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Wendy Hanson and Ben Allen married in the backyard garden of Ben's parents' on a warm Sunday, May 29, 2011, in Athens, Georgia. A true family (and friends!) affair, everything from the flowers and decorations to the food and music were made by family or friends of the creative couple. Ben, an award winning music… Read more »
Posts Tagged: southern wedding
Jordyn + Bradley
Jordyn and Bradley were married on a hillside in Alabama. Almost all the elements and details from their wedding were either handmade, borrowed from a family member, or purchased from a thrift store. They were working on a budget, so they prioritized the items that were important for them. Jordyn wore a crochet headband made… Read more »
Claxton Farm Wedding
Lara over at the wonderful Southern Weddings posted the most adorable real wedding today on her blog. I love the beautiful centerpieces in vintage style bottles and the "sweet love" candy bar. Click here to see more beautiful images from this wedding planned by Weddings with Tara. I am heading out a little earlier than… Read more »
Happy Weekend + A Savannah Soiree
Sometimes I stumble across a wedding radiating love and happiness from every picture. Not only are all the wonderful details in the images above swoonworthy, but the couple looks so incredibly happy and content in the moment. When I first came across Tim Will, I admired his work immediately and when he posted this gorgeous… Read more »


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You might have thought appetite could be conquered through willpower and discipline, but science is now revealing that it is not so simple. Disordered eating results from complex interactions between genetics, hormones, vitamins, minerals, amino acids, stress and personal habits. Moreover, the processes in the brain that perpetuate disordered eating are outside our conscious control.
At the deeper level, chemicals in the brain become wired to produce a powerful rush of pleasure in response to food or even the thought of it. Consuming sufficient food for energy metabolism is essential for the survival of all species in the animal kingdom. However, mammalian brains have evolved several interrelated neural and biochemical systems that drive feeding behaviors. The most potent drive for feeding behavior is its rewarding nature. We are no longer eating just to survive; we are eating to elicit a feeling of happiness when we consume certain foods.

subset: commoncrawl


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FS: Donnay XBlack 99, 4 3/8 - 8.5
Almost new Donnay XBlack 99 4 3/8. Bought new from TW while I was waiting for XBlue 99's to stock last year...impatience is a MF :twisted:
Frame has maybe a set and a half on it. Been carrying it in my bag so head may show "frame rub" from toting it around. The leather grip has been wrapped from day 1 and is in great shape. Can't recall what it's strung with..I wanna say either Lux or Donnay mains and Gamma Syn crosses around 55lbs.
Asking $75 shipped USPS Priority CONUS.
FS: Donnay XBlack 99, 4 3/8 - 8.5
If still for sale I am interested, can pay via pay pal and have ref's under z34m40.
Please e-mail firstname.lastname@example.com if you still have the racquet.
still for sale?
Sorry for non-response, was looking for email responses and had not been checking the thread. Frame is still available. Emails sent to both responders.
FS: Donnay XBlack 99, 4 3/8 - 8.5
Never saw a reply - maybe went to spam - anyway if you still have it e-mail me at firstname.lastname@example.com.
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In this article, we will look at how we can Introspy as a python module in our scripts.
The first thing to do is to import the introspy module and Namespace from argparse module.
We then create an instance of the Introspy class. The arguments that we need to provide are the database name, the group name, the subgroup name and the list. Now, for this case, lets provide all the parameters as None except the database path. Introspy will hence include all the groups rather than just including a particular group.
Let's create an object with a group and a subgroup. Now even though i couldn't find the different categories of groups and subgroups anywhere in the documentation, but from the HTML reports for Introspy that we generated in the previous articles, i was able to find a list of groups and subgroups. If you look at the image below, all the main menu items can be used as group names whereas all the submenu items can be used as subgroup names.
So for example, the group names can be DataStorage, Crypto, Network, IPC etc and the subgroup name for the group Network can be HTTP. So let's create an Instrospy object with the group Network and the subgroup HTTP.
Let's look at all the methods and attributes available to the introspy object.
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As we can see the Introspy object has an analyzer attribute. Let's look at all the methods and attributes for it.
You can see all the findings by either using the findings attribute or using the get_findings method.
We can also look at all the signatures for the analyzer by using the signatures attribute.
However, these are just instances of the signature object. Let's try and get some meaningful information from these signatures. If we look at the signatures.py file, we will see that every Signature instance has attributes like title, description, filter etc.
So let's iterate through every Signature object and print out its title and description.
As you can see, we can pretty much find out whatever we want from these instances. In the next case, i have printed out all the class and the methods combinations from the filters for every signature. Please note that this may not be the exact method implementation used by the filter because the method can be a class or an instance method. For e.g, as shown in the output, there is no method like [NSUserDefaults stringForKey:] but there is a instance method [[NSUserDefaults standardUserDefaults] stringForKey:]
Every analyzer object has an attribute named tracedCalls which is a list of all the calls traced during runtime. If we look at the code for tracedCalls class, we will see that it has attributes like callId, method, clazz etc.
We can analyze whatever information we want from any tracedCall. In the image below, i have printed out the attributes for the first traced call.
In this article, we looked at how we can import the introspy module in our own python scripts and fetch different kinds of information like signatures, tracedCalls etc from a generated database file and present them in whichever way we want. This could be used in preparing our own custom reports for the analysis of a particular IOS application. This information can also be fed into other python scripts that can be able to perform further tasks like runtime manipulation etc.


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Phone (937) 372-0516
Price Tickets are $15 for general admission and $12 for students and seniors. Tickets for the Opening Night Gala are $20 or $35 for couples.
Age Suitability None Specified
Neil Simon's "The Sunshine Boys"
Friday, Jan 25, 2013 6:30p
Xenia Area Community Theater Xenia, OH
Al and Willie, as "Lewis and Clark", were top-billed vaudevillians for over forty years. Now they aren't even speaking. When CBS requests them for a "History of Comedy" retrospective, a grudging reunion brings the two back together, along with a flood of memories, miseries and laughs. Event sponsored by Hagler Orthodontics and directed by Tony Cooper. Come hungry on Friday, January 25 for an Opening Night Gala with wine and hors d'oeuvres sponsored by Elmcroft!
Created by Shannon.Webster
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Xenia Area Community Theater
45 E. Second St.
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Catman and Deadshot by Nicola Scott
On January 20, 2011
Former Secret Six (and current Teen Titans) artist Nicola Scott fulfills the dream of many fans of Catman and Deadshot by drawing them in bed together. Your imaginations can take it from there.
Note: We at stormantic do not condone smoking cigarettes.
Tagged with: Catman • Deadshot • Secret Six
4 Responses to Catman and Deadshot by Nicola Scott
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Yesssss. Two hot guys, even hotter together.
Aaron Frey says:
They almost look like Thor and Tony Stark, too.
Kal says:
This was actually my exact thought. >.>
BornIn1142 says:
Come on now, Deadshot and Catman wouldn't look so mellow after doing the deed. They'd totally have hatefucks.
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Kevin Hart
'Ride Along 2′ Continues Filming In Fort Lauderdale
The motion picture "Ride Along 2″ starring Kevin Hart and Ice Cube continued their production Thursday in Fort Lauderdale Beach after a brief delay.
Drake, Beyonce, Jay Z Lead At BET Awards
Could this year be a repeat for Drake at the BET Awards?
'Think Like A Man' Tops 'Jersey Boys' With $30M
The Vegas ensemble comedy "Think Like a Man Too" topped the weekend box office with $30 million, besting blockbuster holdovers from last week and Clint Eastwood's new Four Seasons musical "Jersey Boys."
'Lego Movie' Blocks 'RoboCop' At Box Office
"The Lego Movie" built a huge lead ahead of the weekend's new releases at the box office.
'Ride Along' Cruises Again With $21.2 Million
The Kevin Hart, Ice Cube police comedy "Ride Along" cruised to the top of the box office again, taking in $21.2 million in its second weekend.
'Ride Along' Rolls Into No. 1 Spot At Box Office
"Ride Along" arrived in first place at the weekend box office.
Ice Cube & Kevin Hart Star In New Action Comedy "Ride Along"
In their new film "Ride along," Kevin Hart plays the role of Ben, a fast talking high school security officer dating the sister of a hot-tempered street cop, named James, played by Ice Cube.
LeBron James Taking His Talents To The Silver Screen
The king of the court is taking his talents to the silver screen to play alongside Kevin Hart in a comedy called "Ballers."
Crowd Wowed At All-Star Celeb Game
Usain Bolt joined the East team in the All-Star celebrity game to have a little fun.


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AGAIN: March 13, 2013
material you see printed within the pages of this website has been
researched using online sources and at
times, people who were there and what is reported in the news. NOTHING as far as the facts go, is
made up in my own mind,
only what is reported is printed here. I DO give my OPINION about things, but do not
report my opinions as fact. If you see YOUR
story here or that of a relative and do not like what is printed, feel
freel to e-mail me and I will check out what you are saying against
what is being reported and I will be the final person to decide if a
story will stay up, be altered or be taken down. You will not get any
where with me by making threats or calling me names. The stories of
these children are NOT here
for the enjoyment of anyone and believe me when I say, I have spent
hours crying and not being able to sleep for thinking of what these
little Angels go through. The stories are
here to educate and show people what needs to and SHOULD be done in
order to protect a child. To show what child abuse looks like and maybe
to save the life of even one child who needs help. I DO give my opinion about things on
the pages and that is all it is, is my opinion. You don't have to like
it, but I will give
it. Any where you see me calling someone
something such as "murderer" that's MY
opinion and I will not change it unless my opinion changes.
