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In its place, Kinoblog was launched last night, and promises to be a far more wide-ranging (and frequently-updated) blog tracking my progress through a vast range of Central and Eastern European cinema. It's available here - and there's a lot more to come.
1977, colour, 95 mins
The Film
This is unimaginable today, but on Saturday 16 January 1982, BBC2 showed an ultra-obscure subtitled Czech film in an early enough slot (9.35pm) to garner a decent-sized audience - "decent-sized" equating to "many times larger than BBC4's wildest dreams", given that Britain had only three television channels at the time (for the record, it was up against Match of the Day on BBC1, and the small-screen premiere of Capricorn One on ITV, a somewhat sci-fi heavy night). The British cult reputation of Tomorrow I'll Wake Up and Scald Myself With Tea stems almost entirely from that screening, since apart from a brief London Film Festival outing in 1978 it was never distributed in Britain either theatrically or on video, and consequently doesn't appear in any of the standard reference books. This led to such widespread ignorance that I once saw a writer citing it as an example of an impenetrable arthouse film, purely because of its title.
In actual fact, it's a comedy. And a very funny one, for the most part, albeit not without some of the self-conscious wackiness that seems to pervade a great many mainstream Czech comedies - though it has more than enough inspired moments and genuinely smart ideas to compensate. Chief among them is its time-bending premise, which recalls that of Back to the Future Part II and the recent low-budget US indie effort Primer, though this is merely an accident of viewing order: the Czech film was made many years earlier.
Assuming I've got the plot straight, it runs broadly along these lines. A group of elderly Nazis has survived into the 1990s (thanks to anti-ageing pills of unspecified provenance), and is therefore in a position to take advantage of the miraculous invention of the Universum company - which offers time travel to school parties and rich American tourists, on condition that they are passive observers throughout (they're not even allowed to leave the craft, which lands in the specified era after an initial blast into orbit). The Nazis, led by Klaus Abard (Jiří Sovák), plan to disobey this cardinal rule by landing in Germany on December 8, 1944, with the aim of offering Hitler and his associates a hydrogen bomb that their associates have purloined from the Americans - the idea being that Hitler will shatter his opposition with a single blow, and the Nazis' dream of a thousand-year Reich will become a reality.
To this end, Abard and his associates bribe pilot Karel Bureš (Petr Kostka), who is up to his eyeballs in debt and quite prepared to turn a blind eye to the true purpose of their scheme. However, on the morning of the mission, Karel chokes to death on a bread roll before the horrified eyes of his brother Jan - who, being an identical twin (and, happily, also a trained pilot), ends up impersonating Karel (largely because he fancies his girlfriend) and flying instead. This naturally causes complications for Abard and co., not least after they end up in Nazi Germany in 1941 and find a triumphalist Hitler in no mood to take their offer seriously. So far so straightforward, but once the mission has gone pear-shaped, Jan tries to put things right (in the "thwarting their evil plan" sense as opposed to Karel's "help them succeed" one) by going backwards and forwards in time, on each occasion landing fractionally in advance of events depicted earlier in the film. He then attempts to influence them in the desired direction - but not always entirely successfully…
It is to director Jindřich Polák and co-writer Miloš Macourek's great credit that none of this is anything like as confusing on screen as it was to synopsise. They make frequent use of memorable visual cues to aid orientation (not least the tea-scalding motif of the title), assuming that our own sense of history will be stronger than that of the crudely sterotyped rich American tourist Patrick (the name of the equally moronic robot in Polak's earlier sci-fi effort Icarus XB-1), who professes ignorance of Waterloo and only lights up when he wonders whether he's misheard 'Watergate'.
The budget didn't stretch to time-trips outside Nazi Germany, but we get an impression of what the other tours are like from a series of outlandish costumes sported by stewardesses, ranging from a Cleopatra outfit for ancient Egypt to the Raquel Welch fur bikini treatment for the stone age. Talking of visual wit, the opening credits are superb - they're set against a backdrop of cruelly manipulated footage of the real Hitler, making him appear to dance rhythmically, smooth his hair repeatedly and obsessively and generally make a tit of himself, often in reverse motion. Not only is this laugh-out-loud funny in itself, it also neatly encapsulates the film's theme and subject in a single short sequence. Saul Bass it most definitely isn't, but it follows his principles.
The performances are broad but effective - Petr Kostka particularly impressive as the two Bureš brothers, having to portray not just each (very different) twin but also Jan pretending to be Karel and not quite hitting his marks. And although it's somewhat jarring to hear Hitler, Goebbels, Himmler et al speaking Czech rather than German, the relevant actors are no slouches in the lookalike department - František Vicena's Hitler being especially convincing.
For all its cult reputation, I can't make any great claims for this film being any kind of lost classic, but it's certainly bonkers enough to justify all the fond memories. And it also joins that select group of time-travel films that addresses the paradox at the heart of its subject head on - most, like The Terminator, prefer to skim over gaping logical holes in the hope that audiences will be too thrilled by the all-stops-out action to notice. If Polák's earlier Icarus XB-1 has more to offer posterity, Tomorrow I'll Wake Up and Scald Myself With Tea is far stronger in terms of intentional laughs - quite apart from possessing one of the cinema's all-time-great titles. And for this alone it was well worth reviving.
The DVD
Distribution: Centrum českého videa (Czech Republic), PAL, no region code
Picture: As with the same label's treatment of Jiri Menzel's My Sweet Little Village, this transfer is only just acceptable. The print has seen a great many better days, with most frames betraying some spots and scratches, and there are also vertical tramlines and momentary horizontal bars caused by encoding errors (I checked the offending shots out on my laptop as well as my domestic player to make sure it was the disc at fault). The colours, too, are both faded and rather pasty-looking (at times creating the not unpleasing but presumably unintentional impression of a colourised black-and-white film). The framing is 4:3, but this was standard practice in 1970s Czechoslovakia and there is no evidence of pan-and-scan cropping. It's never unwatchable, and given this film's rarity one is grateful to have the chance to see it at all, but compared with the deluxe treatment Filmexport Home Video gave to Jindřich Polák's earlier sci-fi effort Icarus XB-1, this is very disappointing.
Sound: Two soundtracks are on offer, the original mono and a Dolby 5.1 remix. Frankly, there's little apparent difference - with the surround mix, I don't recall hearing anything from the rear speakers or the subwoofer, though the slightly wider front soundstage made me prefer it to the mono track. Sound quality is acceptable, bearing in mind that there's no evidence that the original recording would have been particularly outstanding.
Subtitles: The English subtitles provide a comprehensive translation, although clearly not one written by a native speaker. That said, lines like "I've told you at least a hundred times to stop these doings of yours!" are rather endearingly in sync with the film's overall eccentricity.
Extras: Aside from the usual sponsors' messages, there are just three extras, only one of which will be much use to non-Czech speakers. This consists of 23 black and white stills presented in a rather fetching pulsing red circle, and is accompanied by soundtrack music. Czech-language filmographies are provided for Petr Kostka, Jiří Sovák, Vladimír Menšík, Vlastimil Brodský and Jindřich Polák, and there are interviews with lead actor Petr Kostka and costume designer Theodor Pištěk, each running just under five minutes.
1963, black and white, 87 mins
The Film
In many ways the missing link between Forbidden Planet and 2001: A Space Odyssey (and Star Trek), Icarus XB-1 is a fascinating sci-fi curio. For decades this was only available to English-speaking viewers in the form of Voyage to the End of the Universe, one of American International Pictures' notorious hatchet jobs, heavily cut, dubbed (and partially retranslated) into English and with a nonsensical new ending that junks one of the film's main themes in favour of a crass Planet of the Apes-style shock twist. (The fact that it predated that film by four or five years is the only mitigating factor, but that won't cut much ice with today's audiences).
Thankfully, the original is now back in circulation, and reveals itself to be an unusually thoughtful and intelligent genre entry - badly dated in parts (and further unintentional amusement comes via a leading character called Anthony Hopkins and a deadly gas trademarked as 'Tigger Fun'), but that's true of virtually everything else from its era. And it's especially easy to make allowances when the film's strengths are so clear.
Set in the 22nd century, it depicts various events that happens to the spaceship of the title as its occupants attempt to find life in the Alpha Centauri solar system. The early part of the film concentrates on life on board, initially letting us get to know the forty-strong crew during a birthday celebration, during which they dance, socialise and occasionally conspire. We are shown glimpses of their day-to-day lives as they eat, exercise and even shower together, alongside imaginative touches such as packets of cigarette-style tubes which, when sniffed, appear to evoke memories of life on Earth. A shipboard romance even leads to a pregnancy-and-birth subplot, highly unusual for the time (so much so that it was apparently excised from the US version in its entirety).
The dramatic action moves up a notch when they discover an apparently deserted UFO-style manned satellite cryptically named Tornado. Successfully breaking in, astronauts Peter and Ervin (Martin Ťapák and Rudolf Deyl) discover a room full of dead bodies, perfectly preserved and seemingly killed instantly without any warning, as they're frozen in mid-action. They find evidence that it's a 1987 (!) expedition and also of what happened, though I won't post any spoilers here. The second major set-piece involves an encounter with what is presumably a black hole (called a "dark star" in the subtitles here), which has an adverse affect on the Icarus' crew in terms of provoking both fatigue and radiation sickness - in one case, Michael (Otto Lackovič) goes mad and tries to return to Earth, threatening the other crew members and jeopardising the future of their mission.
The set-up is so similar to that of Star Trek that one can't help wondering whether Gene Roddenberry saw it beforehand. Stanley Kubrick certainly did when researching special-effects technology prior to making 2001, and some of Icarus XB-1's design and conceptual ideas found their way into his film - the spacesuits are very similar, as is the interior lighting, hexagonal corridors, videophone calls to loved ones, and the overarching theme of searching for unspecified (and never directly depicted) alien intelligence beyond the further reaches of our solar system.
Also familiar from Kubrick's film (and Star Trek) is the notion of international collaboration - the various characters have Czech, Russian, British/American, Scandinavian and French names. True, they're also resoundingly monoracial, something that Star Trek would correct (though not 2001), but this is understandable, as early 1960s Czechoslovakia wouldn't have been anybody's idea of a rainbow nation. Lest this make Icarus XB-1 sound like a wholly innocent victim of others' borrowings, it should be noted that it also rips off Forbidden Planet via a blatantly Robby-styled robot cutely named Patrick which has a faintly disturbing habit of assuming that if a crew member isn't moving, he must be dead, and repeating this allegation mechanically until told to shut up.
Director Jindřich Polák (who would go on to helm the cult favourite Nazi time-travel comedy Tomorrow I'll Wake Up and Scald Myself With Tea in 1977) does a fine job of blending incidental wit with overarching seriousness. The sequence exploring the shadowy interior of the Tornado is genuinely creepy (especially when its dead pilot is disturbed and a chunk of his long-decomposed flesh floats away from his exposed skull), and Polák also makes a brave if not entirely convincing stab at a Spielbergian sense of wonder at the end (albeit when Spielberg was still in short trousers).
The special effects are somewhat creaky now, but would have looked close to state-of-the-art back in 1963, taking full advantage of the Barrandov Studios' renowned facilities. Already imaginative sets (the black-and-white cinematography is particularly alive to their various textures) are enhanced by an inventive use of rear projection screens that must have taken no small effort to assemble and synchronise. The music is by the great Zdeněk Liška (Czechoslovakia's Bernard Herrmann, best known in the West for his many collaborations with Jan Švankmajer), which alternates lush orchestral colourings with chirruping electronics and bizarre dance rhythms with more than a hint of Juan Garcia Esquivel's then-contemporaneous space-age bachelor pad soundtracks.
