text:
The term Free Name and Numerology fascinates most people. Any thing that is given free has an appeal.
This term is a ploy that entices the beginners in Numerology to develop more interest and pay for advice.
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In free name and numerology, cross checks with horary astrology is not available. You must not follow any system of numerology, which does not have a method to cross check, if their remedies are really perfect for you.
Numerology is based on vibrations. Your numerology numbers vibrate. The ruling planets vibrate and your name also vibrates. These vibes must be compatible mutually and individually with vibes of your Name.
In free name and numerology no one measures the vibrations of your name. With out knowing how to measure these vibes how can they match a name to your personal bioenergetics vibration?
Your new name should harmoniously vibrate with your bioenergetics, your Day Number, Life Number, Name Number and with the component words in your name. You can not get this compatibility in free reports.
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Free name and numerology services do not offer correct advice on graphology, use of lucky gems, choice of lucky colors, techniques of applying lucky numbers, and training your lucky days to work for you.
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Cancer Therapeutics Research Group
Head of laboratory
On this page:
The main aim of this laboratory is to investigate the interactions between malignant cells and immune cells and their impact on cancer pharmacology.
Tumour-infiltrating immune cells secrete cytokines and chemokines to promote tumour growth, invasion and spread throughout the body. These cytokines also alter the response and toxicity of chemotherapy drugs selected to treat the tumours.
The translational and clinical projects of this laboratory have two main research aims: identification of new molecular targets in cancer and elucidating how inflammation regulates chemotherapy drug response.
Research achievements
Inflammation and Chemotherapy Drug response
Tumour and immune cells contribute to the elevated cytokine concentrations assocated with cancer progression. Studies conducted by Dr Charles and collaborators at University of Sydney have shown that tumour-associated inflammation reduced the hepatic drug metabolism of chemotherapy drugs, which leads to increased incidence of serious toxicities.
More recent studies have shown that this inflammation not only affects drug metabolising enzymes, but can also decrease the expression of drug transporters and signalling pathways required for the distribution and efficacy of many different chemotherapeutic agents.
We are currently at the stage of testing the functional relevance of these findings in animal models and in clinical studies of patients with cancer.
Tumour-macrophage interactions
Tumour-associated macrophages are one of the main immune cells in cancer that support tumour growth and metastasis in most human cancers.
Malignant cells secrete cytokines and chemokines that alter the phenotype and behaviour of tumour-associated macrophages to promote tumour growth and orchestrate the immunosuppressant behaviour of the adaptive immune responses. Inhibiting the communication between cancer cells and tumour-associated macrophages is becoming an exciting potential target for cancer intervention strategies.
We are currently in the preclinical stages of this project.

subset: commoncrawl


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Academy mails ballots to voters Hollywood Reporter Take a look at an interesting article we found.
Sandra Bullock may buck Oscar history with role in 'Blind Side' Los Angeles Times Take a look at an interesting article we found.
Jennifer Jones, won Oscar for 'Song of Bernadette'; 90 Boston Globe Take a look at an interesting article we found.
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January 04, 2010
Well, December marked the usual Hollywood scramble to get pictures and actors in before the New Year to make them eligible for the Academy Awards.
(Beware the releases in January.)
I couldn't help thinking of some of the screen legends that never won a competitive Oscar (as opposed to an honorary one) like Cary Grant and Barbara Stanwyck.
One can certainly moan about injustices, like Angela Lansbury not winning for "The Manchurian Candidate" or Peter O'Toole for "Becket."
However, they're all lucky compared to Joseph Cotten, who never had a chance to lose.
Because he was never nominated.
From his autobiography: "Vanity will get you Somewhere."
"Orson Welles lists 'Citizen Kane' as his best film, Alfred Hitchcock opts for 'Shadow of a Doubt' and Sir Carol Reed chose 'The Third Man' and I'm in all of them."
And he was too modest to say how good he was in all of them.
Cotten was not showy, never overshadowed the movies he was in, but that was his greatness.
Joseph Cheshire Cotten was an American stage and screen actor best known for his collaborations with Orson Welles, which included two of the best films ever made, in the aforementioned "Citizen Kane" and "The Third Man."
But it is "Shadow of a Doubt," that removes any shadow of a doubt that he deserved, at least, a nomination.
Based on the real-life "Merry Widow Murderer," Earle Leonard Nelson, Cotten's chilling villain is worthy of a host of awards.
In his distinctive southern drawl, he made you feel the malevolence beneath the charm:
"You go through your ordinary little day, and at night you sleep your untroubled ordinary little sleep, filled with peaceful stupid dreams. And I brought you nightmares."
He also brought us elegance, class and style.
I could have easily made this piece about Edward G. Robinson, one of America's finest actors, who also, incredibly, never was nominated either.
At least we can give them the red carpet treatment in here.
Every year at this time someone writes about the political aspect of the Oscar nominations.
Its odd that in a country known for freedom of speech the Academy slights those that they label controversial. There is no politically correct way to say that traces of McCarthyism still pollute the air in Tinseltown.
Julia Masi: Our precious freedoms are a lot more fragile than we would like to believe. Things get worse when the economy is in a deep and stubborn recession. Controversy is seen as an economic and political threat to the powers that be, instead of a legitimate source whereby thinking may be creatively stimulated. Safety of the known commodities {personalities, subject matter, format} seems to trump risk {creativity, controversy} every time. The more things change, the more they remain the same. More and more I find myself watching low budget independent films from around the world. Challenges escalate when they are produced in a foreign language, with either dubbed subtitles, or no subtitles at all. And some low budget films remain on the bottom tier of box office draws because every major film producer rejected them for good cause. But occasionally there are real gems, diamonds in the rough. Someone much smarter than myself said that the unexamined life is not worth living. Political correctness stands in the way of intellectual development and personal freedoms, jmo.
I love independent films. In my neck of the woods so many of my old neigbors are people who work in film, either as actors or on the technical side. So, of course I want to support my friends and I go to see things that fly under the radar. I have noticed that foreign films try to be subtle in addressing the social problems. Many of the films that come out of Cuba give me a lot to think about.
Even though Slumdog Millionaire was mainstream, mega hit I thought it was extremely subtle and I often wonder if people really got it.
Good morning BERT & JULIA- First day back to school after Christmas break. I can't comprehend where it went. Today is an "inservice" all day- which means I take a book, a New Yorker, & some stationary to write letters to get thru this day of absurdity...
Robert Duvall was completely cheated out of the oscar for "The Apostle" - a great movie- as was Elizabeth Shue for "Leaving Las Vegas."
I love foreign films, I love American films, indie films, scary movies- I LOVE the movies! hope today is wonderful for you both.
Citizen Kane remains in the Top 5 all time greats and Mr. Cotton made the film. I still watch NIAGARA with he and Marilyn Monroe on AMC everytime it airs. Great backdrop for suspense. There are stars and then there are actors, sometimes, but not necessarily the same. North by Northwest is my all time favorite. The travel scenes are epic. Cary Grant was phenomenal. As he said everyone wants to be Cary Grant, even Cary Grant. That kind of audience identification says it all. I have entered Sundance Film Festival and think the future of film and music will include indie low budget films of great quality. Meanwhile Hollywood has its best year ever financially. Cheers to the great character actors. Just saw UP IN THE AIR and Sam Elliott had a small but very impressive role.
Women of a certain age (WOACA) very fondly remember Sam Elliott in "The Lifeguard." Swoon, sigh...
TT- If you have any pull- please tell Robert Redford to stop w/ the plastic surgery before his face melts away. So tragic to see an icon so terrified of aging.
I wait for the day when a film revolution arises where the director will only use actors who have not had their faces or bodies altered or injected. That will be true independent film...
No pull at all. Not even a little nip and tuck, bebe. But your point is well taken.Long way since Jeremiah Johnson. We should learn to cherish our wrinkles and our white manes.
Yep, The Lifeguard encouraged me to go out and find a career before it was too late! Blessings.
This day is certainly starting off on the right foot {or in MY case, the left foot...lol}. For some reason, perhaps because I work in a very conservative city, I tend to downplay the actual number of people who attend & appreciate independent films, foreign films, classical films. We have two movie theatres that specialize in independent & foreign films, but in each case what once was a single conventional movie theatre is partitioned off into either two or four smaller areas. I try to be optomistic, and tell myself that if more people experimented with the genres. But then I glance at the shows that the traditional networks find to be the most successful, and it is rather depressing. I hope that the expansion of satellite & cable networks has resulted in more than token numbers of followers for more obscure films. Meanwhile, we all have ourselves, and perhaps we could even put up a small projection screen in the club car, and have entertainment with our cocktails.....
Will somebody add to my earlier request to Mr. Peterman for spellcheck that we also acquire the capacity to edit our own posts, at least for the first 15 minutes? There's a non-sentence in my earlier opinion that would be an easy fix...
Thank you, Mr. Peterman, for highlighting the immortal Mr. Cotten today. I consider Shadow of a Doubt to be the single greatest performance anyone ever gave in a Hitchcock film. And you also earn kudos for honoring the late great Edward G. Robinson who received my vote for Best Actor of 1941 for The Sea Wolf and Best Supporting Actor of 1944 for Double Indemnity (the real awards went to Cary Grant for Sergeant York and Barry Fitzgerald for Going My Way respectively).
