http://why-are-we-here.com/?forex=%D9%85%D9%88%D9%82%D8%B9-%D9%8A%D9%85%D9%83%D9%86%D9%86%D9%8A-%D9%85%D9%86-%D8%AA%D8%AF%D8%A7%D9%88%D9%84-%D8%A7%D8%B3%D9%87%D9%85-%D9%85%D8%B5%D8%B1%D9%81-%D8%A7%D9%84%D8%B1%D9%8A%D8%A7%D9%86-%D8%A7%D9%84%D9%82%D8%B7%D8%B1%D9%8A&278=b8 موقع يمكنني من تداول اسهم مصرف الريان القطري
http://oldvillagemedispa.com/?saper=%D8%B9%D8%B1%D8%B6-%D8%A7%D8%B3%D8%B9%D8%A7%D8%B1-%D8%A7%D9%84%D8%A7%D8%B3%D9%87%D9%85-%D8%A7%D9%84%D8%B3%D8%B9%D9%88%D8%AF%D9%8A%D8%A9-%D9%85%D8%A8%D8%A7%D8%B4%D8%B1-%D9%85%D8%AC%D8%A7%D9%86%D8%A7&d54=0b عرض اسعار الاسهم السعودية مباشر مجانا
http://www.youthandfamilyconnections.org/?pindyk=%D9%88%D8%B3%D8%B7%D8%A7%D8%A1-%D8%AB%D9%86%D8%A7%D8%A6%D9%8A%D8%A9-%D8%A7%D9%84%D8%AE%D9%8A%D8%A7%D8%B1-%D9%81%D9%8A-%D8%A7%D9%84%D9%87%D9%86%D8%AF&6cb=dd وسطاء ثنائية الخيار في الهند
The movies were about as different as you can imagine. “The Art of Love” was a wacky comedy starring Dick Van Dyke, James Garner, Elke Sommer and Angie Dickinson, and it was a lot of fun (although I missed more of this one while working on my lines than the other one). Van Dyke and Garner are Americans living in Paris. Van Dyke is a struggling artist on the verge of giving up. Garner tries to talk him out of it.
Van Dyke, through a weird coincidence, is seen by Garner jumping off a bridge and is presumed to have committed suicide — the tragic story of which sends his existing artwork skyrocketing in value. When Garner discovers that his friend is still very much alive, they hatch a plan — Garner sells Van Dyke’s artwork and gives Van Dyke the money while Van Dyke remains in hiding, letting everyone believe he is dead while he cranks out new paintings for Garner to sell. But then Garner starts moving in on Van Dyke’s fiancee (who doesn’t know about the ruse), and so when the police start to think Van Dyke’s death was murder instead of suicide, and blame Garner for it, Dick lets his friend sweat for a while as punishment. He even plants some incriminating evidence. I wasn’t familiar with this movie at all, but I would watch it again. It’s an over-the-top farce, so don’t think about it too hard. Ethel Merman and Carl Reiner are in it too, and Reiner was one of the co-writers.
The other movie, which I have seen before, was the fascinating documentary “F is for Fake,” directed and hosted by Orson Welles. In the early 70s, a Spanish TV producer was working on a documentary about the world’s greatest art forger, Elmyr de Hory, and brought Welles in as a consultant. At the same time, a writer named Clifford Irving was working on a book on Elmyr. The two projects were separate but on good terms with each other; the documentarian shot some footage of Irving interviewing Elmyr and also some talking-head footage of Irving speaking as an expert on the subject.
Then, Irving sold a magazine article in which he claimed to be an acquaintance of reclusive billionaire Howard Hughes. Eventually, the story was debunked and Irving was exposed as a fraud, in one of the biggest news stories of its era.
Welles was fascinated by this — the man who, just a few months earlier, had been dispassionately reporting on the topic of art forgery turned out to be a faker himself. Welles, working with the Spanish TV producer, took the footage shot for the documentary, shot new footage featuring himself, his girlfriend at the time, and others, and created an ingenious look at art, deception, and the relationship between the two, referencing Welles’ own experience with the “War of the Worlds” radio broadcast. A couple of Welles’ former Mercury Theater colleagues make an appearance, and there are also some “Citizen Kane” references.
The documentary comes complete with a clever surprise ending. (The next time TCM airs this, pay close attention to Welles’ opening narration and see if you can figure it out in advance.)
Each of the movies is fun, but they couldn’t have possibly been more different.
