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365days365movies · 3 years

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January 25, 2021: The Poseidon Adventure (1972)

The disaster movie is, oddly enough, a subgenre of action, while also throwing in a splash of adventure. What I mean by that is, like adventure, focus is slightly shifted away from the characters acting against each other, and towards interactions between the characters and the environment around them. Essentially, an external environmental factor, outside of humans, is the antagonist, sometimes quite literally.

Now, obviously, humans can still be villains in disaster movies, but the conflict of the film always have to revolve around the disaster itself, with all other characters merely players in a large conflict. In other words, you got a main guy, shit explodes, and our main guy has to survive, sometimes with assholes getting in their way. Disaster movies in a nutshell, right there.

This movie trend began with 1970’s Airport, considered by most to be one of the crown jewels of the genre, especially at the time. They died in the mid-’70s, and the 1981 movie Airplane! (one of my favorite comedies) was the death knell for the genre...for about 13 years. I grew up in the reboot era of the disaster movie, with Independence Day, Twister, The Day After Tomorrow, War of the Worlds, Titanic, etc.

But today, we’re looking at what’s said to be the best of the best: the 1972 Academy Award-winning Ronald Neame film The Poseidon Adventure. This is Titanic before Titanic, but also after A Night to Remember...and the actual Titanic, obviously. All I know going in is that the ship is GOING DOWN. Also, Mermaid-Man’s in it. Hi, Ernest Borgnine!

Let’s go! SPOILERS AHEAD!!!

Recap

So, the opening text tells us RIGHT OFF that it’s New Years Eve, and that this ship, the S.S. Poseidon, is fucked. I’m impressed that we’re getting that out of the way immediately.

We cut to the ship, a cruise liner full of passengers during a storm. The Captain of the ship, Captain Harrison (Leslie Nielsen...LESLIE NIELSEN???)

From Airplane!? Wow! Never seen him in a dramatic role, so that’s awesome!

Anyway, things ain’t goin’ perfect. While a representative of the new owners of the ship forces them to go full speed (at considerable risk), the passengers include the disgruntled Mike Rogo (Ernest Borgnine) and his wife, Linda (Stella Stevens), the latter of which is going through a bout of seasickness. Other passengers include wide-eyed child Robin Shelby (Eric Shea) and his frustrated teenage sister Susan (Pamela Sue Martin); lonely runner James Martin (Red Buttons); married couple Betty and Manny Rosen (Shelley Winters and Jack “Grandpa Joe Who Could Walk The Whole Goddamn Time The Fuckin’ Faker” Albertson); “modern” preacher Reverend Frank Scott (Gene Hackman) and the more traditional Chaplain John (Arthur O’Connell); and singer Nonnie Parry (Carol Lynley), with her waiter admirer Acres (Roddy McDowall).

We’re introduced to these people in quick and efficient fashion, as well as their modus operandi. Rogo’s a detective-lieutenant, and his wife has a troubled past as a prostitute (and their relationship history is...complicated). The Shelby siblings are headed to see their parents overseas. James Martin’s a fitness-conscious bachelor and haberdasher who goes on morning runs. The Rosens have a son and 2-year old grandson in Israel that they’re going to visit, and are likely staying there. Frank Scott is an outspoken preacher, who believes that God only helps those who help themselves, and has been sent to Africa as a sort of punishment. And Nonnie Parry...well…

youtube

Well, she’s singing the song that won this movie the 1972 Academy Award for Best Original Song. YEAH. THAT SONG. You’ve almost certainly heard it, and its fame has far surpassed this movie at this point.

That night, the song is sung at a New Years Party, at which all of our players are assembled. The Captain leaves for the deck, and discovers that an earthquake has just taken place off the coast of Crete. And underwater earthquakes create tsunamis. And tsunamis...well...the ship’s in for some trouble. Batten down, people. The New Year begins with great bombast and celebration...as the wall of water approaches.

Party’s over.

The ship tips, as the wall of water hits, and EVERYBODY goes falling. And I mean FALLING, it’s one hell of a scene. The ship flips entirely upside down, and people holding on to tables quickly fall. The lights go out. And all is quiet.

As the passengers come to, we get an accounting...of the survivors. After all, no way everyone could’ve survived that. The Rogos, Rosens, Rev. Scott, Nonnie, Acres, Martin, and the Shelbys all survive, although some of them need to be a little rescued from the ceiling.

The ship is now upside down. I’m sure that’ll be an issue eventually. For now, with some argument, Reverend Scott leads everyone in an effort to get up to the former floor, where injured waiter Acres is waiting. They use a Christmas tree as a ladder, and begin to climb up to a doorway out. Although, not everyone is inclined to go. Nonnie is the only surviving member of her band, which included her brother, and is only convinced by Martin to go.

The group of people that we’ve been following go, but literally everybody else stays behind. Sadly, this includes Chaplain John, who’s resigned himself and the other to their likely fatal end. He and Reverend Scott have a heart-to-heart, and Scott makes one last plea to the rest. However, the ship’s Purser (Byron Webster) insists that they must stay behind and wait for help, and the vast majority agree with him. And as soon as our group gets to safety…

This movie...this movie is fucking brutal. The throngs panic and try to climb to safety, but the tree falls...and everybody dies as the ship begins its descent. And the Reverend watches. And holy shit. I’m shook. Real talk, I am SHAKEN by this, about as much as the Reverend is. This is...whoof.

The group head towards the kitchen, and find a fire door sealed in place. The reverend tries to open it, despite Rogo’s very realistic and good warnings about flashover (the event during which fresh oxygen is introduced to an oxygen-starved fire, reigniting it violently and quickly). Despite this, Rogo helps him with the door, and the fire is luckily not a flashover. Rev. Scott goes in and makes it out, scouting a path through the fire (and the bodies).

They all make it through the kitchen, getting closer to the engine room. And that’s when the water starts coming in.

Once again, they all make it through, and begin traversing the next obstacle: a narrow tunnel that leads to a ventilation shaft with a ladder. Also, Linda (Rogo’s wife) is wearing VERY TALL high heels as she climbs up the ladder. Lady. DROP THE SHOES!!!!

They continue to make it through the shaft...and then another explosion hits! We lose our first party member, as Acres loses his footing and falls. Rogo almost goes with him, and Nonnie’s paralyzed with fear until Martin helps her.

By the way, I realize that reading this might be a bit cumbersome, as there are a lot of names here. But when you WATCH the movie, all of these people are distinct enough that remembering them isn’t too bad. And now...there are even more people.

That’s right! There are more people, being led by the Ship’s Doctor (Jan Arvan)...in the wrong direction. They head towards the bow, towards the water, despite Scott’s warnings. Scott’s frustration, the loss of Acres, and Rogo’s stubbornness leads to a confrontation. This leads to Scott making a bet with Rogo. He’ll scout ahead for a path to the engine room, and if there isn’t one, they’ll also head toward the bow. Rogo agrees, and gives him 15 minutes. Scott leaves, with Susan Shelby (teenage sister, remember) following behind. The rest search for food and supplies in the rooms nearby.

To Scott’s great dismay, however, the main passage to the engine room is destroyed. With Susan’s help, they look for more passages, eventually finding a path covered in oil. The Rosens have their own heart-to-heart, with Belle resigned to death, and Manny clinging to hope. Martin and Nonnie go together, with Nonnie breaking down over her lost brother, and Martin comforting her as best he can. They eventually reconvene, with Scott returned from the engine room successfully. However...Robin is missing.

Scott goes back to get him...and that’s when the water comes back.

They all once again make it...but the water’s now flooded the passageway to the engine room. Scott takes a rope and tries to swim through the passageway, with the rope being used to guide everyone else through once he makes it. But, of course, he gets stuck when a metal sheet collapses on top of him. But that’s when a surprising ringer steps up to help.

Belle Rosen, the down-on-herself, most resigned-to-death member of the party, also happens to be a former swimming champion. She makes it through, and saves Scott from drowning...and has a heart attack in the process. She gives Scott a pendant for her grandson...and dies.

And that’s when I start tearing up. Fuck. I mean it, her death really got me. Talk about a heroic sacrifice.

Rogo goes to find them, and discovers that Belle’s gone. Scott tells him to get the others, without telling Manny what happened. But Manny figures it out, diving into the water. The rest follow, although Nonnie can’t swim. Martin tells her that he won’t go without her, and they go together. Manny’s the first to make it to the other side...and he sees Belle.

And that’s when I tear up again. FUCK.

Manny initially won’t leave Belle, and Scott pleas with him to come with. He asks to stay with her a little longer, and Scott relents. He gives Belle one last kiss...and goes to join the others. Thank God. I need Manny Rosen to live, goddammit. In fact...I really don’t want to lose anyone else.

A harrowing climb to the engine room takes place, and we reach the final door. And then, of course...an explosion.

Linda dies. Goddammit. And Rogo lashes out at Scott, blaming him for her death. But there’s no time for that now. Explosions cause a steam pipe to explode, blocking the exit, prompting Scott to do his own lashing out: at God. He jumps to open a valve for the rest, despite the hot steam. He screams at God to take him, instead of another of their lives. And in the process, he shuts off the steam...and his plea is answered in turn.

As Scott dies, he asks Rogo to get the rest through. But Rogo’s listless, not responding at all. Martin reams him out, rousing him again and getting him up to lead the survivors. 6 people left...and only 5 minutes of movie to go. They get to the thinnest part of the hull, where they hear scraping from the outside. They bang on the hull with pipes, and banging responds. A torch cuts through the hull...BUT IT’S NOT A TORCH, IT’S AN EXPLOSION AND EVERYBODY DIES

Kidding, of course, as they get rescued! And as they mourn their fallen, it’s discovered that these 6...are the only survivors. In the entire ship, these six were the only ones to make it out.