As of
today's date, I have so many children waiting to be added, I feel
overwhelmed. My Rheumatoid Arhtritis limits what I am able to do right
now. As soon as I get a lull in my RA being active, I will add as many
children as I can until it flares up again. Please be patient with me,
I'm doing the best I can.
are the
little children
their needs they are very
but there's a certain favor
that I want to ask of you
down some Angels
to gently hold them as they
that would be a promise made
and not to hard for you to
Let the
Angels watch them
at times when moms can't
and quickly kiss away the
when they fall and skin a
they'll feel a little
and their friends will be
far away
have an Angel take their
so they will have a better
they'll be lonely
or life won't seem worth
they'll really need their
Angels then
to give them back their smile
world as they grow
surely won't be an easy chore
so please remind their Angels
at times they're needed a
little more
I ask
for the children
so they won't have to worry
even when it seems that life
makes them grow up in a hurry


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Mermaid fins make a splash here
A rubber monofin that lets users swim like mermaids is gaining popularity among children and sizes for adults will be released soon
Published on May 18, 2014 12:22 PM
Kids now have a new way of living out their mermaid dreams.
The MerFin, a rubber monofin shaped like a mermaid's tail, is going down a treat with children, especially among those in primary and secondary school.
It has made such a splash that its creators will soon release a range of larger sizes for adults who want to use it to keep fit. The first shipment is expected to arrive tomorrow.
First launched in Australia in 2011, the MerFin was developed by Mahina Mermaid, which produces a line of mermaid-themed products and is founded by freelance mermaid performer Kazzie Mahina.
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Cow urine powers BJP poll fight
This is a discussion on Cow urine powers BJP poll fight within the Global Affairs forums, part of the Main Topics category; If re-elected to power in Uttarakhand, BJP will encourage the production of filtered Gau Mootra (cow urine) in the state, ...
- 18th January 2012 #1
Cow urine powers BJP poll fight
If re-elected to power in Uttarakhand, BJP will encourage the production of filtered Gau Mootra (cow urine) in the state, says a rather ambitious party manifesto.
Among a host of promises on the 'development' front, the staple of each poll manifesto, BJP also has promises related to cow,
ranging from utilisation of the animal's products for medicinal purposes to provision of shelters for ageing and sick cattles.
The party's Uttarakhand in-charge and national general secretary, Thawarchand Gehlot, detailed the uses cow urine would be put to: "Gau Mootra is filtered and cleaned to produce a concentrated juice called 'ark'. This helps cure various diseases from cancer to injuries." "Cow urine also helps produce medicines for the treatment of eye and ear diseases." The urine can also be dried to produce tablets, Gehlot said, adding yoga guru Baba Ramdev in Uttarakhand and Kamal Kishore Nagar in Madhya Pradesh have made medicines from cow urine.
The uses, apparently, are not restricted to humans alone, but will widely benefit agriculture and environment. "The liquid (derived from filtered cow urine) can be used as a fertiliser. It does not harm soil like the fertilisers having strong chemicals," Gehlot said.
BJP's ideological mentor RSS has been promoting 'scientific' experiments on the five cow products (Panchgavya), including urine and dung, exploring everything from medicinal properties to making a cola from cow urine and endorsing cow urine as a fertiliser, thereby improving soil fertility as well as increasing farmers' income.
Days ago, the BJP's central cow development cell had taken offence at the media calling the Madhya Pradesh government's cow–related initiatives "superstitious
- 18th January 2012 #2
Re: Cow urine powers BJP poll fight
Never buy medicine from India...
- 18th January 2012 #3
Re: Cow urine powers BJP poll fight
eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee! nasty nasty nasty! eugh. yuck. *does ULTI*
also, abusaif, never buy anything from a 'vegetarian' shop. in birmingham there are a few cake shops, etc that advertise themselves as being vegetarian. these guys probably 'bless' the food with cowurine.
ALLOW THAT. and this vegetarian nonsense.
homeboys needs to recognise we are at the top of the food chain.
- 18th January 2012 #4
Re: Cow urine powers BJP poll fight
Allhamdulliah, Islam is beautiful and clean.
- 18th January 2012 #5
- The Following User Says Thank You to C.i.B. For This Useful Post:
AbuSaif (18th January 2012)
- 18th January 2012 #6
- The Following User Says Thank You to AbuSaif For This Useful Post:
C.i.B. (18th January 2012)
- 18th January 2012 #7
Re: Cow urine powers BJP poll fight
urine for medicine ?
- 18th January 2012 #8
- 18th January 2012 #9
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Re: Cow urine powers BJP poll fight
Islam Question and Answer - The benefits of drinking camel urine
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- 18th January 2012 #10
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Re: Cow urine powers BJP poll fight
yeah i was about to say the same. Look at the evidence rather than just saying "pft cow urine" but the Hindus drink cow urine as an ibadah and something they think is good.
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Max For Women (Photo: Business Wire)
Max was launched in 2004 by the Landmark Group, one of the largest retail organizations in the Middle East and India. Max offers customers a distinctive offering of fashion clothing, footwear, accessories and household products in a comfortable and inviting shopping environment. Today, the chain includes – 200 retail store locations across UAE, KSA, Jordan, Kuwait, Bahrain, Oman, Turkey, Egypt, Libya, Qatar, Nigeria, Lebanon, Sudan, Yemen and India and has plans to expand its footprint further throughout the Middle East and beyond.
About Cherokee Inc.
Cherokee Inc. is a global marketer and manager of a portfolio of Fashion and Lifestyle brands it owns and represents in multiple consumer product categories and sectors around the world. The Company has license agreements with premier retailers and manufacturers covering over 30 countries around the world including Target Stores (U.S.), Tesco (U.K., Ireland and certain Central European countries), Zellers (Canada), RT-Mart (Peoples Republic of China), Pick 'n Pay (South Africa), Falabella (Chile, Peru and Colombia), Arvind Mills (India and certain Middle Eastern countries), Shufersal LTD. (Israel), Comercial Mexicana (Mexico), Eroski (Spain), Nishimatsuya (Japan), Magnit (Russia) and the TJX Companies (U.S., Canada and Europe).
About MaxLaunched in the UAE in May 2004, Max is the largest value fashion brand chain in the Middle East with 200 stores across the Middle East and India. Catering to the mid-market segment it retails its Max branded merchandise for men, women and children along with footwear and home accessories. An established Superbrand, Max strives to fulfill its brand promise of 'More Fashion More Value' to its customers by offering merchandise designed in-house and manufactured to stringent quality standards at amazing prices. Max is part of the Landmark Group, one of the largest retail conglomerates in the Middle East and India. Statements included within this news release may contain forward-looking statements for purposes of the safe harbor provided by the Private Securities Litigation Reform Act of 1995. When used, the words "anticipates", "believes", "expects", "may", "should" and similar expressions are intended to identify such forward-looking statements. Forward-looking statements included in this press release (including, without limitation, express or implied statements regarding potential future business development and the anticipated credit facility) involve known and unknown risk and uncertainties that may cause the actual results, performance or achievements of the Company to be materially different from any future results, performance or achievements expressed or implied by such forward-looking statements. Such risks and uncertainties, include, but are not limited to, the effect of global economic conditions, the financial condition of the apparel and retail industry, adverse changes in licensee or consumer acceptance of products bearing the Company's brands the ability and/or commitment of the Company's licensees to design, manufacture and market Cherokee, Sideout and Carole Little branded products, the Company's dependence on a select group of licensees for most of the Company's revenues and the Company's dependence on its key management personnel. The risks included here are not exhaustive. A further list and description of these risks, uncertainties and other matters can be found in the Company's Annual Report on Form 10-K for Fiscal Year 2012, and in its periodic reports on Forms 10-Q and 8-K. Given these risks and uncertainties, you should not place undue reliance on forward-looking statements as a prediction of actual results. The Company disclaims any intent or obligation to update any of the forward-looking statements contained herein to reflect future events and developments. Photos/Multimedia Gallery Available: http://www.businesswire.com/cgi-bin/mmg.cgi?eid=50345786&lang=en
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I just can't see myself letting a child of mine get plastic surgery, but hard to deny a bullied child a chance for a somewhat normal life. But how normal can they be if they are still carrying around the emotional stigma of years of being bullied about their appearance?