A week or two ago, the youth of First UMC Shelbyville asked our youth director, Alden Procopio, about the movie “Risen.” Alden thought – correctly – that she ought to see the movie before recommending it, so she and Rev. Lanita Monroe went earlier in the week. They liked it so much that Lanita sent out an e-mail blast inviting all ages, not just the youth, to attend the 4:15 Sunday matinee.
So I joined the group today, walking from the church to the theater and back again. The short review, which I’ll expand on below, is that I really enjoyed it – I thought it walked a fine line between an innovative approach and reverence to the source material.
I get frustrated with some of the ham-fisted attempts to put faith on film. Not surprisingly, three of the four coming attractions before tonight’s movie were faith-based. One of them, a fictional story about a teacher suspended for using a Bible verse in her classroom, seemed like a perfect example of what I normally don’t like in this genre. The movie (judging only from the trailer, which can be inaccurate) is really black-and-white, portraying the chief opponent as a one-dimensional villain and the teacher and her supporters as a persecuted minority. Any non-Christian would find it laughable and unconvincing, but non-Christians wouldn’t go see it in the first place. The movie is aimed at Christians – but its primary purpose (again, judging from the trailer) seems to be reinforcing how great we are and how nasty and evil anyone who disagrees with us is. The question of how and when faith can be expressed in taxpayer-funded public schools is a complicated one, and not always a matter of black and white, heroes and villains. But a more-nuanced treatment probably wouldn’t sell group tickets to churches.
Sorry; excuse me for getting off on a rant there. I only bring it up to contrast it with “Risen.”
Now, to be fair, any Biblical epic is going to suffer from a little bit of the same preaching-to-the-choir effect I described above. Few non-Christians are going to be interested, so any claims of evangelistic value are going to be wildly overstated. But I think a well-done Bible movie at least has some value in terms of inspiration. It certainly served that purpose from a couple of our youth, who said during the post-movie discussion back at the church that the movie had helped them imagine the crucifixion story.
By way of confession, about 10 years ago I tried to write a novel which was not unlike “Risen” in intent – it was supposed to tell the story of what happened to the disciples in between the crucifixion and the resurrection. I still have the incomplete manuscript; I gave it up because I decided I didn’t have the Bible scholarship to do it justice, and my original excuse that it was going to be “more like a parable than Bible history” was just that, an excuse.
“Risen” brings the story to life in a way which I found creative and reverent.
The story is told through the eyes of Clavius, a Roman tribune, played by Joseph Fiennes. Pilate (Peter Firth) sends a war-weary Clavius, who seems to be Pilate’s protégé, to the crucifixion site to break the legs of the three convicts and hasten their deaths. (If you remember the Bible story, you know that Jesus was already dead by that point and was pierced in the side instead.) Then, the next day, when the Judaean religious authorities complain to Pilate, Clavius is sent out to put Pilate’s personal seal on the tomb and post a couple of guards there.
Minor quibble: It’s sort of a Hollywood cliché that in movies, ancient Romans speak with upper-class British accents. But when working-class Roman soldiers are given working-class British accents (not Cockney, but something like that), it just sticks out like a sore thumb.
On the next day, the tomb is discovered to be empty – and Pilate commands Clavius to investigate, and to locate Jesus’ body in order to refute the rumor that he has somehow been resurrected.
This leads to what seems like a first-century police procedural, as Clavius and his newly-assigned deputy, Lucius (Tom Felton), track down rumors, dig up newly-buried bodies and try to intimidate everyone.
Clavius keeps telling people that he’s after the truth, and that he’ll allow them to go free if they’ll give him the truth. Eventually, of course, Clavius comes face-to-face with a truth he did not expect.
From that point forward, the movie changes in tone a little bit, bending the rules to depict Clavius as being present (albeit in the background) for several Bible scenes involving Jesus and the disciples. As long as you accept this as a work of inspirational fiction, and don’t take it too seriously, I’m fine with that. After all, as previously admitted, I tried to do the same thing. Think of it as “Ben-Hur” for the 21st Century.
The filmmakers do get several little details right. Jesus actually looks (gasp!) Middle Eastern, rather than like that blankety-blank Warner Sallman painting. The crucifixion wounds are in Jesus’ wrists, rather than his palms. If you tried to crucify someone by putting nails through their palms, the nails would tear through the flesh. Only by nailing just above the wrist – which still would have been considered the hand by the gospel writers – do you have the proper bone structure to hold someone on the cross for several days (which is how long crucifixions normally took). Clavius gives the disciple Bartholomew an accurate description of how crucifixion actually kills a victim – by suffocation. The victim must keep pushing his body up to breathe, and eventually, after days of agony, he gives up, exhausted, and is strangled by his own weight.