And THAT...is The Poseidon Adventure. FUCK TITANIC. See you in the Epilogue.

#the poseidon adventure #ronald neame #irwin allen #gene hackman #ernest borgnine #red buttons #carol lynley #shelly winters #roddy mcdowall #stella stevens #jack albertson #pamela sue martin #eric shea #leslie nielsen #disaster movie #user365 #mygifs #my gifs #action january

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ayellowbirds · 4 years

Text

on names

i have

no attachments

to my birth names

to the names i was given because they thought i was a boy

to the names of two of my great-grandfathers, to the name of my grandfather

to having to decide which name was my “middle name” on forms that only allowed only one, an initial or a short name

(opting for the second name, the one that fit in a shorter space)

to my father’s surname, the name he chose when he came to this country

for reasons

that i will never truly know

or trust

the names that are written on countless

papers

files

photos

tongues

as “a boy, a man”

the names that are written in memory i would have you forget

the names that i sometimes still mishear, when others say similar words

i have

every attachment

to my birth names

to the names i was given because of my heritage

to the names of my ancestors who struggled to thrive in lands that were hostile to them

to the pride of three given names

(keeping that pattern, now, when i have chosen my own names, i am not one or two but three)

to my father’s surname, the name he eventually surrendered to pronouncing the “American” way, that i still refuse to give without the accent of

meu neam

les miens

mi djente

the names carved into countless

signatures

journals

memories

as “me, this person”

the names that i fought over and over to have you pronounce as mine

the names that have never been similar names, that people still write or say wrong

these are not my names any longer

but

they are still

my names

and i will not have you take them and twist them

#about me #long post

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elcinelateleymickyandonie · 3 years

Text

Jean-Pierre Aumont.

Filmografía

Cine

1931 : Jean de la Lune, de Jean Choux, con Michel Simon y Madeleine Renaud

1931 : Échec et mat, de Roger Goupillières

1932 : Faut-il les marier ?, de Pierre Billon y Karel Lamač

1933 : Dans les rues, de Victor Trivas

1933 : Un jour viendra, de Gerhard Lamprecht y Serge Véber

1933 : La Merveilleuse Tragédie de Lourdes, de Henri Fabert

1933 : Ève cherche un père, de Mario Bonnard

1934 : Lac aux dames, de Marc Allégret, con Simone Simon y Michel Simon

1934 : Le Voleur, de Maurice Tourneur, con Victor Francen

1934 : Maria Chapdelaine, de Julien Duvivier, con Madeleine Renaud y Jean Gabin

1935 : Les Yeux noirs, de Victor Tourjansky, con Harry Baur, Viviane Romance y Simone Simon

1935 : L'Équipage, de Anatole Litvak, con Annabella y Charles Vanel

1935 : Les Beaux Jours, de Marc Allégret, con Simone Simon y Raymond Rouleau

1936 : Tarass Boulba, de Alexis Granowsky, con Harry Baur y Danielle Darrieux

1936 : La Porte du large, de Marcel L'Herbier, con Victor Francen

1937 : Le Chemin de Rio, de Robert Siodmak, con Jules Berry y Suzy Prim

1937 : Drôle de drame ou L'étrange aventure de Docteur Molyneux, de Marcel Carné, con Louis Jouvet y Michel Simon

1937 : Le Messager, de Raymond Rouleau, con Jean Gabin y Gaby Morlay

1937 : Maman Colibri, de Jean Dréville

1937 : La Femme du bout du monde, de Jean Epstein, con Charles Vanel

1938 : Chéri-Bibi, de Léon Mathot, con Pierre Fresnay

1938 : Hôtel du Nord, de Marcel Carné, con Annabella, Louis Jouvet y Arletty

1938 : Le Paradis de Satan, de Félix Gandéra, con Pierre Renoir

1938 : Belle Étoile, de Jacques de Baroncelli, con Michel Simon

1939 : Le Déserteur, de Léonide Moguy

1939 : S.O.S. Sahara, de Jacques de Baroncelli, con Charles Vanel

1943 : Assignment in Brittany, de Jack Conway

1943 : The Cross of Lorraine, de Tay Garnett, con Gene Kelly

1944 : Croix de Lorraine en Italie, corto de François Villiers

1946 : Heartbeat, de Sam Wood, con Ginger Rogers

1947 : Song of Scheherazade, de Walter Reisch

1948 : The first gentleman, de Alberto Cavalcanti

1948 : Siren of Atlantis, de Arthur Ripley y Gregg G. Tallas, con Maria Montez

1949 : Hans le marin, de François Villiers, con Maria Montez y Lilli Palmer.

1949 : Golden Arrow, de Gordon Parry

1950 : La vie commence demain, documental de Nicole Vedrès

1950 : L'Homme de joie, de Gilles Grangier

1951 : L'Amant de paille, de Gilles Grangier

1951 : La vendetta del corsaro, de Primo Zeglio, con Maria Montez

1951 : Ultimo incontro, de Gianni Franciolini, con Alida Valli y Amedeo Nazzari

1951 : Hollywood sur Seine, corto de François Villiers

1952 : Les loups chassent la nuit, de Bernard Borderie

1953 : Moineaux de Paris, de Maurice Cloche

1953 : Lili, de Charles Walters, con Leslie Caron y Mel Ferrer

1953 : Kœnigsmark, de Solange Térac

1953 : Vedettes en pantoufles, corto de Jacques Guillon

1954 : Charge of the lancers, de William Castle, con Paulette Goddard

1954 : Si Versailles m'était conté..., de Sacha Guitry

1955 : Dix-huit heures d'escale, de René Jolivet, con Maria Mauban y Georges Marchal

1955 : Napoléon, de Sacha Guitry

1955 : Mademoiselle de Paris, de Walter Kapps

1956 : Hilda Crane, de Philip Dunne, con Jean Simmons

1957 : The seventh sin, de Ronald Neame

1959 : La Verte Moisson, de François Villiers

1959 : John Paul Jones, de John Farrow, con Robert Stack y Bette Davis

1960 : The Enemy general, de George Sherman, con Van Johnson yt Dany Carrel

1961 : Una americana en Buenos Aires, de George Cahan

1961 : El diablo a las cuatro, de Mervyn LeRoy, con Spencer Tracy y Frank Sinatra

1961 : Le Puits aux trois vérités, de François Villiers

1961 : L'Art de vivre, corto de Edouard Berne

1962 : Les Sept Péchés capitaux, episodio "L'Orgueil", con Marina Vlady y Samy Frey

1962 : Five miles to midnight, de Anatole Litvak, con Sophia Loren y Anthony Perkins

1962 : Una domenica d'estate, de Giulio Petroni

1962 : The horse without a head, de Don Chaffey

1962 : Socia de alcoba, de George Cahan

1963 : Vacances portugaises, de Pierre Kast

1965 : Il était une fois un tracteur, de Leopoldo Torre Nilsson

1967 : Blind man's bluff, de Edward Mann, con Boris Karloff

1969 : Castle keep, de Sydney Pollack, con Burt Lancaster

1970 : El coleccionista de cadáveres, de Santos Alcocer

1971 : L'Homme au cerveau greffé, de Jacques Doniol-Valcroze

1971 : Biribi, de Daniel Moosmann

1973 : La noche americana de Franço.

Televisión

1951 : Robert Montgomery Presents, episodio A christmas gift

1951 : Celanese Theatre, episodio No Time for Comedy

1952 : Goodyear Television Playhouse, episodio A Softness in the Wind

1952 : Studio One, episodio Letter from an Unknown Woman

1953 : The Philco Television Playhouse, episodio The Way of the Eagle

1953 : Lux Video Theatre

1954 : Lady Warner a disparu, de François Chatel

1954 : Studio 57, de Paul Landres

1955 : The Martha Raye Show

1956 : Climax!

1957 : Errol Flynn Theater, de Lawrence Huntington

1957 : Kraft Television Theatre

1958 : Playhouse 90

1960 : Letter to Loretta

1960 : So Help Me, Aphrodite

1960 : The United States Steel Hour

1963 : The Patty Duke Show

1963 : L'Affaire du cheval sans tête

1965 : The Nurses

1967 : Le comte Yoster a bien l'honneur, episodio "La troisième prophétie de l'ange de la mort"

1968 : Les Chevaliers du ciel, de François Villiers

1968 : The Name of the Game, episodio "The White Birch"

1969 : Au théâtre ce soir: Carlos et Marguerite de Jean Bernard-Luc, escenografía de Christian-Gérard, dirección de Pierre Sabbagh, Teatro Marigny

1970 : La Pomme de son œil, de François Villers

1972 : Comme il vous plaira, de Agnès Delarive

1972 : Joyeux Chagrins, de François Gir

1975 : Au théâtre ce soir: On croit rêver, de Jacques François, escenografía del auteur, dirección de Pierre Sabbagh, Teatro Edouard VII

1975 : N'oubliez pas que nous nous aimons, de Luc Godevais

1976 : Starsky y Hutch, de William Blinn, episodio "Murder at Sea"

1977 : Rendez-vous en noir, de Claude Grinberg

1978 : La Corde au cou, de Marcel Moussy

1979 : Paris-Vichy, de Anne Revel

1979 : Le Petit Théâtre d'Antenne 2: "La Belette", de Charles Vildrac

1979 : The Love Boat", 1 episodio

1979 : The French Atlantic Affair, de Douglas Heyes

1979 : Beggarman, voleur, de Lawrence Doheny

1980 : La Mémoire d'Eva Ryker, de Walter Grauman

1980 : Un temps pour les miracles, de Michael O'Herlihy

1981 : Carte Vermeil, de Alain Levent

1981 : Arcole ou la terre promise, de Marcel Moussy

1981 : Emmenez-moi au théâtre, "Le fleuve étincellant", de Charles Morgan

1982 : Hart to Hart, de Earl Bellamy

1983 : Quelques hommes de bonne volonté.