Although I love awards and award shows and have made it a lifelong project to study and revel in Academy Awards history and Oscar statistics, what we have stumbled upon here is the fundamental silliness of such competitions between actors. The very notion of a "best performance" in a given year is flawed because there are so many variables including that greatest variable of all, personal taste. This year alone, my own choice for Best Actress is a battle between Emily Blunt for The Young Victoria and Meryl Streep for Julie and Julia. Yet the idea of comparing these two performances which are so tremendously different from each other is patently absurd. The actresses have over three decades of age and experience between them, one is a Brit and one is a Yank, one is a comedy performance while the other is high drama. Sure, they're both playing the title character in a historic piece and both played women who were eminent and influential in their field but that's where the similarity ends. Putting these performances in direct competition with each other is just plain ridiculous. And yet I do it.
Even if we forget about issues like the political aspect of awards (already well observed by others today), there are problems in determining how a "winner" is chosen. Bebe, Bert, Julia, and Tommy have all pointed out what great movies certain actors appeared in for which they should have won. Yet my vote often goes to actors who gave great performances in otherwise forgettable films. Are we crediting the movie or the performance? Nicolas Cage is my choice for Best Actor of 1998 for Snake Eyes, an otherwise worthless excuse for a mystery thriller and I highly admired Robert De Niro's ability to completely shed his trademark NooYawkishness for the otherwise execrable remake of Cape Fear. In film critic Danny Peary's Alternate Oscars (a very fun book), he chooses Gary Oldman for Best Actor of 1991, describing him as the "saving grace" of the movie State of Grace. Yet, nine times out of ten, the vote goes to an actor who was in a great movie because we get wrapped up in our enjoyment of the film itself.
There is also the problem of choosing only one "winner" in a year chock full of great performances. I sympathize with bebe but ultimately disagree with her statement that Robert Duvall and Elisabeth Shue were "cheated" for the Oscar for their excellent performances in The Apostle and Leaving Las Vegas. Yes, their performances were indeed excellent but, in those particular years, there were others that were even more excellent. Shue did Vegas in 1995, the year Susan Sarandon was in Dead Man Walking. The Academy noticed that Sarandon had five nominations and not a single win to her credit and decided to right this long standing wrong. What I noticed was that the ever sexy Sarandon made a surprisingly convincing nun and went far and wide out of her traditional comfort zone. She gets my vote but Shue is a worthy choice.
Sometimes, you get more than one performance from the same actor in a given year. I remember 1993 when everyone was wondering whether Anthony Hopkins would be nominated for Shadowlands or The Remains of the Day. It wound up being Remains which, in my opinion, was absolutely the right choice but I know others who would have gone the other way and I can't put up much of an argument there. On the other hand, when Gwyneth Paltrow won in 1998 for Shakespeare in Love, she had also given a far subtler (read "far better") performance in a charming little independent romance called Sliding Doors. I would have sooner given it to her for that film. These years of multiple greatness occasionally determine Oscar victories. When Kevin Spacey won Best Supporting Actor of 1995 for The Usual Suspects, you can be sure a determining factor was that he had also given spot-on performances in Outbreak, Se7en, and Swimming With the Sharks all in that same year. In a way, the Oscar was a pat on the back for a slew of remarkable work rather than one great performance.
When predicting the Oscars, it is best to forget about your own preferences (who "deserves to win", etc.) and concentrate on statistics like the Spacey note above. If you see a major star in a supporting role (Sean Connery in The Untouchables, Michael Caine in The Cider House Rules) put your money on that person. Also, if you see a lead character inexplicably nominated in the Supporting category (Timothy Hutton in Ordinary People, Tatum O'Neal in Paper Moon) the odds are likewise in their favor.
You will notice that none of this has anything to do with the question of whether a certain actor has actually given the best performance in his/her category. But, once again, when a year is crowded with so much great work from so many great artists, what does that question really mean?
more on the honor rollAs usual I'll play 'John the Baptist' (the voice of one crying in the desert).... Some of my favorite films never won Academy Awards, never could have, never will, and never should have. I found them -- like jewels shining in the mud -- through hapstance, friends, and so on. Here's a partial list: Tokyo Godfathers; Oh, What a Lovely War; The Battle of Algiers, 1984 (featuring Richard Burton's last film role); The City of Lost Children; The Farmer's Wife, and The Trouble With Harry. OMG, what an incomplete list! Where's Harold Lloyd? And dare I include a plethora of Japanese anime, like Spirited Away and My Neighbor Totoro? And all of the dozens of GREAT films made in Iran during Khatami's brief 'Thousand Flowers' period? Oh my.... oh my... so many jewels lost in so many mudbanks.....
Bebe, Cuukoo1: The croud in this nightclub is the toughest I've played in front of in YEARS...lol
I love movies of all kinds, and I love to watch award shows, not only to applaud the winners, but also (I'll admit it) to see all the glamorous clothes! I imagine there are political reasons why some actors are nominated and some actors are not, because there are politics in almost all aspects of our lives. On the other hand, I want to believe the Academy tries to be fair. In any given year, there are a multitude of wonderful performances, and difficult choices must be made. I wouldn't want to be the one making the decisions!
shhhhh .... let's keep it down. Please turn off your cell phones, and strap yourself in to enjoy your favorite actor in what you believe is their best performance from your favorite movie....... The lights have dimmed, the curtains are being drawn and the movie is starting. I'll be up in the balcony, first row.
The Academy Awards are very
political both politically and in a business way. So the list of overlooked talent in all
fields is to be expected.
mentioned that Cary Grant one for Sergeant York. That was Gary Cooper.
Cotton It seems to blend in he was
not overly hansom or distinctive. Think
of all the top stars you can I think you will agree that from Cooper and Grant through Brandon, Wayne, to Holden and Newman and on to Willis
and Pitt all had distinct mannerisms even if subtle. Good actor even great actor dose not mean big
For me
Cottons voice grated I think he is a fine actor but his voice grates.
I think that one of the most underated Actors, ever ... is Robin Williams ... We all know he is a Comedic Genius on Par with Jonathan Winters, and perhaps that is why no one really expects him to be able to do a serious dramatic part ....... But if examined closely, in every aspect, his Dramatic Roles have been superb, and certainly Oscar Quality ... GOOD WILL HUNTING, DEAD POETS SOCIETY, AWAKENINGS, GOOD MORNING VIET NAM ... in my mind are his absolute Best serious performances ... I suppose that it is just human nature that we always remember most, and first, the ones who make us Laugh .......
OK,....... in a fit of madness as demonstrated by Peter Lake's decision to post by the rules and answer the opinion poles question 'Favorite underrated actor today?'; I choose Alan Rickman based on his very diverse body of work, great voice, and his performance in the movie Truly, Madly, Deeply........ thus revealing that when you've boiled all the meat and fat off of my bones that I posses a lot of sappiness deep at heart.
IVAN - Good call on Robin Williams. He can play a pretty good 'bad guy' too as he demonstrated in the movie 'Insomnia'.
You didn't forget "Patch Adams" did you?
Another of Robin Williams great movies.
I've really like all the roles I've seen him in.
He has depth and breath in his acting skills as you pointed out.
Robin Williams was also brilliant in "Birdcage," displaying comedy and a little pathos. Today, I might vote for Chris Cooper who was great in "Breach."
KORTHAL: Patch Adams is indeed a Great Picture Show, but Adams(to me) was just an unruly Goof !!! Not malicious, not unamiable, but just not really ever serious ... Never grown up ... Not that, never growing up is bad ... rather it is simply difficult for one such as those to ever be taken, Seriously ... regardless of their particular acumen ... Hellsfire, I'll never have a Second Childhood, cuz I'll never get out of the first one !!! THAT may be why Patch Adams didn't occur to me ... A fabulous flick !!! Dynamite Part !!! And without Question superbly well done by Robin Williams ... and of course, all the awe, wonder, amazement and Parental-Pride that Pagliacci got thru Med School gets completely blasted to hell, as he Moons the Chancellor walking off the dais .......
Peter Lake, I voted for Alan Rickman also. I had forgotten "Truly Madly Deeply," and your posting sent me scurrying to Amazon -- unfortunately it is currently not being manufactured, and a used copy is $45 minimum. Guess I'll hope it comes back to TV, and I'll record it on my DVR. . .
JMR: Chris Cooper's performance in "Breach" truly made the entire story line realistic, bordering on scary.....which it is in real life.
Stoney and Peter,
I don't know what my fingers were thinking as they typed. You are right, of course, that it was Gary Cooper and not Cary Grant. That's who I meant and who I was picturing in my head and it's not like the two men are remotely similar. But somehow, I managed to type the wrong name. Thanks for the catch.
Sorry, on top of everything I attributed the catch to Peter and not to THR who actually presented the noted. I seem to be getting increasingly clumsy.
Happy New Year to everyone! So great to pop in and read. As soon as I saw the topic, I thought of DPR, and THERE HE IS!
I personally love watching the Oscars. It is its own dramatic/comedic performance. I guess I don't think of it as an empirical endeavor, capable of finding 'the truth' in what is, I assume, the world's most intentionally subjective arena.
I guess, on the upside of what we may agree were the academy's foibles, it is exactly those that keep us suspicious of awards in general as accurate measures of art.
If there were no Cottons, or Robinsons or Grants, who could young artists look to to confirm their belief that the empty award case doesn't equate an empty career.
P.S. I love the series Life After Film School, in which three film students interview a success in the industry (actors, writers, producers, directors, animators . . .)
And in 19 out of 20 episodes (I actually counted), all the pros said the single most important way to succeed is to become extremely intimate with your OWN voice and passions, and be very loyal to that, no matter what anyone tells you, even if they've got a buttload of Oscars behind them.
I think that's true in all careers.
Look at Peterman, right?
Your list of favorite movies is not as void of awards as you might imagine. Harold Lloyd received an honorary Oscar for Life Achievement in 1952 and Spirited Away won Best Animated Feature of 2002. The Battle of Algiers did not win but was nominated for Best Foreign Language Film of 1966 (it lost to A Man and a Woman). While Oh, What a Lovely War! was not nominated for any Oscars, it was very prominantly recognized in Great Britains BAFTA Awards, winning Art Direction, Costume Design, Cinematography, Sound Track, and Supporting Actor (Laurence Olivier), while being further nominated for Best Picture, Director, Editing, and Supporting Actress (Mary Wimbush). So, all in all, you're not quite such a John the Baptist after all.
For an actor to be 'underrated' he must be widely and undeservedly disliked or overlooked. Robin Williams is neither. He was nominated for Best Actor in 1987, 1987, and 1991 (for Good Morning Vietnam, Dead Poets Society, and The Fisher King respectively) and won Best Supporting Actor in 1997 for Good Will Hunting. He has also won the Academy of Science Fiction, Fantasy, & Horror Film's Saturn Awards for Aladdin and One-Hour Photo. He also has a whopping SIX Golden Globes (including the prestigious Cecil B. DeMille Award), two Emmy Awards, two Cable Ace Awards, two MTV Movie Awards, five People's Choice Awards, and two Screen Actors Guild Awards. Overrated? By whom?
I love Joseph Cotton in the film "Portrait of Jeannie" Not a HUGE sucess at the time of the release, but a classic no the less. The love story in it is so beautiful & he plays the artist who loves & believes so wonderfully that you cannot take your eyes from the screen when he's on. It's heartbreaking....
DreadPirateRoberts, you have made my day. :-) Being J t B is no fun, especially since I'm not into either locusts or into honey. Sitting around a warm fire with friends -- now THAT is much nicer! And Mr. Peterman's 'hearth' is home to an especially warming blaze!
DPR: I bow to your infinite wisdom ... I just feel like Williams is underappredciated, and that may be the stupidity of the Market, and not his Peers .......
IVAN - My wise and trusted friend, I stand by you and your opinion/choice of Robin Williams as being less than adequately acknowledged (therefore underrated) for the depth and breadth of his mighty talents. After all, even though he has received numerous accolades, who is to said that they are adequate in their appreciation of said performer.
I may be wrong but never in doubt. Peace out.
Folks I am going to take this opportunity to nominate Meryl Streep as the most under rated highly rated actress going. From Sophi's Choice through to her recent movie of which I took in last night, Its Complicated, are must see movies because of her performance. Much of it is not in what or how she says things its in her body language in how she hears her counterparts in any movie. In Sophi's choice, you can feel her heart tearing at the train depot as one child went with her and the other on his own. In Its Complicated, her facial expressions at bizarre visuals accentuate the visual and make the movie funnier. I would watch it again simply to count the facial expressions. The movie is a situational comedy where her straight delivery of funny lines makes the movie a "laugh out of your chair" movie. So in this I nominate Streep.
The most under rated actor is Robert Redford and again for his ability to act when he doesn't have lines. favorite scene is in Sneakers at the end when his counterpart Ben Kingsley holding a pointed gun says "its not about money, its about information...information is power not money. Redford says not a word, but the look on his face...."how did it come to this and it was all my doing" was superb.
This is my opinion and hence my nomination.
You may look at this last post as a plug for the movie....its in theathers now. Go see it.
PETER LAKE: Bless You and Thank You, Peter lake ... You said flawlessly what I trying and failed so miserably to say ... I never watch Award Shows, so I am not really current on any of that stuff ... I have a Cousin that has been in the Business for a long time, and because of her, and some relatives who thought that THEY were something special by being related to her ... I got bored with it all, early on ... But I do appreciate an Artist who is good at his Trade ....... Because of Cuz, I have gotten to meet some really Great people, and one of the most talented, but unpretentious, really neat, down to earth people I have ever met, is Eilene Fulton ... So, they are not all airhead Narcissists .......
And finally on the Oscars...it may be political, it may raise eyebrows...but then again look at the Nobel Peace Prize. Obama now shares that prestigious prize with the likes of Woodrow Wilson, Le Duc Tho, Henry Kissinger, and Yasser Arafat. Maybe its the controversy that gives the prize its notoriety
I'm not sure what an "underrated highly rated actress" is. But I do agree that Streep is excellent in everything including the hilarious It's Complicated.
I will say that Streep's emotional connection to her roles is underrated. Many people talk about how her technique is perfect (physicality, accents, character interpretation, etc.) but doubt the sincerity of her feelings in a given scene. I disagree utterly. Also, I find her beauty underrated. People always talk about how Streep is not a beautiful woman. All I can say is that lady is welcome to park her shoes under my bed any time.
The most under-rated actor I know have been in an astounding number of movies, in a career that's spanned decades.
Performances are always remarkable, sometimes leads, sometimes supporting roles, and the acting shines over and above the others' and even the scenery, this actor's capabilities knows no limitations. Versatile. Memorable. Award-worthy but always passed over, like Cotten.
This actor is the one who, when I see him or her, I nudge my husband or he me, and then "Who is he/she?" "Oh God I know who that is who is it?" "Give me a second, shhh, don't talk, it's coming, it's..." "Who?" "I don't know. I give up. I've seen the face a hundred times or more, but I just can't think of the name."
I just can't think of the name.
That's my nomination for the most under-rated exceptional actor, ever -- those actors who's faces you know, whose performances are many and each a standout. Time after time, and directors rely on these under-raters to do everything the lead can't, which is a lot.
So that's my nomination.
"And the winner is: him. her. that one! you know his name! you remember him from that last film they did with Nicholson, yes, that one! That's who the winner is, that's who'd get the Academy Award, if I were handing them out.
The best performance by an actor whose name nobody can remember but we've loved you in all your hundreds of movies over the last century and we think you're a most amazing talent, but highly under-acknowledged. Until now.
And so: all that remains is determining just what and how to engrave this on Oscar.
PARK4 - Very well said indeed - I hope I smell an Honor Roll coming your way today!
This is . . . all so far over my head. I don't watch awards shows, rarely go to the movies, don't even rent movies too often.
So, instead, I'm going to find a nice, deep leather club chair in the Reading Car and enjoy equal parts book and gin.
Sorry Park 4 isn't here to give the TCM update, but one of Edward G. Robinson's best performances is on TCM tonight, in "All My Sons. " It's at 11:30 followed by the unsung Franchot Tone in a terrific adventure flick, not played too often, in " Five Graves to Cairo."
DPR "underrated highly rated actress" I pulled that out of the mint this morning. I had to let it set befor I could tender it. Bat man for a guy is s not sure on the term...you absolutely nailed it with your take on Streep. With regard to her parking her shoes, yeap I am on board. Whether its an act or for real, it will be "for real" for me.....if only I were so lucky. In hte mean time check out her latest move...it is Streep at her best.
Michael...always an awesome way to spend an evening...I am working on two reviews on "just read" books, and then working through another Secret Society book... where there is this bizarre notion that the government and culture of the Middle East was imported to Europe through the Masons who eventually free....mason. It seems to inspire the phase, tune about is fair play. Its a vicious feed back loop in hte everlasting Now that we call history...
stand away from the amp!!!!!!!!!!!!
.and to the spell check and Vanna White...I'd like to buy a few letters...but I guys get it right?
PARK- you are so funny that you're killing me- you put into words what I think everyone feels when they see a gem of an actor they don't quite recognize, but you know that you've loved them in other films.
DPR- You are wonderful & for this topic we are so lucky to have your brilliance & insight. I had forgotten that Sarandon beat out Shue for the oscar that year. What you said bothers me because I know that it's true- I hate when someone gets an oscar because they have been nominated multiple times & even though someone else is more deserving they give it to the multiply passed over person- it's SO unfair, but then so is life. I just remember being so mesmerized by Shue's performance (& Nicholas Cage was so great & then later on he gave us piles of crap & just seemed greasy & grotesque) & wondering where she came from- her portrayal was so honest & heartbreaking that it was hard to watch at times. And she was so lovely. I have thoroughly enjoyed your insights today.
I think Meryl Streep is beautiful- she was absurdly gorgeous in "Manhattan" w/ her blonde hair swinging over her shoulder.
DOC- what does J t B mean? Is it some secret code I have no clue about? Does it mean your jeans busted?
Park4: We need better clues than "none of the above." Perhaps we could invent a contest, first to identify the actor or actress based upon clues given out one at a time wins, biggest prize for earliest recognition. But first I really have to get the image of Vanna White out of my head, she's just not the sharpest knife in the drawer.....
Park4: We need better clues than "none of the above." Perhaps we could invent a contest, first to identify the actor or actress based upon clues given out one at a time wins, biggest prize for earliest recognition. But first I really have to get the image of Vanna White out of my head, she's just not the sharpest knife in the drawer.....
bert I heard you the first time...just kidding on you.
Tell me I didn't read - twice - that you think Vanna White is hot.
Vanna White?
<lots of laughing here>
Oh you are too funny.
The letter lady? Vanna White?!
What even made you think of her? You know she isn't an actress, I know you know that, don't you?
oh bert.
you're funny.
Those were the days though, weren't they?
DOC- I am floored- at my own cluelessness- I am obviously not a biblical scholar... or even worthy of a Sunday school class.
BERT- She actually seems like quite a sharp knife to me- let's see- she parlayed what she's got into a vast , seemingly never ending fortune train, and she seems like a decent person (I never watch the show, but she is not scandal ridden and seems to be photographed wearing underwear & appropriate clothes.) Go Vanna, say I...
Yes! JMR. "All My Sons." Arthur Miller's play put to film -- I've never seen the movie, but I plan on it, if I can keep myself awake.
Here's what's on TCM tonight. The specialty of the house on Monday eve's this month is "The Method and the Movies." The Method is where you look way down to the bottom of your soul (I think) and pull up actual feelings (usually deeply disturbing) that you will use in creating your character.
I'm not saying this well. With The Mehod you use your life experiences to create your character, and no matter how badly I stumble though this, The Method has brought us some pretty sensational performances in some remarkable movies. Like these:
Come And Get It (1936)
Years after deserting his true love, a lumber tycoon vies with his son for her daughter's hand.
Cast: Edward Arnold, Joel McCrea, Frances Farmer, Walter Brennan Dir: William Wyler BW-99 mins, TV-G
Golden Boy (1939)
A crooked promoter lures a young violinist to give up music for boxing.
Cast: Barbara Stanwyck, Adolphe Menjou, William Holden, Lee J. Cobb Dir: Rouben Mamoulian BW-99 mins, TV-PG
All My Sons (1948)
A veteran discovers his father cut costs on wartime military equipment.
Cast: Edward G. Robinson, Burt Lancaster, Mady Christians, Louisa Horton Dir: Irving Reis BW-94 mins, TV-PG
Five Graves to Cairo (1943)
A British corporal goes undercover to infiltrate Field Marshall Rommel's command.
Cast: Franchot Tone, Anne Baxter, Akim Tamiroff, Fortunio Bonanova Dir: Billy Wilder BW-96 mins, TV-PG
Postman Always Rings Twice, The (1946)
Illicit lovers plot to kill the woman's older husband.
Cast: Lana Turner, John Garfield, Cecil Kellaway, Hume Cronyn Dir: Tay Garnett BW-113 mins, TV-PG
(I wish "Postman" was on earlier. This is I think the original version and it's great.)
In honor of your most excellent point about the chasm between 'great actor' and 'great star', I offer the following list of brilliant artists heretofore known as "that guy" and oh her"!
John Qualen (from The Grapes of Wrath and Casablanca)
Miriam Margolyes (from The Age of Innocence and the Blackadder series)
Whit Bissell (from The Caine Mutiny and The Magnificent Seven)
Estelle Winwood (from The Producers and Murder By Death)
Vincent Schiavelli (from Fast Times at Ridgemont High and Ghost)
Maria Ouspenskaya (from The Wolf Man and King's Row)
Philip Baker Hall (from Say Anything and The Talented Mr. Ripley)
Frances De La Tour (from Harry Potter and the Goblet of Fire and The History Boys)
James Rebhorn (from Lorenzo's Oil and Carlito's Way)
Holland Taylor (from Romancing the Stone and Keeping the Faith)
Ian Wolfe (from Seven Brides for Seven Brothers and Witness for the Prosecution)
Who cares if Vanna White is hot not hot, or even what show she is on...I hear she has letters, and today I am experiencing a shortage...so in a market economy of which this still is (somewhat), today her price is up, she is hot.
Arthur Miller's All My Sons is my favorite American play ever written. I read it for the first time at age 18 (half my life ago) and have loved it ever since. Last year, I finally had the chance to see it performed on a Broadway stage with John Lithgow and Patrick Wilson in the leads.
I must confess, however, that I hated the movie. It telegraphs and makes obvious secrets that are supposed to be great revelations late in the second act. The normally brilliant Edward G. Robinson is grossly miscast and the always hit-and-miss Burt Lancaster comes across as sanctimonious when he's supposed to be passionate. Try and find a copy of the 1989 American Playhouse broadcast with James Whitmore and Aidan Quinn. It is vastly superior.
Burt Lancaster in "The Swimmmer"adapted from the John Cheever book. He stunned me in this. His performance was heartbreaking.
Lancaster is certainly capable of being brilliant. Seven Days in May, The Island of Dr. Moreau, The Sweet Smell of Success, and especially Judgment at Nuremberg all feature masterful performances from the Burt.
But, for every one of those, there's a turkey like The Gunfight at the O.K. Corral or The Twilight's Last Gleaming or The Crimson Pirate out there to remind us of how spotty and inconsistent he was.
Whit Bissell is just a great name- conjures up yachting & endless cocktails. I'm sure his real life told a different story.
Margaret Hamilton becasue she's so witchy...
Brendan Fraser cos he's hot and funny and cute and sweet. Harrison Ford's obvious succcessor.
Jeff Goldblum, Sam Rockwell, Peter Lorre, Veronica Lake, Alan Rickman (great villain!), Ron Perlman, the underrated couple of Bill Macy and Felicity Huffman, Nathan Fillian, Claude Rains, Sydney Greenstreet, Peter Weller, Steve Buscemi, Selma Blair, John Hurt, John Turturro, and on and on. I like a lot of people whose names I just don't know-I can't keep up.
I like quirky movies such as True Stories, Buckaroo Banzai, Galaxy Quest, Quest for Fire, Dr Strangelove, Strange Brew, Ladyhawke, Harvey, Mountains of the Moon and all the Marx Brothers and Pink Panther films. And many more. I wish I had time to watch some of them!
No accounting for taste...
DPR: I most heartily agree with your List ... Outstanding performers, each and every one of them ... Good List, Good Point .......
According to the Internet Movie Database, there are nearly 20 James Hamiltons who have worked in the motion picture industry. None of the actors carrying the name have particularly notable credits to their resumes however. The most prolific James Hamilton is a British sound editor who has worked on such movies as Venus and The Queen. Another James Hamilton wrote the screenplay for Sam Peckinpah's brilliant World War One drama, Cross of Iron.
So who's the James Hamilton you have in mind?
There are so many actors and actresses and there aren't many "good" ones at all. It's almost like the movie industry wants to make a movie in hopes of "hitting it big with this one". A dime a dozen is a nice way that I prefer to say my peace. Hell, I should be in the movies if truth be told. I just need my big break into Hollywood!
Most Underrated Actor rateitall.com Take a look at an interesting article we found.
Mercury Theatre History mercurytheatre.info Take a look at an interesting article we found.
History of the Academy Awards oscars.org Take a look at an interesting article we found.
Favorite underrated actor today?
Detroit's 103rd North American International Auto Show opens soon and the stakes are high.


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Next: Vertical Scrolling, Previous: Window Start and End, Up: Windows
Textual scrolling means moving the text up or down through a
window. It works by changing the window's display-start location. It
may also change the value of window-point
to keep point on the
screen (see Window Point).
The basic textual scrolling functions are scroll-up
scrolls forward) and scroll-down
(which scrolls backward). In
these function names, "up" and "down" refer to the direction of
motion of the buffer text relative to the window. Imagine that the
text is written on a long roll of paper and that the scrolling
commands move the paper up and down. Thus, if you are looking at the
middle of a buffer and repeatedly call scroll-down
, you will
eventually see the beginning of the buffer.
Unfortunately, this sometimes causes confusion, because some people tend to think in terms of the opposite convention: they imagine the window moving over text that remains in place, so that "down" commands take you to the end of the buffer. This convention is consistent with fact that such a command is bound to a key named <PageDown> on modern keyboards.
Textual scrolling functions (aside from scroll-other-window
have unpredictable results if the current buffer is not the one
displayed in the selected window. See Current Buffer.
If the window contains a row taller than the height of the window
(for example in the presence of a large image), the scroll functions
will adjust the window's vertical scroll position to scroll the
partially visible row. Lisp callers can disable this feature by
binding the variable auto-window-vscroll
to nil
(see Vertical Scrolling).
This function scrolls forward by count lines in the selected window.
If count is negative, it scrolls backward instead. If count is
(or omitted), the distance scrolled isnext-screen-context-lines
lines less than the height of the window's text area.If the selected window cannot be scrolled any further, this function signals an error. Otherwise, it returns
This function scrolls backward by count lines in the selected window.
If count is negative, it scrolls forward instead. In other respects, it behaves the same way as
This behaves like
, except that if the selected window cannot be scrolled any further and the value of the variablescroll-error-top-bottom
, it tries to move to the end of the buffer instead. If point is already there, it signals an error.
This behaves like
, except that if the selected window cannot be scrolled any further and the value of the variablescroll-error-top-bottom
, it tries to move to the beginning of the buffer instead. If point is already there, it signals an error.
This function scrolls the text in another window upward count lines. Negative values of count, or
, are handled as inscroll-up
.You can specify which buffer to scroll by setting the variable
to a buffer. If that buffer isn't already displayed,scroll-other-window
displays it in some window.When the selected window is the minibuffer, the next window is normally the leftmost one immediately above it. You can specify a different window to scroll, when the minibuffer is selected, by setting the variable
. This variable has no effect when any other window is selected. When it is non-nil
and the minibuffer is selected, it takes precedence overother-window-scroll-buffer
. See Definition of minibuffer-scroll-window.When the minibuffer is active, it is the next window if the selected window is the one at the bottom right corner. In this case,
attempts to scroll the minibuffer. If the minibuffer contains just one line, it has nowhere to scroll to, so the line reappears after the echo area momentarily displays the message 'End of buffer'.
If this variable is non-
, it tellsscroll-other-window
which buffer's window to scroll.
This option specifies the size of the scroll margin—a minimum number of lines between point and the top or bottom of a window. Whenever point gets within this many lines of the top or bottom of the window, redisplay scrolls the text automatically (if possible) to move point out of the margin, closer to the center of the window.
This variable controls how scrolling is done automatically when point moves off the screen (or into the scroll margin). If the value is a positive integer n, then redisplay scrolls the text up to n lines in either direction, if that will bring point back into proper view. This behavior is called conservative scrolling. Otherwise, scrolling happens in the usual way, under the control of other variables such as
.The default value is zero, which means that conservative scrolling never happens.
The value of this variable should be either
or a fraction f between 0 and 1. If it is a fraction, that specifies where on the screen to put point when scrolling down. More precisely, when a window scrolls down because point is above the window start, the new start position is chosen to put point f part of the window height from the top. The larger f, the more aggressive the scrolling.A value of
is equivalent to .5, since its effect is to center point. This variable automatically becomes buffer-local when set in any fashion.
Likewise, for scrolling up. The value, f, specifies how far point should be placed from the bottom of the window; thus, as with
, a larger value scrolls more aggressively.
This variable is an older variant of
. The difference is that if its value is n, that permits scrolling only by precisely n lines, not a smaller number. This feature does not work withscroll-margin
. The default value is zero.
If this option is
, whenever a scrolling command moves point off-window, Emacs tries to adjust point to keep the cursor at its old vertical position in the window, rather than the window edge.If the value is non-
and nott
, Emacs adjusts point to keep the cursor at the same vertical position, even if the scrolling command didn't move point off-window.This option affects all scroll commands that have a non-
symbol property.
The value of this variable is the number of lines of continuity to retain when scrolling by full screens. For example,
with an argument ofnil
scrolls so that this many lines at the bottom of the window appear instead at the top. The default value is2
If this option is
(the default),scroll-up-command
simply signal an error when no more scrolling is possible.If the value is
, these commands instead move point to the beginning or end of the buffer (depending on scrolling direction); only if point is already on that position do they signal an error.
This function scrolls the text in the selected window so that point is displayed at a specified vertical position within the window. It does not "move point" with respect to the text.
If count is a non-negative number, that puts the line containing point count lines down from the top of the window. If count is a negative number, then it counts upward from the bottom of the window, so that −1 stands for the last usable line in the window.
If count is
(or a non-nil
puts the line containing point in the middle of the window. If count isnil
, this function may redraw the frame, according to the value ofrecenter-redisplay
is called interactively, count is the raw prefix argument. Thus, typing C-u as the prefix sets the count to a non-nil
list, while typing C-u 4 sets count to 4, which positions the current line four lines from the top.With an argument of zero,
positions the current line at the top of the window. The commandrecenter-top-bottom
offers a more convenient way to achieve this.
If this variable is non-
, callingrecenter
with anil
argument redraws the frame. The default value istty
, which means only redraw the frame if it is a tty frame.
This command, which is the default binding for C-l, acts like
, except if called with no argument. In that case, successive calls place point according to the cycling order defined by the variablerecenter-positions
This variable controls how
behaves when called with no argument. The default value is(middle top bottom)
, which means that successive calls ofrecenter-top-bottom
with no argument cycle between placing point at the middle, top, and bottom of the window.


text:
Product Description
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Myah Fireworks Canvas (Set of 3)
Fireworks abstract natural light image by Trevor Cooper. These stretched canvas triptych panels are a great way to dress up any wall.
- Each canvas measures 15"W x 31.5"H x 1.25"T
- Includes hanging hardware
Materials: | Canvas | |
Listing: | Quick Ship, Duty Free in Canada | |
Number of Pieces | 3 | |
Canvas Art Subject | Abstract |
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From Wikipedia, the free encyclopedia - View original article
Todd Haynes | |
Haynes at the 2009 premiere of Whatever Works | |
Born | Encino, California, U.S. | January 2, 1961
Years active | 1985–present |
This biographical article needs additional citations for verification. (June 2011) |
Todd Haynes | |
Haynes at the 2009 premiere of Whatever Works | |
Born | Encino, California, U.S. | January 2, 1961
Years active | 1985–present |
Todd Haynes (born January 2, 1961) is an American independent film director and screenwriter. He is best known for his feature films Superstar: The Karen Carpenter Story, Poison, Velvet Goldmine, Safe, and the Academy Award-nominated Far from Heaven and I'm Not There.
Haynes was born January 2, 1961, in Los Angeles, and grew up in nearby Encino. His father, Allen E. Haynes, was a cosmetics importer, and his mother, Sherry Lynne (née Semler), studied acting (and makes a brief appearance in I'm Not There). Haynes is Jewish on his mother's side.[1] His younger sister is Gwynneth Haynes of the band Sophe Lux.
Haynes developed an interest in film at an early age, and produced a short film, The Suicide (1978), while still in high school. He studied semiotics at Brown University, where he directed his first short film Assassins: A Film Concerning Rimbaud (1985), inspired by the French poet Arthur Rimbaud (a personality Haynes would later reference in his film I'm Not There). After graduating with a BA in Arts and Semiotics, Haynes moved to New York and became involved in the independent film scene, launching Apparatus Productions, a non-profit organisation for the support of independent film.
In 1987, while an MFA student at Bard College, Haynes made a short, Superstar: The Karen Carpenter Story, which chronicles the life of American pop singer Karen Carpenter, using Barbie dolls as actors. The film presents Carpenter's struggle with anorexia and bulimia, featuring several close-ups of Ipecac (the prescription drug Carpenter was reputed to have used to make herself vomit during her illness). Carpenter's chronic weight loss was portrayed by using a "Karen" Barbie doll with the face and body whittled away with a knife, leaving the doll looking skeletonized. The film is also notable for staged dream sequences in which Karen, in a state of deteriorating mental health, imagines being spanked by her father.
Superstar featured extensive use of Carpenter songs, showcasing Haynes' love of popular music (which would be a recurring feature of later films). Haynes failed to obtain proper licensing to use the music, prompting a lawsuit from Karen's brother Richard for copyright infringement. Carpenter was reportedly also offended by Haynes' unflattering portrayal of him as a narcissistic bully, along with several broadly dropped suggestions that he was gay and in the closet. Carpenter won his lawsuit, and Superstar was removed from public distribution; to date, it may not be viewed publicly.[2] Bootlegged versions of the film are still circulated, and the film is sporadically made available on YouTube.
Haynes' 1991 feature film debut, Poison, garnered Haynes further acclaim and controversy. Drawing on the writings of "transgressive" gay writer Jean Genet, the film is a triptych of queer-themed narratives, each adopting a different cinematic genre: vox-pop documentary ("Hero"), 50s sci-fi horror ("Horror") and gay prisoner romantic drama ("Homo"). The film explores traditional perceptions of homosexuality as an unnatural and deviant force, and presents Genet's vision of sado-masochistic gay relations as a subversion of heterosexual norms, culminating with a marriage ceremony between two gay male convicts. Poison marked Haynes' first collaboration with producer Christine Vachon, who has since produced all of Haynes' feature films.
Poison was partially funded with a grant from the National Endowment for the Arts. The film subsequently became the center of a public attack by Reverend Donald Wildmon, head of the American Family Association, who criticized the NEA for funding Poison and other works by gay and lesbian artists and filmmakers. Wildmon, who had not viewed the film before making his comments publicly, condemned the film's "explicit porno scenes of homosexuals involved in anal sex", despite no such scenes appearing in the film.[3] Poison went on to win the 1991 Sundance Film Festival's Grand Jury Prize, establishing Haynes as an emerging talent and the voice of a new transgressive generation. The film writer B. Ruby Rich cited Poison as one of the defining films of the emerging New Queer Cinema movement, with its focus on maverick sexuality as an anti-establishment social force.
Haynes' next short film, Dottie Gets Spanked (1993), explores the experiences of a quiet and gentle six-year-old boy in the early 1960s who has various indirect encounters with spanking, most significantly involving his idol, a TV sitcom star named Dottie. The film was aired on PBS.
Haynes' second feature film, [Safe] (1995), was a critically acclaimed portrait of Carol White, a San Fernando Valley housewife (played by Julianne Moore, who has become a frequent Haynes collaborator) who develops violent allergies to her middle-class suburban existence. After a series of extreme allergic reactions and hospitalization, Carol diagnoses herself with acute environmental illness, and moves to a New Age commune in the New Mexico desert run by an HIV positive "guru" who preaches both that the real world is toxic and unsafe for Carol, and also that she is responsible for her illness and recovery. The film ends with Carol retreating to her antiseptic, prison-like "safe room", looking at herself in the mirror and whispering "I love you" to her reflection.
The film is notable for its critical (though not entirely unsympathetic) treatment of its main character. Haynes observes Carol coolly through a series of static deep-focus shots, placing her as an invisible woman who appears anesthetized in her materially comfortable but sterile and emotionally empty life.
The ending of the film is highly ambiguous, and has created considerable debate among critics and audiences as to whether Carol has emancipated herself, or simply traded one form of oppression (as a housewife) for an equally constricting identity as a reclusive invalid. Julie Grossman argues in her article "The Trouble With Carol" that Haynes concludes the film as a challenge to traditional Hollywood film narratives of the heroine taking charge of her life, and that Haynes sets Carol up as the victim both of a repressive male-dominated society, and also of an equally debilitating self-help culture that encourages patients to take sole responsibility for their illness and recovery.
Carol's illness, although unidentified, has been read as an analogy for the AIDS crisis of the mid-1980s, as a similarly uncomfortable and largely unspoken "threat" in 1980s Reaganist America.
[Safe] was widely critically acclaimed, giving Moore her first (and much-admired) leading role in a feature film, and gave Haynes a measure of mainstream critical recognition.
Haynes took a radical shift in direction for his next feature, Velvet Goldmine (1998), starring Christian Bale, Ewan McGregor, Jonathan Rhys-Meyers and Toni Collette. Filmed and set mostly in England, the film was an intentionally chaotic tribute to the 1970s glam rock era, drawing heavily on the rock histories and mythologies of glam rockers David Bowie, Iggy Pop and Lou Reed. Starting with Oscar Wilde as the spiritual godfather of glam rock, the film revels in the gender and identity experimentation and fashionable bisexuality of the era, and acknowledges the transformative power of glam rock as an escape and a form of self-expression for gay teenagers. The film follows the character of Arthur (Bale) an English journalist once enraptured by glam rock as a 1970s teenager, who returns a decade later to hunt down his former heroes: Brian Slade (Rhys Meyers), a feather boa-wearing androgyne with an alter ego, "Maxwell Demon", who resembles Bowie in his Ziggy Stardust incarnation, and Curt Wild (McGregor), an Iggy Pop-style rocker. The narrative playfully rewrites glam rock myths which in some cases sail unnervingly close to the truth. Slade flirts with bisexuality and decadence before staging his own death in a live performance and disappearing from the scene, echoing Bowie's own disavowal of glam rock in the late 1970s and his subsequent re-creation as an avowedly heterosexual pop star. The film features a love affair between Slade and Wild's characters, recalling rumors about Bowie and Reed's supposed sexual relationship. Curt Wild's character has a flashback to enforced electric shock treatment as a teenager to attempt to cure his homosexuality, echoing Reed's teenage experiences as a victim of the homophobic medical profession.
The narrative structure of the film is a tribute to Citizen Kane : the journalist meets characters close to the pop-star and each of these encounters allows flashbacks. Todd Haynes complexifies the plot by intertwining the own past of the journalist, as a previous fan of the pop star, with the central plot.
Haynes was keen to use original music from the glam rock period, and (no doubt learning his lesson from Superstar) approached David Bowie before making the film for permission to use his music in the soundtrack. Bowie declined, leaving Haynes to use a combination of original songs from other artists and glam-rock inspired music written by contemporary rock bands for the film, including Suede. Velvet Goldmine premiered in main competition at the 1998 Cannes Film Festival, winning a special jury award for Best Artistic Contribution. Despite initial critical praise and fearless performances from its leads (notably Rhys-Meyers and McGregor, who performed all their musical numbers), the film received mixed reviews from critics and audiences. Costume designer Sandy Powell received an Academy Award nomination for her costume design, and won the Oscar in the same year for her work on Shakespeare In Love.
Haynes achieved his greatest critical and commercial success to date with Far From Heaven (2002), a 1950s-set melodrama inspired by the films of Douglas Sirk about a Connecticut housewife Cathy Whittaker (Julianne Moore) who discovers that her husband (Dennis Quaid) is secretly gay, and subsequently falls in love with Raymond, her African-American gardener (Dennis Haysbert). The film works as a mostly reverential and unironic tribute to Sirk's filmmaking, lovingly re-creating the stylized mise-en-scene, colors, costumes, cinematography and lighting of Sirkian melodrama. Cathy and Raymond's relationship resembles Jane Wyman and Rock Hudson's inter-class love affair in All That Heaven Allows, and Cathy's relationship with Sybil, her African-American housekeeper (Viola Davis) recalls Lana Turner and Juanita Moore's friendship in Imitation of Life. While staying within the cinematic language of the period, Haynes updates the sexual and racial politics, showing scenarios (an inter-racial love affair and gay relationships) that would not have been permissible in Sirk's era. Haynes also resists a Sirkian happy ending, allowing the film to finish on a melancholy note closer in tone to the "weepy" melodramas of 1940s and 1950s cinema such as Mildred Pierce.
Far From Heaven won widespread critical acclaim and a slew of film awards, including four Academy Award nominations for Moore's lead performance, Haynes' original screenplay, Elmer Bernstein's score, and the film's cinematography. Far From Heaven lost in all four categories, but the film's success was hailed as a breakthrough for independent film achieving mainstream recognition, and brought Haynes to the attention of a wider mainstream audience.
In another radical shift in direction, Haynes' next film I'm Not There (2007) returned to the mythology of pop music, portraying the life and legend of Bob Dylan through seven fictional characters played by six actors: Richard Gere, Cate Blanchett, Marcus Carl Franklin, Heath Ledger, Ben Whishaw and Christian Bale. Haynes obtained Dylan's approval to proceed with the film, and the rights to use his music in the soundtrack, after presenting a one-page summary of the film's concept to Jeff Rosen, Dylan's long-time manager.
Each character (none of whom is called Dylan) represents a different aspect of Dylan's life or musical career. Franklin, a teenaged African-American actor, plays a character called Woody, referencing Woody Guthrie's influence on Dylan's early career, and making a playful visual joke on Dylan's early habit of passing himself off as a drifter from the Dustbowl Southern states and denying his own middle-class Mid-Western origins. Bale plays two roles: an earnest young folk musician involved in the civil rights movement in the early 1960s and dueting with folk singer Alice Fabian (Julianne Moore, impersonating Joan Baez), and later as a middle-aged born again Christian in the early 1980s. Gere plays a reclusive character called Billy, retreating from the world in an American pastoral, referencing Dylan's interest in American folk mythology and his performance in Sam Peckinpah's 1973 film Pat Garrett and Billy The Kid; the sequence also alludes to Dylan's period of exile living in Woodstock in the late 1960s and early 1970s. Whishaw plays a character called Arthur, filmed undergoing an interrogation-style interview about the responsibility of the artist to society; the character is named for and heavily based on the French poet Arthur Rimbaud, whose work Dylan admired, and whose precocious career as a teenaged genius and rebel Dylan to some extent emulated. Ledger plays Robbie, a method actor involved in a relationship with a painter, Claire (Charlotte Gainsbourg), with whom he has children and subsequently divorces. Claire's character is based on both Dylan's former girlfriend Suze Rotolo and his first wife Sara Dylan, and the Robbie sequence considers accusations made against Dylan of his misogyny in his life and work. Blanchett plays Jude, a pop singer based closely on Dylan in his mid-1960s "Electric" era and his involvement with Pop Art and Warhol's Factory; Jude chases an on-again off-again relationship with socialite/model Coco Rivington (Michelle Williams), a character based on Edie Sedgwick, with whom Dylan is reputed to have had an affair. The Jude sequence also features David Cross as Beat poet Allen Ginsberg.
Haynes intended the film to reverse conventions of the film biopic genre, and to represent what he perceived as Dylan's chameleonic musical persona and his resistance to easy interpretation and categorization. The film narrative, dialogue, characters, scenes and visuals are drawn from and heavily influenced by details from Dylan's music, lyrics and personal history. Each storyline in the film is made in a different style, mostly referencing 1960s art cinema, notably Fellini's 8½, Godard's Masculine Feminine and Altman's McCabe & Mrs. Miller. The film features extensive use of Dylan's music, including songs drawn from Dylan's bootleg recordings, and includes Dylan's original recordings as well as covers by Calexico (who appear in the film), Gainsbourg and other musicians. The beginning of the film features voiceover narration from singer/actor Kris Kristofferson.
The film debuted at the 2007 Telluride Film Festival and won widespread critical acclaim. Blanchett's performance received particular acclaim for her uncannily accurate impersonation of Dylan, and won a slew of awards and nominations, including the Volpi Cup at the Venice Film Festival, and an Academy Award nomination for Best Supporting Actress.
Haynes has reported in interviews that the film I'm Not There was praised by Rosen, one of Dylan's sons and others close to Dylan, but he was unaware as to whether Dylan himself had viewed the film.[citation needed]
Haynes' most recent project was a five-hour miniseries for HBO of Mildred Pierce based on the novel by James M. Cain and the 1945 film starring Joan Crawford. The cast starred Kate Winslet in the title role and featured Guy Pearce, Evan Rachel Wood, Melissa Leo, James LeGros and Hope Davis. Filming was completed in mid-2010 and the series began airing on HBO on 27 March 2011. It was awarded multiple Emmy Awards, and Kate Winslet won a Golden Globe Award for her performance.
The All Movie Guide writes that "Haynes is known for making provocative films that subvert narrative structure and resound with transgressive, complex eroticism…. Although he doesn't characterize himself as a gay filmmaker who makes gay films… Haynes' name has become synonymous with the New Queer Cinema movement and its work to both explore and redefine the contours of queer culture in America and beyond."
Haynes' work is preoccupied with postmodernist ideas of identity and sexuality as socially constructed concepts, and personal identity as a fluid and changeable state. His protagonists are invariably social outsiders whose "subversive" identity and sexuality pits them at odds with the received norms of their society. In the Haynes universe, sexuality (especially "deviant" or unconventional sexuality) is a subversive and dangerous force that disrupts social norms and is often repressed brutally by dominant power structures. Haynes presents artists as the ultimate subversive force, since they must necessarily stand outside of societal norms, with an artist's creative output representing the greatest opportunity for personal and social freedom. Unsurprisingly, many of his films are unconventional portraits of pop artists and musicians (Karen Carpenter in Superstar, David Bowie in Velvet Goldmine and Bob Dylan in I'm Not There).
Haynes's films often feature formal cinematic or narrative devices that challenge received notions of identity and sexuality and remind the audience of the artificiality of film as a medium. Examples include using Barbie dolls instead of actors in Superstar, or having multiple actors portray the protagonist in I'm Not There. Stylistically, Haynes favors formalism over naturalism, often appropriating and reinventing cinematic styles, including the documentary form in Poison, Velvet Goldmine and I'm Not There, the reinvention of the Douglas Sirk melodrama in Far From Heaven and extensive referencing of 1960s art cinema in I'm Not There.
Haynes is openly gay. He currently lives in Portland, Oregon. An edited book of personal interviews was published in 2014, entitled "Todd Haynes Interviews".[4]
In 2003, Haynes was honored with the Filmmaker on the Edge Award at the Provincetown International Film Festival.
Wikimedia Commons has media related to Todd Haynes. |


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I started watching anime at the age of 7, the anime shows that i remember are candy candy, conan the kid from the future, heidy, mazinger z, eagle raiders, and others that i cannot remmebr at the moment.
At some point, while my back was turn, the anime audience in the US increased quicker than I could imagine. Things like Cartoon Network showing anime probably helped.
I am trying to get a feel for how many of you out there have been watching anime as long as I have (close to 26yrs now). I figure the best way of this is to mention my favs that I watched when I was little and see how many of you watched them as well, or at least heard of them. I feel like an old man of anime when I try to track them down on DVD and realize not only are they not on DVD, but most people don't know what I am talking about. Though some are coming back as remakes (which is good and bad in my opinion)
The List:
Starvengers/Getter Robo
And even though it was made into an anime a few yrs ago, the live action Kikaida
I started watching anime at the age of 7, the anime shows that i remember are candy candy, conan the kid from the future, heidy, mazinger z, eagle raiders, and others that i cannot remmebr at the moment.
i started to watch anime at the age of 3 or 4. But didn't realy get into it until lovehina and i htink lain is the anime that got me looking deeper into anime. Im not 26 yrs old lol but i there was people on this board that has been watching anime for that long.
-Just another green eyed angel, distorted by mans love for hate-|THE INFAMOUS CHEETOS OVERLORD||IceNineKills|
Does this mean that I am becoming an Anime Old Fart :-) Start talking like "back in my day" or "when I was your age" Anime wasn't all this fancy computer enhanced stuff... etc etc etcOriginally Posted by jaderabbit
my first anime ever was dbz , i watched it when i was like 12 or something ever since i luved anime like more than anything
1st Sig finished 12-20-09
I've been into anime for a few years and many of my favorite series are in fact classics.
For example: Nadia, Maison Ikkoku, Kimagure Orange Road, the various Gundam series, etc
I dont remember what the first movie/series I watched was though as it was in the early '90s.
18 years + here, started with Macross then kind of got out of it since it wasn't big here in the states and thus hard to get a hold of but I got back in the early 90's and have been a whore ever since.


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Across the world! · Saturday, March 14, 2015
Steve Tennant is attending
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Vic Black Rumors
Mets Notes: Davis, Duda, Wright, Black
As you can tell from MLBTR's Reverse Standings page, the Mets currently don't have a protected first round pick in the 2014 amateur draft. Their 73-85 record puts them in line for the 12th overall pick, and only the teams with the 10 worst records (plus the Blue Jays' 11th overall pick, stemming from 2013 compensation) will have their picks protected. Though an unprotected first-rounder could hurt the Mets' plans to delve into the free agent market this winter, GM Sandy Alderson tells Mike Puma of the New York Post that he's just happy to see his team win. "I don't view the draft-pick situation as relevant to what we're doing here," Alderson said. "We're trying to win every game we play. We're trying to build the credibility of the franchise and that goes beyond where we're picking in the draft."
Here's the latest from Queens…
- The Mets are "likely" to shop both Ike Davis and Lucas Duda this winter and possibly deal the one that commands the higher trade package, ESPN New York's Adam Rubin reports. Rubin also polls nine scouts about which of the two first baseman they would prefer to have, with seven picking Duda.
- David Wright expects the Mets to be a much better team in 2014, telling reporters (including MLB.com's Anthony DiComo) that he expects improvement from players currently on the club's roster and also believes some external acquisitions are on the way. "Everybody's been saying that this is the year with the money coming off the books, with some of the free agents that are out there, with some of the possible trade candidates given some of the younger pitchers and players we've developed. It seems like it's all kind of culminating into this offseason to try to go out there and make this team better," Wright said.
- The recently-acquired Vic Black is likely the Mets' backup plan at closer if Bobby Parnell isn't ready to start the 2014 season, manager Terry Collins told reporters (including DiComo). Parnell underwent neck surgery earlier this month and is expected to be ready for Spring Training. Black, a rookie right-hander, has a 3.27 ERA and 11 strikeouts in 11 relief innings since joining the Mets. You can keep up on the Mets' closing situation and more by following @CloserNews, MLBTR's sister Twitter feed for save-related news.
- Mike Baxter's possible Super Two status could make him a non-tender candidate this winter, DiComo writes. He could be expendable once the Mets add an outfielder or two, though Baxter could be helped by a relative lack of left-handed bats amongst the current Mets outfield options. Baxter has only a .190/.303/.256 line over 142 PA this season.
Full Story | Comments | Categories: David Wright | Ike Davis | Lucas Duda | New York Mets | Vic Black
Quick Hits: Black, Pirates, Rasmussen, McDonald
Reliever Vic Black did not suspect he would be headed to the Mets as the player to be named in the Marlon Byrd deal with the Pirates, Adam Rubin of ESPNNewYork.com writes. "It never crossed my mind," Black says. Black notes that his goal is to close in the big leagues, saying that he has the aggressive mentality necessary to be a closer. He also has closer-type stuff, with a plus fastball and a slider. Black had a 2.51 ERA with 12.2 K/9 and 4.0 BB/9 Triple-A Indianapolis this season. Here are more notes from around the Majors.
- The loss of Black and, potentially, Duke Welker (who may or may not be headed to the Twins as the PTBNL in the Justin Morneau trade) will add more uncertainty to a Pirates' Triple-A Indianapolis roster that has already had more than its share of flux. Brian Peloza of the Pittsburgh Tribune Review writes that the Pirates have promoted 18 different players from Indianapolis this season, more than other NL playoff contenders. Those players include Black, Welker, Alex Presley (the other player included in the Morneau deal), and top prospect Gerrit Cole.
- The Phillies believe that Rob Rasmussen, the pitcher they received when they traded Michael Young to the Dodgers, could end up as a reliever, Bob Brookover of the Inquirer reports. "He's starting now, but he could be a guy later on who could pitch in the bullpen," GM Ruben Amaro Jr. says. "Lefthanders are always valuable. He's viewed as a really strong makeup kid with a big arm." Rasmussen, 24, had a 2.55 ERA with 8.4 K/9 and 3.1 BB/9 for Double-A Chattanooga in 2013, although he struggled in 54 1/3 innings for Triple-A Albuquerque.
- Connecticut native and Massachusetts resident John McDonald is happy that a trade to the Red Sox brought him home, Nick Cafardo of the Boston Globe writes. "[G]rowing up in New England, and getting to play in Fenway, and to put this uniform on today, it's pretty awesome," McDonald says. The Red Sox will be the fourth team the infielder has played for this season, having also suited up for the Pirates, Indians and Phillies.
- Angels owner Arte Moreno needs to share his plan to rebuild the team with superstar outfielder Mike Trout, argues the Los Angeles Times' Bill Shaikin. Trout will be close to free agency by the time it will become possible for the Angels to return to contention, at least on a regular basis, Shaikin says.
- The Rockies need to acquire a veteran starter in the offseason, and they also need bullpen help and a right-handed power bat, Troy E. Renck of the Denver Post writes. Nonetheless, Renck suggests that the improvements in the Rockies' rotation this year (their 2013 starters have a 4.37 ERA, compared to a 5.81 ERA in 2012) suggest that the team is heading in the right direction.
Full Story | Comments | Categories: Boston Red Sox | Colorado Rockies | John McDonald | Los Angeles Angels of Anaheim | New York Mets | Philadelphia Phillies | Pittsburgh Pirates | Rob Rasmussen | Vic Black
Mets Notes: Black, Warthen, Offseason
The Mets officially announced today that right-hander Vic Black is headed to New York as the player to be named later in Tuesday's Marlon Byrd/John Buck trade. With the addition of Black and second baseman Dilson Herrera, the Mets will receive two players who were 11th (Herrera) and 17th (Black) among Pirates prospects at the time of the trade, as ranked by MLB.com's Jonathan Mayo. Here's more on Black and his new team…
- Black technically has 72 hours to report to the team, so the Mets will stall his arrival so that he can immediately join the Major League roster come Sept. 1, according to Adam Rubin of ESPN New York (on Twitter).
- Much has been made of manager Terry Collins' job security, but Andy Martino of the New York Daily News reports that pitching coach Dan Warthen is also highly likely to return for the 2014 season. One team official told Martino: "Dan does a great job. If our pitchers don't succeed, it is because they don't execute a pitch. It is never because Dan Warthen failed to prepare them. He works hard at what he does."
- David Wright expects the Mets to make significant moves to improve the team this offseason, even in the wake of Matt Harvey's injury, the third baseman told Mike Vaccaro of the New York Post: "With the money we have coming off the books this year, I expect us to go out there and make this team better whether it's through free agency, whether it's through trades," said Wright. He added that he still believes in GM Sandy Alderson's vision even if Harvey isn't able to pitch in 2014.
Pirates Acquire Marlon Byrd And John Buck
WEDNESDAY, 5:34pm: Black is in fact the PTBNL in the deal, Rosenthal tweets.
WEDNESDAY, 5:09pm: Triple-A reliever Vic Black is a strong possibility to be the PTBNL heading from the Pirates to the Mets, according to Ken Rosenthal of FOX Sports (on Twitter). Black is currently on waivers, but if he is the PTBNL, the Pirates can just pull him back and send him to the Mets at the end of the season rather than right away (Twitter links). In 46 and 2/3 Triple-A innings this season, Black owns a 2.51 ERA with 63 Ks and 21 BBs.
Baseball America rated Black as the Bucs' 16th best prospect heading into this season. Black, who was drafted 49th overall by the Pirates in 2009, began his pro career as a starter but was plagued by control issues and converted to a reliever in 2011. BA writes that if he can get his walks under control, he has the stuff close in the majors.
8:33am: The Mets also sent the Pirates $250K in the trade, according to Jon Heyman of CBS Sports (Twitter link). That would mean the Pirates are paying just under $1MM — roughly $980K — for Byrd and Buck over the remainder of the season.
TUESDAY: The Pirates are likely headed for their first playoff berth since 1992, and they made sure to bolster their roster accordingly by acquiring Marlon Byrd and John Buck from the Mets for minor league second baseman Dilson Herrera and a player to be named later. Both teams have announced the trade.
Earlier today, Adam Rubin of ESPN New York reported that in the wake of Matt Harvey's injury, the Mets were exploring trade options and had placed five players on waivers, including Byrd, Buck and Pedro Feliciano. Byrd (pictured on the right) was claimed by an unnamed NL team shortly thereafter, which clearly was the Pirates. It's unclear whether Buck cleared waivers or was also claimed by the Pirates following a season-ending injury to backup catcher Michael McKenry.
Byrd, who turns 36 on Friday, is having a surprising career year despite his age. In 464 plate appearances, he's batting .285/.330/.518. His 21 homers and 136 OPS+ are both career-bests. Byrd is no longer a regular center fielder (just two games there in 2013), but his defense in right field grades out to a solid +6.6 UZR/150, and The Fielding Bible pegs him at nine runs saved. Pirates right fielders have batted just .245/.307/.368 this season, and their right field defense ranks 24th in baseball, according to UZR, so Byrd's bat and solid glove will be welcome additions in the Steel City.
Byrd is also owed just $130K for the remainder of the season before he hits free agency, so he's an affordable upgrade for the Pirates, financially speaking. Given that salary, it's a surprise to see that the Reds didn't place a claim to block the Pirates from acquiring him. Cincinnati is just 3.5 games out of first in the NL Central while the Pirates are a half-game back of the Cardinals. All three NL Central teams would be in the playoffs if the season ended today, but the Reds and Pirates would face each other in the one-game Wild Card playoff.
Buck, 33, has cooled off considerably following a meteoric start that saw him club 10 homers in his first 25 games (23 starts). Since May 1, he's hitting just .206/.290/.302 with six homers, and he's owed $1.1MM. However, with McKenry out for the season following surgery to repair a torn meniscus, his pop and veteran leadership should be welcome additions for Pittsburgh. Buck has also caught a strong 30 percent of potential base-stealers.
Herrera, 19, is having a strong season at Class-A West Virgina. The Colombian infielder is hitting .265/.330/.421 with 11 homers and 11 stolen bases in 479 plate appearances. Herrera ranked as the No. 20 prospect in the Pirates system prior to the season, according to Baseball America, and his solid play in 2013 has him currently ranked 11th among Pirates prospects by MLB.com's Jonathan Mayo.
In their scouting report, BA noted that Herrera has plus speed and surprising power for someone of his size (he's listed as 5'10" and 150 pounds) with the ability to hit the ball to all fields. BA feels that his lack of arm strength will limit him to second base, and Mayo agrees. Mayo adds that Herrera had no problem adjusting to the game after coming to the United States, and he projects an above-average hitter and well-above average runner. Mayo also ranked Herrera as the ninth-best second base prospect in all of minor league baseball.
ESPN's Adam Rubin was the first to report that Byrd and Buck were headed to Pittsburgh (on Twitter), and MLB.com's Anthony DiComo was the first to break that the Pirates were giving up Herrera and a PTBNL (also on Twitter).
Photo courtesy of USA Today Sports Images.
Full Story | Comments | Categories: John Buck | Marlon Byrd | New York Mets | Pittsburgh Pirates | Transactions | Vic Black


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Topic Contents
Cradle Cap
Topic Overview
What is cradle cap?
Cradle cap is an oily, yellow scaling or crusting on a baby's scalp. It is common in babies and is easily treated. Cradle cap is not a part of any illness and does not imply that a baby is not being well cared for.
See a picture of cradle cap.
What causes cradle cap?
Cradle cap is the normal buildup of sticky skin oils, scales, and sloughed skin cells.
How is it treated?
Home treatment is usually all that is needed for cradle cap.
- An hour before shampooing, rub your baby's scalp with baby oil, mineral oil, or petroleum jelly to help lift the crusts and loosen scales.
- When ready to shampoo, first get the scalp wet, then gently scrub the scalp with a soft-bristle brush (a soft toothbrush works well) for a few minutes to remove the scales. You can also try gently removing the scales with a fine-tooth comb.
- Then wash the scalp with baby shampoo, rinse well, and gently towel dry.
When should I call a health professional?
If the above measures do not work, talk to your health professional before using a dandruff shampoo, such as Selsun Blue, Head and Shoulders, or Sebulex. If these products get in your baby's eyes, they can cause irritation. Your health professional may prescribe other medications.
Cradle cap is not harmful to your baby. It usually goes away by a baby's first birthday.
Related Information
Author | Jan Nissl, RN, BS |
Editor | Susan Van Houten, RN, BSN, MBA |
Associate Editor | Tracy Landauer |
Primary Medical Reviewer | H. Michael O'Connor, MD - Emergency Medicine |
Primary Medical Reviewer | Michael J. Sexton, MD - Pediatrics |
Specialist Medical Reviewer | Alexander H. Murray, MD, FRCPC - Dermatology |
Specialist Medical Reviewer | Kathleen Romito, MD - Family Medicine |
Last Updated | June 30, 2009 |
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Last Updated: June 30, 2009


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text: Jul 2, 2013 23:05 Photos: Married 75 Years Photos: Married 75 Years Advocate staff photo by SCOTT THRELKELD -- Deacons John Stroop, second from left, and Angelas Robin officiate at the renewing of vows on Saturday, June 8, 2013, at the Presidential Palace in Kenner. Advocate story July 02, 2013 Comments Joe and Lucille Ruppel of New Orleans celebrated their 75th wedding anniversarySaturday, June 8, 2013, at the Presidential Palace in Kenner among family and friends. 'We had two witnesss when we got married,' Joe Ruppel said during the cake cutting. 'But I don't remember who they were.' The evening included a second-line parade, entertainment and the couple remewed their vows. Get The Advocate in your inbox Subscribe