#MacGinnis

[nightsidewrestling]

Rhydderch Family 2020 (Part 1. 1-50. Oldest To Youngest)

Talulla Rhydderch (Born MacGinnis). 81

Naoise Rhydderch. 80

Grania Rhydderch (Born Kavanaugh). 78

Rhodri Rhydderch. 77

Odharnait Rhydderch (Born MacCarthy). 75

Uinseann Rhydderch. 74

Deryn Rhydderch (Born Heffernan). 72

Yorath Rhydderch. 71

Meinir Rhydderch (Born Gallagher). 69

Bran Rhydderch. 68

Rhosyn Rhydderch (Born Dougherty). 66

Delwyn Rhydderch. 65

Aoife Rhydderch (Born Daugherty). 63

Fergus Rhydderch. 62

Oda Rhydderch (Born Gilchrist). 60

Hywel Rhydderch. 59

Conall Pritchard. 51

Maeve Pritchard (Born Rhydderch). 50

Ivan Llewellyn. 48

Deirdre Llewellyn (Born Rhydderch). 47

Unity Rhydderch (Born Sauvageon). 48

Fionn Rhydderch. 47

Ursula Rhydderch (Born Cavanaugh). 45

Jarlath Rhydderch. 44

Keaton O'Hannigan. 45

Aisling O'Hannigan (Born Rhydderch). 44

Fachtna Mulrennan. 45

Kathleen Mulrennan (Born Rhydderch). 44

Moira Rhydderch (Born Callaghan). 42

Patrick Rhydderch. 41

Cadell O'Hannegan. 42

Caoimhe O'Hannegan (Born Rhydderch). 41

Yvette Rhydderch (Born Plamondon). 42

Sean Rhydderch. 41

Maeve Rhydderch (Born Pelletier). 42

Vaughan Rhydderch. 41

Raeburn Griffiths. 39

Bridget Griffiths (Born Rhydderch). 38

Whitney Rhydderch (Born Sauvageau). 39

Uilliam Rhydderch. 38

Ragnhild Rhydderch (Born Perreault). 39

Wyn Rhydderch. 38

Beatrix Rhydderch (Born Patenaude). 39

Neifion Rhydderch. 38

Genista Rhydderch (Born Lestrange). 39

Mostyn Rhydderch. 38

Rafferty O'Sullivan. 36

Rosaleen O'Sullivan (Born Rhydderch). 35

[slack-water]

Recently started playing Bloodborne and decided to drop my OC Madison into the chaos

Sad lack of streaked hair options in the character creator, but I can use my imagination. I haven’t gotten far and I’ve died a fair bit, but she does have a cool hat now ;D

[neil-gaiman]

Hi Neil ❤️

Who's your favourite movie villain?

Julian Karswell in Night of the Demon.

[sesiondemadrugada]

The Edge of the World (Michael Powell, 1937).

[erstwhile-punk-guerito]

[cineclub84]

#21 Anna Karenine, 1948 📼

[weirdlookindog]

Night of the Demon (1957) - Italian Poster

[gatutor]

Honor Blackman-Niall MacGinnis "Jason y los argonautas" (Jason and the argonauts) 1963, de Don Chaffey.

[moviesandmania]

NIGHT OF THE DEMON (1957) Reviews of horror classic - Watch US version free on YouTube

‘Hell on Earth! Scenes of terror never before imagined!’ Night of the Demon is a 1957 British horror film directed by French-born Jacques Tourneur (Cat People; The Leopard Man; I Walked with a Zombie), starring Dana Andrews (The Frozen Dead), Peggy Cummins, Niall MacGinnis and Maurice Denham. The bombastic soundtrack score was composed by Clifton Parker. An adaptation of the M. R. James’ 1911…

[mariocki]

The Saint: Paper Chase (5.11, ITC, 1966)

"Have you the file?"

"We have outraged Mr. Redman's sense of fair play. How British you have become. The Marquess of Queensberry Rules, even in a fight to the death."