Teatro

Adaptación

1958 : Lucy Crown, de Irwin Shaw, escenografía de Pierre Dux, Théâtre de Paris

Autor

1959 : Ange le Bienheureux, escenografía de Jacques Charon, Théâtre des Célestins

Actor

1926 : Au grand large, de Sutton Vane, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1926 : Le Carrosse du Saint Sacrement, de Prosper Mérimée, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1930 : Le Prof d'anglais ou le système Puck, de Régis Gignoux, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1932 : La Pâtissière du village ou Madeleine, de Alfred Savoir, escenografía de Louis Jouvet, Théâtre Pigalle

1934 : Au grand large, de Sutton Vane, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1934 : La Machine infernale, de Jean Cocteau, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1936 : Le Cœur, de Henry Bernstein, Théâtre du Gymnase Marie-Bell

1937 : Famille, de Denys Amiel y Monique Amiel-Pétry, escenografía de Marcel André, Théâtre Saint-Georges

1939 : L'Amant de paille, de Marc-Gilbert Sauvajon y André Bost, escenografía de Jean Wall, Théâtre Michel

1944 : Une grande fille toute simple, de André Roussin, escenografía de Louis Ducreux, Théâtre des Ambassadeurs

1947 : L'Empereur de Chine, de Jean-Pierre Aumont, escenografía de Marcel Herrand, Théâtre des Mathurins

1949 : My Name Is Aquilon, a partir de L'Empereur de Chine, de Jean-Pierre Aumont, adaptación de Philip Barry, escenografía de Robert B. Sinclair, Lyceum Theatre (Nueva York)

1950 : Le Voyage, de Henry Bataille, escenografía de Henri Bernstein, Théâtre des Ambassadeurs

1953 : Les Pavés du ciel, de Albert Husson, escenografía de Christian-Gérard, Théâtre des Célestins

1954 : Carlos et Marguerite, de Jean Bernard-Luc, escenografía de Christian-Gérard, Théâtre de la Madeleine

1954 : Les Pavés du ciel, de Albert Husson, escenografía de Christian-Gérard, Comédie Caumartin

1955 : Il y a longtemps que je t'aime, de Jacques Deval, escenografía de Jean Le Poulain, Teatro Edouard VII

1955 : The Heavenly Twins, a partir de Les Pavés du ciel, de Albert Husson, escenografía de Cyril Ritchard, Booth Theatre

1956 : Amphitryon 38, de Jean.

1958 : L'Impromptu de Barentin, de André Maurois, Festival de Barentin

1959 : Ange le Bienheureux, de Jean-Pierre Aumont, escenografía de Jacques Charon, Théâtre des Célestins

1959 : Mon père avait raison, de Sacha Guitry, escenografía de André Roussin, Théâtre de la Madeleine

1960 : A Second Sting, de Lucienne Hill a partir de Colette, escenografía de Raymond Gérôme, Eugene O'Neill Theatre (Nueva York)

1962 : Flora, de Fabio Mauri y Franco Brusati, escenografía de Jules Dassin, Théâtre des Variétés

1963 : Tovarich, de Anne Croswell y Lee Pockriss, escenografía de Peter Glenville, Broadway Theatre, Winter Garden Theatre

1970 : Camino Real, de Tennessee Williams, escenografía de Milton Katselas, Vivian Beaumont Theatre (Nueva York)

1971 : Les Anges meurtriers, de Conor Cruise O'Brien, escenografía de Joan Littlewood, Théâtre de Chaillot

1971 : Murderous Angels, de Conor Cruise O'Brien, escenografía de Gordon Davidson, Playhouse Theatre (Nueva York)

1972 : Nous irons à Valparaiso, de Marcel Achard, escenografía de Jacques-Henri Duval, Théâtre des Célestins, Giras Herbert-Karsenty

1975 : Des journées entières dans les arbres, de Marguerite Duras, escenografía de Jean-Louis Barrault, Théâtre d'Orsay

1976 : Des journées entières dans les arbres, de Marguerite Duras, escenografía de Jean-Louis Barrault, Ambassadors Theatre (Nueva York)

1981 : A Talent for Murder, de Jerome Chodorov y Norman Panama, escenografía de Paul Aaron, Teatro Biltmore (Nueva York)

1982 : Coup de soleil, de Marcel Mithois, escenografía de Jacques Rosny, Théâtre Antoine

1984 : Pense à l’Afrique, a partir de Think of Africa, de Gordon Dryland, escenografía de Jean-Pierre Granval, Théâtre Renaud-Barrault.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Jean-Pierre_Aumont

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

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moviereviewstation · 4 years

Text

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)

#movie #movie list #review #film #actor #director #writer

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citizenscreen · 4 years

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I’m ready to get my classic Oscars groove on for the 25th year.

As you may know, I’ve been celebrating Turner Classic Movies‘ (TCM) month-long tribute to the Academy Awards for several years alongside Paula Guthat and Kellee Pratt with a blogathon. This year, however, we decided to forego the effort and celebrate individually across social media. We are narrowing our blogathon hosting duties to just that event we cannot do without. That said, ignoring the celebration altogether is not an option for me since this year’s 31 Days of Oscar festival is the network’s 25th venture honoring movies and players linked to that coveted golden statuette.

It is quite unbelievable that I’ve been watching 31 Days of Oscar for 25 years. I mean, I’m only 26. Well…on one foot maybe! Anyway, each year I look forward to the theme TCM will choose to present the festival and this year’s is a doozy, 360 Degrees of Oscar, spotlighting connections from film to film to film. No doubt this will enhance chatter across social media, but particularly on Twitter where TCMParty resides. Those exchanges are always entertaining.

This year’s 31 Days of Oscar festival kicks off on February 1 with Tony Richardson’s The Entertainer (1960) and concludes on March 2 with Richardson’s Tom Jones (1963), a terrific film 360 completed. In between there are films from 92 years of Oscar including several new-to-me classics, which means my DVR will be working steadily. There are also a handful of TCM premieres to look forward to. Here they are…

Ron Shelton’s Bull Durham (1988) on February 8

Rudolph Mate’s When Worlds Collide (1951) on February 13

Sidney Pollack’s The Firm (1993) on February 14

Jack Cardiff’s Sons and Lovers (1960) on February 18

Stephen Daldry’s The Hours (2002) on February 21

Edward Dmytryk’s Broken Lance (1954) on February 27

Ronald Neame’s The Card (1952) on March 2

As I perused the schedule, the dates that jumped out as promisingly stacked for me are February 4, 10, 16, 17, 21, and March 1 and 2. Those types of days have occurred every year for 24 years running – and we’re talking about more than 16,000 of movies in 24 years. That’s impressive. This year there are plenty of familiar favorites in store as well as lesser known movies scheduled to satisfy all manner of fans. Here are a few of the faces featured in this year’s festival…

I want to wish the 31 Days of Oscar festival a happy 25th anniversary and extend a hearty congratulations to all who put it together at TCM. This festival has introduced me to numerous films and Hollywood players I would otherwise not have seen out on my own. Of course, Oscars time is also Robert Osborne time for many fans as he so admired the history of the Academy Awards with his 85 Years of the Oscar a book I turn to often. His memory makes this time of year extra special whether I’m up-to-date with the year’s nominees or not.

That’s all from me for now, but I will see you online as the 31 Days go by. I may still dedicate an entry to a specific Academy Award contender from days gone by for fun. And don’t forget to watch the Oscars on February 9 on ABC.

TCM’s 25th 31 Days of Oscar I'm ready to get my classic Oscars groove on for the 25th year. As you may know, I've been celebrating…

#31 Days of Oscar 2020 #TCM #TCM&039;s 31 Days of Oscar

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filmreviewonline · 5 years

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Downton Abbey Movie - Stars on real royals visiting and more to come…

New Post has been published on https://www.filmreviewonline.com/2019/09/21/downton-abbey-movie-stars-on-real-royals-visiting-and-more-to-come/

Downton Abbey Movie - Stars on real royals visiting and more to come…

The Downton Abbey Movie had a press conference with stars Hugh Bonneville, Elizabeth McGovern and Allen Leech. This was yesterday on the day of the official USA theatrical release September 20th, 2019.

The movie, which is directed by Michael Engler from a script by series creator Julian Fellowes, had a budget of just $13 million. This former television period series has already earned $12.2 million overseas. That includes $7.5 million in the UK alone. At the time of the press conference US previews had also taken $4.3 million. Now the first weekend predictions have been revised to at least $30million. And we have to remember that is amazing given it is against Rambo Last Blood and Ad Astra! All this is good for the fans as surely more movies might follow?

All this put Hugh, Elizabeth and Allen in a happy mood as you can see from our summary of the press conference’s light hearted chat. Here the talk about revisiting characters, real royals visiting and the prospect of more to come…

What are things that you would like audience members to walk away from this movie?

Elizabeth McGovern: Entertained. Reassured.

Allen Leech: Happy. And we want them to walk away as well. We don’t want them to, you know, die in the theaters…

Elizabeth: And then come back again!

Hugh Bonneville: It is to escape from the hassles of our current world. It’s pretty nice and it’s a nice place to go. And you sort of know you’re going to be looked after, because I think the characters in Downton Abbey look out for each other in some way, shape, or form.

I don’t think we need to apologize for that. It’s just pure escapism. And so it’s a nice place to be for a couple of hours.

Period Pieces

Curvy Critic: [Elizabeth], you were nominated for best supporting actress in Ragtime. And you’ve been doing Downton Abbey for ten years. What is it about period pieces that makes you intrigued as an actress?