Rev. Lanita, in talking about the movie to the youth, lamented that they fell into the common trap of portraying Mary Magdalene as a prostitute, when the gospels don’t refer to her as such. (The idea that she was a prostitute comes from someone in church history speculating that she was the same woman who anointed Jesus’ feet, even though the Bible does not give us any specific reason to make that connection.)
It all seemed to work, at least for me. Fiennes is absolutely great as Clavius. You can feel his weariness, but then he shifts it aside and becomes an intimidating interrogator, and he makes his conversion – which, by the conventions of this type of movie, has to be somewhat sudden – believable. He still seems like the same person. With a lesser actor, this movie could have easily descended into camp.
Firth and Felton are also great on the Roman side, while Stuart Scudamore (running a close second to Cumberbatch in the silly name rankings) is quite good as Simon Peter (IMDb lists him as “Peter,” but he seems to be referred to mainly as “Simon” by the other characters). Stephen Hagan is just a tiny bit too giddy as Bartholomew, but I’ll let it slide – especially since the more-common mistake in Bible epics is to be universally-gloomy. This movie actually had a few moments of welcome and appropriate humor, such as one where one of the Romans makes a disparaging remark about the Jewish high priests just as we, the audience, see them approaching him from behind. There’s also a scene between Simon and Clavius late in the movie which incorporates some funny byplay.
I just really found the movie inspirational. I doubt many people who aren’t already believers will be converted by it, because I doubt they’ll go see it in the first place. But we probably shouldn’t expect movies to proselytize anyway. I think this is fine as a creative expression of faith, one which someone like me (and the teens from church) can simply enjoy on its own terms.
I highly recommend it.
When I got home from work today, “Executive Suite” was on, and I watched I guess the last hour or so of it. I’d watched the whole thing once before.
It’s a 1954 movie, directed by Robert Wise and the debut of legendary screenwriter Ernest Lehman. I find it interesting because it is, or winds up being, a movie about capitalism, which is not a common topic for popular entertainment.
The movie was pitched as an all-star drama, and for most of the movie, it manages to be that. The long-time chairman of a major furniture manufacturer has died, and various parties are jockeying to take his place. At first, McDonald Walling (William Holden) is watching this from the sidelines, trying to figure out how changes at the company might affect him. He’s more interested in design and research than in the operatic backroom bargaining, and his wife (June Allyson, who seemingly always played the supportive wife) wants to encourage him to follow his passion as a designer, even if it means leaving Treadway Corp.
But Walling becomes dead-set against Loren Shaw (Frederic March) taking over the company. He sees Shaw as one of the forces that has led the company to cut back on research and innovation and to put out a shoddy product line in hope of short-term profit. The conflict between the two men turns into a climactic scene in the boardroom as the board gathers to vote on a new chairman.
Shaw believes that a company’s overwhelming responsibility is to its stockholders, period, and that means cutting out anything wasteful that might cut into the profit margin here and now. Walling argues, passionately, that the company has to take a longer-term approach. He argues that Shaw’s approach demoralizes the employees and ultimately destroys the company and harms the stockholders. He argues that there may be a place for a value-priced furniture line, but it should be based on innovation rather than simply on cutting corners and turning out a second-rate product. He invokes the company’s responsibility to its own employees and says that they need to produce a product of which they can be proud.
It’s a surprisingly academic discussion to be the climactic standoff of a Major Motion Picture, but it’s played with surprising passion. And the basic arguments are, if anything, even more relevant in 2016 than they were in 1954.
At the height of the Red Scare, a critique of American corporate culture apparently raised some eyebrows, so much so that, according to Ben Mankiewicz’s outro to the film, producer John Houseman (Professor Kingsfield from “The Paper Chase”) was asked to sign a loyalty oath. But this film is virtually a celebration of capitalism – it simply holds that there’s a good kind of capitalism, one which serves the customers (and values intangibles like pride of workmanship) because that’s in the long-term interest of the stockholders, and a bad kind of capitalism, one which puts too much emphasis on maximizing short-term profit without considering the long-term consequences.
I see that I already have a blog post tag for “Logan’s Run,” so I must have blogged about it at some point in the past. But I don’t feel like going back and looking.
The 1976 movie “Logan’s Run” is airing right now, as I type this, on Turner Classic Movies. I remember it from my adolescence, although I only saw it edited on network TV, not in the theaters. It was followed in September of 1977 by a TV series, a relatively short turnaround for that sort of thing. It was right in the wake of “Star Wars,” which had come out that summer, and studios and TV networks were snatching up anything science fiction-related.