[shatar-aethelwynn]

Sorry if my last "wall of an ask" that I would have "inflicted" on you made you dyspeptic, my dear. I agree, however, with you that we must agree that we disagree and end here this exchange. Thanks also for the links to the different representatives of the revisionist school on the ancient "sacred prostitution", especially for those to Budin's book. I will read them with a critical eye, as one must do in every serious inquiry (ἱστορίη, if this reminds you something from a certain foundational text of the European and Western intellectual tradition).

This just in folks, it's "revisionist" for the Assyriologists to disagree with the Classicists about a topic that belongs in the field of Assyriology. Good to know.

Your source cited Budin. I'm glad you're going to read them critically. The ability to embrace nuance and complexity is a necessity in scholarship.

[nightsidewrestling]

Naoise, Talulla & Kids (2020)

These are all of Naoise & Talulla's kids that would be over 18 in 2020, and Naoise & Talulla themselves.

[slack-water]

Little sheet of my magical bitch Madison

She’s horrible and I love her

[thebarroomortheboy]

Do you think I don’t care about Robbie? Do you think I’d forget he was your twin brother and my best friend? 

The Edge of the World (1937) | dir. Michael Powell 

[anhed-nia]

BLOGTOBER 10/3/2022: NIGHT OF THE DEMON/CURSE OF THE DEMON/I'M A BIG FAT IDIOT

I am a living cautionary tale. Don't be like me. When you're trying to watch a new-to-you movie, unless you're really sure of your education, look it up first and make sure you know what the running time is supposed to be. I understood that this movie had been released as both CURSE OF THE DEMON and NIGHT OF THE DEMON, but I'm used to seeing multiple titles on older genre films, and I naively assumed that no one would have dared to chop up a Jacques Tourneur movie for any reason. Shows what I know—turns out I was missing around 10 whole minutes of movie because that's what stupid Prime had to offer me, and I didn't think to look over the merchandise first. The present review was written after a review of both versions, but I still feel the need to confess. And anyway, now you know how film illiterate I am just from the fact that this even happened.

The sad thing is that this isn't even the first time something like this happened to me. In a previous Blogtober season I watched a version of NIGHT OF 1,000 CATS that was scarcely an hour long, which I just assumed might be expected because it's a really lowdown exploitation movie; to be fair, there isn't a normally available complete version of that movie, but I might have just left it off my program if I knew what I was getting into. And then I made the mistake of showing someone what turned out to be a censored version of BAD LIEUTENANT, which I'm still ashamed of, but I just assumed that in the modern era we aren't still circulating Walmart versions of movies outside of, you know, Walmart. (We course-corrected when it suddenly became obvious that something was wrong, but I still feel guilty) In any case, it appears that NIGHT OF THE DEMON (the proper title of the full-length feature) suffered quite a lot regarding what was and was not meant to be in the picture, although I didn't guess it from watching CURSE OF THE DEMON, which I enjoyed on its own terms.

The film, based on "The Casting of the Runes" by renowned medievalist and ghost story scribe M.R. James, concerns skeptical psychologist John Holden (Dana Andrews), who takes up the investigation of a satanic cult after the original researcher dies suspiciously. The only witness to the professor's death also happens to be the only cultist willing to be interviewed, who has fallen catatonic with fright. During a rare lucid moment, he draws a picture of what he allegedly saw: A giant monster that resembles historical descriptions of a "fire demon". Holden and Joanna Harrington (Peggy Cummins), the daughter of the deceased, run up against Mephistophelean cult leader Dr. Julian Karswell (Niall MacGinnis), who puts a curse on Andrews for his troubles. As they quest on, the stubborn sleuths soon succumb to the dread and paranoia sown by the threat that the fire demon is now after Holden.

The film is typical of Tourneur in its expressionistic beauty and haunting atmosphere, which keeps one engrossed even if the heroes are a couple of naive ninnies, with the eminently victimizable Andrews really seeming to ask for it. Everybody knows that the villain is always the best role anyway, and the characterization of Dr. Karswell is a lot of fun. The erudite occultist lives on a lavish estate with his elderly mother (Athene Seyler), where he occasionally (and alarmingly) entertains children as a clown. Despite his superior attitude, he confesses to old Mrs. Karswell that not only does he inflict fear on others—emphasizing to Holden that the mounting dread he feels will be almost as bad as his death at the hands of the demon—but he himself is motivated by fear. When you buy into the lifestyle of devil worship, you live in fear of the devil: "It's part of the price." This adds an unusual dimension to a familiar character who, rather than bragging about his genuinely supernatural abilities, focuses on the natural psychological effects of being cursed. As he remarks casually to Holden, "How can we differentiate between the powers of darkness and the powers of the mind?"