Elizabeth: I seem to end up in period pieces quite a bit. But the fact is, I really don’t care about that. I’m really drawn to great stories and great characters. And the fact that they happen to be in that period is irrelevant to me.

I really hope that they spring out to a modern audience as if they are not in the period. And that what’s kind of remarkable is that people in that period are just like we are today. Things really don’t change all that much.

But of course we might be completely wrong!

Hugh: We actually had a historical advisor who was the sort of continuum of that or made sure that these standards were maintained. And there was sort of a house start, wasn’t there, that was established very early on. The women wouldn’t cross their legs and the men wouldn��t put their hands in their pockets. It was simple as that.

And I suppose that did lend it to certain if not grace, then a certain look to the thing.

Revisiting characters

Clarissa Camacho (with Queen Bee Latina): How does it feel to revisit characters that were untouched for almost four years?

Allen: I think when we read the script, we all had a certain level of trepidation going in. The funny thing is, the minute you start reading the script and then when you start getting into your costume, you realize actually that it’s almost muscle memory.

So it was a really happy discovery for me that it didn’t take a huge amount to get back to being Tom Branson at all.

Elizabeth: You don’t have to think about all those things that you think about when you’re just creating the character to begin with. How do they talk? How do they walk? How do they sit? And since it’s so deeply in our bones, you can just play it. You can just be it.

Perhaps go to a deeper more confident place for that reason. So it’s a luxury because it doesn’t happen very often that you get a chance to revisit a character that has just settled in your bones for years without you even thinking about it.

Reignited

Karen: What was the atmosphere like when y’all reignited on the set?

Hugh: I think really the moment that sticks in my mind is when we joined together for the read through.

Now obviously we had six of these events in the past. But there had been a gap of three years. And it was a small miracle that Gareth Neymar, executive producer, had managed to get all of us around the table again.

I do remember looking around the table at this big square, this big old square table that was erected around the studio. And basically having sort of a wry grin on my face. Sort of I can’t believe that we’re here again.

Elizabeth: I feel like we all quietly grew in confidence a little bit in the best way. Like when somebody is quietly more confident, they’re just more fun and more relaxed. I feel like across the board, you could apply that to every member of the cast.

I think that pervaded the atmosphere when we were making the movie. There was a kind of quiet, peaceful confidence that wasn’t brash or arrogant. It was just kind of there.

Play a different Downton character?

Moderator: If each of you had the opportunity to play a different Downton Abbey character for an episode, who would you want to play?

Allen: I don’t think I could play it half as well. But I would love just to be Thomas Barrow for a day. An early Thomas Barrow. Like evil, smoking, have the conniving Thomas Barrow.

Hugh: I think I would like to play Lady Mary. Because then you can shag a Turkish diplomat, have incredible sex, and then you don’t have to see them for breakfast!

Elizabeth: I cannot follow that answer!

Personal habits

Al Siran Hifo (with Entertainment Voice): Have personal habits changed after embodying these people from another world for so many years?

Elizabeth: It’s made me appreciate the freedoms that we enjoy as women and the power that we enjoy as women, which I might have taken for granted otherwise.

I am so happy at the end of the day to come back to 2019 and know that I can vote, I can control my own money, I can control my own destiny. And we’ve come a long way, baby.

Hugh: I think just the common courtesies that everybody in the estate is used to expressing. I think they aren’t bad things to hold onto now.

Tough times

Melissa (with Dandelion Women): I went through a tough time. My father passed and my mom and I binge watch for a couple of months. So you guys really helped us through a tough time.

Allen: Oh, thank you.

Elizabeth: We hear stories like that sometimes. And I can’t tell you genuinely how much it means to us. Because sometimes in the world of show business, you get just so sick of the bullshit.

Favorite line

Melissa:[Did] you guys if you had a favorite line or scene from this movie?

Hugh: I think we all immediately go for one of Maggie’s lines.

Elizabeth: Yeah. We all want Maggie’s lines. Let’s not mince words.

UK and US fans

Angela (with Front Row Features): What are the differences that you’ve noticed between fans in the UK and fans in the US of Downton Abbey?

Allen: Rob James-Collier summed it up brilliantly when he said in the US, fans will cross roads and risk being knocked down to tell you they love your show. [LAUGHTER].

And in the UK, people will cross roads and risk being run down just to tell you they don’t watch it. Which is very true.

Yeah. So the enthusiasm and the excitement that we experience from American audiences is so refreshing.

Elizabeth: You’re much more comfortable with your emotions.

Royals

Have you guys had a chance to meet the royals? Are they fans?

Hugh: I don’t know if they’ve seen the movie. But we had a dry run of the film plot, because the duchess of Cambridge came to visit the set.

Allen: Kate Middleton.

Hugh: Kate Middleton, Yes.

So she came to the set in our final season at Ealing. And that was a great day.

She was due to stay for an hour or so. Her detectives were checking their watch. She was there for about three hours. She was having such a good time looking around the wardrobe bus and learning how everything worked.

We also had a couple of visits from the Countess of Wessex. Sophie Wessex came a couple of times incognito. There was one occasion when we were filming outside Oxford I think it was at a house that Winston Churchill for sort of war plans during the war.

We knew that a dignitary was coming to visit sort of by coincidence. Argentinean ambassadors and her entourage were coming to be escorted by the Duchess of Wessex.

Unfortunately, my good lady screen wife didn’t really take all this on board and thought she had met the blonde haired lady in the supermarket recently.

Elizabeth: No. I thought she was an extra wardrobe person that had come on. [I] didn’t recognize her.

Hugh: Okay. So that was Sofie Wessex. Yeah. Just so you know for next time. Member of the royal family.

No wonder she found us so weird when you said, can you sew this part of my dress please!

The dinner scene with Molesley and the ballroom scene. You guys had to have had some moments where you cracked up and they had to like redo the take. You had to. Especially the scene with Molesley.

Hugh: Well, normally those dining room scenes, we can’t wait to get out, because they take a long time, those dining room scenes, for sort of obvious reasons.

That’s the one time that we actually just wanted to stay in the room and see them there, because take after take, he was just sublime.

Allen: It was a lovely moment where Maggie saw him do it for the first time. And she just turned. And there was a bit of applause. And she just turned and went, well, that’s delicious. [LAUGHTER]. And I think it’s a lovely way of describing that moment. Because he’s such a comic genius.

The ballroom was fun. Because obviously I sat on the sidelines and watched these guys do their job. And every so often myself and Imelda Staunton, we would go in and we would give our judging scores. And Dancing With The Stars. We would go in and everyone would line up and then we would walk up and down. And then we go, you guys were the best this time. Well done. And so everyone got to win at different stages. Except for the king and queen. Now that wasn’t Gerald and James’ fault.

Elizabeth: They sucked.

Allen: They sucked. [LAUGHTER]. For royalty, they really couldn’t dance.

Hugh: Over the years, Elizabeth and I have had quite a few dances in the TV show.

Diana Scrivener who is our choreographer has always been very patient, because we often may start at the bottom of the class, but she gives us incentives. It will go little badges each way. And we finally ended up with gold. We were very excited. We got a gold star.

The end?

Do you feel like this is really the end?

Hugh: I think realistically, it’s certainly the end for us in terms of the TV show. Of course there could be, because let’s not forget that the central character is the house. And the house is still standing and will be standing in another 100 years. So absolutely.

Knowing a little bit of the history of Lord and Lady Carnavron’s family, the current earl who lives there, his grandfather was quite a character. And if those walls could talk in the 1960s, that was one heck of a party house. So some fascinating shenanigans would have gone on over the years.

So of course, I think they absolutely could do spinoffs in that way.

In terms of our section of the history, I think if you can just persuade all your friends to go and see the movie, then maybe we’ll do another one.

Allen: Yeah, absolutely. If the appetite is there…

Selena Hughes: Since everything is wrapping up, what will you take with you? What’s going to be in your Downton Abbey heart?

Allen: I had a very poignant moment with Hugh actually. We snuck in at the New York premier. And we stood at the back of the theater for the last 20 minutes of the movie.

For me, I’ll take this incredible journey that we had over ten years. And the amazing family I have.

#Allen Leech #Downton Abbey Movie (2019)#Elizabeth McGovern #Hugh Bonneville

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doctorwhonews · 6 years

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Shada (DVD/Blu-Ray/Steelbook)