I was expecting more overt political content, though it's easy to see why the Czechoslovak Communist administration of the time had no problems with the implication of a glorious multinational socialist future (explicitly contrasted with the fate of the Tornado, brought down by its excessive reliance on nuclear weaponry), a notion carried through to the end with its theme of spontaneous intergalactic co-operation. Truth be told, this aspect of the film is weaker than the individual set-pieces, and the film as a whole is a definite notch below Forbidden Planet and 2001 in terms of overall achievement - but Icarus XB-1 is still a very welcome rediscovery.
The DVD
Distribution: Filmexport Home Video (Czech Republic), PAL, no region code.
Picture: Thankfully, the DVD preserves the original 2.35:1 Scope aspect ratio, and is anamorphically enhanced. The print is in good rather than great condition - there are quite a few spots and scratches (especially towards the end), but nothing seriously distracting. The texture is somewhat grainy, but this may well have been characteristic of the original. Contrast is strong without being excessive, which particularly benefits the set design and exterior special-effects shots. A full-scale restoration would doubtless improve matters, but this will certainly do to be going on with. DVDFreak offers screengrabs here.
Sound: The sound is the original mono, and has been well preserved - there are a few minor audio glitches, but I have no difficulty believing that these are inherent in the original materials, which otherwise sound exactly as you'd expect an early-1960s film to sound.
Subtitles: In common with every other release I've seen on this label, the English subtitles are white, easy to read, and generally flawless aside from one or two idiomatic slip-ups. Onscreen text (such as credits) is also translated.
Extras: Although the disc comes with a really impressive set of extras (especially considering the film's age), most will be useless to non-Czech speakers. So instead of listing them in menu order, I'll highlight the English-friendly ones first, starting with three short clips (totalling five minutes) from the American International Pictures version of the film (Voyage to the End of the Universe) illustrating how much it deviated from the Czech original. Firstly, there's the hilarious title sequence, retaining all the names in the credits but Anglicising the vast majority - so it's now directed by 'Jack Pollack', was written in collaboration with 'Paul Jurist' and has music by 'Danny List', though my favourite was the way costume designer (and key New Wave figure) Ester Krumbachová became plain 'Esther Smith', as though off for a dirty weekend. The second clip shows the confrontation between Michael and MacDonald about three-quarters of the way through, but is most interesting for the way it shows how the US version uses voiceover to add additional plot points or smooth over the cuts. And finally there's the alternate ending, where the "white planet" turns out to be the Earth (illustrated via aerial stock footage of New York). The clips are all in English, with no subtitle option (not even Czech).
Non-Czech speakers can also appreciate the wittily-designed stills gallery, which involves 42 images (mostly from the film, though there are a couple of behind-the-scenes shots towards the end) in an appropriately retro brushed aluminium frame with sliding metal panels revealing each successive image. This runs just under three-and-a-half minutes, and there's also a smaller gallery of publicity materials, animated as if floating through space. Each is accompanied by extracts from Zdeněk Liška's score: electronic for the first, orchestral for the second.
As for the Czech-only extras, these include: a half-hour lecture on the film by historian Pavel Taussig; a 35-minute documentary interspersing copious clips with interviews with Hynek Bočan (assistant director), Radovan Lukavský (Macdonald), Zuzana Poláková (presumably the director's wife or daughter: he died in 2003) and the sci-fi writer Ondřej Neff (former editor-in-chief of Ikarie magazine, named after this film); text biographies/filmographies of leading cast and crew members; a bibliography of references to the film; the usual raft of sponsors and media partner ads and trailers common to Filmexport releases.
There's also a DVD-ROM section, which is worth exploring as although most of it consists of Czech and German magazine articles, there's also a reproduction of the original English press notes, including a full (and detailed) synopsis and biographies of the major players.
1964, black and white, 64 mins
The Film
One of the earliest Czech New Wave films, Jan Němec's debut feature Diamonds of the Night (Démanty noci) is also one of the most startling, and remains a thrillingly original piece of cinema even today. Shot largely hand-held and virtually dialogue-free, it follows the desperate journey of two teenage boys who successfully escape a train (presumably) bound for a Nazi concentration camp, only to find themselves hunted down by a band of old men whose physical decrepitude doesn't make them any less lethal.
It was based on the novella Darkness Casts No Shadow (Tma nemá stín) by Arnošt Lustig, an Auschwitz survivor who became one of the main Czech chroniclers of the Holocaust, and who himself managed to escape from a Dachau-bound train after it was bombed by the Americans. Although Lustig co-wrote the screenplay and would later cite the film as his personal favourite of all the adaptations of his work, it's clear that he's not the kind of author who values excessive fidelity to the text, as it's impossible to detect from what ended up on screen that it had a literary source. In Němec's treatment, it's almost irrelevant that this is set during World War II - it could be any situation involving teenage outsiders on the run from some kind of authority.
So given that Němec has not only stripped the situation down to its barest essentials and that the plot (such as it is) could be written on the back of a postcard with more than enough space left over to add the credits, what are the film's virtues? His approach is to emphasise the overwhelming physicality of the situation his two protagonists find themselves in. The impression of feverish delirium is enhanced by the extensive use of a hand-held camera (operated by Miroslav Ondříček, later Miloš Forman's favourite cinematographer) and Jaroslav Kučera's grainy, sometimes slightly overexposed photography adds a texture to what are already strongly tactile images.
Half-dead with exhaustion and hunger, almost crippled by ill-fitting boots and repeatedly drenched by sudden downpours, the boys' tortuous progress through the woods is intercut with short, initially inexplicable images, some of which appear to be flashbacks (a tram ride, an assignation with a girl in a cemetery, the journey on the Nazi train), others which seem to be conveying their disintegrating mental state (a rapid montage of tall trees falling towards the camera, a shock-cut to a face crawling with ants - or, more explicably, generalised memories of comfort and pleasure), while later on they seem to be trying to predict the future, or several alternative variants. This last element is most overt in the sequence in the farm, where one of the boys imagines committing at least three different violent acts on the woman he meets there (the last of which hints at rape), and also at the end - or rather ends, as Němec offers two alternatives.
When the boys are finally captured (were they betrayed by the woman at the farm? Němec doesn't say), the film shifts gear, maintaining the nightmarish tone while adding an element of satire. Their pursuers, far from being lithe Gestapo officers, are a motley gaggle of old men, some of whom appear to be borderline senile, laughing and joking amongst themselves as they hunt them down. This sequence has a universality that goes far beyond the specific World War II period and even beyond Diamonds of the Night's own production, as much of Czech twentieth-century history (very much including the 1968-89 period) involves a gerontocracy imposing its views on the younger members of the population, often backed up by force. Němec would explore a similar theme in his follow-up feature The Party and the Guests (O slavnosti a hostech), another film where the appearance of deceptively jovial authority figures presages disaster.
I wasn't surprised to discover that Němec's major acknowledged influence was Robert Bresson: although the visual style of Diamonds of the Night is more freewheeling than the Frenchman's slow-moving austerity, Němec's essentialist approach to the content of both his images and his soundtrack run very much along the same lines (there is no music, and sometimes he even strips out foreground sounds). Another clear influence is that of Luis Buñuel - this would become particularly overt with Němec's next feature, the Exterminating Angel-like The Party and the Guests, but the shots of ants crawling over hands, feet and faces are an unmistakable homage to the creator of Un Chien andalou, while Peter Hames' account of the film (in The Czechoslovak New Wave) also finds parallels with L'Age d'or (the bandits on the run) and The Criminal Life of Archibaldo de la Cruz (assorted rape/murder fantasies that remain just that).
For a feature debut by a director still in his twenties, Diamonds of the Night is an extraordinarily confident piece of work, and it still looms large in Němec's output as a whole - though the brilliant career that this seemed to foreshadow ended up moving in fits and starts, with huge and unintended gaps in his filmography. Although Němec was never as much of a victim as, say, Sergo Paradjanov in the USSR (he did at least avoid prison, though by all accounts only just), his patchy post-1960s career is a testament to the difficulty of maintaining a genuinely uncompromising creative stance in systems - whether communist or capitalist - that have very different priorities.
The DVD
Distribution: Filmexport Home Video (Czech Republic), PAL, no region code, on a double-bill DVD that also includes Miloš Forman's Talent Competition (Konkurs)
Picture: I saw this film on the big screen nearly twenty years ago, and the DVD seems to match my memories pretty well, in that I believe the obtrusive grain and overexposed, almost bleached-out flashback shots are intentional elements of the overall texture. The print is in good condition for its age, with relatively few spots and scratches, and occasional faint tramlines generally come and go with cuts to successive shots, suggesting the original film stock or negative cutting copy was scratched prior to editing. The aspect ratio is the original 4:3. Although the image quality as a whole is only fair to middling, and there's evidence that the original source was an analogue tape, none of this is especially distracting - the film has clearly been designed to look rough and ready, and virtually every shot is hand-held. So while there's room for improvement, this will certainly do for now.
Sound: The sound is the original mono, and consists almost entirely of background noise - there is little dialogue and no music other than what's sung onscreen by the old men towards the end. As with the picture, while it's far from flawless, I never got the impression that I was being short-changed: it's what I'd have expected from an early 1960s Eastern European film.
Subtitles: There is so little dialogue in this film that the total number of subtitles must only be in the low double figures - but they appeared whenever necessary (including the opening credits), and did a good, clear, typo-free job. Interestingly, while the English subtitles translate everything, the Czech subtitles merely transcribe what's uttered on screen - in other words, the German dialogue remains in German, presumably to reflect the boys' own bafflement and incomprehension.
Extras: There are plenty of extras (covering both this film and the accompanying Talent Competition), many of which look fascinating - but almost everything will be useless to those who don't understand Czech. But here's a rundown: a 23-minute introduction by film historian Pavel Taussig (delivered straight to camera and intercut with film clips); a well-stocked stills gallery (36 images, mostly from the film though with a couple of production shots) accompanied, in the absence of any music, by a section of the film's soundtrack; biographies and filmographies for Jan Němec, Arnošt Lustig, Jaroslav Kučera, Ladislav Janský and Antonín Kumbera; a twelve-title bibliography; a short publicity montage (three images); interviews with second cameraman Miroslav Ondříček (5:44) and assistant director Hynek Bočan (10:33); a list of festivals the film played at; and a DVD-ROM section containing high-resolution scans of contemporary reviews (all from Czech publications). Note that these are just the extras for the Diamonds of the Night section of the disc - Talent Competition has a similar collection of its own.
Full reviews of both are imminent, but in the meantime I thought I'd confirm that the Czech Filmexport Home Video edition of Black Peter leaves the US Facets edition for dust - after reading this comprehensive DVD Beaver slagging-off (complete with damning screengrabs), I took a gamble that the Filmexport edition couldn't possibly be any worse, and it paid off handsomely - there's still room for improvement on the picture front, and the extras are Czech-only, but at present this disc has to be a clear first choice.
UPDATE: I sent DVD Beaver matching framegrabs from the Filmexport edition, and they uploaded them today - so that link is now to a comparative review of both versions.]]>
Alongside these pieces, the Criterion site also features hefty essays on its four Czech titles:
All of which would be impressive enough in itself (when I first trawled through Prague video shops less than five years ago, the number of Czech features available on DVD barely scraped double figures), but it's frankly astonishing when you consider that I've deliberately limited my coverage to DVDs with English subtitles…
UPDATE: Make that sixty.]]>
1965, colour, 18 mins
The Film
Universally recognised as both the founder and the supreme master of the Czech puppet cinema tradition (an accolade far less trivial within Czech culture than it might seem in the West, where puppetry has long been regarded almost exclusively as a children's medium), Jiří Trnka (1912-1969) was generally renowned for his exquisite craftsmanship, best demonstrated in the widescreen feature-length adaptation of Shakespeare's A Midsummer Night's Dream (Sen noci svatojánské, 1959). An essentially gentle, sensitive artist, most of his 25-odd films are distinguished by their impeccable taste and almost complete lack of any apparent political message.
The remarkable thing about his last film, The Hand (Ruka, 1965) is that it both maintains the strengths of his earlier work while adding a heartfelt cri-de-coeur. Though it has a clear political purpose in highlighting the plight of the artist under a totalitarian cultural policy, it also comes across as deeply personal, as Trnka himself was all too conscious of the way he had personally benefited from a regime that he secretly despised. As a political parable, it has all the impact of the work of Jan Švankmajer (who had then just begun his film career and the following year would make the first of several films in Trnka's own studio with technicians who worked on The Hand) but without the younger man's naked aggression, and this quiet fatalism gives it much of its power.
The central situation in The Hand could hardly be simpler: a humble craftsman devotes his life to making clay flowerpots. Though his existence is basic, living in a one-room flat with minimal furniture and peeling wallpaper, he seems blissfully content with his existence, even to the point of bowing before the flowers growing out of his creations. And then, after being alerted by the sound of feet echoing down a corridor's bare floor, he hears a knock at the door…
…which portends the first of many visits by a gigantic hand, which suggests (if that isn't too subtle a word) that the potter divert his skills in the direction of making glorified statues of… well, hands. And this request goes well beyond mere narcissism on the hand's part, as a virtuoso montage demonstrates the image's potency as a political tool: hands hold scales of justice, the torch of the Statue of Liberty, Napoleon's hand tucked into his waistcoat, a mailed fist, a boxing glove, the accusing finger, the clasped handshake, even the silhouetted rabbit trick.
Unmoved, the potter refuses, and reacts increasingly aggressively to further blandishments, even to the extent of disconnecting his phone and attacking the intruder with a sledgehammer to avoid the hand's wheedling, bribery and "accidental" vandalism of his flowerpots. Eventually, thanks to the cunningly-disguised (and weirdly erotic) spectacle of a heavily dolled-up hand in a fishnet glove, he is lured and locked into an ornate birdcage, strings are tied to his limbs, a hammer and chisel is forced into his hands and he is compelled to comply - and, like Trnka in real life (and death: like the potter, he was given a full state funeral when he died four years later), is handsomely rewarded with medals and laurels for his apparent willingness to compromise.
It's a bleak, despairing tale, rendered still more heart-rending by the fact that it's so clearly a Trnka film: the little potter could have come straight out of one of his earlier, airier fantasies. As ever, Trnka's use of lighting to convey the tiniest emotional nuances on an otherwise static face is little short of miraculous, as is his attention to detail: look at the potter's boyish glee, conveyed purely through the way that he spins his wheel with his legs, as compared with the heavier, trudging body language as he's forced to glorify the hand under pressure. Made to take advantage of the post-1964 political thaw, The Hand was banned in the wake of the 1968 Soviet invasion, and no wonder: no amount of spin can dilute the moral force of Trnka's message - or his sly satire of mass popular culture: is it a coincidence that one of the hand's vehicles of totalitarian control is a television set?
The DVD
Distribution: Included in the Image Entertainment compilation The Puppet Films of Jiří Trnka (US), NTSC, no region code. The other films on the DVD are the feature-length The Emperor's Nightingale (Císařův slavík, 1948) and the shorts Story of the Bass Cello (Román s Basou, 1949), The Song of the Prairie (Arie Prerie, 1949), The Merry Circus (Veselý cirkus, 1951) and Břetislav Pojar's A Drop Too Much (O skleničku víc, 1954).
Picture: Although it clearly hasn't been restored and appears to be sourced from an analogue tape master, the source print is in reasonable condition, a few spots and scratches notwithstanding. The colours of the original were presumably more vivid, but the slightly faded look is not at all unpleasing, and the slightly soft picture also suits the material. It's in the original 4:3, and appears to be framed correctly, though the NTSC transfer means that step-by-step examination of Trnka's animation is hampered by additional blurred frames (though this isn't apparent during normal viewing).
Sound: This is the original mono, which is fine, but the quality is dreadful, which isn't. Alongside tape hiss, which may well be characteristic of the original materials, there's also pronounced flutter on several occasions, which sounds as though it was introduced at some stage in the transfer. Fortunately, The Hand is not overly reliant on its soundtrack (there's no dialogue, and both music and sound effects are relatively sparse), so this is less of an issue than it would be in most cases, but there's still ample scope for improvement.
Subtitles: The onscreen title is given in five different languages (Czech, English, German, Spanish, French), and there is no spoken dialogue - hence no subtitles.
Extras: In addition to the five other films mentioned above (which will be reviewed separately in due course), the DVD offers a 12-minute documentary, Jiří Trnka: Puppet Animation Master. Narrated in English, but presumably sourced from a Czech original , it includes much fascinating footage of Trnka at work both at his desk and in his studio, as well as examples of his work outside the cinema, particularly his renowned children's illustrations. In addition to extracts from the films elsewhere on the DVD, it also includes clips from his early work in 2-D cel animation, his puppet debut The Czech Year (Špalíček, 1947), Prince Bajaja (Bajaja, 1950), Old Czech Legends (Staré pověsti české, 1952) and The Good Soldier Svejk (Dobrý voják Švejk, 1955), before concluding with a brief account of the origins of The Hand.
1965, black and white, 72 mins
The Film
Although less famous than the Oscar-winning diptych of The Shop on the High Street (Obchod na korze, 1965) and Closely Watched Trains (Ostře sledované vlaky, 1966) or the early work of Miloš Forman (which Ivan Passer co-scripted and worked on as assistant director), Intimate Lighting may well be the quintessential Czech New Wave film. Lasting an admirably tight 72 minutes, it invites us to share a weekend in the countryside with six couples and two small children, and in the course of a series of outwardly unexceptional events and conversations it unveils a great many truths that are no less profound for being slipped past so subtly that they might well be missed on a first viewing.
The opening sequence initially feels like a re-run of Forman's If There Were No Music (Kdyby ty muziky nebyly, 1963), which Passer co-wrote. In it, a conductor attempts to wring a recognizable version of the Dvorak Cello Concerto out of a decidedly elderly provincial orchestra whose members prefer whispered asides and subversive muttering to musical concentration. Musical coaxing of various kinds will become one of the film's recurring motifs, whether it's a brief glimpse of a child's violin lesson, an attempt to render the rhythm of the phrase "I love you" with a car horn or to make musical sense of Grandpa's sonorous snoring, the mournful brass band accompanying the funeral procession, or the string quartet rehearsal that for the first time establishes common ground between the three leading men.
They are Petr (Zdeněk Bezušek), Bambas (Karel Blažek) and the latter's unnamed father (Forman regular Jan Vostrčil), reuniting in their native village. Petr and his girlfriend Štěpa (Věra Křesadlová, Forman's wife at the time) live in Prague, having moved there when Petr's musical career took off, and Bambas (who was left behind to work as a school administrator) rarely lets us forget it, peppering his conversation with jealous, point-scoring asides that can usually be read in more than one way. For a non-professional actor, Blažek does an extraordinary job of conveying Bambas' inner melancholy, though it turned out that part of the reason was that he was dying of leukaemia, succumbing just six weeks after shooting finished and never seeing the finished film.
Passer delicately counterpoints their low-level squabbling (which, as so often in real life, is never really resolved) with the altogether more down-to-earth attitudes of their womenfolk: in addition to Štěpa, there's no-nonsense housewife and mother Maruš (Jaroslava Štědrá), and Bambas' unnamed mother (Vlastimila Vlková), who turns out to have had the least predictable life of all, assuming her story of being abducted by a travelling circus is true. But much of the time is spent with Štěpa - I'm far from the only person to note her resemblance to Julie Christie, specifically Liz in Billy Liar (1963), and Štěpa has a similarly free-spirited, self-consciously Sixties attitude to life, instinctively favouring the children over the adults, and even innocently flirting with the local village idiot (according to Passer, this was the only improvised scene in an otherwise tightly-scripted production).
The lightness of Passer's touch recalls Jean Renoir at his peak, and comparisons with the latter's Partie de Campagne (1936) are by no means misplaced. Forman's regular cinematographer Miroslav Ondříček (whose work was completed by Josef Střecha after Ondříček was poached by Lindsay Anderson mid-production) manages to make the lighting look both meticulous and deceptively casual, the slightly off-centre compositions giving an off-the-cuff feel that chimes perfectly with the film as a whole. The scenes with Bambas' children are small miracles of choreography and cutting, especially Štěpa and little Kaja's peek-a-boo game interweaving itself into an early conversation, or the dinner-table scene in which a chicken leg changes plate three times before being accidentally drenched.
In tandem with this, Passer has a wonderful eye for absurd but strangely congruous juxtaposition, with first a white then a black kitten held up outside the open window for the string quartet's reluctant delectation, or the incident with the chickens and the car, its bloody conclusion rendered oddly poetic by a perfectly-formed egg rolling up to the corpse. The film's final shot is too delicious to spoil, but Pauline Kael's description of it as "a freeze-frame closing gag that's so funny and so completely dotty that you're not likely to forget it" is right on the money.
Aside from A Boring Afternoon (Fádní odpoledne), a short made for but cut from the 1965 anthology of Bohumil Hrabal adaptations Pearls of the Deep (Perličky na dně), Intimate Lighting was Ivan Passer's only Czech film. He continued to collaborate with Forman, co-writing The Fireman's Ball (Hoří, má panenko!) in 1967, and like him left the country for good in the late 1960s, though Passer struggled to fit his out-of-kilter sensibility into the far more commercialised American film industry. Cutter's Way (1981) showed that this wasn't always a losing battle, but it's appropriate that the dominant mood of Intimate Lighting is one of regret for lost opportunities - on this evidence, Passer is at least as original as (and possibly even superior to) his younger compatriot Jiří Menzel when it comes to affectionately wistful observation of human folly, and it's a shame that external circumstances meant he was never able to develop his gifts in his native culture.
The DVD
Distribution: Second Run DVD (UK), PAL, no region code
Picture: No complaints about the picture - a few white dust spots and the occasional faint scratch aside, the print is in surprisingly good condition for its age, and the transfer does full justice to Miroslav Ondříček 's high-contrast black-and-white lighting. The framing is 4:3, which is what I'd have expected for a Czech film of this period - certainly, there's no indication of any cropping or excessive headroom.
Sound: This is the original mono, and has all the faults that one would expect from a mid-1960s track from a relatively low-budget Czech film - the music in particular could have done with something fuller-bodied. None of which is remotely Second Run's fault, and I have no difficulty believing that the DVD reproduces exactly what's on the original prints.
Subtitles: Up to Second Run's usual high standards, the optional English subtitles were clearly written and proofread by native speakers and while I can't judge the accuracy of the translation, I never felt I was being short-changed.
Extras: The major extra is a recent (December 2005) interview with Ivan Passer, conducted in English. Running 19 minutes, he covers the film's entire history from inception to release, focusing on such topics as working with non-professional actors (when casting, Passer considered musical ability to be more important), discovering Karel Blažek (who was reluctant to appear in the film until he read the script and realized that it could have been describing his own life story), political difficulties involving the choice of Ondříček as cinematographer (not least when Lindsay Anderson poached him mid-shoot), and the disadvantages - and advantages - of shooting in a communist country (it was subsequently banned for twenty years not for being critical but for completely ignoring the regime). An accompanying booklet includes an essay on the film by Phillip Bergson.
Presentation issues aside, though, there's an almost book-length amount of information here about Czech cinema in general and the Sixties New Wave in particular, with articles and quotations from many leading historians and filmmakers.]]>


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Join the Little Silver Business & Professional Association Today!
Join us in serving the local community, supporting local businesses, and making new friends. The Association was created to unite the local business and professional community in order to help promote the benefits of shopping, eating and doing business in this charming Jersey Shore town. The Association is the brainchild of Lori Saybolt, manager of the Woman's Exchange Gift Shop for 20 years. Lori had been noticing opportunities for merchants to coordinate activities and help keep businesses strong, vital, and achieve a greater marketing impact. Lori's ultimate vision was to combine the marketing efforts of the Little Silver business and professional community to provide a better business atmosphere.


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Firefighters worked with animal control officers to remove about 100 dead cats from a San Jose home after they were killed in a fire early Tuesday morning, a fire captain said.
A woman, her dog and about five or six other cats survived the blaze, which was reported at 1:43 p.m. at a single-family dwelling in the 6900 block of Polvadero Drive, San Jose fire Capt. Reggie Williams said.
The woman had kept at least 100 cats in her home, and many had lived inside crates stacked in various rooms, Williams said.
She told firefighters that she was sleeping on the couch in the front room of her home when she heard her dog barking and soon noticed a bedroom was on fire, Williams said.
The woman called 911 and exited the rear of the home with the dog, making it to the patio, but became trapped by a fence she had put up to keep her cats in, Williams said.
She remained on the phone with an emergency operator until firefighters got to her and used axes to cut through the fence as she lay in a fetal position surrounded by smoke, Williams said.
She, the dog and the five or six cats were taken to safety, Williams said.
When firefighters entered the house, they found "a ton of cats" — at least 100 and perhaps more, Williams said.
"When we arrived, we found mainly deceased cats," Williams said.
Some of the felines were still in the crates while others were on the floor, Williams said.
The fire badly damaged two rooms and the attic. The home is not habitable and will require major reconstruction, Williams said.
After dousing the fire, firefighters put on gloves and used shovels to pick up the dead cats and place them in crates in the home's front yard for Santa Clara County Animal Care and Control to dispose of, Williams said.
There were no injuries to humans, and the cause of the fire is under investigation, Williams said.
(Copyright 2013 Bay City News. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed.)


