

The Weeping Meadow (2004)

Michelangelo Antonioni

L’Avventua (1960)

L’Eclisse (1962)

Il Deserto Rosso (1964)

Blow-Up (1966)

The Passenger (1975)

Ingmar Bergman

Summer Interlude (1951)

Smiles of a Summer Night (1955)

The Seventh Seal (1957)

Wild Strawberries (1957)

The Face (1958)

Cries and Whispers (1972)

Autumn Sonata (1978)

Fanny and Alexander (1982)

Bernardo Bertolucci

Before the Revolution (1964)

The Conformist (1970)

Last Tango in Paris (1972)

The Last Emporero (1987)

The Dreamers (2003)

Luc Besson

The Big Blue (1988)

Nikita (1990)

Leon (1995)

The Fifth Element (1997)

Robert Bresson

Ladies of the Park (1945)

A Man Escaped (1956)

Balthazar (1966)

L’Argent (1983)

Tod Browning

The Unholy Three (1925)

The Blackbird (1926)

The Unknown (1927)

West of Zanzibar (1928)

Dracula (1931)

Freaks (1932)

The Devil-Doll (1936)

Luis Bunuel

An Andalusian Dog (1929)

Age of Gold (1930)

The Young and the Damned (1950)

Nazarin (1958)

The Exterminating Angel (1962)

Diary of a Chambermaid (1964)

Belle de Jour (1967)

Tristana (1970)

The Discreet Charm of the Bourgeoisie (1972)

Frank Capra

Platinum Blonde (1931)

The Bitter Tea of General Yen (1933)

Lady for a Day (1933)

It Happened One Night (1934)

Mr. Deeds Goes to Town (1936)

You Can’t Take It with You (1938)

Mr. Smith Goes to Washington (1939)

It’s a Wonderful Life (1946)

Marcel Carne

Bizarre Bizarre (1937)

Port of Shadows (1938)

The Devil’s Envoys (1942)

John Cassavetes

Shadows (1959)

Faces (1968)

Minnie and Maskowitz (1971)

Gloria (1980)

Claude Chabrol

The Cousins (1959)

The Good Time Girls (1960)

The Unfaithful Wife (1969)

The Hatter’s Ghost (1982)

The Ceremony (1995)

Nightcap (2000)

Charlie Chaplin

The Kid (1921)

A Woman of Paris (1923)

The Gold Rush (1925)

The Circus (1928)

City Lights (1931)

Modern Times (1936)

The Great Dictator (1940)

Rene Clair

The Italian Straw Hat (1928)

Under the Roofs of Paris (1930)

The Million (1931)

Freedom for Us (1931)

The Last Billionaire (1934)

The Ghost Goes West (1935)

It Happened Tomorrow (1944)

Night Beauties (1952)

Summer Manoeuvres (1955)

Henri-Geoges Clouzot

The Raven (1943)

Quay of the Goldsmiths (1947)

The Wages of Fear (1953)

Diabolique (1955)

The Picasso Mystery (1956)

Jean Cocteau

The Blood of a Poet (1930)

Beauty and the Beast (1946)

Orpheus (1950)

The Testament of Orpheus (1960)

Joel and Ethan Coen

Blood Simple (1984)

Raising Arizona (1987)

Barton Fink (1991)

Fargo (1996)

The Big Lebowski (1998)

No Country for Old Men (2007)

A Serious Man (2009)

Francis Ford Coppola

The Conversation

The Outsiders

Tucker: The Man and His Dreams

George Cukor

Dinner at Eight (1933)

Little Women (1933)

Sylvia Scarlett (1935)

David Copperfield (1935)

Camille (1936)

Holiday (1938)

The Women (1939)

The Philadelphia Story (1940)

Adam’s Rib (1949)

A Star is Born (1954)

My Fair Lady (1964)

Michael Curtiz

Kid Galahad (19370

Casablanca (1942)

Cecil B. DeMille

The Cheat (1915)

The Ten Commandments (1923)

Cleopatra (1934)

The Plainsman (1936)

Union Pacific (1939)

Reap with Wild Wind (1942)

Unconquered (1947)

Samson and Delilah (1949)

The Greatest Show on Earth (1952)

Vittorio De Sica

Shoeshine (1946)

Bicycle Thieves (1948)

Miracle in Milan (1951)

Two Women (1960)

The Garden of the Finzi-Continis (1970)

Carl Dreyer

Master of the House (1925)

The Passion of Joan of Arc (1928)

The Vampire (1932)

The Word (1955)

Gertrud (1964)

Clint Eastwood

Play Misty for Me

The Outlaw Josey Wales (1976)

Bird (1988)

Mystic River (2003)

Million Dollar Baby (2004)

Flags of Our Fathers (2006)

Letters From Iwo Jima (2006)

Invictus (2009)

Sergei Eisenstein

Strike (1924)

October (1927)

The General Line (1928)

Rainer Werner Fassbinder

The Merchant of Four Seasons (1971)

The Bitter Tears of Petra von Kant (1972)

Fear Eats the Soul (19740

Effi Briest (1974)

Fox (1975)

Mother Kusters’ Trip to Heaven (1975)

In aYear of 13 Moons (1978)

Lola (1981)

Veronika Voss (1982)

Federico Fellini

I Vitelloni (1953)

La Strada (1954)

La Dolce Vita (1960)

8 1/2 (1963)

Juiletta of the Spirits (1945)

Roma (1972)

Fellini’s Casanova (1976)

Robert J. Flaherty

Nanook of the North (1922)

Moana (1926)

Man of Aran (1934)

Louisianna Story (1948)

John Ford

The Grapes of Wrath (1940)

Fort Apache (1948)

Milos Forman

The Firemen’s Ball (1967)

One Flew Over the Cuckoo’s Nest (1975)

Amadeus (1984)

Man on the Moon (1999)

Abel Gance

The Tenth Symphony (1918)

The Wheel (1923)

The Life and Loves of Beethoven (1936)

Jean-Luc Godard

Breathless (1960)

My Life to Live (1962)

Contempt (1963)

Band of Outsiders (1964)

Alphaville (1965)

Two or Three Things I Know About Her (1967)

New Wave (1990)

In Praise of Love (2001)

Our Music (2004)

D.W. Griffith

Intolerance (1916)

True Heart Susie (1919)

Broken Blossoms (1919)

Way Down East (1920)

Orphans of the Storm (1921)

Howard Hanks

Scarface (1932)

Twentieth Century (1934)

Bringing Up Baby (1938)

Only Angels Have Wings (1939)

To Have and Have Not (1944)

Red River (1948)

Rio Bravo (1959)

Werner Herzog

Signs of Life (1967)

Fata Morgana (1971)

Aguirre, Wrath of God (1972)

Enigma of Kasper Hauser (1974)

Fitzcarraldo (1982)

My Best Friend (1999)

Grizzly Man (2005)

Encounters at the End of the World (2007)

The Bad Lieutenant: Port of Call - New Orleans (2009)

Alfred Hitchcock

The 39 Steps (1935)

Shadow of a Doubt (1943)

Strangers on a Train (1951)

Rear Window (1954)

Vertigo (1958)

North by Northwest (1959)

The Birds (1963)

Marnie (1964)

John Huston

The Maltese Falcon (1941)

The Treasure of the Sierra Madre (1948)

Key Largo (1948)

The Asphalt Jungle (1950)

The African Queen (1951)

Beat the Devil (1953)

The Misfits (1961)

Reflections in a Golden Eye (1967)

Fat City (1972)

The Dead (1987)

Miklos Jancso

My Way Home (1965)

The Red and the White (1968)

The Confrontation (1969)

Agnus Dei (1971)

Red Psalm (1972)

Beloved Electra (1974)

Elia Kazan

A Streetcar Named Desire (1951)

On the Waterfront (1954)

East of Eden (1955)

A Face in the Crowd (1957)

Wild River (1960)

Splendor in the Grass (1961)

Abbas Kiarostami

Where is the Friend’s Home? (1987)

And Life Goes On… (1992)

Through the Olive Trees (1994)

The Wind Will Carry Us (1999)

Ten (2002)

Krzysztof Kieslowski

- Blind Chance (1981)

- A Short Film About Killing (1988)

- A Short Film About Love (1988)

- The Double Life of Veronique (1991)

Stanley Kubrick

Lolita (1962)

Dr. Strangelove (1964)

A Clockwork Orange (1971)

Akira Kurosawa

Rashomon (1950)

To Live (1952)

Throne of Blood (1957)

The Hidden Fortress (1958)

The Bodyguard (1961)

Sanjuro (1962)

Dersu Uzala (1975)

Kagemusha (1980)

Ran (1985)

Fritz Lang

Dr. Mabuse: The Gambler (1922)

Fury (1936)

Hangmen Also Die! (1943)

The Woman in the Window (1944)

Scarlet Street (1945)

Clash by Night (1952)

The Big Heat (1953)

Human Desire (1954)

David Lean

In Which We Serve (1942)

Great Expectations (1946)

Oliver Twist (1948)

Hobson’s Choice (1954)

The Bridge on the River Kwai (1957)

A Passage to India (1984)

Spike Lee

She’s Gotta Have It (1986)

Do the Right Thing (1989)

Jungle Fever (1991)

Malcolm X (1992)

Crooklyn (1994)

Clockers (1995)

Ernst Lubitsch

Trouble in Paradise (1932)

Design for Living (1933)

Desire (1936)

Angel (1937)

Ninotchka (1939)

The Shop Around the Corner (1940)

To Be or Not to Be (1942)

David Lynch

Eraserhead (1977)

The Elephant Man (1980)

Blue Velvet (1986)

Twin Peaks (1992)

The Straight Story (1999)

Mulholland Drive (2001)

Louis Malle

The Lovers (1958)

Murmur of the Heart (1971)

Lacombe Lucien (1974)

Pretty Baby (1978)

Atlantic City (1980)

Au Revoir Les Enfants (1987)

Joseph L. Mankiewicz

The Ghost and Mrs. Muir (1947)

A Letter to Three Wives (1949)

All About Eve (1950)

5 Fingers (1952)

Julius Caesar (1953)

The Barefoot Contessa (1954)

Guys and Dolls (1955)

Suddenly, Last Summer (1959)

Leo McCarey

Ruggles of Red Gap (1935)

Make Way for Tomorrow (1937)

The Awful Truth (1937)

Love Affair (1939)

Going My Way (1944)

The Bells of St. Mary’s (1945)

An Affair to Remember (1957)

Jean-Pierre Melville

The Strange Ones (1950)

Bob the Gambler (1956)

Doulos: The Finger Man (1962)

Magnet of Doom (1963)

Second Breath (1966)

The Samurai (1967)

Army of Shadows (1969)

Vincente Minnelli

The Pirate (1948)

An American in Paris (1951)

The Bad and the Beautiful (1953)

The Band Wagon (1953)

Lust for Life (1956)

Some Came Running (1959)

Kenji Mizoguchi

Osaka Elegy (1936)

Sister of the Gion (1936)

The Story of the Last Chrysanthemums (1939)

Utamaro and his Five Women (1946)

Ugetsu Monogatari (1953)

Sansho the Bailiff (1954)

Street of Shame (1956)

F.W. Murnau

Faust (1926)

Sunrise (1927)

Tabu (1931)

Manoel de Oliveira

Aniki Bobo (1942)

Doomed Love (1979)

Francisca (1981)

The Cannibals (1988)

The Convent (1995)

I’m Going Home (2001)

A Talking Picture (2003)

O Estranho Caso de Angelica (2010)

Max Ophuls

Leiberlei (1933)

Mayerling to Sarajevo (1940)

Letter from an Unknown Woman (1948)

La Ronde (1950)

House of Pleasure (1952)

Madame de… (1953)

Lola Montes (1955)

Nagisa Oshima

The Sun’s Burial (1960)

Death by Hanging (1968)

Diary of Shinjuku Thief (1969)

The Ceremony (1971)

In the Realm of the Sense (1976)

Empire of Passion (1978)

Taboo (1999)

Yasujiro Ozu

Record of a Tenement Gentleman (1947)

Late Spring (1949)

Early Summer (1951)

Tokyo Story (1953)

Early Spring (1956)

Good Morning (1959)

Late Autumn (1960)

The End of Summer (1961)

An Autumn Afternoon (1962)

Georg Wilhelm Pabst

The Love of Jeanne Ney (1927)

Diary of a Lost Girl (1929)

The Threepenny Opera (1931)

Comradeship (1931)

Sergei Parajanov

The Stone Flower (1962)

Shadows of Forgotten Ancestors (1964)

Ashik Kerib (1988)

Pier Paolo Pasolini

Accatone (1961)

Oedipus Rex (1967)

Theorem (1968)

The Decameron (1971)

The Canterbury Tales (1972)

The Arabian Nights (1974)

Salo, or the 120 Days of Sodom (1975)

Sam Peckinpah

Ride the High Country (1962)

Major Dundee (1965)

The Ballad of Cable Hogue (1970)

Pat Garrett and Billy the Kid (1973)

Bring Me the Head of Alfredo Garcia (1974)

Roman Polanski

Repulsion (1965)

Cul-de-Sac (1965)

Rosemary’s Baby (1968)

The Tenant (1976)

The Pianist (2002)

The Ghost Writer (2010)

Michael Powell and Emeric Pressburger

The Life and Death of Colonel Blimp (1943)

A Canterbury Tale (1944)

I Know Where I’m Going (1945)

A Matter of Life and Death (1946)

The Red Shoes (1948)

The Small Back Room (1948)

The Tales of Hoffman (1951)

Otto Preminger

Laura (1944)

Daisy Kenyon (1947)

The Man with the Golden Arm (1955)

Anatomy of a Murder (1959)

Exodus (1960)

Advise and Consent (1962)

Vsevolod Pudovkin

Mother (1926)

The End of St. Petersburg (1927)

Nicholas Ray

They Live By Night (1949)

In a Lonely Place (1950)

Johnny Guitar (1954)

Bigger Than Life (1956)

Wind Across the Everglades (1958)

Satyajit Ray

Pather Panchali (1955)

The Unvanquished (1956)

The Music Room (1959)

The World of Apu (1959)

The Big City (1964)

The Lonely Wife (1964)

Days and Nights in the Forest (1970)

Distant Thunder (1973)

The Middleman (1976)

The Chess Players (1977)

Jean Renoir

Boudu Saved from Drowning (1932)

The Crime of Monsieur Lange (1936)

Grand Illusion (1937)

The Human Beast (1938)

The Rulers of the Game (1939)

The Southerner (1945)

The Golden Coach (1952)

French Can-Can (1954)

Elena and Her Men (1956)

Alain Resnais

Last Year at Marienbad (1961)

Muriel (1963)

The War is Over (1966)

Stavisky (1974)

Providence (1977)

Same Old Song (1997)

Les Herbes Folles (2009)

Jacques Rivette

Paris Belongs to Us (1961)

The Nun (1966)

Mad Love (1969)

Celine and Julie Go Boating (1974)

La Belle Noiseuse (1991)

Jeanne la Pucelle I - Les Batailles (1994)

Va Savior (2001)

The Duchess of Langeais (2007)

Eric Rohmer

My Night at Maud’s (1969)

Claire’s Knee (1970)

The Aviator’s Wife (1981)

Pauline at the Beach (1983)

The Green Ray (1986)

A Tale of Springtime (1990)

A Tale of Winter (1992)

A Summer’s Tale (1996)

An Autumn Tale (1998)

Les Amours d’astres et de Celadon (2007)

Roberto Rossellini

Rome, Open City (1945)

Paisan (1946)

Germany Year Zero (1948)

Stromboli (1950)

The Greatest Love (1952)

Voyage to Italy (1953)

General della Rovere (1959)

The Rise of Louis XIV (1966)

Martin Scorsese

Mean Streets (1973)

Taxi Driver (1976)

New York, New York (1977)

Raging Bull (1980)

After Hours (1985)

The Colour of Money (1986)