Latest Review: Shada Written by: Douglas Adams Directed by: Pennant Roberts, Charles Norton Produced by: Graham Williams Cast Tom Baker (The Doctor), Lalla Ward (Romana), David Brierly (K9), Christopher Neame (Skagra), Daniel Hill (Chris Parsons), Denis Carey (Professor Chronotis), Victoria Burgoyne (Clare Knightley), Gerald Campion (Wilkin), Shirley Dixon (Ship), Derek Pollitt (Caldera), James Coombes (voice of the Kraags), John Hallet (Police Constable), David Strong (Man in Car) Cover Art: Lee Binding (DVD, Blu-Ray), Adrian Salmon (Steelbook) Originally Released: November 2017 Shada Reborn Quite possibly a record-breaking candidate for the longest filming period for a single script, Shada bridges two millennia – from 1979 to 2017 – and represents a heroic effort to finally plug one of the most egregious gaps in the Doctor Who canon. In a way, Shada mirrors the antagonist of that other great Douglas Adams story, City of Death. Just as Scaraoth is shattered into dozens of versions of himself across the centuries, the industrial action that stymied the original production of the serial saw it fractured into a number of variants and doppelgangers. Most famously, Adams decided the root concepts and ideas behind his final Doctor Who script were too good to waste and they found their way into his Doctorless novel Dirk Gently’s Holistic Detective Agency. In 1992, a rough edit of the surviving footage was patched together with exposition from Tom Baker and some unsympathetic synthesizer music. Later again, an animated incarnation saw Paul McGann’s Eighth Doctor reunite with Romana and K9 and a new supporting cast to cure a nagging feeling of something undone in Cambridge 1979. But this Shada is very much the real deal. The entire surviving cast have been reunited to record the missing dialogue, the missing sequences have been animated where appropriate, though brand new models and have constructed and filmed by the Model Unit to act as inserts in the live action scenes, and a brand new score by Mark Ayers is constructed like an act of musical archaeology to recreate the instruments, methods and style of 1970s legend Dudley Simpson. It can never by Shada as it would have been, but it by far lays the strongest claim to being the definitive article. As with any such project, the team had to make creative decisions and not everyone will agree with all of them. For instance, with Denis Carey (Professor Chronotis) and David Brierly (K9) having died since their original contribution a couple of minor scenes requiring them are left unanimated, while others have their presence reduced to lines which could be reproduced from other recordings of the actors. While some no doubt may have preferred soundalikes to be used to make as complete a version as possible, it’s a sensitive decision and highlights that, in fact, the missing moments were largely padding anyway. Similarly, but much more controversially, is the decision to assemble Shada as a 138 minute film rather than as six episodes. (It even has - steady yourself - a pre-titles sequence). This will go against every instinct of many long term fans, still sore from VHS cassettes of hacked down stories and the fight to get episodic releases. But in this case it seems to work. Watched in one sitting it makes for a breezy, fun, adventure – yet the way the story is paced would have seen the episodic version with a curiously uneventful Part One and a number of extremely undramatic cliffhangers (only the midway point would have given us something as genuinely brilliant as “Dead men require no oxygen”). For me, the only genuinely poor decision is to seize on the existence of the original K9 prop, some original wall panels from the 1979 set, and the surviving (bottom) half of an original Kraag monster costume to recreate a few shots of K9 fighting a Kraag. I appreciate the sentiment behind it, but the fact the surviving bit of set to squeeze them into is so small, and the Kraag only visible from the waist down, makes for a weirdly, and unintentionally silly, looking moment that takes you out of the flow of the story more than the switches to animation do. Few would argue, though against the decision to bring in Martin Gergharty and Adrian Salmon to do design work for the animation. Not only are they brilliant in their own right, creating clear lined, loyal yet character-filled, interpretations of the cast in warm, friendly colours, it also helps smooth over the slightly stilted, flash style – the characters may not feel like they have a full range of human movement, but the presence of Gergharty’s art, so familiar to the readership of Doctor Who Magazine, makes it feel almost like panels from the beloved DWM comic strip brought to life. Shada Reviewed But has all this effort simply been an ultimate exercise in obsessive, fannish, completeness? Are we seeing the resurrection of a poor story just because it’s there to be done, or the completion of a classic in its own right? In short – is Shada actually any good? As it happens, Shada is brilliant jewel to add to Doctor Who’s crown if one, like all the most spectacular diamonds, not without its flaws. One the wittiest of Who scripts, and certainly with one of the most fascinating premises, at six parts it’s basically City of Death with extra portions. Famously, one of the script’s biggest critics is its own author – written, as it was, at a point when Douglas Adams was juggling several different projects and deadlines and pouring his greatest effort into his own personal work rather than Doctor Who. Considering that a billion years from now, stuck in the glovebox of an interplanetary roadster, the fruits of that rival project may be the last sign of the human race’s existence, it would be churlish to complain about that but still, Adams is being ungenerous about the serial. In almost every way, this is the fullest encapsulation of the latter half Tom Baker years. Tom himself exudes the same sort of relaxed charm, peppered with moments of total nonsense that marked City of Death while Lalla Ward has never seemed more possessed of an unearthly beauty. All of their scenes together are a joy and something as simple as them going boating, or visiting an old friend in his rooms for tea is all stuff I could watch hours of, even without any alien menaces showing up. And the alien menace that does show up is stupendous – possibly the most unbelievable thing about the whole story is the revelation on the commentary track that the people in the background of Cambridge genuinely ignored Christopher Neame in his outrageous hat and slowing silver cape as if he was an everyday sight. But the massively fun campness of Neame’s character Skagra is balanced by the imaginative and typically Adamsian plot the villain has hatched. Skagra is unusually preoccupied with the heat death of the universe in several billion years’ time and obsessed with stopping it. Like solving the central question of Life, the Universe, and Everything the main stumbling block to finding the answer is processing power – so he’s going to absorb every mind in the universe into one great gestalt entity, so that every being in creation is simply a conduit for finding a way to save it without the petty distractions of life. In a way, it’s Douglas Adams inventing cloud computing thirty years early and typical of the scientific verve and imagination he brought to everything he wrote. (Tellingly, a year later his replacement would also craft a story about forestalling the heat death of the universe but, while propounding the superiority of ‘hard science’, would solve it by inventing some space wizards who use magic words to make it go away).There are undoubtedly flaws, mostly as we race towards the end with the mounting sense of a script with the ink still wet and no time for afterthought or final drafts. Chris Parsons is probably the best of the solid young everymen Doctor Who has ever featured, and pitched perfectly by Daniel Hall, yet despite early episodes spending more time of introducing and building on his character, he gets lost in the shuffle of the climax. There’s even a dramatic scene of Chris making a vital deduction and racing out to save the day, only for Adams to be plainly unable to think of anything to give him to do once he gets there (a problem Gareth Roberts ingeniously solved in his 2012 novelization but which, presumably for purity’s sake, the producers here don’t take the opportunity to steal). Meanwhile, the Kraag outfits are really quite poor, even for the era that gave us the Nimon and the Mandrel, and a lot of the location film work in Cambridge feels rather loose and in need of a tighter edit.Yet, there’s an inescapable magic to Shada that goes well beyond its status as a mythical ‘lost’ story, and had it been completed in 1979 it would still have been regarded as one of the highpoints of Season Seventeen. Extras This release comes with a full set of extras the complement the story perfectly. A commentary orchestrated by the unsinkable Toby Hadoke on less funding than the bus fare into town sees him interview Neame and Hall about their experiences during filming, and Gergharty and animator Ann Marie Walsh about the pressures and effort involved in creating the project against incredibly tight deadlines. Taken Out of Time interviews many of the those involved in front of and behind the cameras on the original production to build a picture of exactly how it came to abandoned in the first place. Strike! Strike! Strike! uses contributions from those involved in industrial relations at the time to help explain exactly how the unions of 1970s television came to be so powerful, and give a potted history of their rise and fall through the lens of how industrial action had impacted Doctor Who over the decades both negatively (when it was at the BBC) and positively (when it was arch rival ITV left showing blank screens opposite the Doctor’s adventures). Both of these are proper, half hour documentaries that tell a story of their own almost as compelling as Shada itself. There’s also fascinating Studio Sesssions - 1979, showing the working methods of the cast and crew in-studio as the cameras roll between takes. Most fun of all is are the Dialogue Sessions – in which we get to see Tom Baker and Daniel Hall record their contributions for the animation, with all Tom’s uproarious ad libs and suggestions for improvements to the script intact. The extras are rounded out with the video of the Model Unit filming of Skagra’s space station and ship, as well as the TARDIS model, new footage taken of Daniel Hall and Tom Baker’s stand-in as reference for animation, photo galleries, as well as the obligatory Now and Then tour of what the Cambridge locatoins look like three decades on. ROM content even includes a full set of scripts, storyboards, and the 1979 Doctor Who Annual (if, rather bizarrely, packed as 56 separate image files).The Steelbook release goes even further to try and lay claim to the definitive Shada package – with a third disc containing the 1992 reconstruction and the 2003 Paul McGann web animation adaptation (remastered for viewing on TV screens rather than computer monitors). About the only thing not included is the novelization. Presentation and Packaging The DVD version has a slightly astonishing error where the coding that tells a television to display it as 16:9 or 4:3 is messed up – meaning that if watched on a 4:3 television the image will appear in the centre of the screen, with black bars on all sides – top, bottom, left and right. On a modern 16:9 television it displays the picture correctly (with bars on left and right as this is archive television intended as 4:3) but even then some resolution is lost as the image is basically being blown up to fit. That said, you’d be hard pressed to actually notice the lower resolution on viewing the DVD and it probably still looks better than it would have done on the average 1970s domestic television. All the same it’s disappointing to see such hard work by so many involved obviously handed off to someone much less fastidious at the eleventh hour for authoring the DVDs. It should be stressed, however, that the Blu-Ray and Steelbook don’t share this flaw so, if it’s going to bother you, those are the routes to take. The cover art, some may remember, was the cause of a bit of a social media flap last year when Clayton Hickman’s distinctive and unusual scarf patterned cover was ditched at the comparative last minute. In the final result, Lee Binding’s replacement is… fine, if a little bland and stilted seeming, probably as a result of the tight deadlines under which it was done. Strangely, a vestige of Hickman’s original design lingers on in the insert booklet. “Bland” is not something anyone could accuse the Steelbook art of. Undoubtedly DWM’s most marmite love-him-or-hate-him artists, Adrian Salmon provides a cover piece in his distinctive, angular, impressionistic style. Personally, I love him. A thread long dangling frustratingly at the corner of Doctor Who history, Shada is reborn by a massive and dedicated effort by a hugely talented team to reveal it as an all time classic mix of Douglas Adams’ trademark whimsy and intelligence. Handsomely accompanied by a great set of extras and marred only by some inexplicable technical sloppiness, this is a must for any collection. But one, perhaps, to get on Blu-Ray if possible. http://reviews.doctorwhonews.net/2018/02/shada_dvd_blu_ray_steelbook.html?utm_source=dlvr.it&utm_medium=tumblr

#BBC Worldwide #DVD #Blu-Ray #Steelbook #Fourth Doctor

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codename-bewareofthefangirl · 7 years

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kuromomo scenario pls! the whole gom go to summer festival like they did in middle school, then they watch fireworks together, but kuromomoi is separated from the rest of the gom because kuroko secretly want this to be a "date" then during the firework show he kisses her and they became a couple! *sorry its so cheesy >///

Hi dear! Sorryif I made you wait so much! It’s a hellish period, really. Yet, I hope youenjoy this little thing and forgive me if it’s not the best of the best even ifI tried, but lately I’m really tired.