Paranoia, brilliantly realized by cinematographer Ted Sciafe.

And actually, therein lies the central controversy of this troubled production. Producer Hal E. Chester apparently set out to make a garden variety B-movie, often trying to cut corners that earned him the ire of writer (and frequent Hitchcock collaborator) Charles Bennett, Jacques Tourneur, and Dana Andrews. At the same time that Chester tried to cheap out on certain visual effects, he also insisted on displaying the demon in all its handmade glory. For Tourneur and Bennett, this was wholly against the point of the story, which is rather explicitly about the demons of paranoia and superstitious delusion. The wording of Tourneur's protest is salient: "The audience should never have been completely certain of having seen the demon." You have to sympathize with the director and writer, whose material was so undermined by the producer's insistence on special effects to pander to the hoi polloi. But I must admit, I really enjoy the demon. It may be enough to know that it was assembled by George Blackwell, who has credits on no lesser gems than THE ABOMINABLE DR. PHIBES and THE MASQUE OF THE RED DEATH, and Wally Weever, who worked on spectacles ranging from THINGS TO COME to 2001: A SPACE ODYSSEY. Accordingly, the creature is wonderfully disgusting and evil, more so the closer up you get. I used to see this thing on beat-up, sunbleached VHS boxes as a kid and wonder what it was really like; the movie seemed so staid and British, could it really have this weird gristly monstrosity in it? The image was often pretty low res, or actually painted, so I thought it was probably created just for merchandising purposes. I was dead wrong. It's really like that, and it's pretty horrifying! I understand the gripe, but I'm glad I wasn't deprived of this special creation.

And, finally, I discovered that the differences between NIGHT and the leaner, meaner CURSE are not as insulting as I feared. The story is essentially the same, but one version is more methodical, while the other is trimmer, and rearranged strategically to give certain plot beats a different punch. It's a neat piece of knifework, not at all a hatchet job, and anybody interested in story editing would have an instructive experience watching them both. Primate that I am, I think I actually prefer CURSE, which snips scenes that I thought dragged, and lends the whole affair a sharper edge. I don't know if I'm supposed to admit that, but I guess I just did!

Another lesson you can learn from this review is that the longer cuts are not always the richest. Another cinema sin I once committed was witlessly showing a friend the extended(est) version of THE PREY, which in its shortest edition is one of my favorite horror movies ever—but with a lengthy softcore sequence directed by a third party stuffed into the middle of it, its hypnotic spell is broken and it turns into a big old slog with points of interest scattered at the beginning and end. At least I can tell you that in my personal estimation, no matter which version of DEMON you watch, you probably won't feel like it was a big mistake.

[cineclub84]

Anna Karenine, 1948

Malgre tous ses efforts pour resister, Anna Karenine va succomber a la passion que lui voue le futur epoux de sa soeur, l'officier Alexei Vronski. Le mari d'Anna s'apercoit de sa liaison et menace de divorcer. Anna rompt, mais ne peut supporter la vie sans son amant. Ils partent a Venise, mais vite nostalgique de leur pays ils retournent a Moscou et Anna se rend compte que Vronski se detache d'elle.

Très belle adaptation du célèbre roman de Léon Tolstoï. Oubliant l'intrigue parallèle avec Levine pour ne se focaliser que sur Anna Karénine et sa descente en enfer. Outre l'adultère le film est aussi une magnifique description des relations conjugales dans la Russie de la fin 19ème. Les amants s'aiment mais Anna Karénine ne peut garder soin sang froid et la paranoïa devient une torture. Vivien Leigh est splendide et incarne à la perfection les méandres de la passion. Ralph Richardson est aussi excellent en mari trompé. Le noir et blanc sied magnifiquement au romanesque et à l'austérité de l'histoire. Un chef d'oeuvre.

Ana Karenine (1948) - Trailer