The Last Temptation of Christ (1988)

The Age of Innocence (1993)

The Departed (2006)

Shutter Island (2010)

Ousmane Sembene

God of Thunder (1971)

The Camp of Thiaroye (1989)

Moolaade (2004)

Douglas Sirk

Has Anybody Seen My Gal? (1952)

Take Me to Town (1953)

All I Desire (1953)

Magnificent Obsession (1954)

All That Heaven Allows (1955)

Written on the Wind (1956)

The Tarnished Angels (1957)

Imitation of Life (1959)

Steven Spielberg

Jaws (1975)

Close Encounters of the Third Kind (1977)

Raiders of the Lost Ark (1981)

E.T.: The Extra-Terrestrial (1982)

Jurassic Park (1993)

Schindler’s List (1993)

Munich (2005)

Indiana Jones (2008)

Josef von Sternberg

Morocco (1930)

Dishonored (1931)

Shanghai Express (1932)

Blonde Venus (1932)

The Scarlet Express (1934)

The Devil is a Woman (1935)

The Saga of Anatahan (1953)

Erich von Sternheim

Blind Husbands (1919)

Foolish Wives (1922)

Greed (1924)

The Merry Widow (1925)

The Wedding March (1928)

Queen Kelly (1929)

Preston Sturges

The Lady Eve (1941)

Sullivan’s Travels (1941)

The Palm Beach Story (1942)

The Miracle of Morgan’s Creek (1944)

Hail the Conquering Hero (1944)

Andrei Tarkovsky

Ivan’s Childhood (1962)

Andrei Rublev (1966)

The Mirror (1975)

Stalker (1979)

The Sacrifice (1986)

Jacques Tati

Jour de fete (1949)

Mr. Hulot’s Holiday (1953)

Mon Oncle (1958)

Playtime (1967)

Lars von Trier

Epidemic (1987)

Europa (1991)

Breaking the Waves (1996)

The Idiots (1998)

Dancer in the Dark (2000)

Dogville (2003)

Antichrist (2009)

François Truffaut

The 400 Blows (1959)

Shoot the Piano Player (1960)

Fahrenheit 451 (1966)

The Bride Wore Black (1968)

The Wild Child (1970)

Bed & Board (1970)

Day for Night (1973)

The Green Room (1978)

Agnes Varda

Cleo from 5 to 7 (1962)

Happiness (1965)

One Sings, the Other Doesn’t (1977)

Vagabond (1985)

Jacquot da Nantes (1991)

The Gleaners & I (2000)

Les plagues d’Agnes (2008)

King Vidor

The Big Parade (1925)

The Crowd (1928)

Hallelujah! (1929)

The Champ (1931)

Our Daily Bread (1934)

Duel in the Sun (1946)

The Fountainhead (1949)

War and Peace (1956)

Jean Vigo

A Propos de Nice (1930)

Zero for Conduct (1933)

Luchino Visconti

Ossessione (1942)

La Terra Trema (1948)

Rocco and his Brothers (1960)

Death in Venice (1971)

Andrzej Wajda

A Generation (1954)

Canal (1957)

Ashes and Diamonds (1958)

Innocent Sorcerers (1960)

Siberian Lady Macbeth (1961)

Landscape After Battle (1970)

Man of Iron (1981)

Danton (1983)

Katyn (2007)

Tatarak (2009)

Orson Welles

Citizen Kane (1941)

The Magnificent Ambesons (1942)

The Lady from Shanghai (1947)

Macbeth (1948)

Othello (1952)

Confidential Report (1955)

Chimes at Midnight (1965)

William Wellman

Wings (1927)

Wild Boys of the Road (1933)

The Call of the Wind (1935)

Nothing Sacred (1937)

Beau Geste (1939)

Roxie Hart (1942)

The Ox-Bow Incident (1943)

The Story of G.I. Joe (1945)

The High and the Mighty (1954)

Wim Wenders

Alice in the Cities (1973)

The American Friend (1977)

Paris, Texas (1984)

Wings of Desire (1987)

Buena Vista Social Club (1999)

Don’t Come Knocking (2005)

James Whale

Frankenstein (1931)

The Old Dark Horse (1932)

The Invisible Man (1933)

Show Boat (1936)

Billy Wilder

The Major and the Minor

The Lost Weekend (1945)

Sunset Boulevard (1950)

Ace in the Hole (1951)

Stalag 17 (1953)

Some Like It Hot (1959)

The Apartment (1960)

One, Two, Three (1961)

Wong Kar Wai

Ashes of Time (1994)

Chungking Express (1994)

Fallen Angels (1995)

Happy Together (1997)

In the Mood for Love (2000)

2046 (2004)

My Blueberry Nights (2007)

William Wyler

The Little Foxes (1941)

Mrs. Miniver (1942)

The Best Years of Our Lives (1946)

Roman Holiday (1953)

Friendly Persuasion (1956)

The Big Country (1958)

Funny Girl (1968)

4. TOP 100 MOVIES

The Cabinet of Dr. Caligari (Robert Wiene, 1920)

All Quiet on the Western Front (Lewis Milestone, 1930)

King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933)

A Star is Born (William A. Wellman, 1937)

Olympia (Lena Reifenstahl, 1938)

The Rules of the Game (Jean Renoir, 1939)

Gone with the Wind (Victor Fleming, 1939)

Passport to Pimlico (Henry Cornelius, 1949)

Panther Panchali (Satyajit Ray, 1955)

The Night of the Hunter (Charles Laughton, 1955)

Saturday Night and Sunday Morning (Karel Reisz, 1960)

Lawrence of Arabia (David Lean, 1962)

The Sound of Music (Robert Wise, 1965)

The Battle of Algiers (Gillo Pontecorvo, 1966)

The Chelsea Girls (Andy Warhol and Paul Morrissey, 1966)

Easy Rider (Dennis Hopper, 1969)

The Deer Hunter (Michael Cimino, 1978)

Blade Runner (Ridley Scott, 1982)

Heimat (Edgar Reitz, 1984/1992/2004)

Shoah (Claude Lanzmann, 1985)

A Room with a View (James Ivory, 1985)

Reservoir Dogs (Quentin Tarantino, 1992)

Traffic (Steven Soderbergh, 2000)

Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)

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The Vinyl Thought, Today Author Mark Musick about the secret life of Howard Hughes, also Comedian Cody Woods Joins us Today we talk with Author Mark Musick about the book, Boxes: The Secret Life of Howard Hughes…

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Read Boxes: The Secret Life of Howard Hughes BY Douglas Wellman

Download Or Read PDF Boxes: The Secret Life of Howard Hughes - Douglas Wellman Free Full Pages Online With Audiobook.

  [*] Download PDF Here => Boxes: The Secret Life of Howard Hughes

[*] Read PDF Here => Boxes: The Secret Life of Howard Hughes

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JEAN HARLOW: Bombshell

Her mother Mama Jean called her “The Baby” during her short life, and Jean Harlow did exhibit a babyish sense of delight when she smiled in her films and in stills, but the men who looked at her on the movie screen saw not a baby but a babe that they wanted in their arms. She was the successor to Clara Bow and a kind of bridge to Marilyn Monroe, and she was more good fun than both of them combined. Very few film stars made such an impression in such a brief time as Harlow, or grew as a performer so quickly.

Notoriously, Harlow didn’t wear underwear, and when James Cagney asked her on the set of The Public Enemy (1931) how she kept her breasts up and at ‘em, she good-naturedly replied, “I ice ‘em!” Harlow had hair so bleached blond that it was nearly white, and her legs were Dietrich-level beautiful and shapely. When she died unexpectedly at age 26, rumors ran rampant and ugly about why and how this had happened to her, culminating in the 1960s with a nasty and inaccurate biography by Irving Schulman and two equally inaccurate movie biopics, one with Carroll Baker and one with Carol Lynley. Thankfully, David Stenn’s biography of Harlow in the early 1990s set the record straight just as Stenn’s 1989 Clara Bow book gave the It Girl a fair shake.

Harlow was born Harlean Carpenter in 1911, and she married at 16 to a society boy, but she worked for a while as an extra at star-struck Mama Jean’s urging, getting her skirt caught in the door of a car and walking away with her black underwear showing in Double Whoopee (1928), a Laurel and Hardy short where childlike Ollie seems genuinely hot and bothered by this cotton candy blond looker. She posed for beautiful semi-nude shots for Edwin Bower Hesser in Griffith Park with her body covered only by a wet piece of fabric, showing off her curves for him with joy and abandon, but Harlow was still stiff in front of a moving picture camera. Bit parts proliferated, including one with Bow in The Saturday Night Kid (1929), where Harlow had one line of dialogue that she delivered in an amateurish way as she looked at her watch.

Harlow fell under contract to breast-obsessed Howard Hughes, who put her in his aerial epic Hell’s Angels (1930) as sexpot relief. He had a party scene shot in two-strip Technicolor in order to show off the pearly beauty of his new star’s skin, her breasts barely covered by her backless dress, and though Harlow delivers dialogue in a very stilted way in Hell’s Angels, she already had a way of looking at men that was unmistakably carnal.

“Would you be shocked if I put on something more comfortable?” she asks Ben Lyon in Hell’s Angels, taking joy and pride in the way she makes his temperature rise. The distinctive thing about Harlow is her total lack of shame about sex on screen, her sheer anticipatory enjoyment of it as an idea, and an ideal of pleasure, a force that totally loosens her up. Harlow’s relation to sex in her movies makes Bow seem slightly jittery and insecure about it in comparison, and makes Monroe look like a sexual basket case.

“I want to be free, I want to be gay and have fun!” Harlow says in Hell’s Angels, leaning back happily on a couch to be admired. “Life’s short, and I want to live while I’m alive.” No bra, no panties, no problem! Her smile is so open, so inviting, as if to say, “Come on, let’s enjoy ourselves,” and she wants to take that enjoyment to the limit, and beyond that limit. Harlow in Hell’s Angels is the kind of person who will make out with you in a bar and won’t care how many people are watching. In fact, she obviously gets a kick out of being watched, in the bar on screen and from the dark of the movie theater, because that attention adds to her pleasure.

Luscious and so gracefully knowing, with her fantasy hair and her freely moving and nearly exposed body, Harlow tries to sound ritzy and classy in her first few talkies but she has a nasal, funny voice that keeps betraying her sense of humor. Hughes loaned her out and kept her working, paying her little and pocketing the rest of her salaries. Expected to play disparate roles in her 1931 movies, Harlow became mainly chastened and inhibited, though she has a brief moment of connected wisecracking with Clark Gable in The Secret Six.

Harlow is embarrassing in The Public Enemy with Cagney, descending to an Ed Wood level of wooden dialogue delivery, and she tentatively played Louise Brooks’s part in a remake of A Girl in Every Port (1928) that was renamed Goldie for her hair. “Men don’t marry carnival girls,” she earnestly tells Warren Hymer in that movie. “They think we’re all bad.” Harlow had trouble seeming like a manipulative society girl in Frank Capra’s Platinum Blonde, even though she had moved in society circles herself during her first marriage. She knew she wasn’t cutting it as an actress and even told her agent that she would try to get work in a department store if her acting didn’t improve soon.

MGM producer Paul Bern, who had been instrumental in shaping many careers for women at his studio, got Harlow a very good part in The Beast of the City (1932), and she’s much improved in that due to the gentle Bern’s coaching, closer to the magnetic tough-girl style of her star period (seen in a line-up, she gives a raspberry to the cops who are grilling her). When a tough guy grabs her hard and she says it hurts her, he asks, “You don’t like to be hurt, do you?” She looks at him steadily and says, in her “ritzy” voice, “Oh, I don’t know…it’s kinda fun sometimes if it’s done in the right spirit.” Harlow on screen knows or senses that sex is partly theater, and theater is best, or “kinda fun,” when it’s boldly rough and dramatized in terms of fluctuating power dynamics.

Harlow keeps her hands on her hips and does one helluva seductive dance for a copper in The Beast of the City, filling her undulations with that distinctive “sex is fun!” spirit she had, rubbing her hands down her gyrating body and fluffing her hair. She harnessed all of her sexual energy and put it on screen without any inhibitions, and it still makes for a hackle-raising spectacle. “Are you gonna try and reform me?” she asks the copper breathlessly, after they kiss.

Bern convinced her to go titian for Red-Headed Woman (1932), where we see her hair being dyed in the first scene. “So gentlemen prefer blondes, do they?” she asks, in that pinched voice, before looking at herself in the mirror. “Yes they do,” she drawls, smiling and giving a pure 1930s sock-it-to-‘em nod. “Can you see through this?” she asks a saleswoman, striking a pose against a window in a new dress. “I’m afraid you can, miss,” the prim saleswoman informs her. “I’ll wear it,” Harlow cheerfully replies.

Her ruthless and hotheaded Lil goes through five men in Red-Headed Woman, and Harlow gets away with it because she is so funny and so good-humored about her man-eating. Bern told her that if she made the part funny that the audience would forgive her anything, and he was right about that. And she gets away with a lot in this movie. When Chester Morris smacks her, Harlow lets out a growly little noise of excitement and approval and says, “Do it again, I like it! Do it again!” and then kisses him, which goes shockingly further with her “kinda fun” rough sex formulation from The Beast of the City. Her growl of S&M excitement is not to be forgotten once heard, once she has let it out of its box, so to speak.

There is no part of sex or the sexual instinct that Harlow doesn’t openly enjoy on screen, and that’s what made her such a radical presence in the early 1930s, and that sexual radicalism hasn’t dated; it would still cause an uproar today if done in the swaggering way she does it in Red-Headed Woman. And she is not made to be redeemed or reformed or even punished at the end of that movie, where her designing woman winds up with a rich older protector and still gets to keep her handsome chauffeur lover (a young Charles Boyer). Screenwriter Anita Loos gives Red-Headed Woman the essentially French and Colette-like morality and frankness that went into her classic novel Gentlemen Prefer Blondes, and you can see why moralists in America at the time were outraged and alarmed by Lil, who is a truly amoral, even homicidal wretch but so filled with Harlow’s saucy pep that she still winds up being somehow attractive.

Yet this brazen woman on screen was living with her mother off screen, obediently following Mama Jean’s wishes. (Mama Jean had wanted to be an actress herself, and she lived vicariously through Harlow’s success.) Compliant in some ways but also rebellious, Mama Jean’s “Baby” got into big trouble off the set. Harlow married the gentlemanly Bern, and shortly after that marriage Bern shot himself, leaving behind a cryptic suicide note. Their marriage had not been consummated, and Bern had in his past a mentally unstable common law wife named Dorothy Millette, a woman who was still obsessively attached to him. Millette confronted Harlow and Bern one night, and whatever transpired between them led to his suicide. Millette killed herself a few days after his death. This was a rare mess, and it was feared that it might ruin Harlow’s career.

She was midway through shooting Red Dust (1932) with Clark Gable at that point, and she returned to work under duress. To the studio’s surprise, public sympathy was on her side during the Bern suicide scandal, and it helped that she was at her very best in Red Dust, with all her sexuality and humor at her command but a new shading of vulnerability, too, just enough to make her irresistible to just about everyone. Look at the pained way she stares after Clark Gable and Mary Astor as he carries Astor out of a storm, which reveals the strength of her feelings for him underneath all the other slangy “I like it!” sexual fun she still offered us. This scene proved that Harlow’s on screen persona could handle a show of hurt feelings, and it also showed that she could be appealingly stoic about them, too, and toughly gallant and magnanimous. In the scene where she good-naturedly pours a drink for her love rival Astor and gives her a little advice, Harlow is one of the most appealing of all American screen women.

Red Dust was perhaps Harlow’s zenith, but she advanced even further in three more films the following year. She turned to rat-a-tat-tat verbal comedy in the very knowing, often scathing Bombshell as movie star Lola Burns, who is “born for men,” according to salacious studio advertising, but mainly born, it seems, to support a family and retinue, just as Harlow herself was. “You’re a boon to re-population in a world thinned out by war and famine!” cries Lee Tracy’s publicity man, and that’s certainly one way of looking at it.