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When you're operating across an entire network of terminals, inefficiencies and problems are bound to arise. Of course, there's no way to eliminate these entirely, but there are ways to minimise them, by gathering more useful information, simplifying and improving existing processes, and ensuring administrators have all the necessary powers available. This is where Symantec Workspace Streaming can help. Your organisation may well be using the Symantec Endpoint Virtualization Suite already for the virtualization of your business-critical applications. Workspace Streaming is an add-on for this suite, which allows sophisticated application streaming.
- License management is simplified, with a clear table showing the type of license, the number available and how many are in use, who uses them and how often, and the regularity with which licenses are re-harvested from dormant or irregular users. The re-harvesting of licenses can be automated through the use of rules, allowing you to make the most efficient possible use of your existing licenses. This ensures that users can get what they need, when they need it. It also means that you can easily implement a physical policy in a virtual environment.
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- The number and size of OS images is reduced, which makes management much easier.
- Less demanding than a thin client model, as parts of the applications are cached locally. This is much less demanding on the client than a full-install, but runs just as fast after the initial streaming.
- Available to remote and mobile users, allowing your organisation to offer a policy which is as flexible as possible for end-users.
For a step-to-step guide on how to set up application streaming on your server, check out this video:


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The Eastern practice of yoga has become a modern-day symbol of peace, serenity and well-being in the West. More than 20 million Americans practice yoga, according to the 2012 Yoga in America study, with practitioners spending more than $10 billion a year on yoga-related products and classes.
From AOL On Network On October 30, 2013 at 4:13PM


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Zeeda Hutton
'Truckers to Shut Down America' viral meme keeps moving
Todd Dills | September 24, 2013
The Facebook page that went viral the third week of September calling for a trucking shutdown was then shut down itself under murky circumstances. Meanwhile, nontrucking promoters move toward a semblance of organization.
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Yes Sergio is one of those guys that will always be unique amongst touring professionals. I think it gets lost just how good a career he has had because he hasn't won a major. 18 victories worldwide says enough just how good a career he has had. At present he's close to the hottest man in world golf and will play a vital role in the European Ryder Cup team.
- Terry Koehler on Hogan irons of the past and futurePosted 23 hours ago
- Golf Gadgets: The Good, The Fad and The FunkyPosted 2 days ago
Sergio will be Sergio, even if he wins
By Zak Kozuchowski
GolfWRX Managing Editor
If Sergio Garcia wins The Barclays tomorrow at Bethpage Black, the following things will happen:
1. With back-to-back victories, Garcia will be considered the hottest hand in golf. Although he withdrew from next week's Deutsch Bank Championship, he will become one of the favorites to win the PGA Tour's FedExCup Playoffs.
2. Garcia will become the de facto leader of the European Ryder Cup team, which is impressive considering he did not ensure a spot on Jose Maria Olazabal's team until Monday, when he won the rain-delayed Wyndham Championship.
3. Garcia's play will convince us that he can and will win a major championship.
All of these arguments are valid. For years, Garcia has proven that he is one of the Tour's best ball strikers, and his 14-6-4 Ryder Cup record is evidence that he is one of golf's most fiery competitors. At times though, he's been a little too fiery.
The 2002 U.S. Open at Bethpage Black was an example of his combustable nature — "Sergio being Sergio" you might call it. Garcia, who was 22 at the time, was having trouble pulling the trigger over his shots. The video reply is painful to watch — waggle, regrip, waggle, regrip, etc.
Not surprisingly, Garcia was taunted by a few New York City golf fans for his lengthy preshot routine. So Garcia did what every athlete has wanted to do to New York sports fans at times. He flipped them the bird.
Similar stories of abnormal behavior from Garcia have accumulated over the years. There was the time he spit in the cup at Doral, the time he kicked his shoe down the fairway in the World Match Play and the time he kicked a sign on the European Tour. Maybe the strangest thing Garcia has ever done was to say after a disappointing weekend at the 2012 Masters that he wasn't good enough to win a major.
But Garcia is good enough to win a major. And he shouldn't need a win at The Barclays to prove it. He certainly doesn't need to win at Bethpage Black to redeem himself to New York City golf fans for his lapse in judgement, either.
Yes, Garcia has provided golf fans with several uncomfortable moments over the years, but he's also given us a unfiltered glimpse into the thoughts of a top Tour player. Those emotional outbursts we complain about? They're the same emotions we love in the Ryder Cup. The immature excuses Garcia has made at times? They're the foundation of the confidence he has displayed in his 18 victories across the globe.
When we're talking about Sergio Garcia's future, what we're really talking about is his putting. And right now, he's rolling putts better than ever with his right hand positioned in a pencil-style grip. Garcia accepted that he would never be a great putter with a conventional-style grip, and has adapted well enough with the new grip to rank in the top 30 in the Tour's strokes gained — putting statistic.
Maybe we need to look at Garcia the same way as he's come to look at putting. He's never going to be conventional. He's not going to do it the way others have. But he can still get it done.
And I hope he does.
Click here for more discussion in the "Tour Talk" forum.
You can follow Zak on Twitter @ZakKoz and GolfWRX at @GolfWRX


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Hyatt Regency Hong Kong, Sha Tin
18 Chak Cheung Street, Sha Tin, New Territories
Hong Kong, China
Tel: +852 3723 1234
Fax: +852 3723 1235Email: email@example.com
Hotel Overview
Read More >>
Enjoy 5 Star luxury urban resort hotel experience at Hyatt Regency Hong Kong, Sha Tin. Located next to the Chinese University of Hong Kong (CUHK) and the University MTR Station, our Sha Tin hotel offers direct access to Tsim Sha Tsui, Hong Kong Island, Lo Wu and Lok Ma Chau at Shenzhen, via the Mass Transit Railway.
Our Hong Kong hotel is only a 5-minute ride from Hong Kong Science Park and Sha Tin Racecourse, and 30 minutes by taxi from Hong Kong International Airport, with numerous Sha Tin attractions and landmarks nearby.
Unwind in one of our 559 luxurious rooms and suites, featuring calming views of Tolo Harbour or Kau To Shan mountains. Considered one of the best urban resort hotel in Hong Kong, Hyatt Regency Hong Kong, Sha Tin's spacious guestrooms and suites are suitable for a relaxing getaway or business stay.
Our Hong Kong serviced apartments features 132 rooms and suites specially designed to cater for all the needs of an extended stay in Hong Kong.
Our Sha Tin hotel aims to combine the comfort of a 5 star hotel in Hong Kong with features of an ideal neighbourhood destination, a luxurious meeting hotel and business hotel for resort meetings and events in Hong Kong.
Hyatt Regency Hong Kong, Sha Tin provides ideal venues for wedding banquet and outdoor wedding ceremony in the theatrical Regency Ballroom, Salons with outdoor terrace, outdoor landscaped Garden, and Sha Tin 18 outdoor terrace. Our five indoor and outdoor Hong Kong restaurants and bars offer authentic cuisine and unique dining experiences.
Resort hotel leisure facilities include Melo Spa, 25-metre outdoor heated swimming pool and whirlpool, tennis court and Fitness Centre with steam and sauna offering fitness membership, and Camp Hyatt for children.
Resort hotel leisure facilities include Melo Spa, 25-metre outdoor heated swimming pool and whirlpool, tennis court and Fitness Centre with steam and sauna offering fitness membership, and Camp Hyatt for children.
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Hyatt Regency Hong Kong, Sha Tin
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Celebrate Christmas and New Year of all styles
Celebrate Christmas and New Year's spirit with authentic delicacies and pampering packages
Pool bar brings back the sumptuous barbecue dinner
Enjoy an exotic evening with the all-you-can-eat barbecue dinner at the poolside, surrounded by lush greenery and uninterrupted Kau To Shan mountain view.
Melo Pearl Experience
Stay stunning with Melo Spa's pearl treatments and get ready to party in the festive season
Swim and Dine Package
Enjoy an alfresco experience and delightful delicacies in a serene and green environment


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According to the Royal Life Saving National Drowning Report, 284 people drowned in Australian waterways between 1st July 2011 and 30th June 2012.
The report released at the end of September shows a reduction of 26 (8%) on the 2010/2011 drowning toll, and a reduction of 3 (1%) drowning deaths on the five year average of 287.
Although the report highlights the enormous amount of work still to be done by groups such as SwimSAFER, one pleasing aspect for swim schools is the reduction in drowning rates in the 0-4 year age group to 21 children. This is a reduction of seven deaths from the 2010/2011 year, and a reduction of 11 on the five year average of 32. Of note is after the previous historical low of 26 drowning's in 2004/2005, this was immediately followed by a 10 year high of 47 in the 2005/2006 year.
Of concern in this age bracket is the 75% increase in the number of drowning deaths occurring in the bath tub or spa bath. This year saw the figure jump from four deaths in 2010/2011 to seven deaths this year.
Another area that has been highlighted by the SwimSAFER team is the number of boys who drown in their younger years. SwimSAFER strongly believe that this demographic is an area that swim schools must be highlighting to parents to be extremely vigilant with at all times.
2011/2012 saw an overall increase in inland waterway drowning. The highest number of drowning deaths occurred in inland waterways (104), accounting for 37% of the total number of drowning deaths. This statistic highlights that more drowning deaths occur in rivers and lakes than at the beach.
SwimSAFER encourages all swim schools to continue to educate not only the children under their care, but also to help educate the parents about the dangers that exist around ALL bodies of water.
To help with this your swim school can play its part by agreeing to become a SwimSAFER Week participating Swim School.
Our goal is to see over 284* swim schools across Australia become part of the Swim Australia SwimSAFER Week Swim School network. Benefits include:
- DL and A4 Parent Education handouts on a number of SwimSAFER topics
- Customer Service Tips for SwimSAFER Week for Managers / Receptionists
- Teaching Tips for SwimSAFER Week instructors
- SwimSAFER Week Signage for you to place around your centre
- SwimSAFER Poster Series to help educate parents on a year round basis
- Discounted Pull Up banners. Ideal for promotions etc
*284 is the number or people who drowned in Australia in the 2011/2012 year
If you are not a SwimSAFER Week participating Swim School then email firstname.lastname@example.com for further information.


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Polymer Innovations
Polymer Innovations produces the world's best polymer based earthen dam, pond or canal sealant that is 100% customisable to your specific environment. Whether the leak is in the base, wall, through rock or any soil type our Water$ave Plug Range will put an end to your water losses!
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Do you sell products or services useful to hobby farmers? You can reach your target audience by listing your business for 'FREE' in the Farmstyle directory.


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« Behind the Video: Beyoncé f/ J. Cole – 'Party'
New Music: WZRD (Kid Cudi x Dot Da Genius) – 'Brake' »
Video: Robin Thicke – 'Love After War'
Hot damn! Robin Thicke and his wife Paula Patton fire up the screen in the Hype Williams-directed video for "Love After War," the first single from the soul man's fifth album of the same name, due December 6. The super-hot couple fight only to makeup, and Robin shows us just how lucky he is to be married to the Mission: Impossible actress, who parades around in a blonde wig and lingerie.
Thicke explained how he and his gorgeous wife keep the spark alive. "My wife is an actress, a mother, and a wife and I am a husband, a father and a singer so we haven't seen each other a lot the past couple of weeks," he told UsMagazine.com. "We won't see each other a lot until Christmas and it's very difficult, but the only thing that gets us by is having great sex together. There is never enough [sex]. When it does happen, it goes on for hours."
Peep into their steamy bedroom escapades.
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This item will be ready to ship on Monday, December 15, 2014
For Holiday delivery order by, Thursday, December 18, 2014, 8PM ET.
Quickly transform ordinary tap water into fresh sparkling water with this environmentally friendly soda charger. Enjoy the refreshing beverage on its own or as the base for cocktails or homemade sodas.


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Tuna melt pizza baguettes
Cooking timePrep: 10 mins Cook: 20 mins
Skill levelEasy
ServingsServes 4
Quick and easy pizza breads that little ones will love
Nutrition and extra info
Additional info
- Freezable
Nutrition info
Nutrition per serving
- kcalories
- 410
- protein
- 26g
- carbs
- 47g
- fat
- 14g
- saturates
- 7g
- fibre
- 4g
- sugar
- 9g
- salt
- 1.9g
- 2 part-baked baguettes
- 1 red pepper, diced
- 1 green pepper, diced
- 198g can sweetcorn, drained
- 225g jar tuna
- 100g cheddar, grated
- 1 tbsp tomato purée
Buy Ingredients
Buy the ingredients for this recipe now via:
Want to know how this works? Read all about it here.
- Heat oven to 190C/170C fan/gas 5. Halve the 2 part-baked baguettes lengthways and cook directly on the oven shelf for 8 mins. Meanwhile mix the diced peppers, sweetcorn, tuna, and 75g of the grated cheddar.
- Transfer the baguettes to a baking tray, spread each with 1 tbsp tomato purée, divide the tuna mix over, then sprinkle with the remaining grated cheddar. Bake for 12 mins until melting and golden.
Recipe from Good Food magazine, August 2011
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Taste of Mumbai is already the key event on the summer social calendar. With 12 top restaurants, an abundance of world-class Chefs, over 50 food and beverage exhibitors and a myriad of features and events, it's hard to beat.
Add even more sparkle to your day out with a VIP Ticket which gives you access to the American Express VIP Lounge.
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- Enjoy a complimentary beverage A complimentary beverage courtesy Taste of Mumbai and if you would like a refill, head to the VIP bar on the ground floor or terrace
- An American Express Gift Card worth Rs 1000 to spend at Taste of Mumbai restaurants and exhibitors: Splash out on whatever takes your fancy. Whether this is by eating from one of the top restaurants, purchasing your favourite ingredients, or buying gifts even the most dedicated foodie would appreciate.
- Meet top International and Indian chefs: After watching the chefs demonstrate their cooking skills at the Fisher & Paykel Taste Theatre – meet them up-close and personal inside the American Express VIP Lounge.


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The HankMed team is going to be pretty busy this summer on Royal Pains.
The USA medical dramedy has added Oscar nominee Michael O'Keefe (Michael Clayton), Shameless vet Nick Gehlfuss, Greek grad Spencer Grammer, Reaper's Tyler Labine, Betas actor Leonardo Nam and...
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Season 1, Episode 8
When investigating a haunted apartment, Kevin discovers the ghost of inventor Rube Goldberg, who needs help pulling off the most elaborate "Rube Goldberg machine" of all time.
Kevin comes face to face with his Nordic kidnappers.
Kevin discovers a secret office haunted by its old tenant.
Roofie gives Kevin a tour of his new business venture.
The USA medical dramedy has added Oscar nominee Michael O'Keefe (Michael Clayton), Shameless vet Nick Gehlfuss, Greek grad Spencer Grammer, Reaper's Tyler Labine, Betas actor Leonardo Nam and...
read more
Hulu has ordered a second season of the Tyler Labine stoner comedy Deadbeat, the streaming service announced Wednesday.
Killer hair: An analysis of creepy cuts
Hulu also revealed summer premiere dates for three of its returning original series. Seth Meyers' animated comedy The Awesomes returns ...
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This week, the Game of Thrones theme song was redone by goats, and rap songs were redone Broadway style by Jimmy Fallon and Anne Hathaway. A college class played an amazing April Fool's joke on a professor, and a stubborn French bulldog expressed hisextreme displeasure at having to go to bed. Also, Hulu released its new original seriesDeadbeat, and The CW announced that its digital series Backpackers will make the leap to TV this summer. Check out those clips and more in our weekly roundup of the best onlinevideos:
Hulu's new original comedy series Deadbeat is both familiar and different at the same time. Although the show features a typical TV conceit — a protagonist has one amazing skill, but the rest of his life is a disaster — when you add in ghosts and a large quantity of controlled substances, you get something you'd be hard pressed to ever find on your TV dial. Spring Preview: Check out all the must-see new showsThe series, created by Wilfred writers Cody Heller and Brett Konner, stars Reaper's Tyler Labine as Kevin "Pac Man" Pacalioglu, a stoner medium who helps ghosts resolve their unfinished business so they can move on to the afterlife...
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He sees dead people! Hulu is scaring up laughs with its new original series Deadbeat, starring Reaper vet Tyler Labine as Kevin Pacalioglu, a New York medium who can successfully communicate with ghosts to help them solve their unfinished business but struggles to gain control of his own life.
Deadbeat also stars So You Think You Can Dance host Cat Deeley as rival medium Camomile White and Brandon T. Jackson as Kevin's best friend, Roofie. Brett Konner and Cody Heller (Wilfred) serve as writers and executive producers. All 10 episodes will be available for streaming beginning on April 9.
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Chevy Truck Blower Motor, Heater, Air Conditioning, 1964-1972
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text: "This is the world's sexiest robbery!" declared the posters for the 1968 crime caper The Biggest Bundle of Them All, surely referring to the scene-stealing curves of star Raquel Welch. When she wasn't costumed in the tiniest of bikinis, Welch spent her screen time poured into equally seductive hip-huggers.Read MoreLess


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What does UNT mean in Colleges & Universities?
This page is about the meanings of the acronym/abbreviation/shorthand UNT in the Academic & Science field in general and in the Colleges & Universities terminology in particular.
University Of North Texas
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Home Municipal Services Water & Sewer Utilities Fluoride Removal from our Water Supply
Fluoride Removal from our Water Supply
Please note that in accordance with the Town of Okotoks' new Water System Approval # 1029-03-00, issued December 13, 2012, the addition of fluoride into the town's drinking water ceased effective Thursday, December 20, 2012.
An alternative program for access to oral health examination and topical fluoride varnish for children aged 12-25 months has been developed in partnership with Alberta Health Services and the Primary Care Network and will be administered through the Okotoks Healthy Family Resource Center. Preschool Oral Health Clinic (184 KB) For more information on the alternative program please contact: Debbie Posey, Family and Community Support Services Team Leader Ph: 403-938-8935
Background on Fluoride Removal from Town of Okotoks Water Supply
The Town of Okotoks voted to discontinue fluoridation of the municipal water supply. Town Council also directed Family and Community Support Services (FCSS) and the Okotoks Healthy Family Resource Centre to implement strategies to support residents who are at risk of dental caries (cavities). FCSS worked with Alberta Health Services (Oral Health) and the Primary Care Network to develop a plan to help families with young children. (Other strategies include enhanced promotion of good oral health practices.)
Council Motion on Fluoride Removal
Please read the excerpt from the Unadopted Minutes of April 23 with respect to fluoridation which were passed by Council:
That Council repeal the existing fluoridation bylaw and direct Administration to apply to Alberta Environment to discontinue the insertion of Hydrofluorosilicic Acid into Okotoks' public drinking water.
That Council direct Administration to consult with Alberta Health Services to ensure a program is in place to provide topical fluoride treatments and/or fluoridated toothpaste to assist individuals at risk of dental caries.
History of Fluoride in Okotoks Water Supply
Fluoride naturally occurs in the Sheep River in concentrations varying throughout the year, between 0.22 and 0.23 mg/L. The Town adds fluoride to the municipal water supply in a concentration of 0 .75 mg/L on average per month following Alberta Environment water system approvals that are based on Health Canada's recommendations. Health Canada's maximum acceptable concentration of fluoride in water is 1.5mg/L. Epcor Water Services monitors the quality of water in its watersheds. Results are made public in the annual Water Quality Report.
Fluoride Survey
An online survey was offered to residents to express their concerns with continuing or discontinuing fluoridation of our water supply. The online survey started at 8 am on Tuesday, March 27 and closed on Thursday, April 12 at 5 pm.
Non-Statutory Public Hearing
A Non-Statutory Public Hearing was held on March 26, 2012 at 7pm at Council Chambers.
Dr. James Beck, MD, PhD
Professor Emeritus of Medical Biophysics, University of Calgary; Author of The Case Against Fluoride
Against Fluoridation of Drinking Water
Dr. Richard Musto, MD, FRCP
Medical Officer of Health, Calgary Zone, Alberta Health Services; Clinical Associate Professor, University of Calgary
For Fluoridation of Drinking Water
Resources - For and Against


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Hedge fund manager David Einhorn is playing ball with the New York Mets and on the verge of buying a minority stake in the cash-strapped Major League Baseball team for $200 million.
Einhorn, the manager of Greenlight Capital, is in exclusive talks with Mets ownership led by real estate developer Fred Wilpon, both sides confirmed.
The parties said they hope to ink a "definitive agreement" by the end of June. Any deal must be approved by Major League Baseball.
If a deal with Einhorn is completed, the 42-year-old trader and competitive poker player is following in the footsteps of John Henry, James Pallotta and Philip Falcone--other well-known hedge fund managers who have invested in professional sports teams.
Einhorn, who is holding a press conference on Thursday to discuss the investment in the Mets, is committing his own money to the deal. The hedge fund manager, who is married and has three young children, says he is a lifelong baseball fan and long-time Mets fan.
In recent years his Greenlight Capital, with $7.8 billion in assets under management, has emerged as one of the more influential hedge fund firms. He's best-known for his "short" call on Lehman Brothers at the start of the financial crisis and a long-running battle with the management of Allied Capital (AFC.N).
The Mets have been looking for a minority owner because the team is losing money and Wilpon is being sued by the trustee in the Bernard Madoff case.
The Madoff trustee is seeking to claw back some $1 billion in "fictitious profits" the Wilpon family and their business partners are said to have made from investing with Madoff. The mastermind behind one of the biggest Ponzi schemes pleaded guilty in 2009 and is serving a 150-year prison sentence.
The Wilpons have been searching for minority investors for several months and other hedge fund managers had emerged as potential buyers. For a time, it appeared the Wilpons were close to reaching a deal with SAC Capital Advisors founder Steven Cohen.
Einhorn gave a subtle hint about his interest in the Mets at a hedge fund conference on Wednesday. He shouted out "Let's Go Mets!" at the end of his presentation at the Ira Sohn Investment Conference in Manhattan.
The manager did not offer explanation for his cheer. During the conference he called on the board of software giant Microsoft Corp (MSFT.O) to oust CEO Steven Ballmer.
News of Einhorn's negotiations with Wilpon was first reported by ESPN. (Reported by Jennifer Ablan, editing by Dave Zimmerman)Copyright © 2014, Daily Press


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Reviewed Butter and Jam Thumbprints
Sunday, Nov 17, 2013 on FoodNetwork.com
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Just like last year, I'll be combing over box scores and scouring local beat writers' reports each morning to help ensure  you have all the information you need in order to make the right decisions for your fantasy baseball lineup. So make sure you check back at this very spot for Hot/Cold Streaks, Injury News, Closer Updates, Daily Stats, and more so that you can stay one step ahead of the rest of your league!
An as always, make sure you're getting your dose of daily fantasy baseball by playing the FP911 Challenge!
5 Good Nights, 5 Bad Nights
It's a fact of life that every baseball player goes through hot and cold streaks. It's important not to let those streaks influence a player's fantasy baseball value too much, but it is important to be aware of how a player is doing within a short period of time (a seven-day sorter is always a good tool to use). A player's short-term numbers can be the difference between winning and losing in daily games, and it can also make a huge difference in year-long leagues. For instance, if you can keep finding the second basemen on hot streaks and dropping them for another streaking second basemen once they get cold, you can piece together a very useful middle infielder-by-committee for your roto team. So before we get to today's games, let's take a spin through last night's box scores to identify who had a good night and who had a bad night on Monday, April 15th.
5 Good Nights
- Joe Mauer:Â 4-5, 2 R, HR, 3 RBI
- Ryan Zimmerman:Â 2-5, 2 R, HR, 4 RBI
- Jed Lowrie:Â 2-4, R, 4 RBI
- Ryan Dempster:Â 7.0 IP, 2 H, ER, 2 BB, 10 Ks
- Bronson Arroyo:Â 8.0 IP, 5 H, 2 ER, 3 K's, W
Honorable Mention: Brandon Moss, Allen Craig, Tyler Moore, Nate Freiman, Jon Jay, Cliff Lee, Jordan Zimmerman, Kevin Correia, Jeremy Hellickson, Tommy Milone, Mark Buehrle, Paul Clemens
5 Bad Nights
- Erik Bedard:Â 0.1 IP, 2 H, 6 ER, 4 BB, K
- James McDonald:Â 1.2 IP, 8 H, 3 ER, 2 BB
- Gavin Floyd:Â 4.1 IP, 9 H, 4 ER, 3 BB, 6 Ks
- Josh Hamilton:Â 0-4, 2 Ks
- Jimmy Rollins:Â 0-4, K
Dishonorable Mention: Joe Blanton, John Maine, Lance Lynn
Daily Grab Bag
Check back here for daily updates on injuries, closer battles, player news, and anything else that might affect your fantasy baseball team.
- As the closer carousel continues to spin in St. Louis, Edward Mujica looks poised to get the next save opportunity and is definitely worth grabbing if you're chasing saves.
- Chase Headley (thumb) has progressed well enough in his rehab to the point where he may be activated by the Padres as soon as today.
- Brett Lawrie (ribs) has been activated by the Blue Jays and will be in Toronto's lineup when they take on the White Sox tonight.
3 Up, 3 Down, and Throwing Darts
Starting and sitting the right pitchers on a day-to-day basis is often the linchpin of winning any fantasy baseball league – roto, head-to-head, daily, and otherwise. In order to give you some help picking your pitchers for today, I've gone through all of the stats that I could (pitchers' career numbers vs. certain hitters and lineups, home/road splits, lefty/righty splits, etc) and have made nine recommendations. I'm not going to proclaim that I'll get these 100% correct all season, but anyone that does should be sitting on an island that they own in the Pacific – not writing fantasy baseball articles. The goal here is to play the odds the entire season and slowly build your "win" percentage closer to 100% than to 50%.
Here are today's recommendations with, 3 Up (three pitchers you shouldn't think of sitting), 3 Down (three pitchers with some warning flags for today), and Throwing Darts (three pitchers that I'll be taking a flier on):
3 Up
Kris Medlen vs. Kansas City Royals
Doug Fister at Seattle Mariners
Derek Holland at Chicago Cubs
3 Down
Ubaldo Jimenez vs. Boston Red Sox
Brandon McCarthy at New York Yankees
Dillon Gee at Colorado Rockies
Throwing Darts
A.J. Griffin vs. Houston Astros
Jake Westbrook at Pittsburgh Pirates
Chris Capuano vs. San Diego Padres
Swings and Misses
A hitter's career numbers against a pitcher don't always tell the whole story, but it can be informative if used correctly. I'm of the opinion that some information is better than none, and while there are other pieces to the puzzle of setting your daily lineup (splits, weather, etc.), I think a hitter's career numbers against a pitcher can be very indicative of future success or failure. Some guys just own certain pitchers, and vice versa. As such, I've gone through today's matchups and picked the best (and worst) matchups I could find. Anything less than 10-12 career at-bats is a relatively small sample-size (so take those with a grain of salt), but sometimes that's all that is available.
- Pedro Alvarez is 11-for-19 (.579) with two home runs and eight RBI in his career against today's starter, Jake Westbrook.
- David Wright is 6-for-14 (.462) with three home runs in his career against today's starter, Jeff Francis.
- Ryan Braun is 5-for-14 (.357) with three home runs and six RBI in his career against today's starter, Barry Zito.
- Kevin Youkilis is 1-for-14 (.071) against today's starter, Brandon McCarthy.
- Josh Willingham is 2-for-19 (.105) in his career against today's starter, Jason Vargas.
- Adam Dunn is 4-for-24 (.167) in his career against today's starter, Josh Johnson.
Latest posts by Nick Raducanu (Posts)
- Fantasy Baseball Daily Notes 6/10 - Jun 10, 2013
- Fantasy Baseball Daily Notes 6/7 - Jun 7, 2013
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Judge Sewall's Apology, Richard Francis
The premier of the Old Town Hall Lecture Series on Thursday evening was a huge success! The talk by Richard Francis, author of Judge Sewall's Apology, gave an overview of a flesh-and-blood Samuel Sewall, the only one of nine judges presiding over the Salem witch trials to apologize for his part in the tragedy.
Those of us from the Salem Witch Museum who read the book and attended the lecture gained a better understanding of certain nuances of the witch trials through the perspective of this eye-witness and penitent condemner. His prolific diaries show a man who was introspective and sometimes stricken with doubt about his own hypocrisy. Though the nearly lifelong diaries include comparatively fewer entries during the time of the Salem witch trials, it is evident that he was ambivalent about the events taking place:
"…Unease had begun to percolate into his mind. He wrote to his cousin Hull in London: "Are perplexed p[er] witchcrafts: six persons have already been condemned and executed in Salem." Certain issues must have resonated in his thoughts: Stoughton's ruling that a simple tendency to the pining and tormenting of the afflicted was sufficient; Nathaniel Saltonstall's resignation from the court; the way the bench ignored his friend Cotton Mather's advice in "The Return," and refused to listen to Susannah Martin's citation of the precedent of the Witch of Endor; the changed verdict in the case of Rebecca Nurse; above all, the fact that his friend and fellow congregant John Alden had been remanded for trial as a witch. Sewall was respectful of authority – though, as he would prove several times in the course of his life, would defy it courageously on a matter of principal. But he had gone into the trials feeling that he had made a serious judicial error, one caused by being too concerned about how others might think of him. He had pardoned a pirate under pressure from Wait Winthrop, now his fellow judge in the Court of Oyer and Terminer, and later despised himself for his weakness in not holding to what he believed was right. His instinct was now to stiffen his resolve when doubts and merciful feelings sneaked in, to overrule any unease he might be feeling with the implacability he had learned from his colleague and superior, William Stoughton." [Francis, 130-131]
January 14, 1697, a day of fasting and prayer reflecting on the witchcraft trials five years later, would be the day Reverend Samuel Willard read Sewall's apology to the congregation:
Samuel Sewall, sensible of the reiterated strokes of God upon himself and family; and being sensible, that as to the Guilt contracted upon the opening of the late Commission of Oyer and Terminer at Salem (to which the order of this Day relates) he is, upon many accounts, more concerned than any that he knows of, Desires to take the Blame and shame of it, Asking pardon of men, And especially desiring prayers that God, who has an Unlimited Authority, would pardon that sin and all other his sins; personal and Relative: And according to his infinite Benignity and Sovereignty, Not Visit the sin of him, or of any other, upon himself or any of his, nor upon the Land: But that he would powerfully defend him against all Temptations to Sin, for the future; and vouchsafe him the efficacious, saving conduct of his Word and Spirit.
Dr. Francis has written several novels, biographies and non-fiction works about the history of American culture. His most recently released work is called Fruitlands, a novel about an experiment in utopian society established in Harvard, Massachusetts by Bronson Alcott and Charles Lane in 1843.
He and his wife Jo were kind enough to visit us here at the Salem Witch Museum the morning after his lecture. The staff had a wonderful time discussing Judge Sewall, the witch trials and perceptions of American history from the point of view of this learned Harvard fellow. Jo confided in our colleague, Jill Henry, that her husband had written unique talks for each of his ten upcoming addresses!
We are grateful for his gracious willingness to sign several copies of Judge Sewall's Apology available in our bookshop.
For more information please check out his blog.
Celebrating the North Shore's rich historical past, the Gordon College Institute for Public History is delighted to announce the inaugural season of our annual lecture series at Salem's historic Old Town Hall.
The Old Town Hall Lecture Series takes place from November 2010 through May 2011 on the third Thursday of the month at 7:30 pm at Old Town Hall, 32 Derby Square, Salem, Mass.
Next lecture:
Thursday, December 16, 2010, 7:30 pm
Witchcraft and Conflict in Early New England: Illustrated lecture and book signing with Emerson ("Tad") Baker of Salem State University
Francis, Richard. Judge Sewall's Apology. New York: HarperCollins, 2005. Print.
Jones, Heather E., revised by D.J. Ward. "Samuel Sewall." Salem Witch Trials Documentation and Archive Project. 2006. Web. 16 Nov. 2010.
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Saw Gaga in The Zen of Bennett docu. Obnoxious actress. Amy Whinehouse: much nicer. And the real thing.
333 days ago.
@MrChuckD watching "The Zen Of Bennett". Tony says "when the labels saw the money they could make they started telling artists what to do".
337 days ago.
I watched a great video about Tony Bennett entitled "The Zen Of Bennett" This is a very honest look at behind the scenes with Tony Bennett.
339 days ago.
I watched "The Zen of Bennett" the other day and it was an epiphany.
343 days ago.
The Zen of Bennett documentary broke my heart watching how insecure #AmyWinehouse was recording "body & soul" she was too hard on herself.
347 days ago.
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(WVLT) - A murder linked to a popular website where people can post free advertisements is reinforcing the hidden online dangers of some internet websites.
Volunteer TV's Kim Bedford has the details.
Police in Minnesota say a 24-year old woman was found shot to death in the trunk of her car, the day after she was supposed to meet someone about a baby-sitting job posting on www.CraigsList.org.
On Tuesday, prosecutors charged a 19 year-old man, they say posted the ad, with second-degree murder.
CraigsList.org is one of many popular websites where you can advertise jobs, apartments, and relationships for free.
"I've actually acquired most of my regular customers through Craigslist," said Wendy.
Wendy is a housekeeper who has successfully advertised on Craigslist for the last four months.
"I do talk to the people a few times before I go and meet them and luckily everybody's been great," she said.
But, after the recent Minnesota murder linked to the website, she's not taking any more chances.
"We just think it's time to pull the ad so, that way, we don't take that risk," Wendy sid. "It's just kind of scary and my husband's worried about, you know, there's a lot of crazy people out there."
Wendy didn't want to show her face for security reasons, especially after some uncomfortable responses she's received from her ad over the past few days.
"I've gotten a few phone calls recently asking for personal services," she said.
"The internet is where everyone's moving to, so, it stands to reason there's going to be people out there to prey on innocent folks," said Knoxville Police Lieutenant Vince Ayub.
Lt. Ayub says there are all kinds of internet sites out there that can put you in danger if you aren't careful.
"When we're looking to sell something or we're anxious to get employment, we sometimes get tunnel vision. Don't let that happen," he warned.
Ayub recommends you check your local listings, such as the yellow or white pages, always schedule meetings in public places or at the office, take someone with you, and always tell someone when and where you're going for an interview.
"It's not worth making money to lose your life," said Wendy.
You can find safety tips for websites like Craigslist by going to the Hot Key, just click the link below.
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|NSFW Content
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What do you think? Give us your opinion. Anonymous comments allowed.
#11 - douthit (07/10/2013) [-]
"Land of the free"
has Patriot Act, NDAA, gun control, soda size limits, trans fat bans, eminent domain, gay marriage bans, the drug war, highest incarceration rate
has Patriot Act, NDAA, gun control, soda size limits, trans fat bans, eminent domain, gay marriage bans, the drug war, highest incarceration rate
#186 to #11 - anonymous (07/10/2013) [-]
If you actually thought about that you would realize you just provided evidence for exactly why the U.S. IS so free. But there's no point explaining that on FJ, where apparently, despite history, America is a spawn of satan incarnate.
#165 to #157 - ilovehitler (07/10/2013) [-]
Except now people get so huffy about words, it's not really freedom of speech much anymore. Remember reading that, fairly recently, a kid was arrested for months texas for making a violent joke. If convicted, and I'm not sure which way it went, the kid would have been put in prison for 8 years for a "terroristic threat".
now that doesn't sound like free speech to me.
now that doesn't sound like free speech to me.
#236 to #165 - rhiaanor ONLINE (07/11/2013) [-]
the kid did say he was going to kill some kids at school or something. But if he was playing league of legends like I've heard, yeah that little kid is gonna shoot up a school. Actually that is probably why they are worried, because he plays games.
#169 to #165 - Cipher (07/10/2013) [-]
freedom of speech =/= freedom to say whatever you want. freedom of speech was put in place mainly for political reasons. it simply means freedom to say whatever you want about the government(with a few restrictions) without having to worry about legal repercussions. you would be surprised how many countries can take legal action against anyone who speaks out against there government
#200 to #199 - Cipher (07/10/2013) [-]
i completely understand. the case is complete BS but freedom of speech doesn't protect him in this case sadly. i had to talk to the school cop in highschool because i said i was gonna blow up the school jokingly.( my nickname was terrorist because i was the only brown skinned person in my school)
#13 to #12 - andromedika (07/10/2013) [-]


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Now more than ever, the stress of daily life requires that we seek an inner peace to compensate for the outer chaos. Its difficult to obtain a healthy balance with the daily
Massage therapy is not a superficial remedy for stress relief. Therapeutic massage has a direct effect on the activity of the, circulatory, musculoskeletal, lymphatic, and nervous systems. It will stimulate real physical changes with lasting changes to your health and wellbeing.
The benefits of massage have been known for thousands of years. Ancient reference to massage can be found in many civilizations including Japan, Rome, Greece, India, China, Egypt and Mesopotamia. Biblical references go back as far as c. 493 BC where daily massage with olive oil was a part of the beauty regime of the wives of Xerxes.
By manipulating superficial layers of muscle and connective tissue the massage therapist enhances body function and promotes relaxation and wellbeing. The massage therapist manipulates the body using pressure; stationary, moving, structured or unstructured, combined with tension, motion or vibration. The type of massage and the needs of the client determine the specific tissues the therapist will target for desired effect.
There are over eighty recognized forms of massage. Each offers its own set of benefits in varying degrees. You may want to research some of the more popular forms before deciding on which may be right for you.