[2]ETA: Probably help if I didn't hit accidentally hit post too soon. I saw this girl on CNN that received plastic surgery through a non-profit. I do have to admit she does look much prettier afterwards, although I thought she was pretty beforehand. Kids are self absorbed enough these days that it's worrisome that they will get hung up on looks too much. I was also a bit put off by the surgeon coming up with more areas to fix instead of just her ears. I'd like to see an update on her a year from now to see if she's still being bullied, my guess would be that she still is. Kids won't stop being mean, they'll still have their favorite targets.
http://thechart.blogs.cnn.com/2012/07/30/free-plastic-surgery-for-bullied-kids/?hpt=hp_bn12 [3]


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Securing systems out of the box
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text: Stream your favourite hindi songs for free online. No need to download, create your playlist & listen to old, new, latest Bollywood music anywhere, anytime! Online file sharing and storage - 15 GB free web space. Easy registration. File upload progressor. Multiple file transfer. Fast download. Clone is a music studio album recording by THRESHOLD (Progressive Metal/Progressive Rock) released in 1998 on cd, lp / vinyl and/or cassette. This page includes Clone MP3 Rocket is a Gnutella and BitTorrent-compatible P2P network that allows you to download, watch and listen to free music, film and video and make video ringtones. MP3 Torpedo, free download. MP3 Torpedo 6.5.0: Clone of LimeWire to download any type of file. 4Movy DVD Video Music Converters Suite 5.5: 4Movy DVD Video Music Converters Suite is all-in-one DVD, video and audio software (include Multiformat audio ATunes, free download. aTunes 3.0.6: Java based iTunes clone. Online shopping from a great selection at CDs & Vinyl Store. Independent music across several genres from both signed and unsigned artists. Featuring MP3 song downloads, radio streams, and many full album streams available Download Novela O Clone – Internacional e Músicas Mp3 Grátis. Baixar Novela O Clone – Internacional Completo


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02.08.2012 - 21:20 | Source: PA Sports
Toon told Debuchy staying at Lille
Lille president Michel Seydoux has told Newcastle to forget about signing Mathieu Debuchy after rejecting their latest offer.
It emerged on Thursday that the Magpies had tabled an improved offer for the 27-year-old France international after a pursuit lasting months.
However, Lille, who sold midfielder Yohan Cabaye to the Tyneside club for a bargain £4.8million last summer, have refused to budge on their valuation, and Seydoux told L'Equipe: "I have decided that Mathieu Debuchy will remain at LOSC."
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|Holman Christian Standard (CSB)
|New International Version (NIV)
|1 We must therefore pay even more attention to what we have heard, so that we will not drift away.
|1 We must pay more careful attention, therefore, to what we have heard, so that we do not drift away.
|2 For if the message spoken through angels was legally binding, and every transgression and disobedience received a just punishment,
|2 For if the message spoken by angels was binding, and every violation and disobedience received its just punishment,
|3 how will we escape if we neglect such a great salvation? It was first spoken by the Lord and was confirmed to us by those who heard Him.
|3 how shall we escape if we ignore such a great salvation? This salvation, which was first announced by the Lord, was confirmed to us by those who heard him.
|4 At the same time, God also testified by signs and wonders, various miracles, and distributions [of gifts] from the Holy Spirit according to His will.
|4 God also testified to it by signs, wonders and various miracles, and gifts of the Holy Spirit distributed according to his will.
|5 For He has not subjected to angels the world to come that we are talking about.
|5 It is not to angels that he has subjected the world to come, about which we are speaking.
|6 But one has somewhere testified: What is man, that You remember him, or the son of man, that You care for him?
|6 But there is a place where someone has testified: "What is man that you are mindful of him, the son of man that you care for him?
|7 You made him lower than the angels for a short time; You crowned him with glory and honor
|7 You made him a little lower than the angels; you crowned him with glory and honor
|8 and subjected everything under his feet. For in subjecting everything to him, He left nothing not subject to him. As it is, we do not yet see everything subjected to him.
|8 and put everything under his feet." In putting everything under him, God left nothing that is not subject to him. Yet at present we do not see everything subject to him.
|9 But we do see Jesus- made lower than the angels for a short time so that by God's grace He might taste death for everyone-crowned with glory and honor because of the suffering of death.
|9 But we see Jesus, who was made a little lower than the angels, now crowned with glory and honor because he suffered death, so that by the grace of God he might taste death for everyone.
|10 For it was fitting, in bringing many sons to glory, that He, for whom and through whom all things exist, should make the source of their salvation perfect through sufferings.
|10 In bringing many sons to glory, it was fitting that God, for whom and through whom everything exists, should make the author of their salvation perfect through suffering.
|11 For the One who sanctifies and those who are sanctified all have one Father. That is why He is not ashamed to call them brothers,
|11 Both the one who makes men holy and those who are made holy are of the same family. So Jesus is not ashamed to call them brothers.
|12 saying: I will proclaim Your name to My brothers; I will sing hymns to You in the congregation.
|12 He says, "I will declare your name to my brothers; in the presence of the congregation I will sing your praises."
|13 Again, I will trust in Him. And again, Here I am with the children God gave Me.
|13 And again, "I will put my trust in him." And again he says, "Here am I, and the children God has given me."
|14 Now since the children have flesh and blood in common, He also shared in these, so that through His death He might destroy the one holding the power of death-that is, the Devil-
|14 Since the children have flesh and blood, he too shared in their humanity so that by his death he might destroy him who holds the power of death--that is, the devil--
|15 and free those who were held in slavery all their lives by the fear of death.
|15 and free those who all their lives were held in slavery by their fear of death.
|16 For it is clear that He does not reach out to help angels, but to help Abraham's offspring.
|16 For surely it is not angels he helps, but Abraham's descendants.
|17 Therefore He had to be like His brothers in every way, so that He could become a merciful and faithful high priest in service to God, to make propitiation for the sins of the people.
|17 For this reason he had to be made like his brothers in every way, in order that he might become a merciful and faithful high priest in service to God, and that he might make atonement for the sins of the people.
|18 For since He Himself was tested and has suffered, He is able to help those who are tested.
|18 Because he himself suffered when he was tempted, he is able to help those who are being tempted.
|Holman Christian Standard Bible ® Copyright © 2003, 2002, 2000, 1999 by Holman Bible Publishers. Used by permission. All rights reserved. (Holman Christian Standard Bible Online)
|Scripture quoted by permission. Quotations designated (NIV) are from THE HOLY BIBLE: NEW INTERNATIONAL VERSION®. NIV®. Copyright © 1973, 1978, 1984 by Biblica. All rights reserved worldwide. (New International Version Bible Online)


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Articles from RotoWire's fantasy archives that mention Wily Peralta's name.
September 26, 2014
Saturday Lineup Card: Not Paxing It In
Chris Benzine discusses why James Paxton is a good option to start Saturday as the season nears its end.
September 20, 2014
Sunday Lineup Card: Beantown Building Blocks
The Red Sox starter has recaptured his 2013 form just in time for the season's close.
Pitching Value Meter: Down the Stretch they Come
With a playoff berth in the balance, the Mariners might need 18 innings out of Felix Hernandez this week, which would be just fine for fantasy owners.
September 19, 2014
Painting the Black: The Wild Card Races
Jensen Lewis projects the winners and losers of the Wild Card races over the last 10 days of the season.
September 16, 2014
Tuesday Lineup Card: Juan For The Road
September 13, 2014
Pitching Value Meter: Strasburg's Quiet Excellence
Stephen Strasburg might have disappointed some this year, but he's still having a fantastic fantasy season.
September 9, 2014
Wednesday Lineup Card: No Need to Panik
The second base spot has been mostly a dearth of offense for the Giants this season, but rookie Joe Panik's recent surge has turned the position from a weakness to a strength.
September 6, 2014
Pitching Value Meter: Two Jokers for the King
Felix Hernandez gets two starts this week against teams he has dominated this year.
September 3, 2014
Thursday Lineup Card: Second Shot For Heaney?
August 30, 2014
Pitching Value Meter: Fightin' Phillie
Cole Hamels has been in a groove since mid-May, and he'll look to continue it in two starts this week.
August 28, 2014
Friday Lineup Card: Drew For You!
As the season nears an end, Drew Smyly may offer you some much needed starting pitching help...
Mound Musings: State of the Staff Overviews
The Nationals have solidified their position atop the division thanks to pitching, and Stephen Strasburg hasn't even hit his stride yet.
August 23, 2014
Pitching Value Meter: Two Starts for Kershaw
A two-start week for Clayton Kershaw comes at the perfect time for fantasy owners, especially for those in head-to-head leagues.
August 22, 2014
Saturday Lineup Card: A Case For Hellickson
Clay Link looks at all of the day's injury news, some closer situations from around the league and explains why you should consider the Rays' Jeremy Hellickson.
August 17, 2014
Draftster MLB: Standout Performances and Weekly Picks
Mike Fiers struck out 14 batters in a six-inning performance against the Cubs on Thursday. Is he a legit option in daily games or a flash in the pan?
August 16, 2014
Sunday Lineup Card: The Return Of Avisail
Avisail Garcia returns to the White Sox after four-month absence.
Pitching Value Meter: No Taming this Tiger
Max Scherzer is one of the few things going right for the Tigers these days, as he's dominated in his recent starts.
August 11, 2014
Tuesday Lineup Card: For No Rymer Reason
The newly-recalled Rymer Liriano could give Padres fans something to get excited about as the team plays out the string on another losing season.
August 9, 2014
Pitching Value Meter: Killer 'Wrighty'
Adam Wainwright not only gets two starts this week, but he gets two teams that can't hit right-handers in the Marlins and Padres.
August 7, 2014
Thursday Lineup Card: Colby Lewis On The Rise?
August 2, 2014
Pitching Value Meter: Gray Gets All A's
Considering the absurd run he's on, Sonny Gray might be baseball's best mid-rotation starter after he went from ace to No. 3 in the rotation thanks to trades.
July 31, 2014
Friday Lineup Card: Streaky J.P. For Me?
Recognizing value even among streaky hitters can be a bit tricky...
July 26, 2014
Pitching Value Meter: Darvish Still Dealing
Yu Darvish is having a down year that most pitchers would kill for, and this week he gets two starts.
July 25, 2014
Saturday Lineup Card: New Life
After flaming out in San Diego, Chase Headley has new life with the move the Bronx.
July 24, 2014
DraftKings MLB: Weekend Value Plays
Jerry Donabedian runs through the value plays on DraftKings over the weekend, including Coco Crisp and other left-handed hitting Athletics.
July 22, 2014
MLB Barometer: The Price is Wong
Vlad Sedler basks in the glow of the RotoWire company trip to Las Vegas and raises the status of Kolten Wong in this week's edition.
July 20, 2014
Monday Lineup Card: Leave It To Lee
All the info you need for Monday's daily action.
July 19, 2014
Pitching Value Meter: Smooth Saling
As the second half gets into full swing, Chris Sale gets two teams this week that he usually dominates.
July 12, 2014
Sunday Lineup Card: Cubs Utility Man Playing Like A Bear
July 7, 2014
Tuesday Lineup Card: Freese Frame
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End of Season quick edit from Never Summer rider Chris Corning. Be sure to check out Chris in this seasons NS movie 'Dang Bud'…
Words from Alex Martin
A few words from Never Summer athlete Alex Martin…
Click HERE to read more!
NS Chairman reviews are in!
The Chairman is out and reviews are coming in…
From Matt Griffin, Woodland Hills, CA:
"So I got a few days on The Chairman. A couple killer spring mashed potato days, and 1 really decent 12″ pow day. I'm really stoked on the board. Such a confidence inspiring board to just haul ass on. As stoked as I was to try it, I was also a little skeptical. The mellow sidecut thing is usually not my bag, but somehow you guys found the secret sauce. I'm guessing a combo of the smidge of taper, and whatever your combo of radii is, but I didn't feel at all like the board only wanted to make big fast turns. I was totally comfortable just cruising, or making quick tight turns on steeps too. For me it's a much much more versatile board than the Raptor or Premier were. Kudos, once again."
From Jake Walnuts, Mountain Weekly News Reviews:
"You have never ridden a board quite like the Never Summer Chairman before (unless, of course, you have ridden the Never Summer Chairman before). The tapered directional freeride powerhouse is in a league all of its own…"
Click HERE to read the Mountain Weekly News thoughts on the new Never Summer Chairman!
Introducing…. 'Dang Bud!'
Introducing … 'Dang Bud!' … pass it around!
We're back again with the best one yet. 0 attitude, high altitude, 100% stoke. Featuring homegrown local music. World Premiere, 'Snowboard on the Block', 9/13/14.
Thanks to SCS Unlimited, Cheetah Factory Racing, Ole Smoky, Monster Energy, Five R Trucks.
Featuring Brock Butterfield, Nick Larson, Jacob Carey, Andrew Buergin, Austin Gibney, Byron Bagwell, Mike Hood, Ryan Stephens, Taylor Pfaff, Sean Fithian, Charlie Hoch, Brady Farr, Rajat Bhayani, Jason Elms, Darrell Miller, Casey Lucas, Mary Boddington, Bill Rodriguez, Jason Hindman, Chris Corning, Justin Henigin, Tom Flocco.
NS Prospector is the Editors Choice
The 2014/15 Never Summer Prospector split board is Backcountry's Editors Choice since it's conception! Winning second year in a row… read more about it HERE!
Tailgate AK… that was epic
Check out these crazy stories from Tailgate AK, we know we had a crazy time!
Click here to watch the craziest stories from Tailgate AK


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I've been very busy reviewing things for DVD Times recently and my latest piece is on Tim Burton's rather wonderful Sweeney Todd: The Demon Barber Of Fleet Street. You can read my thoughts on the UK R2 Disc - due out tomorrow- here.
A Left-Handed Form of Human Endeavour
One of the merits of The Boys From Brazil is that it remains one of the very few watchable films churned out by Sir Lew Grade in the seventies. Lew, now no longer with us, was an old-style entrepreneur whose idea of film production was to spend forty percent of the budget on stars, forty percent on locations and then excavate a script and keep a director awake for long enough to get something halfway acceptable in the can. How else can we explain The Cassandra Crossing - in which Martin Sheen gets plague and Lee Strasberg keeps getting concentration camp tremors - or Escape To Athena - in which Sonny Bono plays a Greek partisan and Roger Moore is a nice Nazi. Both of those were directed by George P. Cosmatos, whose amusing surname is an indicator of the interest level of his films (Rambo and Tombstone honourably excepted). However, more talented film makers were known to take the Grade shilling, none more illustrious than Franklin J. Schaffner, maker of Patton and Planet of the Apes. Presumably, it was the latter which suggested he might be a good choice for a fast paced, SF thriller based on a
bestseller by Ira Levin.
The Boys From Brazil has a marvellous premise, which isn't particularly believable but is handled - in the novel - with great verve so that it seems possible. On screen, however, it just seems rather silly. We begin in Paraguay, where an obnoxious Jewish boy, played by the then mercifully unknown Steve Guttenberg, discovers that Dr Josef Mengele is bringing together some of his Nazi associates to carry out a particularly heinous plan. This involves the deaths, over a three month period, of 94 elderly men, all of them civil servants and all with younger wives and one teenage son. What could they be planning, wonders Steve, who promptly rings up ageing Nazi Hunter Ezra Lieberman - not Simon Weisenthal, oh no - to inform him of his discoveries. Lieberman dismisses him as an obsessive crank, and ignores what he hears, until the phone suddenly goes dead and he senses the presence of "great evil" on the other end of the line. In fact, the phone in Paraguay has been picked up by Josef Mengele himself, after Guttenberg has met a welcome painful demise, thus preparing us for a mighty clash of the titans. Hammy Gregory Peck versus hammy Laurence Olivier.
It should be pointed out that Gregory Peck is not only miscast, he is completely out of his element. Playing Mengele, he never once convinces you of the evil soul of the man - instead, he has all the terrifying presence of a sheep in sheep's clothing. The film portrays Mengele as a mad scientist, but Peck can't bring off the ranting and he ends up seeming ludicrous. The part begs to be played by someone who can make evil seem dangerously attractive and who can rant convincingly - Peck isn't cut out for it, and tends to look like he's wandered into the wrong film in fancy dress. Olivier, on the other hand, is so well cast that he's rather irritating. We get the same mittel-Europe accent we got in Dracula and The Seven Per Cent Solution, with a touch of his Colonel Sanders patriarch in The Betsy. He witters on, waving his arms about in patented lovable old fool mannerisms, and rolls his eyes so often he appears to be signalling a friend in the back row of the audience. However, and this is the difference between an efficient and highly professional actor like Peck and a great actor like Olivier, when called upon, Lieberman suddenly develops into a real presence, scarily intense, hard as nails and utterly ruthless. In one scene, the Nazi hunter meets a nurse from Auschwitz who has been involved in the plan. Olivier begins by looking frail, but the director concentrates on his face, and suddenly the film jumps to life. You see the bitterness, the anger and the effect of thirty years of the hunt. This doddery old geriatric has a core of steel, and you can see it all in his eyes. The delivery of the key line, "And you are not…going…anywhere" is inspired. This scene is great and it transcends the second rate melodrama that surrounds it. The film never recovers the dramatic intensity of this five minute scene. Olivier is very good at these short bursts of compelling confrontation - there's a great scene between Van Helsing and the Count in Dracula, where he uses his eyes in similar fashion, and the best bits of The Betsy are when he gets his teeth into his pathetic son, Robert Duvall.
Anyway, back to the plot. At extreme length, the conspiracy is uncovered. Mengele, assisted by Nazi aristocrat James Mason - who is so bored he decides to use a comedy accent - has developed a technique to clone Hitler 94 times. Each clone child has been placed in the exact same domestic environment that Hitler experienced, and their adoptive father must die when they are 14, just as Hitler's did. Whether or not this is scientific I don't know, but it's more interesting than the facile assumption that a clone would automatically turn out to develop in exactly the same way with no other outside assistance. Lieberman must, therefore, get to Mengele before Mengele succeeds in the plan. All is going as expected, until Mason reveals that the funding has been pulled and the plan has been called off. Mengele therefore decides to go for broke and execute the plan himself, using one of the clones placed in New England. Everything comes to a nasty end, after Olivier and Peck have had their big confrontation scene, with Mengele being ripped to pieces by some vicious dogs.
I've missed out a lot of the travelogue details that pad out the film, although there is one rather effective scene with horror stalwart Michael Gough being killed, after his lodger - the reliably pneumatic Linda Hayden, has had her throat slit in a rather surprisingly bloody manner. The supporting cast is good enough - nice to see Walter Gotell in something other than a Bond movie, and Lilli Palmer is great as Lieberman's exasperated sister. But it's all so slow, and the dialogue tends to consist of great whopping chunks of exposition as the characters walk around an expensive location. Schaffner pulls off individual scenes with some class, but his pacing is desperately off, and he never creates any real threat or tension. One problem is that the boy, Jeremy Black, who plays the clones that we meet - four of them, one with an appalling British accent - is not a very good actor, and is never convincing as any of them. The other is that the music score, by Jerry Goldsmith, is so good that it tends to upstage what's going on upfront.
Perhaps another difficulty is that the film tries to be serious about Nazi atrocities while at the same time using them as titillation. There's a particularly unpleasant surgery scene which has no other purpose than to be a bit of bloody sleaze. I have no real problem with Nazi-ploitation, but I don't like it being accompanied by a high moral tone. This story is basically pulp, and not a serious document about the revival of Nazism, but Schaffner directs it as though it was completely serious. Also, and a bad sign, there's a blackboard science session, something which I usually take as a cue to stop paying attention; see also Back To The Future 2 and Torn Curtain. This extended scene is meant to explain the plot, but it just slows the film up and gives yet more opportunity for Olivier to play his befuddled number.
Having said that, the film is mildly compelling and often very watchable. It looks fabulous and the cast gives enough indication that they know that the material is very silly to make it amusing rather than embarrassing. But that sense of horror, which should surely be at the heart of the story, is completely absent and the brief shock sequences look like they have been interpolated from another film entirely - and one which is probably a lot more interesting.
I haven't written in this blog for the best part of six months and I thought it was about time to come back and try and define what I want the blog to be. There are many blogs on Film Journal which cover various niches and it's not easy to try and make one of my own. If I have a 'specialist subject' as it were, it's American cinema between the mid-1950s and late 1970s but that's a ludicrously wide range to try and include in one place. So what I've decided to do is, firstly, narrow the range to the period between the final breakdown of the production code in the mid-1960s to the end of the era of the directors at the beginning of the 1980s. Secondly, I want to write about American movies in a manner which would not necessarily be appropriate on DVD Times - the pieces may be ludicrously short, self-indulgently long or come from what might be called, if I were a martyr to cliche, left-field. I'm going to maintain the blog title, even though it comes from a 1950 film, because it seems to me as good a description of the essentially fraudulent art of making movies as I can find - as Brian De Palma said, "the camera lies, it lies 24 times a second". Great directors are like great con-artists; they make us believe completely in their illusion and then, two hours later, reveal that it was nothing but a few still pictures and persistence of vision. When we break our belief, even for a second, the illusion stands revealed as a shoddy charade.
I am by nature an auteurist, perhaps through laziness. That's why I will be routinely assigning films to directors without necessarily acknowledging the wealth of other talents behind them. Sometimes, this is self-evident nonsense - can we really doubt that Airport belongs to anyone except Ross Hunter or that Chinatown isn't the product of a once-in-a-lifetime collisiion of the sensibilities of Robert Towne, Robert Evans and Roman Polanski? But it's convenient and, I would suggest, more often true that it isn't, particularly in the period under discussion when directors were being given an increasing amount of rope - and eventually managed to hang themselves with it.
I am afraid, as Bernard Levin was apt to write, that I have a very great deal to say. But I don't want this to be a sermon. Make it a discussion and place your comments, I promise to reply. If you have any ideas for films I could cover - the more obscure the better - suggest them and I'll try to track them down. Some pieces on the site have been seen on the internet before but all have been revised and updated. The posts below all fit in with the new focus of the blog and I will be indexing them as and when I get round to it.
Barbara Streisand was always a long way from being beautiful but she can, given careful lighting, be striking and memorable; not just for that amazing nose but for her eyes which frequently express more than the dialogue allows. In The Way We Were, she's quite radiant, and superbly expressive - there is a lovely moment when Robert Redford nuzzles her neck and she allows us to understand both her intense erotic desire for him and a basic uncertainty and an unwillingness to succumb to physical pleasure. She has a difficult role here; spiky and unsympathetic with a lot of talking masking a basic emotional inarticulacy. But she manages to pull it off. It might be her best screen acting work although one longs to see her sing as well as hear her on the soundtrack. Like all great singers, Streisand opens up when she sings and to put her in a non-singing role is a waste - I feel the same about seeing Frank Sinatra and Willie Nelson in dramatic roles, no matter how good they can be.
The Way We Were is a combination of grand romance between two megastars and a historical greatest hits package from the 1940s, tracing Streisand and Redford from their college days in the late 1930s to the McCarthy blacklists. It's decked out with fantastic costumes and some totally convincing period detail, the contribution of the great Stephen Grimes. The overwhelmingly nostalgic atmosphere is blatantly designed to appeal to the 35-up age bracket who would still go and see a big movie provided it wasn't dirty. The Way We Were isn't remotely dirty, despite a couple of very discreet sex scenes, and it would probably benefit from a some life-enhancing vulgarity here and there. Still,in the class of big 'clean movies' of the period, it's a lot better than either Love Story or The Great Gatsby, let alone the dreaded Mary Queen of Scots. Sydney Pollack is a sharp and efficient director who loves actors and gets work out of Bradford Dillman and Patrick O'Neal which neither actor has bettered. Pollack keeps the pace going and the film trundles along from set-piece to set-piece. If these seem weirdly disconnected, it's because I don't think the central relationship ever quite works. What is it that attracts these two people who have virtually nothing in common, not even a sense of humour? Arthur Laurents writes some good, bitchy dialogue but it might suit a gay couple better than these two, especially when Robert Redford seems oddly disengaged. He doesn't have the intensity of a writer and, as so often in his roles during this period, he allows his hair and teeth to create the character for him. Indeed, Hubbell Gardner barely exists at all, especially compared to his mate, and the blankness of Redford suggests that he's already getting prepared to play Jay Gatsby in the same irritating manner.
As a political study of an era, the film assumes considerable knowledge on the part of the viewer. If you're uncertain about the Spanish Civil War or the HUAAC, then the film does not enlighten you with the basics. The pre-release editing which cut some of the blacklisting scenes doesn't help in this respect. But it's never made sufficiently clear that it was, at one point, considered patriotic to be pro-Soviet and that this was what got a large number of people into trouble after the war when America became fiercely anti-Communist. Then, the film posits a false black and white choice between Redford's pragmatism and Streisand's commitment without ever satisfactorily finding a middle road. Potentially important supporting characters played by Viveca Lindfors and Murray Hamilton drift in and out of the narrative without sufficient definition and, as a result, the political viewpoint of the film suffers. At heart, it's an eminently liberal film and that's heartwarming but the era needs a more complex approach than is provided here. I'd love to see a genuinely complicated film made about McCarthyism from a right-wing perspective if only because most films about the period - good ones like The Front and Good Night and Good Luck - simply preach to the converted. I'm a left-wing liberal but I think I am mature enough to have my prejudices challenged.
And yet, the nostalgic tug of the film is potent even for someone born well after the events it depicts. The music by Marvin Hamlisch is corny as hell but goddamit, it works and there are beautifully poignant moments. I particularly love the moment on the yacht between Redford and Bradford Dillmann - the pair make a more convincing romantic couple than Redford and Streisand incidentally, although that's presumably unintentional. At the end, Streisand is heartbreaking because she underplays - far more moving, as a consequence, than she is at the end of A Star Is Born when she is allowed to go over the top or in any of the film she directed when she seems so fascinated by herself that nothing else gets a look in. I think she's got one great role left in her but only if she looks back and remembers the virtue of keeping it down when she acts and blossoming forth when she sings.
I have a strange relationship with Michael Winner - or maybe I should rephrase that. I have a strange relationship with his films. Most of his work is in the realm between disastrous and hilarious, with the exception of his alleged comedies which are simply painful. I defy anyone to watch Parting Shots and feel the slightest elevation of the corners of their mouth at any point. On the other hand, thrillers such as Scream For Help, Firepower and the peerlessly stupid Dirty Weekend are so hysterically funny that they make most comedy films look like Ibsen.
Yet, I find myself drawn to some of his work in a slightly guilty way - like eating an Aztec bar, I know its bad for me but I can't resist. I could, were I so inclined, defend the artistic merits of some of his films, particularly The Jokers, I'll Never Forget Whatsisname and The Nightcomers. But usually I like them for the sheer aggressive energy of their silliness - the way in which virtually every second of The Sentinel contains something gratuitous, be it masturbating prostitutes, circus freaks or Burgess Meredith, or Death Wish 3 where Charlie Bronson lives in a part of America that looks like North London and buys a rocket launcher through the post.
Most of all though, I like Death Wish. I don't like its politics; the usual reactionary right-wing bullshit designed to wind up bleeding-heart liberal souls such as myself. At the start of the film, Bronson's work colleague suggests putting the underprivileged in concentration camps to stop them committing crime and the film seems to end up agreeing what that sentiment. In the book by Brian Garfield, the hero Paul Kersey ends up becoming as much part of the problem as part of the cure and one suspects that, had the film been made by Sidney Lumet and starred Jack Lemmon (as originally planned), this would have been more faithfully represented. All the muggers and rapists killed by Bronson are not only sub-human scum but total sociopaths who behave in a manner which is so reckless that it beggars belief. Quite apart from anything else, there are so many of them. How does anyone survive in New York when you apparently can't turn a corner without someone trying to kill you (whether because they're a mugger or think you are a mugger).
But… Death Wish is a very well made film which is suspenseful, exciting and entertaining. Winner paces it at one hell of a lick, refusing to offer any time for the audience to have second thoughts about what they're seeing. The script by veteran Wendell Mayes is a model of ruthless efficiency and spiced up with some welcome humour, particularly from Vincent Gardenia's cold-afflicted cop. Best of all is Arthur J. Ornitz's cinematography. A veteran of movies about the city, he makes this one of the definitive New York films of the 1970s; the look of the film is very similar to that of his previous film Serpico, which was the film Lumet made instead of this one.
And Bronson is just brilliant. Say what you like about his acting - although it's nothing to be ashamed of - his presence is phenomenal and absolutely grounds the film in reality. He is convincing both in the early scenes, where he's required to have a couple of potentially embarrassing breakdowns, and in the later action moments. Whatever Bronson does, you believe in him and that's totally crucial to the success of the film. I don't think that Steve McQueen (another potential candidate for the role) would have had the same effect, nor would Clint Eastwood. Death Wish is one of Bronson's two signature roles - the other is Harmonica in Once Upon a Time in the West - and it's certainly one of the films by which he deserves to be remembered. I would also suggest that if we're going to remember Michael Winner, it would be kind to use this as a memorial rather than to recall his ludicrous TV appearances, multiple face-lifts (so I hear) and gruesome romantic life.
A couple of minor points - why are District Attorneys in 1970s films either slimy double-dealers or lily-livered liberals (see Josef Sommer in Dirty Harry)? And don't you love the way Stephen Elliott makes 'laboratory' sound like 'lavatory' at the press conference.
Eddie Anderson (Kirk Douglas) is a successful advertising executive who has everything but he's still not happy. So one day, on his way to work, he deliberately crashes his car in an effort to get himself out of a rut which, he feels, is killing him.
This is the beginning of Elia Kazan's 1969 film The Arrangement, based on his bestselling novel, and it's soon clear that what we're witnessing is the birth of a genre - the American Discontent Movie, later epitomised by John G. Avildsen's Save The Tiger and Sam Mendes' American Beauty. Like the characters played by Jack Lemmon and Kevin Spacey, Eddie Anderson represents a tumour at the heart of American society which needs to be cut out. But whereas the later films end in despair and doom, The Arrangement is a wish-fulfillment fantasy. It's about the precedence of art over commerce - the hero wants to be a writer but has been sidetracked into the sordid world of advertising where he has been busy designing a campaign to persuade the world that Zephyr cigarettes are 'clean'.
The irony, one which almost certainly didn't occur to Elia Kazan, is that The Arrangement is as commercial as all get out, a big, brashy soap opera which pretends to be dealing with important things but is actually both superficial and, ultimately, platitudinous. None of the characters have any more depth than you'll find in a novel by Harold Robbins and this means that virtually nothing is at stake when Eddie is choosing between Deborah Kerr and Faye Dunaway - they are both immaculately dressed and coiffured, both are endlessly patient with Eddie's tedious self-examination, so it's rather like making a decision as to whether you'd rather have cappucino or latte. They're also both looking very good, though I have to express a decided preference for Deborah's striking hair over Faye's; the latter seems to bleached all the colour out of her blonde locks for reasons which escape me.
But really, it's all too silly for words. Deborah Kerr is a very good actress and she came to this straight after her nude tumble with Burt Lancaster in The Gypsy Moths, but she's not exactly a natural choice for an LA society matron and her cut-glass English accent suggests an education at Cheltenham followed by a Swiss finishing school. It's rather embarrassing to see her given the kind of lines which an on-form Liz Taylor would have devoured (as she did brilliantly in Zee and Co) and when she disrobes to force herself on her reluctant husband, it's a bit like watching your mother getting drunk. Meanwhile, Faye is hovering between malicious one-liners and cosy concern and also offering herself to any man who threatens to be bad for her. At one point I thought she was going to screw Eddie's dissolute immigrant father (entertainingly played by a very hammy Richard Boone), but thankfully the moment passed.
Although it's impossible to watch without giggling shamefacedly, The Arrangement is hugely enjoyable if you get into the spirit of it. Like Vincente Minnelli's lush soaps Two Weeks In Another Town and The Sandpiper, it contains plenty of melodramatic diversion and the cast is packed with familiar faces. Kirk Douglas, in the central role, holds it all together by being, well, Kirk Douglas and he's obviously having a great time, especially when he gets to romp around naked with Faye Dunaway on the beach. It also looks absolutely fantastic, thanks to the genius of cinematographer Robert Surtees, working in Panavision and rich, often stylised colour. Kazan's direction is also often impressive, using a variety of techniques to create something very different from his earlier work - slow motion, comic-strip captions, speeded-up dialogue, muting the sound, flashbacks within flashbacks, special visual effects to simulate Eddie's consciousness. It may be showing off but it certainly keeps you watching.
The Warner Brothers R1 DVD is a good package which presents the film to good effect with a superb transfer and a crisp, clear soundtrack. There's also a brief vintage featurette in which everyone present talks up Kazan's genius, including Kazan, and the original trailer, which is too pompous for words.
Sometimes a film is so remarkably prescient that it doesn't really matter that it's not very good. Sidney Lumet's The Anderson Tapes is a perfect case in point. It's sloppy, poorly plotted and often ineptly acted but what it manages to do is very interesting. A couple of years before the Watergate revelations, Lumet's imagery creates a world in which everyone is being bugged, to one extent or another. The narrative is propelled forward by taped conversations in which all the participants seem to have been caught unawares.
It's such a powerful theme that Lumet's inability to make anything of it seems particularly disappointing. The tapes turn out to have little relevance to the plot and only in one scene at the end does the bugging really come into its own. One suspects that the tapes are there simply to mask the fact that this is a very conventional heist movie indeed and not a particularly good one. It's paced inconsistently so that the headlong rush of the first twenty minutes suddenly slows to a crawl - particularly disastrous since there are few twists and turns to speak of. Worse still, the characterisations are often wildly off the mark with the usually reliable Martin Balsam embarrassing himself as an ultra-camp interior designer. It's also a weirdly tossed-off piece of filmmaking. Arthur J. Orintz's cinematography is TV-movie flat, making little of the New York locations and Lumet's legendary speed seems to have led to some uncorrected fluffs in the dialogue. I'm also unconvinced by the odd switches in tone towards the end, when the light-hearted comedy-thriller turns into a bleak morality tale.
But there are compensations. Three in fact. Firstly, there is Frank J. Pierson's dialogue which, when not overdosing on the epithet "Fag!", is often very witty indeed. Secondly, Dyan Cannon is perfect and very sexy, if underused, as the female lead. Most of all, though, there's a commanding performance from Sean Connery as the mastermind of the heist. His natural style and charisma holds the film together and actually makes it seem like something is at stake. Virtually single-handed, he makes the film worth catching up with.
This piece is about six years old but I'm quite pleased with it so I present it here. It will, with some revisions, form the basis of an upcoming DVD Times review.
John Boorman is a master of visual style and his films are full of images which
are hard to forget. Unfortunately, he has often saddled himself with ineffective
scripts which have been weak on dialogue and sometimes lacking sufficient
narrative cohesion. The best example of this is Exorcist 2 The Heretic which
is a wonderful piece of film making as long as you don't attempt to follow the
plot or listen to what the character are saying to each other. Even a film as
good as Excalibur is constantly dragged down by clunking expository dialogue.
That said, at least Boorman has a truly cinematic vision - he thinks big and
isn't afraid of making an idiot of himself. This is cinema at its grandest and
most ambitious , and Boorman has the same taste for extravagant follies as
Griffith, Welles and Huston.
Boorman's best film remains Deliverance, largely because two sensibilities hit
each other straight on and the result is highly effective. James Dickey's
poetic, ambiguous novel is a perfect match for Boorman's visual flair - and the
script by Dickey himself is much better than the work Boorman did with the
dreaded Rospoe Pallenberg. The dialogue is terse and convincing, doing the job of revealing the true nature of the story - how man and nature are inextricably linked.
Incidentally, a word about genre. What makes Deliverance fundamentally a horror film is that it confronts deep fears about what might be lying in wait for us beyond the city limits, and suggests that the greatest horror might just be human beings and what they are capable of - and having used this for a stunning scene of
brutality, the accusation is then swung around and levelled at us. It's a film
about the dark corners of humanity, and as such fits into the genre very nicely.
Let alone the fact that the climb up the bluff in the dark is a classic bit of
horror-suspense, and the central rape scene is shocking and disturbing. Then
there's the final great image of the hand rising from the water, a classic
horror sign-off.
The plot is simple. Four city dwellers, Ed (Jon Voight), Lewis (Burt Reynolds in
one of his most interesting performances that proves his talent once and for
all), Drew (Ronny Cox) and Bobby (Ned Beatty) take a weekend trip into the
backwoods to canoe down the Cahulawassee river. They look out of place - which they are - and uncomfortable - except for Lewis who is in his element going back to nature and treats everything as a test of his manhood. Their first meeting with the locals is seemingly friendly, as Drew plays "Duellin' Banjos" with a withdrawn child. However, the scene turns slightly sinister when Drew tries to shake the boy's hand and is rejected out of hand. Bobby's reaction is "Give him a couple of bucks", as if the country was there solely for their entertainment and patronage. Boorman builds an incredibly economic sense of an
alien world, beyond the comprehension of outsiders - little details, like the old woman tending a sick child in a derelict shack, speak volumes, as does the joke scene where Lewis and Ed are unable to find the river - which is, as they are informed by the delighted locals - "Only the biggest fucking river in the State".
Of course, the river - treacherous, massive, bringer of life and death - is a
metaphor for all the things that the urban lifestyle has shut out of modern
life. Three of the men treat it as a big laugh, but Lewis has the hunter's
respect for his quarry - he points out that you don't beat the river. There is
something inexpressibly poignant in the oft-repeated scenes of sand and gravel being pumped into the valley by huge cranes. Something is being lost in contemporary living, and the need for man to capture it before it goes is one of the classic American themes. The irony is that in it's dying moments, the river proves to be the undoing of the men, as if it is asserting its power once and forever before man attempts to tame it. I'm rambling, but this central theme of loss is central to several of Boorman's films - remember Lee Marvin unable to comprehend the fact that there is no money to recover in Point Blank, or the story of the end of the age of magic in Excalibur, or the joyous celebration
of childhood in Hope and Glory?
The four men initially enjoy their trip through the rapids - Bobby is patronised
endlessly by Lewis, who calls him "Chubby" and considers him incompetent. But
there are little sinister touches - my favourite is the moment when the men see
the banjo boy standing on the bridge, staring at them emotionlessly. After the
first night rituals - sitting round the campfire, making banal philosophical
statements, singing sentimental songs - Ed goes off to kill an animal, and prove
his manhood to Lewis. We are already aware that Ed is a man of thought rather
than action, although Lewis seems to respect him more than the others. Ed's
failure to shoot a deer will have a big significance later on, but he seems to
regard it as a failure - the first of two that day.
Ed and Bobby set off in front of the other two men, and travel gently
downstream, stopping for a rest in a shady grove. They see two men weaving in and out of the trees and try to be friendly. But their efforts to communicate are greeted with hostility, and soon the two men, who appear to be hunters, have taken them into a clearing at gunpoint. It has to be said that the two hunters are as frightening as any human monsters ever to appear in a film. True, they appeal to a racist stereotype of hillbilly types, and one of them has the worst teeth in any film set in the recent past. But Bill McKinney - a fine actor wasted in too many identical roles, but watch his lovely comic turn in Bronco Billy and admire his subtle wit - is genuinely terrifying; self-righteous, determined, brutal, he decides to teach the city dwellers a lesson they won't forget. He compares Bobby to a boar, having forced him to strip, and after riding him declares "He's not a boar, he's a sow" and forces him to squeal. Bobby's efforts prove unsatisfying, and so McKinney declares he will give him a reason to squeal and then rapes him. It's a horrible sequence with a queasy fascination, and Beatty is brilliant in it. Going beyond the call of duty, his face registers genuine terror and pain and humiliation - we sense that jolly, fat Bobby has had more than his share of humiliation in his life and feels that this is the living end. Boorman refuses to show the rape in any detail, focusing on close-ups of Beatty's face, and then cutting to Ed, who has been strapped to a tree. At least one writer has called the scene homophobic, but I don't think it is. There's no suggestion that McKinney is homosexual, but there is strong suggestion that he is on a power trip and is using Bobby in the most degrading way he can contemplate. Finally finishing with Bobby, he cuts Ed loose and discusses with his toothy pal what to do, whereupon toothy utters the immortal line, "He's got a real pretty mouth ain't he." Before Ed is forced to "pray" for
the men at gunpoint, Lewis arrives - in a rather convenient nick-of-time manner - and shoots an arrow through McKinney's chest. Toothy runs off, pursued by an oar-waving Drew, and McKinney dies in a protracted, painful manner. There's a lengthy argument about what should be done with him, Drew insisting that they should tell the police about what happened. Drew's naivety is punished a short time later, but he is outvoted by the others who decide to bury McKinney by the river, where he will be covered when the dam is built.
There follows a dangerous trip down the rapids by the men, who are now terrified and just want to get back to civilisation. But Drew is suddenly pitched out of the canoe by some force - possibly a gun shot - and Lewis is thrown into the river, seriously injuring himself. Drew vanishes and Lewis has to be ferried along in the remaining canoe - one having been rendered useless by the force of the water. Lewis then passes the responsibility for saving them to Ed, saying, "Now it's your turn to play the game". Interesting statement, as if it's all somehow happening in a safe environment where they can leave and find each other undamaged by the experience. Interesting too that Drew is the one to be killed, since it was he who thought he could link with the backwoods at the start with the duet. Perhaps he is punished for his over-confidence ?
Ed, concerned that he could neither kill the deer nor save Bobby from being assaulted, decides to scale the bluff to find the surviving hunter, who is up there with a gun and seems to have picked off Drew. He climbs up at night, in a terrifying ascent which seems to last forever. Voight did his own climbing - the picture was apparently uninsured because of the dangers - and it's obvious that the actor as well as the character is discovering new sides to his personality. Upon reaching the top, Ed is slightly awed by looking down at the power of nature, realising the mens' insignificance. He manages, after a night's sleeping, to shoot an arrow through the tormentor, although again the death is horrible and messy. Ed barely escapes with his life after falling into the water, and the dead body is left in the river, the hope being that it will just disappear. The three remaining men find Drew's body, and take it back with them, hoping to explain it away as an accident. However, and this is the key point in the film, when they get back to civilisation, they can't just leave the river and their experiences behind. Ed and Bobby are more nervous, more aggressive. Bobby's beaming self-confidence vanishes, and the two men come to blows over the story they have to tell the police. The performances here are, again, incredibly subtle, especially that of Voight, who manages to appear completely
neurotic without going over the top.
The final touch in the film is the attitude of the Sheriff - played by James Dickey. His deputy turns out to be McKinney's brother in law, and wants the men to be held for questioning, but the Sheriff's attitude is more complex. He doesn't quite let on whether he knows the truth or not, but he warns Ed never to return to the place, and he means it. The final scene is justly famous - a beautiful vista of the river surrounded by forest, suddenly interrupted when a hand rises out of the water. Again, the metaphor is obvious. You can bury the past, but you can't destroy it. The dream haunts Ed and we sense, despite his return to his nice, comfortable life, that it always will. Ed has, after all,
revealed his true nature - behind the bourgeois trappings, he is just as much of a primitive as anyone else, and is capable of anything in the name of self-preservation.
The incredibly beautiful and evocative photography of the river and environs, by the great Vilmos Zsigmond, is intentionally at odds with the bloody, violent story and is probably the least subtle paradox in the film. But this is the best film about the clash between urban and rural culture, and it raises disturbing questions about whether there can be cultural hegemony in a place where everything is eventually reduced down to primitivism. The film is interesting because it doesn't patronise the backwoods people, showing instead how the town people can't understand a way of life which is so alien to them. That theme is also examined in Walter Hill's Southern Comfort, which is more exciting and less thoughtful. Also integral to the film is the need of modern man to find and master the beast within himself - Lewis asks Ed why, if he is so happy, he feels the need to go on these weekends - contrasted with the impossibility of ever putting the beast back in the box once you have let it out. In subduing the elemental - represented by the dam - modern man, at the same time, wants to embrace it. It's this paradox which makes Deliverance so difficult to forget.
I've been trying to decide, as you do, whether The Deep is intentionally racist or whether that's just an accidental impression created by some very crass plotting and characterisation.
I should perhaps explain. This isn't merely an idle speculation brought on by too much free time (free time? ha!) but the result of two hours spent watching The Deep, a film which moves almost as slowly as Cat People and doesn't have any of the redeeming visual flair of that movie. I had fond memories of the film, which I originally saw at the Leicester Square Theatre in 1977, and was eager to find out whether it lived up to my recollections but within ten minutes I realised that disillusionment was an inevitable as the loss of innocence and the end of summer.
The Deep is basically very dull, about as dull as a film including Jacqueline Bissett in a wet t-shirt could possibly be. Indeed, once you've savoured that sight, there's not much else to do except loll in front of the screen as various bits of mild sadism and brutality are paraded in an effort to liven things up. To be fair, there's also a wildly overacting Robert Shaw (complete with indeterminate accent which hovers between Ireland and Somerset) and an underused Eli Wallach. But Bissett, attractive as she may be, isn't an actress and she doesn't bother to create a character. Nick Nolte, as the beefcake interest, is a good actor under normal circumstances but he comes across here as the dumbest blonde in the Caribbean. The most engaging character is a huge moray eel with a nasty set of teeth.
The racism is largely of the old Hollywood variety in which various darkies threaten the heroes and ogle the heroine's semi-naked body. But it's given a nasty spin with the suggestions of voodoo and the notion that there's something automatically suspicious about a black man with an interest antiquities. There's one bit in which the black bad guys semi-rape Bissett during a voodoo ceremony which suggests that under every black man's sharp suit is a savage waiting to spring out. I may simply be over-sensitive but it leaves a very unpleasant taste in the mouth - and it suggests that times have moved on in that such things didn't even occur to my impeccably liberal consciousness back in 1977.
So is The Deep worth a look? Well, it's not very bad and some of the underwater photography is very pretty. Ms. Bissett is also something of a knockout even with clothes on - you'll note my liberal credentials don't extend very far in the anti-sexism line. But John Barry's score is lethargic and sets the tone for a film which someone - perhaps director Peter Yates - is taking far too seriously. It should be a romp but as the two hours drag on, it's more like an ordeal.
A few things have always baffled me about Earthquake.
1. Why does nobody in authority believed anyone who says that an earthquake is imminent even when they are very well aware that they live in a part of the world which is particularly prone to such a disaster.
2. Why is Ava Gardner, still beautiful in the mid-1970s, made to look like a bad female impersonator?
3. Where did Victoria Principal get that extraordinary wig from?
Quite apart from this, the film has a number of obvious shortcomings. It's one of the ugliest major films I've ever seen, looking like a very cheap TV movie - indeed, I've seen episodes of "Columbo" which looked better than this. This is a problem not only because its unattractive but because it doesn't serve the special effects well at all. The latter are still halfway impressive but the matte paintings, good as they are, still look stubbornly like matte paintings.
It's also undercast with a host of faces who are imported from television, often unconvincingly - Lorne Green looks uncomfortable without his horse and George Kennedy never even begins to look like a cop, tough or otherwise. Compared to "The Towering Inferno", this is weak stuff indeed.
Worst, it's not very entertaining. The opening hour is grimly slow, establishing characters who are never more than cardboard, and the second hour has about two set-pieces and a lot of tiresome running around. It's not even unintentionally funny.


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These Christian Funeral poems are examples of Christian poems about Funeral. These are the best examples of Christian Funeral poems written by international PoetrySoup poets
If you don't find the poem you want here, try our incredible, super duper, all-knowing, advanced poem search engine.
Beloved, lovely roses: gift of God and lover's flower,
Spread your colored petals and cradle tender showers.
While admiring the blossoms with their beauty to behold,
Ought we not to know the Tender of such lovely garden groves?
For He lovingly and thoughtfully wields His pruning shears
To cut away the stems of old for fuller future years.
He cultivates and feeds them. He attends them as a Father
Looking daily to their needs; so faithfully He waters.
From the dawn of morning dew until the setting sun arrays
Caring always for His own until that great appointed day…
When the Gardener comes to claim each one the earth held as its own.
He gently picks it at its peak and for His pleasure takes it home.
As God did one glorious morning, when the Perfect Rose had bloomed.
He rolled away the stone and met with Mary at the tomb.
There the sweetest Rose of Sharon rose that we die not alone.
But be gathered for a garden grove, surrounding heavens throne.
A full moon night
to my delight
what is so wrong
with doing what's right
nothing is right
after so long
no use in complaining
time to move on
The Dream Water one day
might take me away
farther from the comfort
of familiarity
I float on my back
then shut my eyes
my body now sinking
into ocean arms open wide
Now swallow your son
back to his nature
when he is no longer
needed to stay here
the next generation
are dooming themselves
they need my experience
to guide them through hell
Why should I bother
on my own, I strive through
I turn my back on the thought
of bothering to save you
alone in this world
my, is it spacious
I'm finally smiling,
never so gracious.
Where am I? Why is it dark?
This isn't what I had in mind when I left the park…
Why isn't the wind whispering…the songbirds singing?
All I remember is a telephone ringing…
A scream and a crash and a pain in my side…
Is this what happens after one's died?
I don't feel like myself, I feel wild and free,
Yet I'm cold and alone, 'stead of filled with glee.
My whole life I've studied, and pondered, and prayed,
Trying to fathom what would happen this day
But now that it's here, I'm beginning to fear
Maybe the afterlife's not what it appears…
It's certainly not what I've been told by my preacher
Or my parents or brother or best friend or teacher…
Is it a bad thing, or is it good?
Maybe it's just not quite understood...
While I was on Earth, I just couldn't wait
To meet good St. Peter at the heavenly gate
And ask him a question or query or two
"What was my purpose?" "What good did I do?"
"What's it all for?" "How does it all flow?"
"Can I have one more body, one more try, one more go?"
But where is the angel? Where is the gate? And
If this is Hell, then where is Ol' Satan?
Am I a lost soul? Am I forgotten?
Am I to be left here until I am rotten?
Lo and behold! what, now, can this be?
Is this a wonderful spiritual epiphany?
Is this the magical feeling all souls receive
When they leave Earth? Oh! was I that naïve?
How could I have not seen the realism?
Why was I consumed in man-made idealism?
This is more wondrous than all I was taught
Oh, all the times I argued and fought
With others, 'bout how their views were asinine
Now I see, theirs were just as wrong as mine!
Little I thought was actually correct!
How, why, did I let others petty beliefs infect
My untouched, my pure, my virgin mind?
I regret all the hours I self-tortured to find
That compared to what I see now, I was empty and blind…
Wait - - What is this that I see?
What is this gateway that is revealed unto me?
Now a door is opened to my immortal soul
I am expected now to enter my life's final goal…
I am scared, intimidated, but still I am glad…
For the truth I have just seen is anything but bad.
This is the end of my journey, I've nothing to fear,
For now I am going Beyond the Frontier.
Inspired by the untimely deaths of young people I knew. RIP
In a dream, tonight would be my last
and I demanded to talk to God.
Of all the things I've gotten past,
to go now seemed so odd.
"You've taken all my friends you see
and now you want me, too?
Unlike one who pretends to be
I've always honored you."
Those sinners who outlive me still,
all I have to ask is how?
It mad me question His very will.
Why take a good man now?
But God just sat and let me rave
on and on about my worth
and why I didn't need a grave,
but rather eternity here on earth.
Pride let my voice be rather loud.
He never said a word.
I told of deeds that made me proud
and good things that I'd heard.
And when I tired He simply said,
"No doubt your life's been good.
But many younger are now dead
and their legacy simply would
be the song that is never sung,
no children call them dad.
for they came to me so very young
and left the world confused and sad.
Yet now your time has come as well
and selfish thoughts are all I hear?
Your life was full and I can tell
it's really death you fear.
Just remember that you have no choice,
for you all will one day die.
Be strong and with a humble voice
tell loved ones they can cry."
And in that moment I knew a peace,
and I felt a tear well up inside.
That most feared was now the least
as my selfish motives died.
From time immemorial your story began
A hundred, a thousand, a million years and more
Your story past written a character just one
The tale of you bleeds into all
Each story unique while pieces the same
Today, tomorrow, millennia expended and gone
Your story continues passed first to no last
The tale of you bleeds into all
Through love and hate, laughter and death
Minutes and seconds grew to decades and days
The story being written you wrote each day
The tale of you bleeds into all
Memories endure through dream and remembrance
Yesterday is gone but tomorrow you live on
Your story yet written a character more than one
The tale of you bleeds into all
Your stories the fires shall never consume
A past, a future, a present goes on
The story you wrote lives forever in your love
The tale of you bleeds into all
living not unto this world,
where vices and habits thee hold!
to walk in unsure path,
never too narrow nor too straight.
to do what is right,
even though it sometimes is out of sight.
to do what is just,
even though it can trouble you about!
holding unto your faith,
even though there's pain.
suffering that shows strength,
working and living a true calling.
seeking with direction,
goals with just foundations.
true sacrifices with no malice intentions:
justified and righteous,
that even though it hurts,
just going out of your way to help,
enough just to be called Christians with true righteous answers.
Blackness, a dark version of me, badness, negativity.
No matter how fast i run or were i run too your right behind me.
Even the brightest sun doesn't destroy you, you only exist because of me.
All i know is when i face the darkness you disappear, but to only return when the sun rises.
' Talitha Cu'mi - - - Rise ! ... '
(Tal' i-tha cu' mi)
(An Ancient Arabic/Syrian Phrase)
(Mark 5: 41 / John 5: 28, 29 / John 6: 39 / John 10: 3-15, 27 / John 11: 23-27)
'Talitha Cumi ... Rise!'
Said The One Who Can Save All Lives
Talitha Cumi ... Rise!
Death's Cut Will Not Be Your Knife
-- Talitha Cumi ... Rise! --
Talitha Cumi ... Rise!
From Your Bed & Your Good-Byes
Talitha Cumi ... Rise!
Hear My Voice & Recognize
-- Talitha Cumi ... Rise!
'Rise! From Upon Your Bed
Greet The Brightest Day Instead
Greet The Blessings On Your Head
The Blood of Life For You I Bled
-- Talitha Cumi ... Rise!' --
'Talitha Cumi ... Rise!'
Said My Beloved Lord Jesus Christ
'I Covered You In My Sacrifice
and You Praised Our GOD For That Price
-- Talitha Cumi ... Rise!' --
'Little One - Open Your Eyes
Loved Ones - Dry Your Eyes
'Cause Resurrection Ain't No Lie
Wake Up! ... and Walk Eternal Life!'
Tal i-tha cu' mi ... Rise!
Written & Copyrighted ©: 9/26/2013
by: MoonBee Canady
Examples of a Resurrection: The Spring Season, Butterflies from Cocoons,
A Buried Seed, A Healed Skin-Cut, A Revived Heart (and) A Human Being
(and the song above is how I felt after my Lumpectomy Surgery) Oh yeah!


text:
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