Role and star get deliberately confused in Bombshell, for Lola is called back to shoot retakes of Gable catching her nude in a rain barrel in Red Dust, as if she and Harlow were the same person. “You can get another ‘It’ girl or ‘But’ girl or a ‘how, when and where’ girl, I’m moving out!” Harlow’s Lola cries toward the end, saying that she wants to retire to domestic life, but Bombshell knows that some people are just more charismatic than others, and some women would be imprisoned by the threat of home and babies. Harlow was certainly one of those women, at least on screen.

Cleverly, shortly after filming, Harlow married her much older cameraman, Harold Rossen, who did much to shape her visual image (Mama Jean put the kibosh on that one after only eight months). And then, for director George Cukor, who egged her on to just the right degree, she was Kitty Packard, a gutsy trophy wife putting Wallace Beery in his place in Dinner at Eight, a monument to the enriching vitality in unabashed sexual vulgarity.

Sitting up in her absurdly billowing white bed, taking bites out of chocolates and then throwing them back, ringing out her powder puff, Harlow gets laugh after laugh in Dinner at Eight, one after another, like she’s ringing gongs. She throws herself into her scenes with both abandon and accuracy of expression and timing, a very different style from Clara Bow or Marilyn Monroe, much brassier, more self-sufficient; if she talked baby talk, as Monroe did, it was in a very knowing, parodic way.

Harlow is the only big female movie sex symbol who never seems dazed, never seems really out-of-control. “I’m gonna be a lady if it kills me!” she tells Beery in Dinner at Eight, standing up to him all the way down the line and applying more lipstick in between. (She was sown into her gowns, so that she couldn’t even sit down on set but had to resort to a slant board.) Harlow throws some left hooks and gets caught in her bath again by Gable in Hold Your Man. “Yes sir, that baby’s got rhythm,” Gable says appreciatively as he watches her walk away from him at one point, after she visits him in prison. She is at her toughest in Hold Your Man until a redemptive ending, a harbinger of worse to come.

“The vulgar, cheap, and the tawdry is out!” promised Joseph Breen, the new chief of the Production Code censorship bureau, in a newsreel from 1934, and that meant that proudly vulgar, cheap, and tawdry Harlow was hardest hit by the new Code. Her first film under the Code was supposed to be called Born to Be Kissed, but the title was changed to The Girl from Missouri (1934), and it made Harlow stuffy and bent only on matrimony in a way that feels very constricted and depressing.

They even began to darken her platinum hair to a light shade of brown in Riffraff (1935), where she played another virgin holding out for marriage and sparred with Spencer Tracy. Harlow was at least somewhat brassy again as good-time girl China Doll in China Seas (1936) with Gable, but in Wife vs. Secretary (1936) she played a true-blue stenographer who wouldn’t dream of putting the moves on Gable’s boss, a far cry from the rapacious Lil of Red-Headed Woman. Even her car horn voice got tamped-down and refined back to the level it had ludicrously sought in her first awkward years in movies, as if speaking quietly were some sort of triumph for the “good taste” that now reigned on film.

In Reckless (1935), Harlow was asked to talk her way through a risible song and act out a suicide drama that was exploitatively close to her own ordeal with Bern. She is made to defend herself from a stage, confessing to an audience her dead husband’s unhappiness and how she tried to make him happy, and the result on screen feels very punishing and unfair, so that there was no star who was so humiliated and ruined by censorship as Harlow, not even Mae West. She got one more chance at rapid-fire comedy in Libeled Lady (1936), where all she wants to do is marry Spencer Tracy, and she has her moments in that, but the great sexual thrill of Harlow is confined to Hell’s Angels and her movies from 1932 and 1933 only.

She really did want to marry her Libeled Lady co-star William Powell, but he kept putting that off. Harlow looks and seems ill and low energy in Personal Property (1937) and in her last film, Saratoga (1937), which was finished with a stand-in after her death at 26 from kidney disease. She collapsed on the set and was attended by physicians for eight days before she died, contrary to the stories about her never seeing a doctor because of Mama Jean’s Christian Science leanings. MGM chief Louis B. Mayer had Jeanette MacDonald and Nelson Eddy sing “Ah! Sweet Mystery of Life” at her funeral, which certainly would have made the screen Harlow guffaw. It was a short career, but her initial impact is still fresh, and it can still be felt as liberating, sexually and otherwise.

by Dan Callahan

[astrognossienne]

couple analysis: frank sinatra + ava gardner - the wild ride

“He may weigh only 119 pounds, but 19 pounds of it is cock.” - Ava Gardner

“When you’re at war with a woman, you don’t have any chance. The best you can hope for is an occasional truce.” - Frank Sinatra

Like many showbiz pairs, they looked too good together to be true. Raven-haired, drop dead gorgeous, glamorouous, sexy and fiery-eyed, Ava Gardner epitomized 1950s glamour; Frank Sinatra, was the king of crooners who sent female hearts soaring. It’s hard to imagine the swing-a-ding-dinging Chairman of the Board kowtowing to any dame, but Ava had Frank wrapped around her finger like a string. Ava was tough, ambitious, aggressive and sexy, and Frank could not resist her. The pair had started a torrid affair that would lead to a tempestuous short-lived marriage characterized by feuds and faithlessness. Eventually, as both stars grew older, their passion would develop into a tender, if eccentric, love and friendship that would last a lifetime. But there was a lot of sex and fighting to be done first.

Love life of Ava Gardner: When Gardner arrived on the studio lot in 1941, she had become the immediate target of one Mickey Rooney, who, at all of 21, had been Hollywood’s biggest box office draw for three years running.Rooney met Gardner and asked her out on a date, but she deferred because of Southern manners and the fact that he only came up to her chin. But Rooney was persistent: He was hot shit, and he would have his hot date. Gardner eventually gave in, but refused to marry Rooney until she was 19. When she did agree, the wedding had to be approved by the MGM brass and chaperoned in full. But Rooney was also a bit of a dick and the marriage to Gardner lasted but a year. Mickey reportedly bragged about their sex life, and Ava is famously quoted as saying,

“He may have enjoyed the sex, but goodness knows I didn’t.”

Gardner then started hanging out with the wealthy aviator Howard Hughes and engaged in a longer relationship with him. They were very ‘off-and-on’ and Ava described him in her autobiography as “painfully shy, completely enigmatic and more eccentric…than anyone [she] had ever met.” Hughes promised her the world  but the spark wasn’t there, and she refused his repeated marriage proposals. Instead of Hughes, Gardner decided to marry band leader and clarinetist Artie Shaw, who had already gone through four wives, including Lana Turner. Gardner liked that Shaw was a smarty-pants who stayed up late to discuss world affairs, philosophy, and “long hair music” with his friends. But Shaw was pretty much the worst sort of autodidact, shaming Gardner for all that she didn’t know. According to Gardner, “If I remained silent when we were with friends he would say, ‘Why don’t you talk? Have you nothing to contribute?’ But when I tired to say something he would shout, ‘Shut up!’” In 1946, she had just stepped out of an unhappy marriage to Shaw, who belittled her intellect and physically abused her. It was a marriage made in hell that drove Ava to seek out psychoanalysis to reassure her she wasn’t as dumb as Artie continually suggested. She also started enjoying daily martinis with her friend, Shaw’s ex-wife and actress Lana Turner. After her divorce from Shaw, she indulged in numerous affairs; Ava was a homewrecker at heart and couldn’t keep her hands off of married men. She also didn’t want to be alone. Before she dated Frank Sinara, she had a lusty affair in 1946 with her co-star, Fred MacMurray in the film, Singapore. Seduced by his strong, muscular physique, Ava fell into a discreet affair with the married actor until she found out about his sick wife, Lillian Lamont, at home and called it quits. She didn’t object to secret adultery, but when a guy was two-timing a sick wife, she objected to that – strongly. Searching for stability and security that had evaded her in her many short-lived and clandestine love affairs, it was now Sinatra’s turn at home plate.

Love life of Frank Sinatra: Ever since moving to Hollywood, Frank had cheated on his wife repeatedly and flagrantly, but their Catholicism had prevented a divorce. Ava Gardner was just one of the women Frank Sinatra had an affair with while he was married. They fell in love on their first drunken date. Sinatra’s mother Dolly never much cared for Nancy, the sweet, Italian girl-next-door Frank ­married — at Dolly’s ­insistence, it must be said — at Our Lady of Sorrows Church in Jersey City when he was just 23. But film and sex goddess Ava Gardner, for whom he left Nancy after 11 years of marriage and three children, was a different matter. Ava drank and cussed like a sailor, and Dolly Sinatra, to her delight, could keep right up with her. At the same time, Ava was ­stupefyingly beautiful. In her ­business life, Dolly had run across plenty of dirty girls with dirty mouths, yet with the pretty ones, butter mostly wouldn’t melt. But this one wore her ­gorgeousness so lightly, smoked her cigarettes so off-handedly, swore so fluently, and laughed so raucously that Dolly was as instantly smitten as her son.  After meeting Ava, Dolly pinched Frank’s skinny cheek and ­congratulated him on the great broad he’d landed — and, as so often before in his life, he must have been grateful for her approval. Sinatra was still married with three children when the relationship with Ava caught on fire in 1949.

Their love life together: Ava Gardner was Hollywood’s reigning screen goddess when she first met  Frank Sinatra in 1943, Ava was married to her first husband Mickey Rooney and would go through a second marriage with bandleader Artie Shaw before finally re-connecting with the blue-eyed crooner six years later. Between 1948 and 1952, Gardner appeared in 13 films, but between hits she became embroiled in a scandalous, tumultuous, roller-coaster of a relationship with Frank Sinatra, and began when Sinatra’s career was at a low and his marriage to Nancy Sinatra, the mother of his three children, was in shambles.  At some point in the late ’40s, however, Sinatra began having heavy late dates with Gardner while his wife stayed home and cared for their newborn child. Frank and Nancy separated on Valentine’s Day 1950 and were divorced in 1951, allowing Sinatra and Gardner to marry 10 days later and making Gardner a certified home-wrecker. She asked for proof that he was leaving his wife of 10 years, so he walked up to his house, rang the buzzer and asked his estranged wife to confirm he had left her. Obviously this was a bit of an asshole move on both of their parts. But oh shit was it good gossip, fueled by rumors of apparent suicide attempts (during one fight over the phone, Sinatra got so angry that he fired a gun — apparently into a mattress — to scare Gardner into thinking that he had shot himself).  She said of Sinatra,

“With him it’s impossible…it’s like being with a woman. He’s so gentle. It’s as though he thinks I’ll break, as though I’m a piece of Dresden china and he’s gonna hurt me.”

She and Sinatra fought on an entirely different level, in part because Gardner’s career was soaring while Sinatra’s was hanging around in the toilet. Frank received loads of abuse from the press and fans for leaving his wife for a noted femme fatale, and the downward spiral of his career wasn’t reversed until his Oscar winning role in From Here to Eternity (1953). She got fucking sick of his whining, pulled some strings to get him a job, and flew to Europe. But she didn’t just get him any job. She got him a choice role in Burt Lancaster’s From Here to Eternity. Sinatra won an Academy Award for his performance, effectively putting his career back on track. But the rejuvenation had come at a price, and when Gardner left to shoot The Barefoot Contessa in Spain, it was clear that the marriage was beginning to unravel. Each was accusing the other of cheating, the fan magazines were fueling rumours of each other cheating, each was indeed actually cheating. Confidential Magazine did its best to fuel the scandalous fire, using photos of Gardner with Sammy Davis Jr., taken during a break from a photo shoot for Ebony, to insinuate a romance between the two, despite the fact that Sinatra himself had been present at the shoot. As unfounded as (most) of the rumours were, they drove Sinatra crazy. Gardner became pregnant twice with Frank, but she aborted both the fetuses. The two fought more and more, cheated more and more, and the marriage eventually ended in divorce in 1957. And here’s where Gardner’s life takes a sweet turn. She divorces Sinatra and moves permanently to Spain, which she had fallen in love with during the filming of Contessa. Having at this point appeared in no less than three Hemingway adaptations (The Killers, Kilimanjaro, and as Lady Brett in The Sun Also Rises) she becomes BFF with Hemingway himself. Hemingway introduces her to all sorts of bullfighters, the hottest of whom she seduces full-on. According to lore, she accompanied Hemingway to his villa in Cuba, and after skinny-dipping in the pool, Hemingway ordered his staff

“The water is never to be emptied.”

Gardner continued to appear in films through the ’60s, most notably The Night of the Iguana, where she hung out with Dick and Liz and 5,000 paparazzi, and The Bible, where she drove co-star George C. Scott so mad with desire that he had to be locked inside his trailer. Like the other sirens of the classic era, she slowly faded into obscurity, eventually resorting to appearances on the soap-opera “Knot’s Landing” and obscure low-budget films in order to pay the bills. Gardner never married again, and spent her twilight years having heavy late dates with whomever she pleased, keeping an apartment in London, and hanging out with her small dogs before dying at the age of 64 from emphysema. Frank Sinatra wept like a small child when he heard the news of her death, and that water is totally still in Hemingway’s pool. Not too shabby for a hotcha from North Carolina. Frank and Ava were both deeply flawed, highly ambitious icons on a big stage in a business that, as the songwriters like to say, eats them up and spits them out. As Hollywood endings go, theirs was tinged with sadness and pain. But in their later years they arrived at a deep friendship, like the special compassion of two people who, once, long ago, had been in a bad accident together and had survived.

Frank Sinatra

birthdate: December 12, 1915

major planets:

Sun: Sagittarius

Moon: Pisces

Rising: Libra

Mercury: Sagittarius

Venus: Capricorn

Mars: Leo

Midheaven: Leo

Jupiter: Pisces

Saturn: Cancer (Rx)

Uranus: Aquarius

Neptune: Leo (Rx)

Pluto: Cancer (Rx)

minor asteroids and points:

North Node: Aquarius

Lilith: Gemini

Vertex: Gemini

Fortune: Leo

East Point: Scorpio

elemental dominance:

fire

water

modality dominance:

fixed

house dominants:

10th

2nd

4th

planet dominants:

Neptune

Venus

Uranus

sign dominants:

Leo

Sagittarius

Pisces

Ava Gardner

Stats

birthdate: December 24, 1922

major planets:

Sun: Capricorn

Moon: Pisces

Rising: Leo

Mercury: Capricorn

Venus: Scorpio

Mars: Pisces

Midheaven: Aries

Jupiter: Scorpio

Saturn: Libra

Uranus: Pisces

Neptune: Leo (Rx)

Pluto: Cancer (Rx)

minor asteroids and points:

North Node: Virgo

Lilith: Aries

Vertex: Sagittarius

Fortune:Taurus

East Point: Cancer

elemental dominance:

water

fire

modality dominance:

cardinal

house dominants:

6th

4th

8th

planet dominants:

Saturn

Sun

Mars

sign dominants:

Pisces

Capricorn

Leo

Read more about their astrological synastry under the cut:

Relationship Overview:

Sun-sun synastry: They were a glamorous pair with an iconic allure that both impressed and intimidated anyone outside their social set. Still, the focus was inward and their home was a cozy cocoon. In bed, though, it was down and very dirty. Capricorn surely is the wise-woman of the world, and so was Ava Gardner. Caps are also natural born nannies, nurturers of those she considers favored sons. She doesn’t give literal monetary or even moral support to mere mortals; Cap bestows a certain godlike status upon a man she deems thus worthy. As a Sag, Frank was predisposed to fit that bill. He is the inheritor, a man’s man and accepted scion, smiled upon by patriarchies as a maverick-cum-master of whatever he surveys. This is a would-be power bond, with Ava the Cap in the role of big mama. Capricorn rules Sagittarius’ 2nd cosmic house of substance and sustenance. As this is also the house of feeling, Sinatra was on her tit for emotional support a bit more than Gardner was used to a guy being. Without having to do any major cheerleading, she will discreetly root him on precisely because he does shoot so high in life; while, being the cardinal-earth sign, the symbol of which is a mountain, Cap represents those heights to which Sag, especially, might aspire in love. This archetypal dynamic of the adoration between grandmother and grandson is inherent in the Cap-Sag bond. There is nothing Frank thought, felt, or experienced, in his signature exuberance, that Ava hadn’t done so first. He can thus relate to her on nearly every level of discovery, looking to her for grounding and substantive wisdom, as she takes great care to digest existence upon which he wildly munches.

As Sagittarius in turn governs Capricorn’s 12th house of all things nonmaterial, it is his energy, that unseen but outsized element of his being, which brought great joy, enthusiasm, and excitement to her life, as difficult as she might find him to pin down. Sinatra, in contrast, is like one shot out of a cannon, the archer in him projecting his ideas and plans so far, he often gets ahead of himself, leaping before looking in most areas of his life. A would-be romance with Gardner was no exception, as he may come on so strong, even with the best heartfelt intentions, that she, as a Capricorn, felt his outré advances were disingenuous and strictly aimed at getting her in bed as lickety-split as possible. Even dating him smacked of child-minding a kid who suffered from hyperactivity. And as prototypically disposed as she was to relate to this guy, she still required the all-important element of time. Ava was that mountain, and thus required slow, steady negotiation before even a grand adventurer like Frank the Sag gets to plant his flag. Thus many a Capricorn woman never lets herself get far into a relationship with the Centaur, unaware as she is of the rosy long-range forecast for its success. It’s mainly up to him to make necessary adjustments, in and out of the bedroom, consciously cultivating his own inner calm when in her presence, tuckering himself out on his own time, physically burning off energy and employing family, friends, and colleagues to bandy about his myriad brainstorms. He must foster more formality, if not plain old manners, in relating with her, accustomed as he is to rough-and-tumble lovers he can clap on the back in conversation and on the ass in bed.

Moon-moon synastry: With their shared Moon in Pisces, Gardner and Sinatra’s attraction was strong but some adjustments should have been made to ensure long-term compatibility. The water element induces emotionality within an already emotional essence, with the result that two things can occur: there may be great empathy between them or they might completely drown in their own watery mystery, causing each other to over-react to the smallest transgressions. They idealized each other, no matter how unsuitable or wrong they may be for their life. Sometimes Neptune causes them as Pisces Moon lovers to refuse to see faults in each other when they are right before them. In many ways, they cannot stand by and watch even a toxic relationship end, it may cause too heavy an emotional overload in them. But they were stronger than they thought and had the inner resolve to weather the most unmanageable storms that life sent their way. When Sinatra and Gardner joined hearts in the game of love and romance, and if they are both functioning under the powerful influence of Neptune, then it was extremely important that one of them take over the responsibility of steering this relationship towards safer waters. They often became confused, forgot their way and lost touch with each other’s real personalities. They had great compassion for each other, but the lines were blurred between reality and fantasy since neither was mature enough to begin with. They were both emotionally vibrant and too much of that caused stagnation to occur. If they could have brought out each other’s light-hearted side more often, it could have helped to balance and solidify the connection. These two shared rare karmic soul mate energy, and should have always trusted each other above all other friends and family members.

Venus-venus synastry: With his Venus in Capricorn and hers in Scorpio, they both took the relationship very seriously and were prepared to put in the effort to work any problems out. When they pulled together they accomplished great tasks. He found her emotional highs and lows hard to fathom, but his stability and dependability could help to alleviate her moodiness. Ava’s Venus fell into Sinatra’s 4th house, meaning that he attracted a greater love for home and family from Gardner than he was normally going to feel. The aesthetic beauty of a beautiful and harmonious home and a nurturing environment provided a comfortable base for day to day living. Frank’s Venus falling into her 3rd house meant that they argued with each other much less than they normally did. She was intellectually attracted to him and appreciated sharing her thoughts with him.

Mars-mars synastry: With his Mars in Leo and hers in Pisces, this combination usually worked well sexually because he told her what to do, and she willingly obliged. Sinatra and Gardner also shared a vibrant fantasy life and a very creative approach to making love. She was turned on by his brash confidence in bed (it made him feel secure), while he was in awe of her complete abandonment to the lovemaking process. Ava’s Mars in Pisces fell into Frank’s 8th house, which meant that jealousy, loyalty, passion, anger and desire were interwoven into an intimate obsession, raising power and security issues between them. His Mars fell in her 11th, which meant that his aggressive attitude may stimulate her to impatience and anger if things didn’t go his way socially (as was evidenced with her supporting him financially when his singing career hit a thud and getting him his first acting break). Their ability to become effective partners and team members or likely to become adversarial competitors depended on their ability to create intellectual harmony between themselves.

Planet dominance compatibility: There was no commonality between them planet-wise, which made things a bit difficult as far as any shared outlooks on life and their relationship were concerned. Sinatra was Neptune, Venus and Uranus dominant, so he was interested in love, companionship, yet followed his inspirations and was gonna remain independent, for better or worse. Gardner was Saturn, Sun, and Mars dominant, all of which were at odds with his more dreamier, softer predominantly outer planets. She was more interested in restriction, sex, assertion, and maintaining her identity; the immediacy of it all and the realities of the world appealed to her more than it did Sinatra, who went for a more nebulous romantic approach. This might well have been a source of their discord.

Elemental dominance compatibility: Their mutual water and fire dominance dictated that they had high sensitivity and elevation through feelings. Their hearts and emotions were her driving forces, and they couldn’t do anything on earth if they didn’t feel a strong effective charge. They needed to love in order to understand, and to feel in order to take action, which caused a certain vulnerability which worked well for their relationship. Also, they were dynamic and passionate, with strong leadership ability. They generated enormous warmth and vibrancy. They were exciting to be around, because they were genuinely enthusiastic and usually friendly. However, this could either be harnessed into helpful energy or flame up and cause destruction. Ultimately, they chose the latter. Confident and opinionated, they were fond of declarative statements such as “I will do this” or “It’s this way.” When out of control—usually because they were bored, or hadn’t been acknowledged—they were bossy, demanding, and even tyrannical. But at their best, their confidence and vision inspired each other to conquer new territory in the world, in society, and in themselves.

House dominance compatibility: They were both ruled by their 4th houses, meaning that the domestic arena and the home were emphasized in their lives. By extension, the influence of the family they were born into, and the parents that raised them, in particular Sinatra’s mother and the absence of Gardner’s father, as well as their personal and private life was of paramount importance to them both. His 10th and 2nd house dominance provided a certain need for sensuality as well as a need for a formidable public image—this relationship was good for his career; her 6th and 8th house dominance provided an emphasis on her workplace becoming an issue in their lives as well as the inclination to be of service to Sinatra. Also, her sexuality and obsessive passionate nature was brought to the forefront in this relationship.

Sign dominance compatibility: They were both Leo and Pisces dominant (Sinatra: Leo [his first most dominant sign, her third most dominant sign], Gardner: Pisces [her first most dominant sign, his third most dominant]), which dictated that the found themselves attracted to each other, precisely because they were so different. Gardner is fascinated by Sinatra’s dramatic persona, and he was intrigued by her mystical aura. Still, before long, flamboyant Frank began to grate on Ava’s nerves, and Ava’s moodiness gave Frank cause to bolt for the exit. Their 2nd most dominant signs (Sinatra: Sagittarius, Gardner: Capricorn) dictated that this was a difficult, but not totally impossible combination that worked best if both Frank and Ava were willing to accept the other without trying to change each other. Sexually, he was warm-blooded, passionate, and desirous, and she, while not overly demonstrative, was highly sexed, ardent, and responsive. Their 3rd most dominant signs (Sinatra: Pisces, Gardner: Leo) dictated that there was no hidden agenda— what you saw was what you got. However, their initial attraction to each other may have been nipped in the bud if he insisted on analyzing her actions and decisions. Or if she tried to dominate, since no one can tell Gable, a fiercely independent Aquarian dominant, what to do.

Venus-Vertex: This was a prime indicator of a fated, romantic link that changed his life forever. The feelings of love and romance were incredibly strong. He found her beautiful, charming, and the “woman of his dreams.” The love is so strong that separating from one another was incredibly difficult.

Lilith: His Lilith in Gemini fell into her 8th house, which meant that there was a thin line between love and hate; they indulged in intense intellectual and sexual intercourse. Mind games were common between them. He was hopelessly attracted to Gardner. He at turns, hated her and craved her more than all others. Her Lilith in Aries was conjunct Sinatra’s Pluto in Cancer, making them magnetically attracted to each other and engulfed in power plays, and they couldn’t get each other out of their minds. The dichotomy of her aggressive and untameable sexuality clashed with his inherent generational need to transform in order to be safe and secure, so there was some distrust there. Nonetheless, there was an amazing amount of sexual chemistry and an obsessive attraction.

Notable Aspects:

***orbs of 0 degrees (”tight orbs”) indicate that a relationship gets the full strength of that particular aspect’s energies. The higher the orb’s degrees are, the more diluted that aspect’s energies are to the relationship.***

mercury trine neptune (orb: 0°) - Sinatra’s thoughts were influenced by Gardner’s ideas and way of creative thinking in ways which stimulated his imaginative powers and spiritual interest. jupiter conjunction moon (orb: 0°) - Sinatra felt more intuitive, lucky, secure in his relationship, more optimistic and emotionally adventurous in Gardner’s company. His receptiveness allowed her to expose him to new ideas which expanded his concept about relationships and his philosophy of life. pluto opposition sun (orb: 0°) - This aspect could feel that it was always meant to be, triggered by emotions that are beyond the measure of intensity than any feelings or sensations in Sinatra’s previous experience with romantic partners. Fate and an ancient power struggle seemed to be working overtime in their relationship. Sinatra felt a bond between them that was not easily broken. sun square moon (orb: 0°) - This aspect created emotional difficulties by challenging how Sinatra chose to work with Gardner when perceptions and insight caused them to see different approaches to the relationship he desired. moon conjunction moon (orb: 0°) - Sinatra will have had intuitive insight and understanding of the emotional needs of Gardner. She was also in tune with his moods. They were highly compatible emotionally and this compatibility flowed through all aspects of their relationship heightening creativity as they reflected off one another. uranus square jupiter (orb: 0°) - Opportunities for abundance came to them as a couple through adventurous attitudes and innovation. Their romantic partnership was something to get excited about. They stimulated each other to explore unconventional alternatives. sun trine mc (orb: 0°) - Sinatra’s personality complemented Gardner’s goals and ambitions. They had a well-adjusted attitude towards social position/prestige and their ambitions. Gardner helped him realize his own limitations and live within them. Sinatra had both leadership ability and the ability to relate well to those in positions of authority. They almost assuredly attained prominence in their chosen careers. Their professional success increased their happiness at home by eliminating some stress and tension. uranus sextile chiron (orb: 0°) - They were very unconventional in their beliefs about healing and spiritual opening. They instinctively knew how to use imagination and subtle energy to effect healing, and often found find keys on their own journey of self-healing that could be shared with others. mars septile saturn (orb: 0°) - Sinatra was inspired by the idea of doggedly pursuing that path which destiny has laid down for them both; believing that Gardner’s wilder instincts should be restrained and expressed this message through his actions and his art. mars septile north node (orb: 0°) - There was a dynamic and forceful response to events; they both were emotionally affected by whatever was active, forceful, dynamic; He had a tendency to have dramatic and impulsive gestures, she was an exhibitionist and sometimes had an exaggerated sexuality. venus octile venus (orb: 0°) - They both struggled to unite the female sides of each one’s nature; struggle to provide companionship for each other; they struggled to cooperate with each other. pluto octile neptune (orb: 0°) - Sinatra and Gardner strove to resolve a dilemma between connectedness and dedication (i.e. the fear that sympathy for others may deflect them from their path, or that their single-mindedness may cut them off from other people). uranus novile sun (orb: 0°) - They both reveled in their individuality and their difference from other people and they went their own way together, regardless of the views of others. jupiter semi-sextile mc (orb: 0°) -  This was another one of those incredible aspects that indicates outstanding professional success and a happy domestic life. If you’ve got this aspect, consider yourself blessed. uranus semi-sextile mercury (orb: 0°) - Sinatra’s thinking was well beyond the scope of the present, but she was somehow able to bring his advanced ideas into the here and now and communicate them. north node semi-sextile uranus (orb: 0°) - By following a path of humanitarian ideals and progressive thought, they would have evolved spiritually. venus conjunction mercury (orb: 1°) - Gardner was very attracted to Sinatra’s intellectual abilities, his ideas, and his romantic creativity.     neptune conjunction ascendant (orb: 1°) -  Sinatra had a definite intuitive or psychic quality and a subtle magnetism to Gardner that have gave them an air of fascination. They often appear to live in another world and may even live in a world of fantasy with no basis in reality. Their actions were difficult for others to fathom since they’re based on unconscious promptings and intuitive perceptions.          venus opposition pluto (orb: 1°) -  Passion and volatility resounded within these two. Extremes of emotion surfaced as they felt compelled to squeeze out every drop of sensation, explore every avenue of sexual approach and emotional conquest. mars square venus (orb: 1°) - Mars square venus signifies a relationship where your feminine and masculine symbols match and complement one another. Gardner’s venus, ruler of the sensual, emotional self, met Sinatra’s mars, the ruler of vitality and passion. This symbolizes a relationship that is passionately driven and likely highly sexual in nature. The mingling of romance and passion gave them a sense of heightened sensibilities when they were around each other.               sun sextile saturn (orb: 1°) -  There was emphasis on the idea of being in their relationship for the long term. They could count on each other for loyalty, reliability, and was able to work well toward common goals together. mercury sextile saturn (orb: 1°) - Sinatra had a good mind for strategies, practical applications of workable ideas in this relationship, and was capable of organization and prudent actions based upon sound decisions.         venus sextile jupiter (orb: 1°) - Opportunity knocked, offering the benefits of good luck, good fellowship, and a romantically and materially successful relationship. Sinatra respected and enjoyed Gardner’s company and she sparked his interest in inquiring into new things and expanding his social horizons. venus sextile uranus (orb: 1°) - Sinatra felt more open to opportunities for experimentation, especially when expressing himself sexually. Fun, pleasure and enjoyment kept their romantic and relationship fresh and stimulating. sun trine neptune (orb: 2°) -  A Sun trine Neptune aspect will cause them to see each other in light of their relationship potentials and give them the kind of understanding which will allow each other to live up to the couple they could become. saturn trine jupiter (orb: 2°) - Gardner brought optimism and exuberance, Sinatra added practicality and wisdom. They could see their way to achieving abundance through a series of small steps. Together they had the best of instincts and could take whatever energies life sent their way and turn them into realistic plans for their future. They were very secure in each other and in their abilities to achieve abundance by defining their boundaries and seeing their plans through to completion.             saturn opposition mercury (orb: 2°) - Sinatra needed to overcome Gardner’s rather rigid viewpoints and make her understand that just because his ideas were very different from hers didn’t mean that she shouldn’t listen to his point of view. mercury square moon (orb: 2°) - Sinatra tended to not feel receptive to Gardner’s thoughts, statements and attempts to communicate. Whatever is being communicated was being hindered by his mood. This represents an emotional challenge to her ability to converse with him. venus sextile mars (orb: 2°) - Sinatra identified with Gardner’s desires to an extent that he could give freely without feeling used or depleted. A healthy fulfilling sexual harmony existed between them. Their relationship gave him energy, sparking his vitality and creativity on many levels. ascendant square ascendant (orb: 3°) - This combination tends to create a certain amount of friction.  This is because the two of them tended to have contrary likes and dislikes and react differently to the same stimuli, but tend to favor the same issues. This combination showed that each of them could learn a great deal from the other if both of them were willing to compromise a little. First impressions might tend to be slightly unfavorable, with Gardner proclaiming Sinatra rather arrogant upon first meeting him. moon conjunction mars (orb: 4°) - Sinatra found strong sexual attraction and he may have enjoyed being both the aggressive and receptive partner in their romantic relationship. Both of them will experience an increase in creativity, impulsiveness and spontaneity.

[alystayr]

Playlist musicale 2017 (2/2)

Liste des chansons (playlist 2017 - part. 2)

Mise à jour : 31 décembre 2017

playlist 2019 (part. 1)

playlist 2018 (part. 2), playlist 2018 (part. 1)

playlist 2017 (part. 2), playlist 2017 (part. 1)

playlist 2016 (part. 2), playlist 2016 (part. 1)

playlist 2015

0-9 #

16 Horsepower - Haw (1996)

A

AC/DC - Hells Bells (1980)

The Allman Brothers Band - Midnight Rider (1970)

alt-J - In Cold Blood (2017)

Anaïs - J'ai retrouvé mon mojo (2017)

Angus & Julia Stone - Chateau (2017)

Arcade Fire - Everything Now (2017)

Archive - Lights (2006)

Arctic Monkeys - Do I Wanna Know? (2013)

Louis Armstrong - Christmas in New Orleans (1955)

Arno - Dance Like A Goose (2016)

Arthur H - La beauté de l'amour (2011)

Audioslave - Revelations (2006)

Asaf Avidan - My Old Pain (2017)

B

Band of Horses - The Funeral (2006)

Courtney Barnett - Lance Jr. (2013)

The Beach Boys - Good Vibrations (1967)

The Beatles - Eleanor Rigby (1966)

Beck - Girl (2005)

Benjamin Biolay - Volver (2017)

Birth Of Joy - Three Day Road (2014)

Björk - Violently Happy (1993)

Black Sabbath - Iron Man (1970)

The Blues Brothers (cover Robert Johnson) - Sweet Home Chicago (1980)

Blur - Girls and Boys (1994)

Bob & Earl - Harlem Shuffle (1963)

Georges Brassens - La mauvaise réputation (1952)

The Breeders - Divine Hammer (1993)

Jeff Buckley - Grace (1994)

C

Camille - Fontaine de lait (2017)

Jerry Cantrell - Bargain Basement Howard Hughes (2002)

Bertrand Cantat - Anthracitéor (2017)

Car Seat Headrest - Destroyed By Hippie Powers (2016)

Johnny Cash (cover Nick Cave) - The Mercy Seat (2000/1988)

Nick Cave & The Bad Seeds - Stagger Lee (1996)

Ray Charles - What'd I Say (1959)

Louis Chedid - T'as beau pas être beau (1978)

Chelsea Wolfe - Feral Love (2013)

Cigarettes After Sex - Apocalypse (2017)

The Clash - The Guns of Brixton (1979)

Benjamin Clementine - Phantom Of Aleppoville (2017)

CocoRosie - Child Bride (2013)

Leonard Cohen - Almost Like the Blues (2014)

Cold War Kids - Hang Me Up To Dry (2006)

Alice Cooper - Poison (1989)

Elvis Costello - Alison (1977)

The Cure - Boys Don't Cry (1979)

D

Dead Kennedys - Holiday In Cambodia (1980)

Deep Purple - Hush (1968)

Mac DeMarco - Salad Days (2014)

Depeche Mode - Going Backwards (2017)

Fatoumata Diawara - Bissa (2011)

Dire Straits - Your Latest Trick (1985)

Beth Ditto - Fire (2017)

The Do - Gonna Be Sick! (2011)

Fats Domino - Blueberry hill (1956)

The Doors - Ghost Song (1978)

Bob Dylan - Ballad Of a Thin Man (1965)

E

Eminem - The Real Slim Shady (2000)

Endless Boogie - Vibe Killer (2017)

Eurythmics - Sweet Dreams (Are Made Of This) (1983)

F

Piers Faccini - Cloak Of Blue (2016)

Faith No More - The Last To Know (1995)

Mylène Farmer - C'est Une Belle Journée (2001)

Mylène Farmer - Désenchantée (1991)

Thomas Fersen - Encore Cassé (2017)

Thomas Fersen - Hyacinthe (2005)

Foals - Inhaler (2013)

Foo Fighters - Run (2017)

Forest Swords - Thor's Stone (2013)

Franz Ferdinand & Jane Birkin (cover Serge Gainsbourg) - A song for sorry angel (2006-1984) 

The Fratellis - Chelsea Dagger (2006)

Future Islands - Ran (2017)

G

Liam Gallagher - Wall Of Glass (2017)

Richard Gibbs & Bear McCreary - Gayatri, Full Opening theme (from Battlestar Galactica) (2003)

Girls in Hawaii - Guinea Pig (2017)

Girls in Hawaii - Not Dead (2013)

Goldfrapp - Annabel (2013)

Jean-Jacques Goldman & Sirima - Là-bas (1987)

Gorillaz - Saturnz Barz (Spirit House) (2017)

Guns N' Roses - Civil War (1991)

H

Johnny Hallyday - Quelque chose de Tennessee (1985)

Johnny Halliday (cover The Animals) - Le pénitencier (1964)

Ben Harper and The Innocent Criminals - Jah Work (1997)

George Harrison - Got My Mind Set On You (1987)

PJ Harvey - C'mon Billy (1995)

Heartless Bastards - Only For You (2012)

Jimi Hendrix - Freedom (1971)

Bernard Herrmann - Vertigo (from Sueurs froides - 1958)

Hoboken Division - Boilin Up (2017)

I

Idles - Well Done (2017)

Interpol - Obstacle 1 (2002)

Iron Maiden - Total Eclipse (1982)

Izia - Let me alone (2009)

J

Jack the Ripper -  White men in black (2005)

Michael Jackson - Thriller (1984)

Mick Jagger - Gotta Get A Grip (2017)

Jay-Z - The Story of O.J. (2017)

The Jesus And Mary Chain - Happy When It Rains (1987)

Joan Jett & the Blackhearts - I love Rock n roll (1981)

Elton John - Nikita (1985)

Joy Division - Love Will Tear Us Apart (1980)

Juliette - Nour (2013)

K

Karpatt - Encombrants (2016)

The Kills - Impossible Tracks (2016)

L

Kendrick Lamar - HUMBLE. (2017)

Lamb - Wise Enough (2011)

Mark Lanegan - Nocturne (2017)

The Last Shadow Puppets (cover Jacques Dutronc) - Les Cactus (2016/1967)

Last Train - Way Out (2016)

Bernard Lavilliers - Croisières méditerranéennes (2017)

Maxime Le Forestier - Né Quelque Part (1988)

The Libertines - Don't Look Back Into The Sun (2003)

Linkin Park - Lying From You (2003)

M

Madrugada - Salt (1999)

Mano Negra - Mala Vida (1988)

Mano Solo - Pas du gâteau (1993)

Manu - La dernière étoile (2015)

Marilyn Manson - The Beautiful People (1996)

Bob Marley - Burnin and Lootin (1973)

Mickey 3d - Respire (2003)

Moby - Natural Blues (1999)

Moonchild - The Truth (2015)

Morrissey - Spent the Day in Bed (2017)

Motörhead - Ace Of Spades (1980)

Muse - Dig Down (2017)

N

Nena ‎- 99 Luftballons (1983)

Nico Vega - Beast (2006)

Nine Inch Nails – Less Than (2017)

Nirvana - Heart-Shaped Box (1993)

Noir Désir - L'Appartement (2001)

O

The Offspring - You're Gonna Go Far, Kid (2008)

Les Ogres de Barback - Condkoï (2012)

P

Pearl Jam - Even Flow (1991)

Tom Petty - Free Fallin’ (1989)

Tom Petty - Learning To Fly (1991)

Pixies - Debaser (1989)

Placebo - Lady of the Flowers (1996)

Placebo (cover Talk Talk) - Life's What You Make It (2017-1985)

Prince - Batdance (1989)

Public Image Limited - This Is Not A Love Song (1983)

Q

Queens of the Stone Age - The Way You Used to Do (2017)

R

The Raconteurs - Consoler of the Lonely (2008)

Radiohead - I Promise (1997/2017)

Rage Against The Machine - Freedom (1992)

Raphael - Caravane (2005)

Lou Reed - Coney Island Baby (1976)

R.E.M. - Accelerate (2007)

The Rolling Stones - (I Can't Get No) Satisfaction (1965)

Royal Blood – Lights Out (2017)

Olivia Ruiz - Dis-moi ton secret (2016)

S

Saez - Premier mai (2017)

Sex Pistols - Anarchy In The UK (1976)

Shaka Ponk - Gung Ho (2017)

Del Shannon - Runaway (1961)

Emilie Simon - Désert (2003)

Paul Simon - You Can Call Me Al (1986)

Nina Simone - Don't Let Me Be Misunderstood (1964)

Frank Sinatra - Fly Me To The Moon (1964)

Frank Sinatra - Let It Snow! Let It Snow! Let It Snow! (1950)

Skunk Anansie - I Believed In You (2012)

The Smashing Pumpkins - Cherub Rock (1993)

The Smiths - This Charming Man (1983)

Soan - Celui qui aboie (2017)

Alain Souchon - J'ai dix ans (1974)

Speedy Ortiz - Tiger Tank (2013)

Spoon - Inside Out (2014)

Vince Staples - Norf Norf (2015)

Stereophonics - Taken A Tumble (2017)

The Stooges - I Wanna Be Your Dog (1969)

The Stranglers - Golden Brown (1981)

The Strokes - Machu Picchu (2011)

System Of A Down - Aerials (2001)

T

Talking Heads - Burning down the house (1983)

Tame Impala - Feels Like We Only Go Backwards (2012)

Téléphone - Le jour s'est levé (1984)

Television - Marquee Moon (1977)

Têtes Raides - Qu'est-ce qu'on s'fait chier (2003)

Texas - Can't Control (2017)

Thee Oh Sees - Toe Cutter / Thumb Buster (2013)

Hubert Félix Thiéfaine - Les Dingues et les Paumés (1982)

Timber Timbre - Sincerely, Future Pollution (2017)

U

U2 - The Blackout (2017)

V

The Velvet Underground - After Hours (1969)

Veruca Salt - Seether (1994)

W

Amy Winehouse - Back To Black (2006)

Wolf Alice - Yuk Foo (2017)

Woodkid - I Love You (2013)

Wovenhand - Obdurate Obscura (2014)

Shannon Wright - Defy This Love (2007)

X-Y

Z

Zazie - Larsen (1995)

[allbestnet]

232 Book Recommendations From Derek Sivers

Mindwise: How We Understand What Others Think, Believe, Feel, and Want by Nicholas Epley

So Good They Can't Ignore You by Cal Newport

The War of Art by Steven Pressfield

Thinking, Fast and Slow by Daniel Kahneman

A Guide to the Good Life: The Ancient Art of Stoic Joy by William Irvine

The Time Paradox by Philip Zimbardo and John Boyd

Stumbling on Happiness by Daniel Gilbert

E-Myth Revisited by Michael Gerber

The Dip by Seth Godin

Happy by Derren Brown

Au Contraire: Figuring Out the French by Gilles Asselin and Ruth Mastron

The Subtle Art of Not Giving a Fuck by Mark Manson

Ego Is the Enemy by Ryan Holiday

Total Recall by Arnold Schwarzenegger

Too Soon Old, Too Late Smart: Thirty True Things You Need to Know Now by Gordon Livingston

Zero to One by Peter Thiel and Blake Masters

Cows, Pigs, Wars, and Witches by Marvin Harris

The Entrepreneur Roller Coaster by Darren Hardy

On Writing Well by William Zinsser

The Wisdom of No Escape by Pema Chödrön

When Things Fall Apart by Pema Chödrön

Fluent Forever by Gabriel Wyner

The Compound Effect by Darren Hardy

When Cultures Collide by Richard D. Lewis

The Antidote: Happiness for People Who Can't Stand Positive Thinking by Oliver Burkeman

Show Your Work by Austin Kleon

Self Reliance by Ralph Waldo Emerson

Antifragile by Nassim Nicholas Taleb

The Willpower Instinct by Kelly McGonigal

Turning Pro by Steven Pressfield

Quiet by Susan Cain

What Technology Wants by Kevin Kelly

Do the Work by Steven Pressfield

What Got You Here Won't Get You There by Marshall Goldsmith

The Personal MBA by Josh Kaufman

Drive by Daniel Pink

Switch by Chip Heath and Dan Heath

The Happiness Hypothesis by Jonathan Haidt

Influence by Robert Cialdini

Personal Development for Smart People by Steve Pavlina

Predictably Irrational by Dan Ariely

The Ultimate Sales Machine by Chet Holmes

The 4-Hour Work Week by Tim Ferriss

The Smartest Investment Book You'll Ever Read by Daniel R. Solin

The Wisdom of Crowds by James Surowiecki

The Paradox of Choice - Why More is Less by Barry Schwartz

Made to Stick by Chip Heath and Dan Heath

The Art of Profitability by Adrian Slywotzky

Guns, Germs, and Steel by Jared Diamond

Steal Like an Artist by Austin Kleon

The Geography of Genius by Eric Weiner

A Mind for Numbers by Barbara Oakley

Smartcuts by Shane Snow

Superhuman by Habit by Tynan

The Obstacle Is the Way by Ryan Holiday

Decisive by Chip and Dan Heath

How to Fail at Almost Everything and Still Win Big by Scott Adams

5 Elements of Effective Thinking by Edward B. Burger and Michael Starbird

The Icarus Deception by Seth Godin

Mastery by Robert Greene

Mastery by George Leonard

The Little Book of Talent by Daniel Coyle

The Developing World by Fredrik Härén

Willpower by Roy Baumeister and John Tierney

Power of Full Engagement by Jim Loehr and Tony Schwartz

Moonwalking with Einstein by Joshua Foer

Practicing Mind by Thomas Sterner

Seeking Wisdom by Peter Bevelin

Mindset by Carol Dweck

Art and Fear by David Bayles and Ted Orland

Start Small, Stay Small by Rob Walling and Mike Taber

On Writing by Stephen King

The Geography of Bliss by Eric Weiner

The Investor's Manifesto by William J. Bernstein

How We Decide by Jonah Lehrer

Sum: Forty Tales from the Afterlives by David Eagleman

The Talent Code by Daniel Coyle

Ignore Everybody by Hugh MacLeod

Tribes by Seth Godin

How to Talk to Anyone by Leil Lowndes

Brain Rules by John Medina

You, Inc - The Art of Selling Yourselfby Harry Beckwith

How to Get Rich by Felix Dennis

The Innovator's Solution by Clayton Christensen

Small is the New Big by Seth Godin

Getting Things Done by David Allen

The 48 Laws of Power by Robert Greene and Joost Elffers

The Road Less Traveled by M. Scott Peck

Grit by Angela Duckworth

How to Talk So Kids Will Listen & Listen So Kids Will Talk by Adele Fabe and Elaine Mazlish

The Gardener and the Carpenter by Alison Gopnik

The Inevitable by Kevin Kelly

Peak: Secrets from the New Science of Expertise by Anders Ericsson

Deep Work by Cal Newport

Geography of Time by Robert Levine

How to Learn a Foreign Language by Paul Pimsleur

Man's Search for Meaning by Viktor Frankl

Choose Yourself! by James Altucher

No B.S. Time Management for Entrepreneurs by Dan S. Kennedy

The Power of Habit by Charles Duhigg

The Passionate Programmer by Chad Fowler

Fail-Safe Investingby Harry Browne

Poke the Box by Seth Godin

The 4-Hour Body by Tim Ferriss

Cognitive Surplus by Clay Shirky

Hackers & Painters by Paul Graham

Confessions of a Public Speaker by Scott Berkun

I Will Teach You To Be Rich by Ramit Sethi

Why Smart People Make Big Money Mistakes by Gilovich and Belsky

What Would Google Do? by Jeff Jarvis

CrowdSourcing by Jeff Howe

The Magic of Thinking Big by David Schwartz

The Art of Learning by Josh Waitzkin

Wikinomics by Don Tapscott and Anthony Williams

Meatball Sundae by Seth Godin

Don't Make Me Think by Steve Krug

Nobody Wants to Read Your Sh*t by Steven Pressfield

The Only Investment Guide You'll Ever Need by Andrew Tobias

Living Beautifully with Uncertainty and Change by Pema Chödrön

Germany: Unraveling an Enigma by Greg Nees

Give and Take by Adam M. Grant

The Bed of Procrustes by Nassim Nicholas Taleb

Making Ideas Happen by Scott Belsky

A Short History of Nearly Everything by Bill Bryson

Ikigai by Sebastian Marshall

Wired for Story by Lisa Cron

Pragmatic Programmer by Andy Hunt and David Thomas

Meditations by Marcus Aurelius 

You Are Not So Smart by David McRaney

The Lean Startup by Eric Ries

Making a Good Brain Great by Daniel G. Amen

Business Stripped Bare by Richard Branson

Talent Is Overrated by Geoff Colvin

Never Eat Alone by Keith Ferrazzi and Tahl Raz

Overachievement by John Eliot

The How of Happiness by Sonja Lyubomirsky

The Culture Code by Clotaire Rapaille

The Four Pillars of Investing by William Bernstein

Here Comes Everybody by Clay Shirky

The Culting of Brands by Douglas Atkin

Execution by Larry Bossidy and Ram Charan

Maximum Achievement by Brian Tracy

The Daily Stoic by Ryan Holiday

How I Found Freedom in an Unfree World by Harry Browne

The Sense of Style by Steven Pinker

How Adam Smith Can Change Your Life by Russ Roberts

Daily Rituals: How Artists Work by Mason Currey

The Story of French by Jean-Benoit Nadeau and Julie Barlow

Island by Aldous Huxley

Ready for Anything by David Allen

Starting Strength by Mark Rippetoe

The Now Habit by Neil Fiore

Meditation for Beginners by Jack Kornfield

A Gift to My Children by Jim Rogers

Linchpin by Seth Godin

The Selfish Gene by Richard Dawkins

Nudge by Richard Thaler and Cass Sunstein

Being Logical: A Guide to Good Thinking by D.Q. McInerny

Pomodoro Technique Illustrated by Staffan Nöteberg

Pragmatic Thinking and Learning by Andy Hunt

The Great Formula by Mark Joyner

Outliers: The Story of Success by Malcolm Gladwell

Lucky Or Smart? by Bo Peabody

The China Study by Campbell and Campbell

The Power of Less by Leo Babuta

Cut to the Chase by Stuart Levine

Know-How by Ram Charan with Geri Willigan

The Art of Project Management by Scott Berkun

Mindware: Tools for Smart Thinking by Richard Nisbett

Never Let Go by Dan John

In Pursuit of Silence by George Prochnik

The Laws of Subtraction by Matthew May

Drop Dead Healthy by A. J. Jacobs

Little Bets by Peter Sims

One Simple Idea by Stephen Key

Focus by Leo Babauta

The Upside of Irrationality by Dan Ariely

The Profit Zone by Adrian Slywotzky

Speaking of India by Craig Sorti

Losing My Virginity : How I've Survived, Had Fun, and Made a Fortune Doing Business My Way by Richard Branson

Leading an Inspired Life by Jim Rohn

And Never Stop Dancing by Gordon Livingston

The Drunkard's Walk: How Randomness Rules Our Lives by Leonard Mlodinow

Simple Rules: How to Thrive in a Complex World by Donald Sull

Quirkology by Richard Wiseman

Writing Tools by Roy Peter Clark

A More Beautiful Question by Warren Berger

Make It Stick by Peter Brown

The Power of No by James and Claudia Altucher

How to Learn and Memorize French Vocabulary by Anthony Metivier

The Checklist Manifesto by Atul Gawande

Hiring Smart by Pierre Mornell

Discover Your Inner Economist by Tyler Cowen

Causing a Scene by Charlie Todd

Born to Run by Christopher McDougall

How to be a Billionaire by Martin Fridson

Enough by John Bogle

Management of the Absurd by Richard Farson

Reality Check by Guy Kawasaki

Fooled by Randomness by Nassim Nicholas Taleb

The Obsolete Employee by Michael Russer

Secrets of the Millionaire Mind by T. Harv Ecker

The Future of Almost Everything by Patrick Dixon

Wilde in America by David M. Friedman

Complexity: A Guided Tour by Melanie Mitchell

Your Memory by Kenneth L. Higbee

The Philosophical Baby by Alison Gopnik

Hire With Your Head by Lou Adler

The Pleasures and Sorrows of Work by Alain De Botton

Born Standing Up by Steve Martin

Committed by Elizabeth Gilbert

What the Dog Saw by Malcolm Gladwell

China Road by Rob Gifford

Hot Commodities by Jim Rogers

Me, Inc. by Gene Simmons

Bird by Bird by Anne Lamott

Program or Be Programmed by Douglas Rushkoff and Leland Purvis

The Four Filters Invention of Warren Buffett and Charlie Munger by Bud Labitan

What I Talk About When I Talk About Running by Haruki Murakami

Confessions of a Serial Entrepreneur by Stuart Skorman

Life Without Lawyers by Philip K. Howard

The Productive Programmer by Neal Ford

Crash Proof 2.0 by Peter Schiff

Rapt by Winifred Gallagher

Radical Honesty by Brad Blanton

A Bull in China by Jim Rogers

Founders at Work by Jessica Livingston

Seeing What Others Don't by Gary Klein

Flex: Do Something Different by Ben Fletcher and Karen Pine

Cambodia's Curse by Joel Brinkley

Conspiracy of the Rich by Robert Kiyosaki

The Think Big Manifesto by Michael Port and Mina Samuels

[hmdtravelagencies]

BY WHAT METHOD CAN A FALSE DOCUMENT BE BENEFICIAL?

A false document is a framework used to make verisimilitude in a work of fiction, where a maker endeavors to make a sentiment of realness past the normal and foreseen suspension of distrust for a work of workmanship by designing and installing documents that emit an impression of being verifiable. The target of a false document is to convince a horde of people that what is being presented is valid. Connect with the Documents Provider Company in USA and take services accessible at pocket-friendly prices!

In Politics

A delivered document, the Zinoviev Letter, brought the annihilation of the fundamental Labor Government in Britain. Schemes inside secret knowledge services have happened even more starting late, driving Harold Wilson to set up rules to neutralize during the 1960s phone tapping of individuals from Parliament, for example.

The Protocols of the Elders of Zion, suggesting to portray a Jewish game plan for worldwide control, was first distributed in Russia in 1903, changed over into various lingos, and dispersed internationally in the early bit of the twentieth century.

In Workmanship

Specialist JSG Boggs' life and work have been widely examined by maker and writer Lawrence Weschler. Boggs drew currency with remarkable consideration and precision, yet he exactly anytime drew one side. He by then tried to buy things with the bit of paper after that he has drawn the currency. His goal was to pass each bill for its possible worth in like way trades. He bought lunch, pieces of clothing, and lodging like this, and after the trades were done, his bills regularly brought their expected worth on the craftsmanship exhibit. Boggs did not benefit from the parcel's greater workmanship exhibit estimation of his work, just from trading the products bought, the change and receipts, and other such materials. He was caught in various countries, and there was a great deal of dispute enveloping his work.

Orson Welles' F for Fake is a prime reason for a film which is both about deception (workmanship manufacture and the revealing including craftsmanship impersonation) similarly as having contorted minutes inside the film. The film seeks after the experiences of a commended workmanship falsifier, his biographer Clifford Irving, and the ensuing fake assortment of diaries of Howard Hughes that Irving endeavors to distribute. The issues of veracity and adulteration are explored in the film, while at the same time, Welles deludes the group by consolidating fake bits of the record alongside the documentary film.

In Cross-Marketing

There is a long history of producers making connect in material to progress and merchandise movies and the network appears. Tie-in materials as far-stretching out as toys, games, lunch boxes, clothing, and so on have all been made and once in a while produce to such a degree or more pay as the primary programming. One significant merchandising field is disseminating. A significant part of the time, such material isn't considered standard inside the show's fables; notwithstanding, in specific models, the books, magazines, and so forward are expressly arranged by the creators to be endorsed. With the climb of the Internet, in-statute online material has gotten continuously observable.

For More Information!

[mrmichaelchadler]

#341 November 13, 2018

Matt writes: Passes for the 21st annual Roger Ebert's Film Festival (a.k.a. Ebertfest) in Champaign, Illinois, are now on sale. The same amount of films will be screened next year, though the festival will take place over four days instead of five, enabling the closing night festivities to pack an even greater punch. Please join us for Ebertfest 2019, running from Wednesday, April 10th, through Saturday, April 13th. Tickets can be purchased through the festival website, the theater website or the theater box office, 203 W. Park Ave., Champaign, 217-356-9063. Individual tickets will be available for purchase on Monday, April 1st. Click here to read the full announcement, and make sure to watch the official video for last year's installment of Ebertfest embedded below.

Trailers

Capernaum (2018). Directed by Nadine Labaki. Written by Nadine Labaki, Khaled Mouzanar, Jihad Hojeily and Michelle Keserwany. Starring Zain Al Rafeea, Yordanos Shiferaw, Boluwatife Treasure Bankole. Synopsis: While serving a five-year sentence for a violent crime, a 12-year-old boy sues his parents for neglect. Opens in US theaters on December 14th, 2018.

Head Full of Honey (2018). Directed by Til Schweiger. Written by Til Schweiger, Lo Malinke and Jojo Moyes (based on the movie written by Til Schweiger and Hilly Martinek). Starring Nick Nolte, Matt Dillon, Emily Mortimer. Synopsis: A man suffering from Alzheimer's embarks on a final road trip with his granddaughter. Opens in US theaters on November 30th, 2018.

The House That Jack Built (2018). Written and directed by Lars von Trier. Starring Matt Dillon, Bruno Ganz, Uma Thurman. Synopsis: The story follows Jack, a highly intelligent serial killer, over the course of twelve years, and depicts the murders that really develop his inner madman. Opens in US theaters on November 28th, 2018.

The Ballad of Buster Scruggs (2018). Written and directed by Ethan Coen and Joel Coen. Starring Tim Blake Nelson, Zoe Kazan, Stephen Root. Synopsis: An anthology film comprised of six stories, each dealing with a different aspect of life in the Old West. Opens in US theaters on November 16th, 2018.

Isn't It Romantic (2019). Directed by Todd Strauss-Schulson. Written by Erin Cardillo, Dana Fox and Katie Silberman. Starring Rebel Wilson, Priyanka Chopra, Betty Gilpin. Synopsis: A young woman disenchanted with love mysteriously finds herself trapped inside a romantic comedy. Opens in US theaters on February 14th, 2019.

Blue My Mind (2018). Written and directed by Lisa Brühlmann. Starring Luna Wedler, Zoë Pastelle Holthuizen, Regula Grauwiller. Synopsis: 15-year-old Mia is facing an overwhelming transformation which calls her entire existence into question. Her body is changing radically, and despite desperate attempts to halt the process, she is soon forced to accept that nature is far more powerful than her. US release date is TBA.

Back Roads (2018). Directed by Alex Pettyfer. Written by Adrian Lyne and Tawni O'Dell (based on the novel by Tawni O'Dell). Starring Juliette Lewis, Jennifer Morrison, Robert Longstreet. Synopsis: An unusual set of circumstances brings unexpected success to a pop star. US release date is TBA.

The Quake (2018). Directed by John Andreas Andersen. Written by John Kåre Raake and Harald Rosenløw-Eeg. Starring Kristoffer Joner, Ane Dahl Torp, Jonas Hoff Oftebro. Synopsis: In 1904 an earthquake of magnitude 5.4 on the Richter scale shook Oslo, with an epicenter in the "Oslo Graben" which runs under the Norwegian capital. There are now signs that indicate that we can expect a major future earthquake in Oslo. US release date is TBA.

Between Worlds (2018). Written and directed by Maria Pulera. Starring Nicolas Cage, Franka Potente, Penelope Mitchell. Synopsis: Joe meets a mother who can contact spirits when suffocating. Her daughter is dying when Joe helps the mother spiritually contact the daughter and save her. Unfortunately, the spirit in the daughter's body is now that of Joe's dead wife. US release date is TBA.

A Dog's Way Home (2019). Directed by Charles Martin Smith. Written by W. Bruce Cameron and Cathryn Michon (based on the book by W. Bruce Cameron). Starring Bryce Dallas Howard, Ashley Judd, Edward James Olmos. Synopsis: A dog travels 400 miles in search of her owner. Opens in US theaters on January 11th, 2019.

Spies in Disguise (2019). Directed by Nick Bruno and Troy Quane. Starring Karen Gillan, Will Smith, Tom Holland. Synopsis: When the world's best spy is turned into a pigeon, he must rely on his nerdy tech officer to save the world. Opens in US theaters on September 13th, 2019.

Tyler Perry's A Madea Family Funeral (2019). Directed by Tyler Perry. Written by Tyler Perry and Jason Rogers. Starring Courtney Burrell, Tyler Perry, Patrice Lovely. Synopsis: A joyous family reunion becomes a hilarious nightmare as Madea and the crew travel to backwoods Georgia, where they find themselves unexpectedly planning a funeral that might unveil unsavory family secrets. Opens in US theaters on March 1st, 2019.

Jonathan (2018). Directed by Bill Oliver. Written by Gregory Davis, Peter Nickowitz and Bill Oliver. Starring Ansel Elgort, Patricia Clarkson, Suki Waterhouse. Synopsis: Jonathan leaves the office everyday at noon. When he gets home, he goes to sleep. Every morning he wakes up and there is a breakfast prepared for him along with a video telling him about the second part of his day. Opens in US theaters on November 16th, 2018.

Five Feet Apart (2019). Directed by Justin Baldoni. Written by Mikki Daughtry and Tobias Iaconis. Starring Cole Sprouse, Haley Lu Richardson, Claire Forlani. Synopsis: A pair of teenagers with life-threatening illnesses meet in a hospital and fall in love. Opens in US theaters on March 22nd, 2019.

Miss Bala (2019). Directed by Catherine Hardwicke. Written by Gareth Dunnet-Alcocer. Starring Gina Rodriguez, Anthony Mackie, Matt Lauria. Synopsis: Gloria finds a power she never knew she had when she is drawn into a dangerous world of cross-border crime. Surviving will require all of her cunning, inventiveness, and strength. Opens in US theaters on February 1st, 2019.

Mowgli (2018). Directed by Andy Serkis. Written by Callie Kloves (based on the novel by Rudyard Kipling). Written by Billy Ray and Mark L. Smith. Starring Christian Bale, Benedict Cumberbatch, Cate Blanchett. Synopsis: A human child raised by wolves must face off against a menacing tiger named Shere Khan, as well as his own origins. Debuts on Netflix on December 7th, 2018.

The Secret Life of Pets 2 (2019). Directed by Chris Renaud. Written by Brian Lynch. Starring Patton Oswalt, Eric Stonestreet, Kevin Hart. Synopsis: A follow-up to the hit film, "The Secret Life of Pets." Opens in US theaters on June 7th, 2019.

Missing Link (2019). Written and directed by Chris Butler. Starring Zoe Saldana, Hugh Jackman, Timothy Olyphant. Synopsis: The charismatic Sir Lionel Frost considers himself to be the world's foremost investigator of myths and monsters. The trouble is none of his small-minded high-society peers seems to recognize this. Sir Lionel's last chance for acceptance by the adventuring elite rests on traveling to America's Pacific Northwest to prove the existence of a legendary creature. A living remnant of Man's primitive ancestry. The Missing Link. Opens in US theaters on April 12th, 2019.

Paul Dano on "Wildlife"

Matt writes: The wonderful actor-turned-director Paul Dano (memorably featured in "Little Miss Sunshine" and "There Will Be Blood") recently spoke with Nick Allen about his acclaimed directorial debut, "Wildlife," featuring Oscar-worthy turns by Carey Mulligan and Jake Gyllenhaal. Read their full conversation here. 

"Little Tickles" wins Ebert Award

Matt writes: Allison Shoemaker reports on Andréa Bescond and Eric Métayer's French drama, "Little Tickles," which her jury named as this year's recipient of the Roger Ebert Award at the 2018 Chicago International Film Festival.

Free Movies

Garfield's Halloween Adventure (1985). Directed by Phil Roman. Written by Jim Davis. Starring Lorenzo Music, Thom Huge, Gregg Berger. Synopsis: Garfield has one spooktacular adventure on the Eve of All Saints. He fashions himself a pirate costume then takes Odie out trick-or-treating to ensure extra candy. But when attempting to cross a river on a boat, Garfield and Odie end up at a haunted house.

Watch "Garfield's Halloween Adventure"

A Garfield Christmas Special (1987). Directed by Phil Roman and George Singer. Written by Jim Davis. Starring Lorenzo Music, Thom Huge, Pat Carroll. Synopsis: Garfield, Jon, and Odie go to Jon's grandmother's house for Christmas, where Garfield finds a present for Grandma.

Watch "A Garfield Christmas Special"

Garfield's Thanksgiving (1989). Directed by Phil Roman, Gerard Baldwin, Bob Nesler and John Sparey. Written by Jim Davis and Kim Campbell. Starring Lorenzo Music, Thom Huge, Pat Carroll. Synopsis: Finds Jon with a love interest-a veterinarian who orders Garfield on a diet-and then comes for Thanksgiving dinner!

Watch "Garfield's Thanksgiving"

from All Content https://ift.tt/2zNFlad

[kittydarlingplanets-blog]

Sometimes we do the right thing and it spreads like a game of telephone  on the playground. That’s how this election has felt to me. At first there were these little whispers of this guy… this guy who once had a punk band that was over on the border. Not Mexican, but has a Mexican name term of endearment nickname. Young. Handsome. Schooled at Columbia. All the beautiful secret things that are the real Texas. 

  See. I’m a native Houstonian. I love my fucking city. I also hate my fucking city. Or rather, I grew up hating it. I hated the burbs and the shit kikkers and the red necks and that we were known for whiny country music and rodeos and horrible accents that sounded like we were a bunch of dumb hicks. What I loved about Texas was so subliminal I didn’t even realize it until I left for awhile. Moved to another state and found out that my entire mindset was formed yes, of course by the books I had read and the education I’d received, but the foundation of who I was? The rock bottom core of my soul? That was Texas, folks. Drenched in sweet barbeque sauce and sizzled on the triple digit Houston sidewalks. 

They say that you don’t have to ask someone where they’re from who is from Texas. They’ll tell you before you get the chance. This is truth. Another thing I didn’t realize until I lived outside the state. Other people would go around the school or work meeting and mention children or accomplishments.

The first thing that would come out of my mouth was I’m from Texas. I began to realize that Texas is a State of Being. It’s a State of Mind. You can take the me out of Texas, but you can’t take the Texas out of the me.

You sir, may go to hell. I am going to Texas.–Davy Crockett

Like so much of life, being away from home made me appreciate it. Then respect it. Then realize I’d not so much been in love with it as it coded into my soul.

I mean, I’d known when I’d driven the long stretches of road listening to the Fabulous Thunderbirds, which to me was Austin where I spent half of my time my college years dancing at the Continental Club or Club Foot and eating chicken fried steak, or when I’d gone to Lubbock to the Buddy Holly Festival that Joe Ely always played  in the closed down streets celebrating his idol and his own hometown.

I  taught myself to speak without an accent and read a lot of books. And the only thing I knew to do was reject everything that was symbolic of what I hated–small town thinking from small town sensibilities. The illiterate by choice. Cowboy boots unless they were worn by Keith Richards or Joe Ely or Joe Strummer. (I now love them  beyond.) I hated and hate hunting because you know, slaughter. Prefabricated neighborhoods outside the inner city loop where people lived who wanted yards as flat as football fields and houses too big and character-less for anything useful and huge expensive cars and a commute that stunk up the city and blocked the highways. Even then, back then, 40 years or more ago, it all felt wrong. Too much. Nothing good could come from so much….so much… waste….  clutter.

It was like Benjamin Braddock at his graduation party being told about plastics. It was Jack in the Box having too many damn menu options when all anyone needed was the Jumbo  Jack and fantastic flat Super Tacos that could be put in an envelope and mailed and Frings–a mix of french fries and onion rings and those dollar menu chicken sandwiches. Everything else was just too precious and absurd.

At 16 I found the Rocky Horror Picture Show and a mass of people that were not the same as those who frequented Katy High School, home of rice farms and small minds. At 17 I went to work at an AMC Theatre and found a bunch of misfits like myself who couldn’t quite get behind Friday night’s lights and shopping malls filled with generic crap. At 18, I found Herschel Berry and the Natives at Anderson Fair and my real love affair with Texas began.

What I learned from local music, what I learned from punk rock–was that in fact, love is all you need. That even the freaking Hard Rock Cafe is right–Serve All Love All. That hidden beneath the Urban Cowboy shit was this city of mystery and secrets. There was this unreal music. There was all night Tex Mex with kick ass juke boxes and those who frequented it. There was this love and honor among the punk rockers and the aging hippies and the drag queens and the gay men and the homeless teens and all of the others who didn’t fit into the Lone Star State stereotype  regardless of color or sexual orientation or socio economics.  You just didn’t know until you left the comfort of your sedan and talked to the people in the streets. We just didn’t let the others know. It was ours. They could have the rest.

Eventually someone would rise out of here or out of a place just like here that encapsulated all that is bright and beautiful and blazing about Texas. Our real culture. Our blended population. Our love of music that defies labels, like  Herschel, or Alejandro Escovedo. Our mixture of punk and cowboy that pulled in Strummer to hang out with that cowboy guy he liked, Ely. It’s not just music or clothing. Those simply reflect the ethic that is here. It’s mom and pop diners and taquerias and dive bars and little music halls. It’s a hot humid wet sweater of a place that is so deranged that out of it comes the Art Car Parade and the Orange Show and even a secret serial killer that only the locals know about, despite the liklihood he could possibly have the highest body count of all time. Before craft brew, we choked down Lone Star Beer in bottle necks because it was local, even if it tasted and still tastes like rat piss. It’s local heroes like old  lonesome Howard Hughes. That’s how we do things here. We have musicals written about our whore                                                            houses.

We create a legacy of cadallics buried in the dirt of what would be wasted landscape. We once had a pig here tattoed with wings. This is how we do art.

Houston still is the mystical and beautiful and secret place. This club for those in the know, on the inside. The cool kids. Most of those places  we frequented are still here. Preserved. Not just moments in time but part of the spiderweb that holds up our city even as it sinks into the swampland we are built on. Key words. Code words. Houston is a small small town, baby.

So the whispers started and slowly the buttons and bumper stickers began to emerge…. quietly, slowly likely from fear of retaliation despite the fact that we here all know that this is already a blue state. This is in fact, a brown state. The only reason this state reads red is because it was gerrymandered beyond belief so that areas range from Austin almost to Dallas rather than say, Austin being one place. In fact, those of us over a certain age, recall the whirlwind of all that is bravado and cyclonic about Texas in human form, Governor Ann Richards. Ann took no shit. We are channeling Ann this election. This day. This time when the tide is high.

We began to realize that it was  like a secret clubhouse. Nods, smiles, a quiet thumbs up. We were one. We were all still here. There was more of us than we were led to believe. In the ugly loud jarring swagger of the New GOP, even the natives here had been led to believe the stereotypes, the lies on par with Dallas, the TV show, not the beautiful lilting song. Love All Serve All.

The cowboy way. The musicans way. The rebel way. The artist way. The Texas way.

I think after Harvey we’d all just had enough. Enough of the fucking lies about us. Enough of being disregarded and counted off as worthless. A joke. A universal joke of Cowtown, USA. We weren’t going to go quietly into the night. We were going to rage, rage against the dying of the light.

And we had the One. Out of El Paso, of all places, our hero emerged. A tall drink of water, as we say here in Texas. A 40-something who still looked like a kid, like Alec Baldwin in Beetlejuice before he blew up. Long arms swinging, long legs running and walking and jumping and driving across a state that is close to the size of Europe. Hours and hours and miles through the heat, the sonic heat. Doing what others before said was a collasal waste of time. Those who didn’t know Texas. Those who didn’t know the real us.

        Not a dumb ass speaking of having beers together and how we don’t need no city slickers telling us what to do and  a C is good enough. That’s facade and bullshit.

The Texas I know has pockets of Republicans who are old school…. meaning that they don’t give a shit what you do in your own bedroom or your own home. They’re conservative in wanting their guns and their Southern gentleman ethics and the right to lead their own lives be it to homeschool their kids without answering to the Man which is the same as the old Art Car Parade slogan of we just want to ride around in our machines and not be hassled by the man. Which is the same damn thing. And they don’t care how their neighbor got here and what color he is if he keeps his place nice and will lend a hand in a tragedy and raises some respectful kids. I grew up next to a Mexican family, the Ninos, and I do not recall once hearing the word Mexican other than to descibe the exquisite cuisine and in regard to the family itself, the dad brought over left over KFC from his job as manager and we invited them to our BBQ’s and everyone pitched in if a car wasn’t running or one of the moms decided to have a garage sale or when their new babies were born.

Texans remember the Alamo and the aftermath. They celebrate Mexican cowboys. They weave tamales and brisket together like Spanglish. At least when it matters they do. We do. Before the brainwashing. Before the river of lies longer than the Rio Grande.

And then Beto showed up. With his Columbia education that is valued as the damning of the elite here never pertained to education… it pertained to attitude: being better than. Having some letters behind ones name is honorable especially those sleeves are rolled up and you’re willing to work side by side with ranchers and farmers and minority field hands.  Someone running and talking and talking and running. To everyone. The thing that is going to overpower the new not so grand old party today is that we do know a city slicker. We do know a used car salesman. And we do know the words to The Who. And yeah, we have lived a Teenaged Wasteland for awhile now… but it’s not going to be where we end up because it’s not who we are.

It’s Texas. We trust musicans here. It’s in the blood.

Tonight I sit here in a dive bar in an area that was once a broken down ward and is now an up amd coming bohemian artist haven being saved by millineal meets Gen Z punk rock aesthetics, just on the edge of Montrose. There’s nerves and hope and more movement than is normal for a Tuesday night. The bartender is hoping for celebratory customers later in the night. He’ll be here if things swing the other way. We’ve had Beto’s black and white signs out front of our blocks for months. Beto himself stopped in one afternoon early last Spring when he saw them and had lunch at the ancient diner and stopped in the shop of oddities and the record store. His photo was in the NYTimes here in that diner. We have his back. He’s got ours. And this we is the we I met so long ago, when I was a kid here having stumbled out of surburbia and inside the loop where the real Texas lived.

My twenty year old heart will dance tonight when the returns come in and once again, there will be faith in what we’ve created here. What we’ve dug into the mushy soil and what has somehow made this most unlikely of cities the 4th largest. That kid from the Border, a former punk rocker in a dress,having grown up on the   border not knowing there was a reason to think an arbitrary line meant anything and knowing for sure one language was as good as another, has risen up. The world. The entire world is watching. And he, this Irish guy with the Mexican first name, is going to let the world in on the secret of Texas and lead the world forward. I will wear the tears of joy and nostalgia like a Victory V in my boots eating tacos. Viva Beto.

the lone star is ever in your favor: you beto you beto you bet Sometimes we do the right thing and it spreads like a game of telephone  on the playground.

[theseventeenthcentury-blog1]

New Musical Express 17 February 1996

LOOK BACK IN WRANGLER

His friends said his house smelt! His dad deserted him after a caravan holiday! And nobody ever understands the dysfunctional, heart-felt lyrics of his novelty Euro-electropop. LAWRENCE, aka DENIM, has a good old whinge to TED KESSLER about life, love and the trials and tribulations involved in recording his latest offering, 'Denim On Ice'. Agony and ecstasy: DEREK RIDGERS

The happiest day of Lawrence's life was when he came home from work to find his mum had finally killed the dog. And in the same week that his dad left home! How brilliant is that?

God, did he hate that dog. They all did: his mum, his sister, the rest of the village. Even his dad might have, but he'd stopped talking to Lawrence five years earlier so he couldn't be sure. Its fair to say, though, that dog had ruined Lawrence's life.

It wasn't just the smell of the thing; although, if we have to draw up a list of the beast's faults, that'd be top. He smelt so foul that Lawrence hadn't been able to bring his mates home since the day he'd returned from school, aged seven, with a friend who'd walked into the hallway and yelled, "Phroooar! What's that stink?"

Well, you know what kids are like. That was it. He'd have to do the visiting now. Everyone In the village thought he lived in a slum anyway. He wasn't going to let on that it ponged of a vicious dog that behaved like a mad pig.

So, when his mum woke to find his dad had left in the night, She decided to have the dog put down. Lawrence thought it was the coolest thing she'd ever done. He'd lost faith in her long ago when her response to his musical ambitions was, "People like us don't join groups", but, for a moment there, he'd seen a glimmer ...

When he moved away from Water Orton to live the life of an artist in the dull lights of Birmingham he cut all links to his mum. But killing that dog, man, killing that dog was very cool. Your dad splits but he leaves his dog so your mum kills his dog. Hmm ... maybe Lawrence had been a little harsh on her for that comment about his career ... Maybe there hadn't been a mistake at the hospital and maybe Lawrence really was related to his mum ... Maybe not speaking to her for the past 14 years was a little extreme ...

THE RACK by the sink is filled with freshly washed '70s RAK seven-inch singles, and although there is a pint of milk and a vacuum-sealed jar of nuts in the fridge, the only real source of nourishment in this kitchen is knowledge, because all the cupboards are filled with books. The living room has an armchair, a television, a stereo and cardboard boxes filled with old music magazines and the odd bit of fan mail. In the bedroom there's a futon, a swivel-chair and a tape-player. That's it. It's an immaculate, spartan, first-floor flat in a bold blue yuppie block overlooking the Thames by Tower Bridge. Now, who could live in a place like this?

There are two likely candidates: Luke Goss, former drummer with teen sensations Bros, and Lawrence, the most singular, visionary, driven and quietly ridiculed songwriter in contemporary British pop (Jarvis Cocker, Mark E Smith and Morrissey included). Since Luke Goss moved out a couple of months ago, Lawrence (he dropped his surname because it sounded too similar to two other singers: one in a '70s moody rock combo, the other in an '80s pop group; he keeps it a secret ... but it's Hayward) is the only pop star wannabe currently left in the block.

During the '80s Lawrence toiled with Felt, his labour of love, achieving his aim to release ten wildly contrasting albums (from guitar-fed indie angst to spooky jazz instrumentals to melancholic rock) in ten years. When Felt split he made for New York and returned with a new project: Denim. The idea for Denim was to mix his memories of the '70s with modern social comment and set it in a brash electronic '90s pop context. It would sound nothing like Felt, or indeed anything.

Denim's first album, '92's 'Back In Denim', was greeted with critical acclaim (nine out of ten in the NME), vilification (promotional copies were ritually burned by the missionary-position hacks) and commercial indifference. Lawrence, who'd hoped for pop worship after a decade of intense underground reverence, blamed 'Back In Denim's moderate sales on his then parent label London Records' insistence that the album be independently distributed. Now, he admits it may have been a blessing.

"A lot of the ideas I had for that record have since been very successful for others, although if you weren't paying attention it might have not seemed that way," he says wryly, on the edge of his bed. "But having seen what's happened to Jarvis, I may have been on the wrong track thinking I'd like to be famous. I'd like to be in the charts, but I'm not likeable enough to be a pop star. My views just aren't mainstream."

Next, he set about composing an even poppier follow-up called 'Denim On Ice', but last summer, halfway through recording it, his girlfriend called a halt to their four year on/off relationship, causing Lawrence a major crisis.

"I didn't even think of it as a relationship until she ended it, but then I totally changed my mind. It had been trouble recording the album before then, because it'd become really expensive and we were on a budget, but when she left it became double-trouble. I re-wrote a load of the lyrics and had to postpone doing the vocals for months."

What has eventually emerged is a cheesy pop album which sort of fuses Ian Dury with '90s Euro pop, and sounds like nothing you've ever heard, intertwining lyrical themes as diverse as pub rock ('The Great Pub Rock Revival': Lawrence imagines it's him versus the world when the NME endorses a Pub Rock revival next year), oral sex ('Grandad's False Teeth': when Lawrence's girl goes down on him, it's like she's wearing grandad's false teeth — she says the same of him. Walthamstow Kids Choir on one chorus) and junkies ('Glue And Smack': "When I wake in the morning/I greet the day with a smile/I pump stuff into my body/Then I reel around like a child"). When first aired in the NME office, some sat in awed wonder, others tried to throw the stereo from the window.

"I'm not surprised, becaust novelty has never been hip with people who think they're involved in serious music. I love music so much, I've had to form a novelty band because rock'n'roll is dead, It's over. As a serious art form, It's finished. All your heroes have blown it. No-one liked The Beatles during punk because there was so much else, but that's what 15-year-olds are into now. Electronic music has taken over and rock'n'roll will never have that force. Lyrically it will, if only someone out there could write. Why can't I make a record like Kim Wilde's 'Kids In America', but in a hip way?

"But I'm not wasting my time, I'm trying to do something new. Novelty music with a real social and personal comment on top. It hasn't been done before. What I liked about Lou Reed and Bob Dylan were the brilliant lyrics, but after 'Desire' why didn't Dylan use synths instead of saxes and soul backing singers? He wore flares, didn't acknowledge the new wave, and that dated him. It would be easy to do more Felt stuff with traditional instruments, but where's the challenge? Why not let the kids hear something different? But I'm not copying anyone. No-one does what I do. It's lonely out there."

LAST SUMMER, prompted by that girlfriend thing and the problems that recording 'Denim On Ice' provoked, Lawrence started thinking about his folks. He thought about his mum killing the dog, about his dad leaving home and about the fact that he hadn't spoken to his mum for 14 years, or his dad for nearly 20. He was approaching his mid-30s. They could die soon. He wrote his dad a letter.

It was a long, respectful, warm letter that asked why his old man had suddenly stopped talking to Lawrence when he came back from a caravan holiday.

"He wrote back, saying, 'Don't dwell on the past, son, look to the future!' That was it. It was so cold! My sister rang me and said, 'He's so happy you wrote!' I was, like, 'You want to read what he's written!' I went to see my mum and we talked about her washing machine. The emotional things of the past 15 years had been exhausted in 45 minutes. Didn't even mention the dog.

"It just made me realise how utterly alone I am. I feel totally isolated. I don't have a social life because I've got no rapport with anyone. I never bring people back here and get off on records because nobody shares my taste. I just sit here doing ... nothing, thinking.

"But I'm not alone. There's a whole generation of lonely, disaffected people out there and if they need someone to identify with, it's me, because I don't clock off. I don't get changed at seven and go down the pub because I don't even drink. Drinking's what old men do, and I've never wanted to be one. I think you can be a kid forever, gaining wisdom along the way. Life's a good journey, though, it's the one proper journey ..."

Time for the next leg. Lawrence is off to the studio to record a B-side ("It's called 'Wendy James' and it's pro: it's the one that will finish me off for most people") before rehearsals for Denim's Pulp support slot begin. He may feel like pop's Vasco Da Gama endowed with Howard Hughes' social skills, but the next album's already planned ...

It's called 'Denim Take Over'.

[movietvtechgeeks]

Latest story from https://movietvtechgeeks.com/la-la-land-sweeps-89th-oscar-nominations-plus-interesting-snubs/

'La La Land' sweeps 89th Oscar nominations plus interesting snubs

As no surprise, “La La Land” swept the 89th Oscar nominations with 14 tying it with “Titanic” and that classic Bette Davis film “All About Eve.” Not bad company, and no one will be surprised if it sweeps in wins as this is the type of wistful dreamy film that many people in the country need right now.

As Academy Award historians can show, Oscar-winning films normally show the temperature of the political climate in the country. When the country is in turmoil, many times, fantasy films that take you away win the top prize.

“Moonlight” and “Arrival” were behind with eight nominations each. The #OscarsSoWhite campaign has made some impact as 35 percent of this year’s acting nominees are people of color. This includes prior winners Denzel Washington (“Fences”) and Octavia Spencer (“Hidden Figures”).

Mel Gibson has officially made it back into Hollywood’s embrace after a few controversies, but we know that town loves a second, third and fourth act.

As happens every year, there are always surprising snubs and nominations no one saw coming. That’s what makes the awards most fun, the surprises of lesser known films getting recognition.

You can also see the complete list of 2017 Oscar Nomination further down.

2017 Top Oscar Snubs and Surprises

SNUB: “Deadpool” In the end, Oscar voters got cold feet when it came to recognizing the 20th Century Fox mega-hit starring Ryan Reynolds as a disfigured mercenary with the power to heal himself. If it had made the cut, “Deadpool” would have been the first comic book movie to crash the best picture race. But sadly, “Deadpool” got shut out of the Oscars race completely, ending up with fewer nominations than “Suicide Squad” (best makeup) and “Doctor Strange” (visual effects).

SNUB: Amy Adams, “Arrival” The five-time Oscar nominee was left out of the best actress category, even though “Arrival” scored eight nominations overall, including best picture, director (Denis Villeneuve) and adapted screenplay. It’s possible that Adams, who also had a lead role in “Nocturnal Animals,” divided her own vote, allowing for Isabelle Huppert (“Elle”) and Ruth Negga (“Loving”) to zoom past her.

SNUB: Annette Bening, “20th Century Women” It wasn’t a great year for the Beatty-Bening household. Warren’s “Rules Don’t Apply” wilted at the box office, and Bening, who was thought to be a lock in the best actress race early in the season, got pushed out of this year’s unusually competitive category for her portrait of an eccentric single mom.

SNUB: Tom Hanks, “Sully” It’s one of the strange mysteries of the Oscars that Hanks, who has two wins but hasn’t been nominated in 16 years (since “Cast Away”), wasn’t included among the acting nominees for playing “Miracle on the Hudson” hero Sully Sullenberger. The movie was a box-office hit, and director Clint Eastwood is usually an Academy Awards darling.

SNUB: Hugh Grant, “Florence Foster Jenkins” Many predicted that Grant would earn his first Oscar nomination ever for playing the husband of a terrible opera warbler. But the Paramount comedy was less of an Oscar movie than a showcase for Meryl Streep.

SNUB: Aaron Taylor-Johnson, “Nocturnal Animals” Winning the Golden Globe for best supporting actor for playing a rogue bad guy gave Taylor-Johnson a boost just as ballots were being filled out. Yet Oscar voters preferred his co-star Michael Shannon, who portrays a no-nonsense sheriff in the Tom Ford thriller.

SNUB: Martin Scorsese, “Silence” Scorsese has been nominated for best director eight times, but Oscar voters were indifferent to “Silence.” The drama about Jesuit priests in Japan  received only a lone nod for best cinematography.

SNUB: “Finding Dory” In 2004, “Finding Nemo” became the first Pixar movie to win an Oscar for best animated feature. Its sequel, “Finding Dory,” was overlooked in favor of other Disney favorites (“Zootopia” and “Moana”).

SNUB: “Weiner” The Sundance documentary about Anthony Weiner’s failed New York mayoral race was a favorite all year long. Then came the election. Weiner’s role in possibly spoiling the presidency for Hillary Clinton may have alienated voters from celebrating a movie about his downfall.

SURPRISE: Ruth Negga, “Loving” At last year’s Cannes Film Festival, Negga was crowned an instant Oscar contender, for her nuanced performance as half of an interracial couple behind an influential 1967 Supreme Court Case. But the competitiveness of the best actress category — with the likes of Annette Bening and Amy Adams — made her more of a longshot on pundits’ list as the season progressed.

SURPRISE: Michael Shannon, “Nocturnal Animals” After a strong reception at Toronto, “Nocturnal Animals” faded from the awards conversation. But when the movie re-emerged at the Golden Globes, it was in the form of a win for Aaron Taylor-Johnson. So that Shannon ended up squeaking into the best-supporting actor race is a surprise. This marks his second Oscar nomination, after 2008’s “Revolutionary Road.”

SURPRISE: Mel Gibson, “Hacksaw Ridge” Gibson’s comeback story is now official, given that the “Braveheart” winner is back in the best director race for his World War II drama.

Best picture: “Arrival” “Fences” “Hacksaw Ridge” “Hell or High Water” “Hidden Figures” “La La Land” “Lion” “Manchester by the Sea” “Moonlight”

Lead actor: Casey Affleck, “Manchester by the Sea” Andrew Garfield, “Hacksaw Ridge” Ryan Gosling, “La La Land,” Viggo Mortensen, “Captain Fantastic” Denzel Washington, “Fences”

Lead actress: Isabelle Huppert, “Elle” Ruth Negga, “Loving” Natalie Portman, “Jackie” Emma Stone, “La La Land” Meryl Streep, “Florence Foster Jenkins”

Supporting actor: Mahershala Ali, “Moonlight” Jeff Bridges, “Hell or High Water” Lucas Hedges, “Manchester by the Sea” Dev Patel, “Lion” Michael Shannon, “Nocturnal Animals”

Supporting actress: Viola Davis, “Fences” Naomie Harris, “Moonlight” Nicole Kidman, “Lion” Octavia Spencer, “Hidden Figures” Michelle Williams, “Manchester by the Sea”

Best director: “La La Land,” Damien Chazelle “Hacksaw Ridge,” Mel Gibson “Moonlight,” Barry Jenkins “Manchester by the Sea,” Kenneth Lonergan “Arrival,” Denis Villeneuve

Animated feature: “Kubo and the Two Strings,” Travis Knight and Arianne Sutner “Moana,” John Musker, Ron Clements and Osnat Shurer “My Life as a Zucchini,” Claude Barras and Max Karli “The Red Turtle,” Michael Dudok de Wit and Toshio Suzuki “Zootopia,” Byron Howard, Rich Moore and Clark Spencer

Animated short: “Blind Vaysha,” Theodore Ushev “Borrowed Time,” Andrew Coats and Lou Hamou-Lhadj “Pear Cider and Cigarettes,” Robert Valley and Cara Speller “Pearl,” Patrick Osborne “Piper,” Alan Barillaro and Marc Sondheimer

Adapted screenplay: “Arrival,” Eric Heisserer “Fences,” August Wilson “Hidden Figures,” Allison Schroeder and Theodore Melfi “Lion,” Luke Davies “Moonlight,” Barry Jenkins; Story by Tarell Alvin McCraney

Original screenplay: “20th Century Women,” Mike Mills “Hell or High Water,” Taylor Sheridan “La La Land,” Damien Chazelle “The Lobster,” Yorgos Lanthimos, Efthimis Filippou “Manchester by the Sea,” Kenneth Lonergan

Cinematography: “Arrival,” Bradford Young “La La Land,” Linus Sandgren “Lion,” Greig Fraser “Moonlight,” James Laxton “Silence,” Rodrigo Prieto

Best documentary feature: “13th,” Ava DuVernay, Spencer Averick and Howard Barish “Fire at Sea,” Gianfranco Rosi and Donatella Palermo “I Am Not Your Negro,” Raoul Peck, Remi Grellety and Hebert Peck “Life, Animated,” Roger Ross Williams and Julie Goldman “O.J.: Made in America,” Ezra Edelman and Caroline Waterlow

Best documentary short subject: “4.1 Miles,” Daphne Matziaraki “Extremis,” Dan Krauss “Joe’s Violin,” Kahane Cooperman and Raphaela Neihausen “Watani: My Homeland,” Marcel Mettelsiefen and Stephen Ellis “The White Helmets,” Orlando von Einsiedel and Joanna Natasegara

Best live action short film: “Ennemis Interieurs,” Selim Azzazi “La Femme et le TGV,” Timo von Gunten and Giacun Caduff “Silent Nights,” Aske Bang and Kim Magnusson “Sing,” Kristof Deak and Anna Udvardy “Timecode,” Juanjo Gimenez

Best foreign language film: “A Man Called Ove,” Sweden “Land of Mine,” Denmark “Tanna,” Australia “The Salesman,” Iran “Toni Erdmann,” Germany

Film editing: “Arrival,” Joe Walker “Hacksaw Ridge,” John Gilbert “Hell or High Water,” Jake Roberts “La La Land,” Tom Cross “Moonlight,” Nat Sanders and Joi McMillon

Sound editing: “Arrival,” Sylvain Bellemare “Deep Water Horizon,” Wylie Stateman and Renee Tondelli “Hacksaw Ridge,” Robert Mackenzie and Andy Wright “La La Land,” Ai-Ling Lee and Mildred Iatrou Morgan “Sully,” Alan Robert Murray and Bub Asman

Sound mixing: “Arrival,” Bernard Gariepy Strobl and Claude La Haye “Hacksaw Ridge,” Kevin O’Connell, Andy Wright, Robert Mackenzie and Peter Grace “La La Land,” Andy Nelson, Ai-Ling Lee and Steve A. Morrow “Rogue One: A Star Wars Story,” David Parker, Christopher Scarabosio and Stuart Wilson “13 Hours: The Secret Soldiers of Benghazi,” Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Mac Ruth

Production design: “Arrival,” Patrice Vermette, Paul Hotte “Fantastic Beasts and Where to Find Them,” Stuart Craig, Anna Pinnock “Hail, Caesar!,” Jess Gonchor, Nancy Haigh “La La Land,” David Wasco, Sandy Reynolds-Wasco “Passengers,” Guy Hendrix Dyas, Gene Serdena

Original score: “Jackie,” Mica Levi “La La Land,” Justin Hurwitz “Lion,” Dustin O’Halloran and Hauschka “Moonlight,” Nicholas Britell “Passengers,” Thomas Newman

Original song: “Audition (The Fools Who Dream),” “La La Land” — Music by Justin Hurwitz; Lyric by Benj Pasek and Justin Paul “Can’t Stop the Feeling,” “Trolls” — Music and Lyric by Justin Timberlake, Max Martin and Karl Johan Schuster “City of Stars,” “La La Land” — Music by Justin Hurwitz; Lyric by Benj Pasek and Justin Paul “The Empty Chair,” “Jim: The James Foley Story” — Music and Lyric by J. Ralph and Sting “How Far I’ll Go,” “Moana” — Music and Lyric by Lin-Manuel Miranda

Makeup and hair: “A Man Called Ove,” Eva von Bahr and Love Larson “Star Trek Beyond,” Joel Harlow and Richard Alonzo “Suicide Squad,” Alessandro Bertolazzi, Giorgio Gregorini and Christopher Nelson

Costume design: “Allied,” Joanna Johnston “Fantastic Beasts and Where to Find Them,” Colleen Atwood “Florence Foster Jenkins,” Consolata Boyle “Jackie,” Madeline Fontaine “La La Land,” Mary Zophres

Visual effects: “Deepwater Horizon,” Craig Hammack, Jason Snell, Jason Billington and Burt Dalton “Doctor Strange,” Stephane Ceretti, Richard Bluff, Vincent Cirelli and Paul Corbould “The Jungle Book,” Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon “Kubo and the Two Strings,” Steve Emerson, Oliver Jones, Brian McLean and Brad Schiff “Rogue One: A Star Wars Story,” John Knoll, Mohen Leo, Hal Hickel and Neil Corbould

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