The original novel by by William F. Nolan and George Clayton Johnson, which I’ve never read, was a Vietnam allegory, published in 1967. By 1976, Americans were trying to forget the war – well, except for “M*A*S*H,” which was as much about Vietnam as Korea. So the politics were played down, although the central allegory – young people sent off to die because that’s what the system demands — remains.
The movie is set in a post-apocalyptic domed city – a seeming paradise, in which you work only a few hours a week and there are a lot of leisure options. There’s just one catch, and it’s a doozy. When you are born, a crystal is implanted in your hand. As you approach your 30th birthday, the crystal changes color and you are summoned to “carousel,” a ceremony in which participants float up into the air and explode. (The TV series substituted the explosions with a less-disturbing effect that looked like the transporter on “Star Trek.”)
The public is told that carousel is simply a first step to reincarnation, but there are some, called “runners,” who doubt the official theology and try to evade their pre-ordained fate. There’s virtually no other type of crime, so there’s no regular police force, but there’s a special squad called the “sandmen” who track down such runners.
Our central character, Logan 5, starts the movie as a sandman and is sent undercover to infiltrate a sort of Underground Railroad for runners. He, too, begins to doubt the line about reincarnation, ultimately pitting him against his former partner, who considers him a cop-gone-bad and is obsessed with tracking him down, even outside the protection of the dome.
Logan was played by British Michael York in the movie, and then by all-American Gregory Harrison (of “Trapper John, M.D.”) in the TV series. Jenny Agutter was the female lead — a runner who befriends Logan — in the movie, followed by Heather Menzies in the TV show.
The movie features a very brief cameo by Farrah Fawcett, but by the time it was released she was starting to explode from “Charlie’s Angels” and that poster, and so some theaters even advertised “Farrah Fawcett-Majors in ‘Logan’s Run'” or what have you.
IMDb still lists a remake as being bounced around. At one time, it was supposed to star Ryan Gosling; now, it seems to be limbo.
This will be a spoiler-free reaction to “Star Wars Episode VII: The Force Awakens,” although I may create a separate blog post to talk about the movie for those of us who’ve actually seen it.
I saw the movie this afternoon at the Capri Theater in Shelbyville. I loved it. Loved it, loved it, loved it. It was everything the original “Star Wars” movies were that the prequels weren’t.
I loved the new characters – and the movie spends a lot of time setting up the new characters. Daisy Ridley and John Boyega are both terrific. But of course, I also loved what we saw of the original characters.
The movie has some fun parallels to the original 1977 movie, which was released as just “Star Wars” and is now known as “Star Wars Episode IV: A New Hope.” Some critics (even some with generally positive reviews) have dismissed this as pandering or fan service, saying the new movie hews too close to the original. But I don’t think so. I thought it was all presented in fresh and unexpected new ways. I thought there was just enough homage but that things were well set up to go in new directions as we move forward. Unlike the prequels, in which the fates of Obi-Wan and Anakin were already known to us and loomed over everything, this movie opens up infinite storytelling possibilities.
Because of the way this one ended, I’m glad the next movie is due in the summer of 2017 – only a year and a half, and not the three years we had to wait between segments of the original trilogy. (Summer 2017 will also be the 40th anniversary of “A New Hope.”)
It’s a great movie. See it sooner rather than later, before someone really does spoil it for you.
Turner Classic Movies: TCM keeps running an (excellent) interstitial with Laura Dern talking about her admiration for Barbara Stanwyck, but when it ends they use it to promote an upcoming showing of Meet John Doe. Fine, fine. It’s just that the Stanwyck movie I *really* want to see this time of year is Christmas in Connecticut.
I just checked, and TCM will be showing it 11 a.m. (Central) on Sunday, Dec. 13. Go ahead and set your DVRs now; I certainly have.
Sometimes I wonder if anyone ever takes my classic movie suggestions. I don’t know that I’ve ever heard back, “Hey, John, I watched Topkapi on your recommendation and loved it.” But I guess I’m enough of a narcissist to keep putting myself out there anyway. I’m relatively harmless, in any case.
Although I have blogged about “Christmas In Connecticut” on multiple prior occasions, I guess I will go back and talk about it again. Narcissist, and all that. It was a bad day at work, and so I need to get my mind off things.