Have a niceday!

KuroMomo, TheGoM, Fluff and First Kiss

Forgotten Words

“Ne Satsuki where is the caramel apple shop?”

“Aominecchi you haven’t stop eating since we arrived!”

“Shut up Kise.”

“You two don’t argue! Dai-chan, it’s this way!”

“Midorima-kun, would you like to play some shootinggame against me?”

“Akashi-kun you’re speaking to a player who’s nevermissed a shot.”

“He’s gonna win either way, Midorimacchi.”

“Murasakibara, I’m going to steal your food.”

“Eh, so mean Midorimacchi.”

Kuroko sighed exasperated, following the colorful andnoisy group of members of the Generation of Miracles, wearing yukatas and attractingweird glances from the other visitors.. He knew that in part was his fault, buthe didn’t know those guys could be so excited about the festival.

He had planned to finally ask Momoi out that night,yet he’d chickened out a bit when inviting her for a date and in the end optedto organize a group hang out. He had thought everything: in that period therewas a local festival to which they all used to go during middle school and itwas the perfect excuse to force them to come. He then had invited all the guysand planned to sneak away with Momoi at the right time and ask her.

Yet, yet his friends were worse than children. Theyhad dragged him everywhere, trying every kiosk, game, sampled every type offood and won every type of silly prize. Akashi and Midorima were probably goingto be banned from the festival, since they already collected enough toys toopen a shop. Aomine and Kise, in particular, had kept (friendly) bantering likeusual for the whole time and Momoi’d had to play the part of the older sister,avoiding them to scare away children or damage things.

That way, Kuroko was never going to find the rightmoment.

He gritted his teeth, feeling the temptation to give up.

No. He was ready. It had to be that night.

Since he couldn’t manage to distract the group on hisown, he had to ask for help. There was only a person who could help him withlove related things and, even if he knew the price to pay for it was going tobe painfully high, he hadn’t any other choice.

“Kise-kun.” He murmured annoyed, appearing at the sideof his friend with his ghost-like ability.

The blond screeched but relaxed when he recognized him.

“Ah Kurokocchi! Do you want to join us too? Aominecchiwants to eat caramel apples!” chirped winding out an arm around his shoulders.

Kuroko huffed, feeling already humiliated, but steeledhis confidence.

“I need a favor,” He muttered unwillingly, in a softwhisper.

Kise blinked perplexed and tilted his head.

“Which favor?” asked without hiding his curiosity. Itwas a rare event for Kuroko to ask him something.

The boy took a deep breath.

“I need to speak with Momoi. Alone,” he exhaled nearlyinaudibly, fixing his gaze on the girl that happily chatted with Aomine, whohad an arm around her shoulders. She was beautiful in her dark pink kimono andthe joy of that night gave her face a particular shine.

Kise’s jaw dropped. He alternated his stare betweenhim and Momoi and then opened in a sly grin. Kuroko didn’t need to add anythingthat he understood by himself.

“Oh, I see Kurokocchi~ What a bold guy,” he alludedwinking at him, “Yet, childhood friends can be such a oblivious third heels uh?”he bubbled with an incredulous but giddy laughter.

Kuroko scowled, but didn’t replied harshly and cold ashe wanted. He needed Kise.

The blond read his thoughts and muffled a laughter.Oh, he was going to bring it up every time he had occasions for years.

“Alright, alright Cupid. Leave it to me.” The blondpromised licking his lips, “Just stay ready to grab her and run when you havethe chance.” Added squeezing his arm toencourage him.

“As If you weren’t expecting for this too…” Kurokomuttered looking how Kise stared at Aomine’s back, almost predatory, but noddedin the end and the blond left him.

“Good luck, Kurokocchi!”

It took Kise less than five seconds. He just charged withopen arms and screaming loud, “Aominecchi!~” and jumped on the boy’s back,making him stumble. “Let’s play at the basketball kiosk!”

“Oi Kise bastard! What-”

Kuroko moved. Without waiting a second more, hegrabbed Momoi, who shrilled, and started running into the crowd to avoid themchasing. He heard behind him shocked exclamations and someone screaming their neames.

“Tetsu-kun!” Momoi called him confused, hardly keepingup with him. She was wearing sandals, damn.

But the boy didn’t stop. He moved until he felt hisstamina running out. Until they left behind the overcrowded festival. Untilthey reached a more secluded hill, with just few couples around.

There, he finally let her go and rested his hands onthe knees, trying to steady his own breath.

“Testu-kun!” Momoi repeated shocked and a bit uneasy.She wasn’t expecting to stay alone with him that night and now she felt hischeeks burning. So was such a helpless romantic.

“There’s something wrong?” she tried to asksheepishly. His friend, under his usual poker face, seemed restless and she couldn't understand why. Or maybe she didn't want to raise her own hopes up.

Kuroko straightened and looked into her big, pink eyes. He opened his mouth and closed it. Speechless.

He had prepared what to say, yet his mind was blank.He still felt the adrenaline for the rush and his heartbeats were deafeninghim. Part of him was agitated and wondered how many seconds he had before theothers found them. What if she said ‘no’ ? What if she had enough of waitingfor him? What if his sloppy confession disgusted her? What if he didn’t manageto say anything and time rand out?

And Momoi stood there. Tilting her head like a curiousbird, the shadow of a smile on her soft lips and the sky reflected in her eyes.Looking at him with both expectancy and worry, as if only they existed in theworld. He could see a slight blush gracing her features and the way she bit theinside of her cheek.

He had prepared a beautiful speech to ask her out, yethe remembered nothing of it. So, he kissed her on the lips while in the night bloomedfireworks with loud thunders.

But they nearly heard them, enjoying the chaste andwarm kiss.

When they separated, Momoi stared at him wide eyed, lightenedby the multicolor flowers over their heads, and he felt his blood rushing tohis face. She was too beautiful and her expression too fond. Kuroko hugged thegirl and squeezed her to his chest to hide his embarrassment.

“You should say something now, Tetsu-kun,” She giggled,but her voice was trembling. Like always, she could read his actions.

“Please go out with me, Momoi-san, even after this embarrassingconfession,” he complied in a murmur, caressing her hair, and she chuckledagain.

“I’d love to. I’d love to,” She chanted happily.

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thehouseofjohndeaf · 5 years

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Vocational Rehabilitation During an Opioid Epidemic Under a Trump Administration

In 2017 I began taking classes with UMASS Boston’s ACEP (Addictions Counseling Education Program). It was suggested I enroll in this program by my counselor Matt, who I was meeting with bimonthly after my graduation from NEAM (New England Aftercare Ministries) The Bridge House. It’s a Christian program, I’m an Atheist and Matt’s Jewish, but we made it work and I learned a lot about myself and addiction. A year after graduation I started working at Spectrum Health Systems Charles J. Faris Recovery Center. It was then I started exploring the idea of mental health and addictions recovery as a profession.

I originally went to school for Film at Massachusetts College of Art and Design. I had taken out close to $100,000 worth of loans that wound up going to waste. It was there, in my early 20s, that alcohol and drugs became my main focus. I became completely enveloped by my addiction, dropped out, lost my apartment, friends, and girlfriend. After several attempts at sobriety and substance abuse programs I wound up back at my parents’ house without any optimism for the future. I eventually got an OUI after I was blackout drunk at work, trying to tiptoe that line between staving off withdrawals and completely obliterated. I was able to put together a few months of sobriety, and decided I wanted to go back to school. I took out another loan for $60,000 for an online Creative Writing for Entertainment program with Full Sail University. Then I relapsed again, tripped up by probation, and was required to either stay in treatment or serve time in prison.

It was this time in treatment that I wound up getting and staying sober. However, I still didn’t have a college degree and was now in $160,000 worth of debt. When Matt suggested I start the UMASS Boston ACEP he suggested I apply with MRC (Massachusetts Rehabilitation Commission).

MRC does not only serve addicts, but any and all disabled adults. This type of service is called Vocational Rehabilitation, or VR. When it comes to addicts, many find themselves in positions such as my own; wandering out of the haze of their youth, looking back on years of destruction and debt, wanting to turn a new leaf, but unable to afford the education needed to find work that pays a living wage. That’s where VR like MRC becomes necessary. There’s the initial application process, an IQ test to determine the level of education where one would be able to realistically succeed, and meeting with a case manager. For my personal situation, MRC would offer to pay $3,500 of any new education I would like to start. Luckily, UMASS Boston ACEP adjusts their prices to match the needs of their MRC students. In October of 2017 I was awarded educational finance to begin a new career path in addictions counseling and work towards acquiring my LADC I (Licensed Alcohol and Drug Counselor). “I” indicative of a bachelor’s degree or equivalent of 6,000 hours in the field, “II” would indicate a master’s level degree.

Shortly after I began classes, as the new year of 2018 began, MRC students learned that all federal funding for vocational training for disabled adults had been striped nationwide by the Trump Administration. The $3,500 that was awarded to me would now drop to the state funding of $1,000 per student. UMASS Boston would not be able to lower their rates to accommodate new students who would need to find further financial aid by other means if they wanted to further their careers beyond minimum wage.

It became a sudden rush for MRC to pay the full amount to UMASS for all their caseloads before the funding was cut. Personally, this led to discrepancies between the two financial departments, an outstanding bill, and my account becoming locked, halting my education without any news of whether it would ever be fixed now that the funds were no longer accessible.

Meanwhile, over 70,000 people died of an overdose in 2017, over 28,000 were fentanyl alone. That same year, the Trump Administration declares the Opioid Epidemic as a National Public Health Emergency. However, this move only freed up about $57,000. And follows up this declaration by removing funds from programs across the nation that allow recovering addicts to find some meaning in life, make a living, learn a trade (not to mention the millions of physically disabled Americans cast by the wayside).

Just over a year later the President of the United States declared a National Emergency for a border wall based on that fact that some fraction of the 19,000 homicides that occur each year were perpetrated from “illegal” immigrants. The roughest estimate is 600 homicides.

In case it’s unclear, 600 is a much smaller number than 70,000. It feels unjust to be comparing numbers of human beings who have died for one reason or another. But an opioid overdose is a preventable death and we have hundreds of thousands of people employed who understand how to help and solve this problem. But it’s an impossible battle when our own government, those allocating where our tax money goes, does not understand health care, addiction, or immigration. In essence, those in power do not understand human nature. They have been elected to lead humans towards progress and a future worth living, but they’re primarily elitists who do not comprehend human interaction or reaction.

This is the world we live in. This is the America we live in. Our tax dollars go far more often to instigation rather than prevention. The leaders of the free world would much rather watch us perish in battle defending their honor, than preventing our deaths and misery. We are their pawns. Nothing more.

Resources:

https://www.mass.gov/orgs/massachusetts-rehabilitation-commission

https://www.bizjournals.com/boston/news/2018/05/23/mass-rehab-commission-to-close-community-offices.html

https://www.nytimes.com/interactive/2018/11/29/upshot/fentanyl-drug-overdose-deaths.html

https://www.cnn.com/2017/10/26/politics/donald-trump-opioid-epidemic/index.html

https://www.newsweek.com/opioid-crisis-what-does-trump-mean-declare-national-public-health-emergency-693863

https://www.politifact.com/facebook-fact-checks/statements/2019/jan/15/viral-image/did-lettuce-kill-more-americans-undocumented-immig/

#addiction #opiate epidemic #recovery #national emergency #mental health #health #education #immigration

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365days365movies · 3 years

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January 25, 2021: The Poseidon Adventure (Epilogue)

I ended the recap by saying, and I quote:

FUCK TITANIC.

Perhaps I should explain real quick. Titanic is a disaster movie as well...and I don’t like it that much.

DO NOT GET ME WRONG. It is a movie of great spectacle and special effects, and does actually have its merits. And, no, I’m not complaining about the whole “Rose killed Jack” thing with the door. The door probably would’ve sank if they were both on it.

But speaking of Rose and Jack: the focus on the fictional couple at the center of the film, I think, greatly hinders the actual tragedy of the Titanic sinking. And when the Titanic sinks, OH BABY does it sink! And that’s all well and good (well, not for the passengers)...

But I’m really not a fan of the focus off of the romance. Just me, I’m aware, but that’s one of the many reasons I not the biggest fan of this movie. Maybe I’ll talk about it one of these days. And if I’m gonna watch a movie about a ship sinking and the passengers trying to survive...well, I’m watching The Poseidon Adventure, because this movie RULED. Review time!

Review

Cast and Acting

The chemistry of this cast under times of crisis is fantastic. Here are my shoutouts: Gene Hackman, Ernest Borgnine, Shelley Winters, Jack Albertson, Red Buttons, Carol Lynley, Pamela Sue Martin, Leslie Nielsen (for how little he was in this movie), and even child actor Eric Shea, for being believable without being obnoxious. Let’s throw Stella Stevens in there, too, while we’re at it. An ensemble cast, and all memorable, at least for me. If I had to pick a favorite, it’s Shelley Winters, for sure. While I can’t say that this is all perfect acting (very 1970s, I’ll just say that), high marks in general for it. 9/10!

Plot and Writing

Gripping, full of suspense, and one of the best on any disaster film I’ve seen. Seriously. Not that that’s a high mark, exactly, but it’s still a mark of note! OK, what about the writing? It’s pretty decent, and credit to Stirling Silliphant, Wendell Mayes, and Paul Gallico (who wrote the original book). Plot gets full marks, while writing gets slightly less than full marks. 9/10 for this one, too!

Directing and Action

Y’know what, 9/10 for this one, too! Some of the action might be a little dated, but it’s still gripping all throughout! Ronald Neame is a VERY accomplished director, and he called this is favorite film. It’s well-shot, it’s terrifyingly suspenseful, it’s just...great!

Production and Art Design

We’re gonna throw effects in this category as well, and for that alone, this should get a 10/10. Buuuuuuuut, we’re still going for a 9. Not all of the effects have aged super well, but they’ve still aged quite well! I’m honestly not sure how they accomplished many of these. So, yes, AGAIN, a 9/10!

youtube

Music and Editing

...9/10I KNOW. I KNOW. Look, this movie won an Oscar for Original Song, and this song has greater fame than the movie, and the most famous version of it..WAS A COVER! Yeah! Maureen McGovern’s version is the most famous, and it’s not even what we hear in the film. But what about the score? John Williams. That’s uh...that’s all I gotta say. 9/10. So, did I like this movie?

Yeah, 90% is perfect for me.

This movie’s fantastic, and I make no apologies for how much I like it. It’s old, sure, but it’s dated VERY well, and this is a movie that I’ll recommend to other people, without hesitation. Might not be everybody’s cup of tea, but I’ll gladly go down with this ship.

OK, we’re in endgame, people. The next three movies will represent the end. The third is a movie that everyone’s told me to see; the second is a movie that Lindy West told me to see, and the first is a movie that ends the month properly. And as for the last three days of January? You’ll see. But let’s do that “proper ending” movie first, yeah?

So, how to end Action January? Well, The Poseidon Adventure was an ensemble, so let’s start with that. But what would happen when we put a bunch of action stars in one movie together? Well...

January 26, 2021: The Expendables (2010)

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johnbizzell · 6 years

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July 2018 - Of Good Bears and Goodbyes.

I have been mauled by the White Bear for the last time. That’s not the first line of a country song about my latest failed romance, though it is about the end of a love affair. One of my favourite pubs closes today and, though in time a damaged liver can recover, a damaged heart is scarred forever.

She was legendary amongst the drinking holes of Clerkenwell, with her red brick and gently-bowed front window, like a kindly Victorian ginger pot-bellied granny waiting on St John Street to take care of you after work. She had been there for 120 years, for almost the last 20 run by the same family and for at least the last ten known to me. I’ve drunk through celebrations and commiserations there, birthdays and break-ups, funerals, christenings, Christmases and Christ-knows-whats, and that was all last Wednesday. The building is being ‘developed’ and, whilst a campaign by all of her fans means that the ground floor will have to be refurbished as some kind of bar, Granny is getting a facelift and she just won’t be the same.

Clerkenwell is like a little Central London oasis. There’s not much for tourists to see and no big corporations, so the streets don’t throng with as many arseholes as the rest of the city. It’s mostly a rag tag bunch of small businesses and people who work in designer office furniture showrooms (known locally as ‘wankles’ for their easily identifiable short trousers), but these plucky lunchtime drinkers have kept a wide variety of boozers going over the years.

Aside from the Hat’n’Feathers (RIP), known as The Spittin’ Feathers for the amount of time it often took to get served there and which was the first to close, we have: The Crown, where you only sit outside, and The Green, where you only sit inside; there’s 19/20, which has some nice pavement benches for the summer months but nothing inside except pool tables that they get very sniffy about you dancing on; I’ve never been a fan of The Slaughtered Lamb opposite because you can’t hear anyone thanks to the terrible acoustics and the bar staff can’t hear you over their orders from the Mother Ship; The Old Ivy House is now in its third age, sadly as a bit of a generic Shepherd Neame Pub, but way back Dixie Dave used to play his Bontempi on a small carpeted stage and even when Ivan was in charge he’d let you run a tab till midnight on payday soundtracked by a playlist ricocheting from All Saints to Van Halen to Shirley Bassey; The Three Kings sells scotch eggs that you won’t be able to go back to shop-bought after eating and a cloudy Breton cider that you won’t be able to go back to work after drinking; The Horseshoe, AKA The Secret Garden, has the cheapest eats and the meanest service, whilst the Betsey Trotwood has the exact opposite; then there’s the faithful Sutton Arms, like your teenage boyfriend who you continually try to leave for something more exciting but end up banging every Christmas or whenever you can’t be bothered to walk that far and secretly know you’ll eventually marry anyway. Christmas is actually when it’s at its best and you should definitely pop in to admire the decorations, though you’re as likely to get a slap around the head from the owner Mick for not finishing your food or moving the furniture without permission.

But none of these burned bright enough to become their own verb. In our office, the phrase “did you get White Beared?” is common parlance for “are you piecing your night together from the receipts in your wallet and the shape of the bruises on your body?” or “did you get home at 4am with no recollection of why your blouse was wringing wet/your ear was swollen to twice its usual size/you can smell burning/there were scratches all over your arms?” These are just hypothetical examples of how somebody might get White Beared, and in case it ever happens to you the hypothetical explanations might be: because you lay on the bar whilst the barman hosed you down with the soda gun; because you let a colleague try to pierce your ear with a safety pin; because you set your own hair on fire whilst lighting a stolen cigarette; because you wanted to dance with somebody, somebody who loved you, and that somebody was definitely not Bud The Belligerent Pub Cat.

Imagine a cross between Cheers, Coyote Ugly and the Mos Eisley Cantina, then picture me in the middle of it charging behind the bar to line up my next Bette Midler number on the stereo. Everybody might know your name, but can you remember it yourself? Who needs to fight the moonlight when you seem to fast forward straight through the hours from 10pm to 3am? And is that really a bunch of bald debt-chasers from Morton Smith in the corner or a band of dome-headed aliens tinkling out their otherworldly jazz? Where’s the cat? I want to dance with the cat!

I have truly never known a pub with more power to turn ‘going for one’ into ‘going for the Guinness World Record in chucking Jägerbombs down my screech.’ It’s not the building of course, though the Grade II listed facade is lovely, it’s the family who run the place - and I’ve now begged three generations of them for one last Bacardi (only the baby relented) - who made everyone feel at home. And of course the community who went there.

It’s a sad day for all of us, so raise a glass of whatever you’ve got handy - or minesweep something from a nearby table - to the White Bear. There’ll never be another one like her.

The White Bear shuts its doors on 31 July 2018. John wishes all the M-Hs the very best in the future and feels it’s only fair that they spend the next decade barging into his kitchen, changing the music and helping themselves to whatever. If you stand in St John Street at 2am and listen very carefully, you might still hear the echoes of From a Distance in the air - or is that Bud the cat attacking another victim?

#pubs #london #london pubs

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What is a pie barm? In Wigan, it’s a way of existence

One year ago I brought an entire newsroom to a standstill. This wasn’t, sadly, because of any beautiful journalistic success. I used to be simply having my lunch. And it turned into a pie bar.

I didn’t even realize I’d executed something until I became aware of the slow draining away of the hubbub that typifies a nearby newspaper office at noon. I seemed up from what I used to be doing – tapping at my keyboard with one hand, pie bar within the different – and realized everybody was looking at me. Then they started out to depart their desks, to walk over to mine, till I was surrounded by uncomprehending faces. What, they desired to realize, became I eating?

I blinked and checked out the meat-and-potato pie sandwiched between a buttered white roll. It becomes only a pie bar. I seemed in the back of me to peer if there has been a person eating something exclusive and outrageous. However no. It turned into me. Me and my pie bar.

In that crowd changed into a younger woman, perhaps the most stunned and nonplussed of all. Regardless of this … reader, she married me. And knowledgeable me within the ways of carbohydrates, calories and different such things. Not very much time passed earlier than I finished consuming pies in barm cakes.

However, when you’re from Wigan, you by no means, in reality, prevent ingesting pies. You might be said to be resting, or in remission, or recuperating. consuming pies is a part of our DNA, our heritage, our birthright. And a pie bar – additionally fondly known as a Wigan Kebab – is the epitome of our gastronomic lifestyle.

I hadn’t thought deeply about pie bars for some time until this week, when a few wag – a scouser, manifestly – published on Twitter a part of a press release from the takeaway employer Hungry House, launched to mark British Pie Week.

Most of the many facts was a “Metropolis Pie-Off” chart, listing the five pie by way of town or City. London became pinnacle with, relatively bizarrely, banoffee pie. Nicely, I suppose it goes Properly with the handy. In at wide variety, 4 was Wigan with what Hungry House rightly termed “a nearby traditional”, the pie bar.

In Wigan the default lunch – and that indicates how center magnificence I have to turn out to be – is constantly a pie “What the f is a pie bar?!!” numerous people on Twitter requested. Properly, let me provide an explanation for.

Wigan folks have been referred to as pie-eaters for almost a century. The story is that during the general strike of 1926, Wigan miners have been the first to crumble and cross again to paintings, which means they needed to consume humble pie and earned the sobriquet. I assume that’s garbage. We similar to pies, and we constantly have executed.

The default lunch (and that suggests how center-elegance I’ve come to be – in Wigan you have got your dinner at midday and your tea at five) is usually a pie. If taken at home, on a plate surrounded by means of a moat of Oxo. I imagine the pie barm become invented to facilitate ingesting a pie on the hoof. The barm cake – or bar, or roll, depending on where you’re from – No longer best affords adequate insulation to your hand against the warmth of the pie, But serves to soak up any errant gravy or juice – without wasting a drop.

Pies are continually absolutely encased in pastry, none of this slop with a crust simplest on the pinnacle. They can be meat and potato or steak. In case you’re vegetarian you could have a fowl pie, I assume. You’re by no means extra than a hundred ft from a pie keep in Wigan. Every December, the sector Pie ingesting Championships are staged in Harry’s Bar on Wallgate, which has Now not been without controversy. In 2007 a competitor’s dog ate 20 of the pies the night time before the occasion. In 2014 there has been a supplier blend-up and the incorrect-sized pies were added to the bar, with the competition pies as a substitute going to a divorce party. The pinnacle of the championships went on Choose Rinder to get recompense But lost.

Up inside the north, we like to discover humans with the aid of the meals they consume. Consequently, as mentioned, Liverpudlians are scousers, that’s a type of stew. In Wigan’s neighbour, Leigh, humans are “foyer gobblers”, because they consume lobbies, which is much like scouse. God is aware of what they consume in Wigan’s massive rugby league rival St Helens; babies, possibly. But Wiganers will usually be pie eaters.

How crucial are pies to Wigan? Pay attention, once I worked at the Wigan Night Submit I wrote a tale about a fireplace breaking out on the Poole’s pie manufacturing unit. It damaged the manufacturing gadget and they needed to bring in emergency pie-makers to work through the night to ensure the pie stores had their deliveries on time. We splashed the story at the front web page; I assume we’d have headlined it “Black Thursday” or something.

No longer length after my pie bar lunch incident within the newsroom – and that became in Preston, most effective 20 miles up the street from Wigan – I moved over to Yorkshire, in which you can’t get a first rate meat-and-potato pie for romance nor cash. I won’t even have an idea about pie bars again, However for the flap on Twitter this week. And now I will get the excellent antique Wigan Kebab out of my head.

Even now the horrified mentions of pie bars are still scrolling up my Twitter feed. I’m hoping I’ve been capable of offering some solutions. Now, do you want to speak about the delights of chips, pea wet and scratchings …?

Food and drinks inside the British Isles

United kingdom restaurants provide a huge diversity of cuisine from all over the world However why No longer attempt some nearby dishes in the course of your villa excursion. Conventional British food typically includes correct undeniable cooking with sparkling nearby ingredients and is regularly discovered in pubs or in eating places which offer lighter variations of old favorites. Roast pork served with Yorkshire pudding or nearby specialties including Lincolnshire or Cumberland beef sausages can be found on most menus. inside the North Black Pudding made with offal is famous and lamb and hen dishes feature on many menus at the side of hearty meat pies and homemade soups. Meals are normally served with chips, mash, boiled or roast potatoes and an awesome selection of veggies. Whitby on the east coast is well-known for its crabs and the southeast coast is renowned for its mussels, whelks, cockles and jellied eels. In Britain, you’re in no way some distance from a fish and chip shop promoting battered cod or haddock with chips sprinkled with salt and vinegar. Traditional puddings encompass fruit crumbles, apple pie or sponge pudding usually served with custard. Afternoon tea continues to be popular and you may find a properly choice of desserts, scones, jam and cream and sandwiches on a teashop menu. Cheese is an incredible nearby strong point; look out for extraordinary varieties at delicatessens and farmers markets.

There is some excellent award winning white English wines consisting of the ones produced through Three Choirs in Gloucestershire and Wickham in Hampshire.At the same time as playing your British Self Catering vacation you will discover an accurate selection of real ales is served in many pubs; appearance out for neighborhood micro-breweries. Slight along with Banks’, Holdens and Highgate is most usually determined inside the Midlands. Faded sales are extra famous and Timothy Taylor, Adnams, Shepherd Neame and Marston’s have right examples. Cider remains a fave specifically inside the southwest of Britain like Thatcher’s in Somerset.

In Scotland appearance, out of traditional foods which include haggis (spiced sheep’s innards and seasoning) generally served with tatties (potatoes) and neeps (mashed turnip). Venison and grouse dishes are famous as are stories, a combination of potatoes, onion and red meat cooked in dripping. Scotch broth is crafted from mutton or pork inventory, pearl barley, carrots and leeks At the same time as Cock-a-leekie soup is made from chicken, rice, leeks, and prunes cooked in bird stock. Smoked fish dishes such as kippers, salmon and Arbroath smokies (smoked haddock) can regularly be determined. Subsequently, look out for a delicious chowder like dish known as Cullen skink made from smoked haddock, mashed potato, and milk. Scotland is also well-known for its several whiskey distilleries and a few beers too, like Deuchars and Caledonian.

Conventional dishes in Wales include Welsh lamb hot pot and crawl (meat stew with potatoes and greens). Fish is famous and other dishes such as Welsh rarebit (melted cheese on toast) and laver bread made from oatmeal and seaweed. There are masses of nearby cheeses to pattern together with Caerphilly and Pencarreg. try Bara brith, a kind of tea loaf and Welsh cakes, flat scones cooked on a griddle. look out for consuming institutions belonging to the Flavor of Wales (Blas y Cymru) commonly a signal of top meals and Ultimately a few beers to try, Brains or Felinfoel.

In Northern Eire attempt neighborhood cheeses, oysters and Guinness, Irish stew and drisheen (Black pudding). appearance out for soda bread, Barm break (tea loaf) and potato bread and finish the Evening with an antique Bushmills whiskey.

If touring the Channel Islands, self-catering in Guernsey and self-catering in Jersey, then you’ll locate lots of fresh fish, nearby dairy merchandise and sparkling seasonal produce on the menu. appearance out for scrumptious domestic grown produce referred to as hedge veg bought through the roadside during the islands. Revel in!

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