“Christmas In Connecticut,” despite its title, is really a straight romantic comedy which just happens to have a holiday setting. Elizabeth Lane (Stanwyck) is Martha Stewart before there was a Martha Stewart – the ultimate cook and hostess, whose monthly column in “Smart Housekeeping” magazine is closely read by much of America. She vividly describes her idyllic life on her Connecticut farm with her husband and infant son, and includes her mouth-watering recipes.
There’s just one problem: It’s all a lie. She’s single, lives in a Manhattan apartment, and can’t cook. The recipes come from her restaurateur friend Felix (S.Z. Sakall, whom you know from “Casablanca” and who is billed in some movies as “Cuddles” Sakall), and everything else comes from her imagination and her talent as a writer. Her immediate supervisor knows the truth, but the publisher of the magazine, Alexander Yardley (Sydney Greenstreet, speaking of “Casablanca”) does not – and would be horrified at the deception.
Yardley receives a letter about a war hero (Dennis Morgan), who has no family and nowhere to spend the holidays. Yardley summons Elizabeth Lane and tells her that she and her husband should invite Jefferson Jones to their Connecticut farm for the holidays – and that he, Yardley, would love to join them for Christmas dinner and sample some of Elizabeth Lane’s famous cooking. It would be patriotic! It would be good publicity for the magazine! It would be in the spirit of the holiday!
Elizabeth Lane, who has just bought a very expensive mink coat on credit, can’t afford to lose her job and can’t bring herself to stand up to the forceful Yardley and refuse his plan. So she has to come up with a farm, a husband and a baby, all on short notice.
If you know anything at all about romantic comedies, you know that once she has all of these things in place, she’ll begin falling head over heels in love with the veteran. Oh, what a tangled web we weave ….
Seriously, this is just a fun, funny movie, with great performances all around.
There’s also a TV movie from the 1980s with Dyan Cannon and Kris Kristofferson, directed by …. Arnold Schwarzenegger (because when you think “romantic comedy,” you immediately think “Arnold Schwarzenegger”). I’ve only seen bits and pieces, but there’s no way it could measure up to the original.
Why haven’t you set your DVR yet?
I turned over to Turner Classic Movies: TCM just now to see the last few minutes of The Mouse That Roared, with Peter Sellers. I loved the the book, by Leonard Wibberley, when I was a teenager, and we did the play when I was a drama student at Cascade.
The movie takes some liberties; the Grand Duchess, one of several characters Sellers plays on screen, is a flighty young woman in the book, but an old dowager in the movie.
It’s a very funny premise. At the time of the book and the movie, the Marshall Plan was still fresh in everyone’s memory. The story (and I’m going by the book version here) is about the tiny — and mythical — European nation of Grand Fenwick, more like a small town than a country. Grand Fenwick has fallen on hard times because an American vintner has copied its signature wine, which is its primary export. The leaders of the country note that the United States is quite generous in rebuilding countries it has beaten in war, and so they come up with an ingenious plan: They will declare war on the United States, surrender immediately, and then reap the benefits.
But the plan goes awry. For one thing, the declaration of war gets lost in the shuffle at the U.S. State Department. For another, the somewhat dimwitted patriot Grand Fenwick sends to lead their invasion force is not privy to the real plan; he thinks he’s supposed to win, even though he and his men are armed only with bows and arrows. The invasion force lands in a seemingly-deserted New York during a disaster drill, and blunders onto the campus of Columbia University, where they take as their prisoner an Einstein-like scientist who has invented a terrible new type of bomb – and who has the prototype in his possession. The U.S. government has no choice but to surrender, an outcome for which Grand Fenwick is stunningly unprepared.
It’s the first of a series of books about Grand Fenwick – I vaguely remember reading one or two others but I think the original was the best.
TCM is showing a series of movies tonight about fictitious ruritanian countries. It started with “The Mouse That Roared.” Right now, there’s “Romanoff and Juliet,” about a tiny nation whose vote on a key issue in the UN General Assembly is being sought by both the U.S. and the USSR. But coming up at 10:30 is one of my all-time favorites: Duck Soup, in which Groucho, Harpo, Chico and Zeppo lay waste to the fictitious land of Freedonia.
Well, it was a little over a month ago that I was complaining about never getting to see most of the Paramount Marx Brothers’ films, and now I can’t complain anymore.
This Friday, as part of TCM’s “Summer Under The Stars,” they’ll be doing a day-long tribute to Groucho, which will include all of the Paramount Marx Brothers movies I wanted to see. I have already set my DVR accordingly.
Someday, I’d like to see this fellow, about whom Mark Evanier frequently gushes at his blog: