text:
Baltimore, MD — The Foundation for Advancing Alcohol Responsibility, a national not-for-profit organization funded by distillers dedicated to fighting drunk driving and underage drinking, brought a bring a life-saving lesson about the dangers of drunk driving and underage drinking to students at Mount St. Joseph High School today. Brandon Silveria, a young man who was involved in an alcohol-related crash at age 17 just before his high school prom, and his father, Tony, spoke to students about the importance of "making the right choice" about alcohol – and if students are under the age of 21 – the only responsible decision is not to drink.
"The good news is that over the past 20 years, the number of
underage drinkers has decreased. For example, underage drinking among
high school seniors has declined 29% proportionally from 70% in 1982 to
50% in 2001, according to government surveys. I'm pleased Mount St.
Joseph High School invited us to give a presentation today," said Pam
Beer, Field Director, The Foundation for Advancing Alcohol Responsibility. "During our visit, we hope
to raise awareness about this serious problem, and by doing so, save
lives in Maryland."
During the program, Silveria told students his wrenching story of how as a high school student he had everything a teenager could want—a job, girlfriend and plans for the future—until he had a few drinks at a party and chose to drive home. After falling asleep at the wheel, crossing the centerline and crashing into a tree, Brandon was left in a coma for three months and spent several years in rehabilitation. Silveria was so badly injured that basic motor functions such as walking, talking and swallowing had to be re-learned. He has permanent brain injury and suffers from dangerous seizures. Brandon's presentations continue to receive standing ovations from students across the country.
"What you become depends on the choices that you make," said Brandon Silveria. "When I was seventeen, I had a job and a girlfriend. Because of my crash, I lost both of them. My hope is that by sharing my experiences with other young people, I can prevent others from being hurt or killed."
Through educational efforts such as the Silveria lecture and video program, The Foundation for Advancing Alcohol Responsibility educates students across the country about the hazards of underage drinking and driving. Since Brandon and his father Tony have become spokespeople for The Foundation for Advancing Alcohol Responsibility, they have addressed well over one million high school students nationwide and have been featured on such television programs as "Rescue 911," NBC's "Today," and "Leeza."
To request a free copy of "Brandon Tells His Story" or for more information on the Silveria program call (800) 431-4499. The 30-minute video, which won an award from the American Medical Association, is accompanied by supporting curriculum materials and can be used with large or small groups of teens.
The Foundation for Advancing Alcohol Responsibility
via email


text:
Why was "tantrum" trending last week?
one of the several isomers (compounds with the same composition but different structures) of hexachlorohexahydrodimethanonaphthalene, a chlorinated hydrocarbon formerly used as an insecticide. Aldrin was first prepared in the late 1940s and is manufactured by the reaction of hexachlorocyclopentadiene with bicycloheptadiene (both derived from hydrocarbons obtained from petroleum). Aldrin stimulates the central nervous system and is toxic to warm-blooded animals; poisoning can result from ingestion, inhalation, or absorption through the skin

subset: commoncrawl


text:
Please note that as of October 24, 2014, the Nokia Developer Wiki will no longer be accepting user contributions, including new entries, edits and comments, as we begin transitioning to our new home, in the Windows Phone Development Wiki. We plan to move over the majority of the existing entries. Thanks for all your past and future contributions.
Mobile Web Design : Tag Cloud
This design pattern is part of the Mobile Web Design series.
As the information available on web sites increases by the day, the challenge from a developer's point of view to ensure that finding the relevant information still remains an easy enough task for the end user. Web designers are coming up with newer and innovative ways to beat the information overload that seems to be happening. It seems like a good idea to let the user know what are the most viewed/sought after content available on the site, that ways they can figure out the profile of other users on the site and the popular content available. This pattern is classified as tag cloud.
What is tag cloud
Tag cloud is a graphical/visual form of representing the popular/most viewed tag items on the website to the user. The tag cloud gives the user an insight into the content available on the site and also the profile of the users who are using the website. The tags are highlighted and differentiated from the others with the use of different colors and fonts depending upon their popularity.
Tags are usually hyperlinks which when clicked take the user to the pages/content that has been tagged with the particular tag. Users can possibly create their own custom tags also depending upon the implementation.
When to use
Some places where tag cloud can be used are:-
- Social networking/blogging sites where the popular blogs/profiles get tagged with higher ratings and hence are prominently visible.
- Where you want the user to decide what content is more important/relevant by allowing them the option of tagging content.
- On websites that do not have a fixed hierarchical structure where the importance of the information is pre-decided.
Some of the key advantages of using tag cloud are:-
- Gives the user a sense of what to expect on the site and to allow them easy navigation/search mechanism.
- Allows the user to understand the average peer profile on the set, as users who are tagging content tend to leave a character trail of themselves.
Some of the key disadvantages of using this using tag cloud are:-
- There is no restriction on the tag name, hence they are open to misuse where the user might give falsonomies/psynonyms which could be confusing and meaningless to others.
- Since the users are in charge, if they flock to a particular tag en masse it ends up becoming more important to a point where the other important(from an overall standpoint) tags become almost invisible owing to lesser interest shown in them.
- Incorrect tagging for particular information could end up reducing the overall effectiveness of the search and site hierarchy. For instance if people decide to tag the Big Ben in London as say "The Great Clock" and continuously to a point where the tag 'Big Ben' ceases to exist all together.
Usability guidelines
Some usability guidelines to follow while using/creating tag clouds are:-
- Allow the user a way to customize the tag cloud.
- Express the popularity of the tag in numbers
It might be a good idea to attach some numbers like how many people have tagged the category, and maybe a list of those users, so that it makes more sense for the others viewing the tag cloud.
- Ensure consistency of font size/color based on tag popularity
It is important to ensure consistency of font size especially when showing tags on the user interface. It shouldn't happen that two tags with the same number of user hits get depicted with different sizes, it might end up confusing the user.
Final Word
Tag cloud is a nice visual representation of the popular content on the website, but at the same time since it is prone to misuse it should be used with care. A possible restriction on what can possibly be tagged as what could be a good idea or a moderator approved tagging mechanism could also be put in place to ensure that the tags serve their larger purpose of helping the average user on the web page.
Another mechanism could be to actually have a customization option for tag clouds as mentioned here on Configurable Tag Cloud
Additional Resources
--- Added by Mayank on 30/06/2009 ---


text:
Sanford girls rout Biddeford, host Massabesic tonight
Thursday, February 7, 2013
SANFORD — The Sanford High School girls basketball team limited Biddeford to single digits in the first three quarters on the way to an easy 52-27 win there on Friday. On Tuesday, they defeated Noble 58-23.
Also scoring were Morgan Fogg with 10 points, Shelby Paiement with six, and Liz Bougie, Hannah Howes and Jen Jones with four points each. Taylor Littlefield and Grace Riley added three points apiece and Laura Kirkpatrick had two.


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Movie News - Our extensive online Hollywood film and classic DVD news page.
Top News Stories
Westward Ho on DVD
During the 1930s, John Wayne starred in over 60 films for Monogram and Republic, all but a few B-movie westerns, of a uniformity and modestly-budgeted scale that helped established the genre's familiarity, code of iconography, and perennial matinee appeal for all time. With only occasional exceptions, the Western began as a disposable movie myth (much as it had thrived as dime novels only, decades earlier), consumed like afternoon popcorn, in brisk double features and as serials during the silent years and into the talkie era, by generations of young Americans for whom the very real horses and very real guns were all there was to differentiate these frontier morality fables from the let's-pretend games the kids played when they got home. Which is a beguiling and necessary way to think about movie that we've all but forgotten - as pretend, as a form of play. How a movie might, by virtue of its clumsiness or guileless simplicity or stock ingredients, evoke one's experience of childhood play might just be the key to our love of cinema - one we ordinarily rationalize away with opinions about genre, acting, story structure, etc. Maybe at their core movies are all about being a kid again.
Given the profusion of '30s Westerns, even if you're considering only Wayne's filmography, you'd be surprised to come upon one more or less at random - as in, Westward Ho (1935) - and not find an unimpressive, shortcut-riddled programmer, staged and shot for maximum efficiency. Westward Ho, released on DVD by Olive Films along with scores of other Wayne entries, is actually something of a shocker, sheerly in terms of visual scale and energy. No expense seems to have been spared. Directed by studio cowhand Robert N. Bradbury, and stunningly shot by cinematographer Archie Stout (who started with B westerns but worked for John Ford, Rene Clair, William Wellman and Andre de Toth before he was through), the film is a stirring feast for even jaded eyeballs, beginning with breathtaking Ansel Adams-like vistas of a wagon train dwarfed by the Rockies, and then a tightly-choreographed band of 18 outlaws on horseback charging to a hilltop and lining up as they observe their mark in the desert below. When the attack comes, the notions of using stock footage (as Ford's classic Stagecoach did a few years later) is never broached; Bradbury's camera shifts perspectives endlessly, cutting on the action, and the melee (seen mostly in fascinating wide shots, not constructed out of close-ups) is huge and thrilling. Later, a massive shootout in the desert between what looks like dozens of gunslingers and dozens of outlaws, all amid a real stampeding cattle drive, puts the lie to cheapskate "B westerns"; this was a spectacle any A-list film would be proud of, executed with speed and visual imagination.
The narrative is another matter. When the film is confined to dialogue and exposition, it simply slogs through it, as if everyone involved were wishing that the whole film could just be hard-riding cowpoke action out on the plains, without any of this tiresome talking. (In this, too, the film conforms to a 10-year-old's way of thinking, for better or worse.) In the second half, we're granted entrance to the criminal kingpin's saloon-second-floor office (!), strangely decorated with an old desk, a file cabinet, and a divan! Wayne's frontier hunk, whose parents were killed and brother was kidnapped years earlier, gets fed up with the outlaw gangs and begins enlisting civilians into a band of vigilantes - all wearing back shirts and white kerchiefs as a uniform, and riding snow-white horses. This is a preadolescent kid's Western world, where the laundry is always pristine, and good guys are good all the way through, and cowboys spent their downtime singing in harmony around the campfire. Wayne, sings, too, in a dubbed baritone courtesy of Bradbury's son, and Westward Ho could be classified as a "singing cowboy" movie, with the vigilantes comprised largely of The Singing Riders (a one-shot supergroup of Western crooners led by Glenn Strange, whose career sort of peaked playing the Frankenstein monster in the last three Universal films in that classic cycle). Thankfully, because it remains desperately difficult to take singing cowboy movies very seriously, Bradbury's film only dawdles momentarily by the fireside, and climaxes with a hairy frontier battle in which horses were, sorry to say, clearly crippled.
Naturally, Wayne's hero confronts his long-lost brother - now an undercover bandit, played by Frank MacGlynn Jr. - but the story was and still is nothing new. The main attraction at the time wasn't even Wayne, who was a callow and strangely stiff leading man in 1935. It was the Western semiotics themselves, the place and time captured in a mythic frieze of fairy-tale good and evil, and of righteousness triumphing in the open wilderness where the law has little purchase. (In the '30s, Hollywood product had little advertising beyond the neighborhood marquee; people would just go, knowing they were in for musicals or westerns or comedies or whatever.) In this way, Bradbury's film is a slice of heaven, visiting our grade-school selves into that dusty, violent, man's-man sphere somewhere west of St. Louis and north of Hell, but keeping us safe and secure in our seats all the while. Still, Westward Ho is far from being a typical token genre piece of the Depression years - certainly, no Gene Autry vehicle had this much respect for chaotic action and landscape, and few Westerns before John Ford hit his stride in the '40s invested these stock stories with this much breadth and business.
By Michael Atkinson
- Comment
Top News Stories
Press Releases
Dick Dinman and George Feltenstein Salute Black and White on Blu-ray
Dustin Hoffman, Alec Baldwin and Filmmaker Spike Lee Added to 2015 TCM Classic Film Festival
New Books
A Fine Romance - New autobiography by Candice Bergen
By Candice Bergen
Candice Bergen has had a varied career that has included being a film actress, an award-winning television star as well as an acclaimed photographer. Her first memoir, Knock Wood covered her early years growing up with her "brother" Charlie McCarthy and breaking into acting. This new memoir details her later life--her marriage to French film director Louis Malle, her success with Murphy Brown, the birth of her daughter, the tragic loss of Malle to cancer and forging a new life from that loss. Throughout the book, Bergen talks frankly about the journey of her life and shares it with a writing style that is honest, down-to-earth and often hilarious.
As she writes in this memoir, falling in love with Malle changed her life in many ways. The director's huge appetite for life broadened her horizons, and their romance flourished despite the ups and downs of their career choices. But, the heart of the story is in her love for her daughter, Chloe. After years of ambivalence about motherhood, Bergen discovered the overpowering love and bond that can exist between mother and daughter. As Chloe grew up, Bergen found her comic genius in the biggest TV role of the 80s, Murphy Brown, and made headlines as the storyline of the show spilled over into the presidential campaign politics in 1992.
Fifteen years into their marriage, Malle was diagnosed with cancer, and Bergen is unflinching in describing her and Chloe's despair over his death. But after years of widowhood, she discovered she missed the company of men and was surprised to find love anew with a man very different from Malle. She takes us through the first years of her new marriage and shares the bittersweet journey of watching Chloe leave home and flourish, while finding comedy in being an older actress in Hollywood and the losing struggle with wrinkles and extra pounds.
Candice Bergen has penned numerous articles, written a play as well as her first memoir, Knock Wood. Her film credits include The Sand Pebbles, Carnal Knowledge, Starting Over (for which she received an Oscar nomination), and Miss Congeniality. On television, she made headlines as the tough-talking broadcast journalist and star of Murphy Brown, for which she won five Emmys and two Golden Globes. She later starred with James Spader and William Shatner in the critically acclaimed series Boston Legal.
- More >
A Touch of Stardust: A Novel
By Kate Alcott
Kate Alcott, the best-selling author of The Dressmaker, takes a novelist approach to the making of the 1939 classic film Gone With the Wind and the passionate real-life romance between Clark Gable and Carole Lombard.
Growing up in Fort Wayne, Indiana, heroine Julie Crawford dreams of becoming a screenwriter but the only job she can find once she arrives in Hollywood is in the studio publicity office of Selznick International. It is a heady time at the office as the studio is producing its largest film to date, the historic drama that everyone is talking about, Gone With the Wind. Powerhouse producer David O. Selznick is overseeing every aspect of the film's production and has no problem firing screenwriters, directors and burning through money as he tries to bring Margaret Mitchell's sprawling epic into focus.
Julie's big break comes when free-spirited actress Carole Lombard, also from Fort Wayne, Indiana, takes a shine to the young publicist and hires her as an assistant. Julie quickly learns that Lombard is not only glamorous but also wittily profane and uninhibited, eager to talk about her latest love, Clark Gable, despite the fact that Gable is still, at that point, a married man.
In the ever-widening scope of this story, Julie is given a front-row seat to not one but two of the greatest love affairs of that era: the undeniable on-screen chemistry between Scarlett and Rhett, and, off-screen, the deepening love between Carole and Clark. Amidst all that drama is the coming World War and the decisions to be made about her own yearnings and career.
Kate Alcott is the pseudonym for journalist Patricia O'Brien, who has written several books, both fiction and nonfiction. As Kate Alcott, she is the author of The Dressmaker and The Daring Ladies of Lowell. She is the widow of Frank Mankiewicz and lives in Washington, D.C.
- More >
The Sound Of Music Story
By Tom Santopietro
Almost everyone it seems has seen this beloved classic musical but can you imagine the film starring Doris Day or Grace Kelly as Maria? How about Bing Crosby or Rex Harrison as Captain von Trapp? Did you know that the film was almost cancelled in the wake of Cleopatra? Or that it rescued its studio, 20th Century-Fox, from bankruptcy? This book, being released to coincide with the 50th anniversary of the film, provides intriguing and little-known stories about how the successful Broadway musical became an award-winning film that smashed box office records.
From the real-life story of Maria von Trapp, to the chronology of the Broadway play, Santopietro writes about the differences in those stories and the screenplay that captivated movie-goers around the globe as well as critical analysis of the careers of director Robert Wise and screenwriter Ernest Lehman.
Those who like their film history a little less star-studded will enjoy the stories of the critical controversy which greeted the films release as well the film's relationship to the turbulent 1960s. The book provides a well-rounded history not only for those who love the musical but those who enjoy the 1960s era of film history.
Tom Santopietro is the author of The Godfather Effect, The Importance of Being Barbra, Considering Doris Day and Sinatra in Hollywood. He lives in New York, New York.
- More >
Madam Belle: Sex, Money, And Influence In A Southern Brothel
By Maryjean Wall
Belle Brezing who grew up in Lexington, Kentucky and found her calling in a brothel run out of a house that once was the residence of Mary Todd Lincoln, has often been cited as the real-life inspiration for the bawdy, heart-of-gold character Belle Watling in Gone With the Wind.
Author Maryjean Wall takes the reader through a tantalizing true story of vice and power in the Gilded Age South, as told through the life and times of the notorious Miss Belle. After years on the streets and working for others, Belle Brezing borrowed enough money to set up her own establishment--her wealth and fame growing alongside the booming popularity of horse racing. Soon, her houses were known internationally, and powerful patrons from the industrial cities of the Northeast courted her in the lavish parlors of her richly decorated mansion.
Secrecy was a moral code in the sequestered world of prostitution in Victorian America, so little has been written about the Southern madam credited with inspiring the character Belle Watling. Following Brezing from her birth amid the ruins of the Civil War to the height of her scarlet fame and beyond, Wall uses her story to explore a wider world of sex, business, politics, and power.
Maryjean Wall served as the turf writer for the Lexington Herald-Leader for twenty-five years. The author of How Kentucky Became Southern: A Tale of Outlaws, Horse Thieves, Gamblers, and Breeders, and is an instructor in the Department of History at the University of Kentucky.
- More >
DVD Reviews
Point Blank on Blu-ray
When documentary filmmaker John Boorman made the leap to feature filmmaking with Catch Us If You Can (aka Having a Wild Weekend, 1965), a low-budget rock-n-roll vehicle for the Dave Clark Five, he transformed the quickie into a surprisingly biting satire of popular culture set to a bouncy soundtrack, displaying a remarkable sophistication and creativity unexpected from such a project. It was enough to land him his first American film, Point Blank, where he revealed an even greater ambition and talent.
Based on the novel The Hunter by Richard Stark (a pen name for Donald Westlake), Point Blank shuffles the lean, straight-forward story of a gunman named Walker (Lee Marvin), who is double crossed by his partner in crime and returns (seemingly from the dead) for revenge, into a surreal, abstracted crime drama. The plot is faithful to original novel, a hard-boiled piece of crime fiction reimagined for the underworld culture of the sixties, but Boorman and Marvin, who requested the young director and supported his unconventional vision for the film, refract it through a modern lens. Walker's odyssey from Alcatraz in San Francisco to the underworld of Los Angeles is splintered with short, sharp shards of memory that cut through his story, as if reflecting Walker's attempts to put the pieces of cause and effect together in his mind.
Boorman views L.A. through an alienated lens and edits it more like a European art film than an American crime thriller, but fills it with offbeat, ultra-stylized scenes of violence. It opens on a gunshot that should have killed him and he struggles to put it all together when he wakes up: "Cell. Prison cell. How did I get here?" Marvin is enigmatic, to say the least, as he tracks down his unfaithful, guilt-ridden wife (Sharon Acker), his wife's sister (Angie Dickinson), his old friend turned double-crossing heist partner Mal Reese (John Veron), and finally the syndicate bigwigs, all just to get his due: "I want my 93 grand."
This vision of urban Los Angeles is alternately crowded and noisy and urban, and austere and empty and dislocated. His footsteps echoing through an empty, anonymous hallway becomes the disembodied beat of his march of revenge. A scatting, screaming R&B singer at a chic night spot called The Film Club is the feral soundtrack of a brutal backstage fight, at once visceral and abstracted in the clutter of 35mm film cans and nightclub supplies. The aftermath of a suicide becomes a psychedelic vision of destruction, which disappears in a cut to the apartment suddenly empty, a ghost house with no evidence of life or death, just transition.
The dialogue is loaded with references to "a dream" and characters constant remind Walker that he's supposed to be dead. Keenan Wynn adds another level of remove as the devil whispering in Walker's ear, another unreal figure with a carefully concealed agenda who is preternaturally attuned to Walker's movements. More than an informant, he appears from nowhere to provide a name, an address, a piece of information on the trail to the top man in the Organization as Walker's debt keeps getting passed up the chain of command.
Walker is both an unstoppable sentinel who seems more than flesh and blood and a vulnerable man wounded by betrayal who has armored over his emotions with a mission. Marvin delivers both sides of the character without compromising either. There's a cold fury under his deliberate movements and his eyes betray a moment of regret and sadness when he finds his wife dead by her own hand, but it is all pushed down and kept in check by his single-minded focus. "I just want my money" is his mantra, not a matter of greed but a debt to be settled to balance the scales. Marvin is at once deliberate and relaxed, a veteran criminal soldier alert to everything, which makes his character even more fascinating. He doesn't demand attention on screen, he commands it through confidence and ability and cool focus.
That alone makes him more admirable than Mal, who is played by John Vernon as an oily, arrogant, amoral rat, selling out anyone and everyone to buy his way back into the Organization. The rest of the members of the cast don't play characters as much as cogs, functionaries in a criminal enterprise as a cutthroat corporation, simply doing their jobs as if Walker was a rival in a hostile takeover. Only Angie Dickinson's Chris has the passion and fury and emotional life of a human being, siding with Walker out of both loyalty and for payback against Mal ("He makes my flesh crawl") and the Organization that has taken over her business and her life. Sharon Acker, who plays Walker's wife, comes off less haunted than simply weak. She barely leaves an impression, which is fitting for her character but fails to offer any sense of tragedy to her story, and she's almost instantly forgotten after she exits the film. It's really the only weak element of the film, which otherwise is strong, confident, and sure from beginning to end.
Point Blank has been called a modern film noir but it has more in common with Performance, another crime thriller that fractures time, offers enigmatic and ambiguous characters, and equates organized crime with big business. Boorman delivers meticulously executed set pieces that are designed for the wide CinemaScope frame with a sure sense of space and a dispassionate perspective. He emphasizes intelligence over action and presents Walker as total professional, never flustered and always emotionally removed from the situation. And if Walker is an extreme incarnation of the revenge driven noir anti-hero, the modern syndicate has transformed the old school mob into a world of paper jungles and corporate businessmen, an alienating concept to a two-fisted, gun-wielding independent like Walker. "Profit is the only principle," is their motto. Almost 50 years later, it's more modernist than modern, a fascinating time capsule of an era when young directors brought nouvelle vague style to classic genres, and a cryptic crime thriller that turns Marvin into the most enigmatic criminal professional in the movies.
Boorman creates a hard, austere look for the film and the new Blu-ray delivers a sharp clarity to his vision of Los Angeles as an impersonal modern city. Apart from a few scenes, he strips the frame down to isolated figures in an empty urban landscape under the hard light of the California sun. It's an urban desert and the disc preserves that atmosphere of a ghost city by day and a shadowy underworld at night when the crowds gather on the streets and in the clubs. The impersonal palette of concrete surfaces and blank office interiors in the day gives way to the color of human habitation after dark, which oddly enough has a warmer atmosphere than the harsh light of day.
Carried over from the earlier DVD release is an audio commentary track with director John Boorman and fellow director Steven Soderbergh, a fan of the film who essentially hosts the commentary. He engages Boorman in conversations about the film's style, the use of color and camera lenses, working with Lee Marvin (who became close friends with Boorman), and making his Hollywood debut with a film that refused to play by the studio rules. Soderbergh's The Limey was clearly indebted to Point Blank in both its theme of revenge and in its fractured storytelling and unconventional use of flashbacks. Taking part in this commentary is like paying tribute to his inspiration.
Also features the vintage promotional featurette The Rock (in two parts), which looks at shooting the film on location in Alcatraz, and the original trailer.
by Sean Axmaker
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Ravenous on Blu-ray
Ravenous (1999) channels the story reminiscent of the Donner Party disaster and the legend of Alferd Packer (the only American ever convicted of cannibalism) into a gruesome survival thriller with a crimson-hued streak of black humor and an elemental hint of the supernatural. The resulting film takes top honors as the definitive frontier cannibal movie. Not that there's a long list to choose from, mind you, but this earns its position with honors, thanks to a gleefully weird and savagely bloodthirsty sensibility.
Guy Pearce is Captain John Boyd, whose battle cowardice during the Mexican-American war inadvertently results in making him an accidental hero. The ordeal of playing dead under the bleeding corpses of his fellow officers also puts him off meat, as the opening scenes so vividly illustrate. Director Antonia Bird cuts straight to the heart of the situation as she intercuts soldiers devouring bleeding-rare steaks at a military luncheon with the bloody casualties of battle stacked like cordwood: meat is meat, at least as far as this film is concerned. Boyd's commanding officer (John Spencer of The West Wing), who knows that his valor is a fraud, ships him out to the fringes of military reach: a fort in a California mountain pass, which runs with a minimal compliment during the impassable winter months. "This place thrives on tedium," smiles fort commander Colonel Hart (Jeffrey Jones), who takes everything with a bemused indulgence. How else to survive a company made up of a useless drunk second-in-command(Stephen Spinella), a giggling weed-head idiot (David Arquette), a twitchy, mumbling chaplain (Jeremy Davies), and a macho soldier boy (Neal McDonough) who holds the rest of the company in utter contempt?
The tedium is quickly dispersed when a bedraggled disaster survivor (Robert Carlyle) stumbles into camp. He spins a horrific story of a lost wagon train and an incompetent scout who strands them in the mountains, where as the winter snows traps them and desperation leads to feeding on human flesh. It's a tale right out of the Donner Party until it turns feral, but it's not even close to the real story of Carlyle's wild-eyed survivor. For a starving man, he looks remarkably fit when he doffs his shirt, and other clues suggest that this is no production gaffe. One night, while camping on the trail to his old camp to search for survivors, he's caught licking the bleeding wounds of an injured soldier. You know, tasting his next potential meal.
That's when the film takes its twist into weird and wild horror, a bizarre plot that doesn't really make much logical sense but sure makes for a wicked mix of psychodrama and visceral body horror. The Native American Wendigo myth is referenced to explain madness, but you could say it's a vampire tale without the supernatural dimension--it turns out human flesh is addictive, and it helps to have a nest of fellow flesh-eaters to keep the diet coming--or call it a particularly gruesome metaphor for manifest destiny. However you label it, it is off-the-charts crazy, an eat-or-be-eaten thriller served very, very rare.
British director Antonia Bird seems like an odd match for this material. She honed her craft on TV drama and made her reputation with the tough, wrenching dramas Priest and Face, two films with complex characters and socially conscious themes. What they have in common with Ravenous is star Robert Carlyle, who recommended Bird after the film's original director Milcho Manchevski was let go after three weeks and the producer's chosen replacement, Raja Gosnell, was rejected by the cast. Bird (who passed away last year at the relatively young age of 62 after a battle with thyroid cancer) was frustrated by the conditions of the production and the oversight of the producers and she complained that her cut was compromised in post-production. That may explain the awkward pace, jarring turns, and a climax that feels tossed together--an uninspired way to end such a devious film--but she is clearly the architect of the odd, offbeat key of the film's blackly comic tone and surreal atmosphere and Carlyle is her partner in outsized madness. He leads the cast in playing their eccentricities big, though next to Carlyle's juicy performance, Arquette and Davies come off more like actor's studio sketches in twitchy weirdness or fidgety indecision than actual characters. Guy Pearce provides the contrast, creating a character fighting to maintain control and keep his emotions and his reflexive revulsion in check as everyone else lets their freak flag fly. It oddly enough makes him the most intense character on screen. As all that fear and disgust and anxiety just bottles up behind his desperate eyes and increasingly battered body, Pearce shows us the toll this ordeal exacts on him. In this survival drama, he's the one in true survival mode.
Scream Factory's Blu-ray features a solid new HD transfer that preserves the dynamic contrast between the white-out daylight scenes of snow and the ominous shadows of the deep forest and the dark rough-hewn quarters of the frontier fort. Night doesn't have to fall for the darkness to seep into the image. Given the elemental quality of the imagery--much of the film takes place in the snowbound wilderness, with the Tatra Mountains of Slovakia standing in for California--the transfer has a satisfying level of grain that not only preserves the texture of the film but gives the entire atmosphere an added level of authenticity. These images feel like they were carved into the film.
The film was previously released on DVD over a decade ago with three separate commentary tracks. Director Antonia Bird and composer Damon Albarn team up for the most informative track, with Bird talking in detail about the physical challenges of the production. Screenwriter Ted Griffin and co-star Jeffrey Jones tend to lapse into silences in their track and actor Robert Carlyle is even more intermittent in his the solo track. Also carried over from the earlier disc is a collection of deleted scenes (many of them in rough-cut form) with optional commentary by Bird and a gallery of stills. New to this edition is a 20-minute interview with Jeffrey Jones, who looks back on the themes of the film.
by Sean Axmaker
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Southern Comfort on Blu-ray
A motley crew of Louisiana National Guardsman wade out into the swamps for weekend maneuvers. It's 1973, as the war in Vietnam is grinding away the soul of America and the heart of the military, and this platoon of weekend warriors--a volatile collection of rednecks, hotheads, jokers, and guys who probably signed up to steer clear of the draft--are like fresh recruits going into battle for the first time. They've got the fatigues and the cocky attitude but dubious discipline and training and their machine guns are loaded with blanks as they head into the bayou. To the Cajun swamp folk, the trappers and hunters living on the fringes of society, these men are invaders who trample their camps and steal their boats. And when one of the soldiers lets loose a burst from his weapon, laughing like the class bully after humiliating the new kid, these shadowy swamp dwellers defend themselves, becoming a guerilla strike force waging a war of terror on the utterly unprepared toy soldiers. They don't know that it's just blanks in those guns but it likely wouldn't matter if they did. They've been attacked and they will respond. These city dwellers are out their element and after their commanding officer (Peter Coyote) is gone, the first casualty in the war of attrition, they are out of their depth, flailing around with a panic that dumps their radio, compass, map, and pretty much everything else that was supposed to keep them alive.
Southern Comfort will never be mistaken for a Nation Guard recruitment tool. Call it an anti-platoon movie. Hill gives the squad the outward accoutrements of a real fighting force, down to the uniforms and weapons, but this is a military unit in name only. Beyond the swaggering banter of the soldiers and self-deprecating comments of Spencer (Keith Carradine), the self-appointed company joker, they have no real training, no experience under fire, and no commitment to one another. These guys are more like barroom buddies playing soldier than a disciplined force.
There are two voices of restraint in the wilderness, Spencer and new guy Hardin (Powers Booth), a transfer from Texas who doesn't know anyone in the company but sizes up their weaknesses quickly and realizes that they haven't much a chance as long as wild cards like Reece (Fred Ward) and Stuckey (Lewis Smith) go charging through the swamps looking for payback. Casper (Les Lannom) takes command by virtue of an essentially meaningless detail of rank and bumbles around quoting regulations and making speeches, doggedly following the book because he hasn't a clue what to do next. The filmmakers don't make him a figure of ridicule, mind you, just a guy falling back on the only thing he knows. In fact, none of them are necessarily "bad guys," though like any Hill ensemble, it has its share of jerks, bullies, racists, and anger management candidates and the pressure brings out their worst instincts.
So yes, it's a story of American soldiers in an alien land, lost in an unfamiliar landscape and outmaneuvered by a guerrilla army at home in the jungle. Director / screenwriter Walter Hill and producer / co-screenwriter David Giler insist to this day that Southern Comfort was never intended to be an allegory for Vietnam, simply a survival tale in an overwhelming and unfamiliar environment. It's hard to take them at face value but it is easy to forget the allegory in the heat of the drama. It also shares DNA with Deliverance, another film about city boys with guns who take their sense of ownership and entitlement into the wilderness, threaten the locals, and end up hunted by them. But where John Boorman's primal thriller turns his Appalachian backwoods men into brutal outlaws who take pleasure in stalking the city invaders, Hill and Giler keep their Cajun soldiers hidden, seen as figures in the distance or blurs running behind the trees, ghosts on the fringes of sight. They treat the would-be soldier like wild game, silently shadowing their progress and whipping them into a state of panic to steer them into their traps. And whatever the short-fused guys in the platoon think, this is no cultural conspiracy to wipe out the invaders. Their enemy consists of a handful of isolated hunters who didn't start the war but by God are determined to finish it. The rest of the Cajun folks they meet don't seem to be a part of it, though after a couple of days in the swamps, the paranoia is powerful enough to make every sidelong glance look ominous. Ry Cooder's eerie and haunting score only intensifies the paranoia.
What ultimately differentiates them from the soldiers of a classical platoon drama is that they haven't bonded under fire and have never had to put their trust in one another. This group unravels and tears itself apart from fear and panic and unfocused rage. And in classic Hill manner, there are no philosophical musings or existential conversations. The closest the film comes to putting its theme into words is from the mantra of a terrified Simms (Franklyn Seales), who finds himself cut off from the group and suddenly aware of just how vulnerable he is. "I'm not supposed to be here," he repeats, as if begging the universe to correct some cosmic planning error. And then he's no longer there.
While this band of infighting brothers wades blindly through the swamp without a clue as to their bearings or direction, Hill's direction never falters. He has always had a sure hand as a storyteller, keeping his plots uncluttered and letting the details of character, conflict, and the world around them define the story. Southern Comfort limits the world to the middle of the swamp, where we (like the soldiers) are unable to find any point of reference, and observes how the discomfort of the environment and the constant disorientation takes its toll on what little good sense the characters bring with them to the mission. It exacerbates the already dysfunctional dynamics of this platoon of battle virgins and is as deadly on its own as the native hunters who use the environment as a weapon in their arsenal. It's not necessarily skill or even luck that saves the guardsmen who survive the ordeal. In classic Hill fashion, it is a matter of intelligence, awareness, teamwork, and the commitment to do what is necessary to survive. There's no sense of victory in survival, merely relief.
Blu-ray / DVD Combo Pack. Both discs feature the new HD master but the Blu-ray of course features superior clarity and richness of color. Both are clean, strong images while the Blu-ray shows off excellent detail. The Dolby Digital Mono soundtrack puts the mix right up front. A couple of scenes of chaos and confusion overwhelm the dialogue with background sound, which is surely intentional but still seems a little out of balance to my ears.
New to this release in an original 27-minute featurette with new interviews with actors Keith Carradine, Powers Boothe, Lewis Smith, and Peter Coyote and, on low-resolution video via Skype, director Walter Hill and producer David Giler, who collaborated on the script with Hill. The actors share stories of shooting in the Louisiana swamps in February with wet suits under their uniforms, six weeks of working in the cold and damp, and they remind us that they were all in it together. The crew endured the same conditions so no one had the right to complain. More interesting is the discussion around the themes of the film. Hill and Giler maintain that while they did not intentionally set out to make a Vietnam allegory they were aware that audiences would make that connection, while the actors admit that they knew it was an allegory from the moment they read the script. Keith Carradine's reading is particularly detailed and interesting. Curiously, none of the six participants mention Deliverance.
Carried over from the old DVD release is a brief collection of outtakes and the original trailer. All of the supplements are featured in both the Blu-ray and DVD discs of the Combo Pack.
By Sean Axmaker
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Tess on Blu-ray
Tess (1979), Roman Polanski's film adaptation of Thomas Hardy's 1890 novel Tess of the D'Urbervilles, has in 2014 received a sublime Blu-Ray and DVD release from Criterion. Restored by Pathe under the direct supervision of Polanski himself, the movie looks and sounds magnificent. At first glance, the lushly beautiful Tess is a seemingly unusual work for Polanski, whose films we tend to associate with horror and sex, but this was actually a highly personal project for the master filmmaker. It was his first picture after fleeing the United States in 1977, and also a project that his wife, Sharon Tate, had suggested he make as a vehicle for herself -- just before she was murdered by the Manson gang in 1969. Polanski read the novel after her death and realized it was indeed right up his alley, and he dedicated the eventual film to her with an on-screen inscription.
Hardy's tale, to which the film is very faithful, is about a poor English girl, Tess, whose father learns he is a distant descendant of a once prominent, rich family, the D'Urbervilles. He sends Tess to the home of a remaining D'Urberville to find employment (or at least a handout), but Tess winds up being seduced by the ne'er-do-well Alec D'Urberville (Leigh Lawson), who becomes obsessed with her. Fleeing Alec, she eventually finds work at a dairy farm and starts a passionate relationship with a young farmer named Angel Clare (Peter Firth). But in this society, the revelation of the sins of her past, even if they were not her fault, could doom Tess to shame, ostracism and worse. Ultimately, Tess is about a woman struggling to make her way in the world, looking for happiness, or at least survival, but finding that a judgmental society, timing and even luck are all working against her.
Polanski explores this theme vividly, sympathetically and cinematically. Costumes, speech and physical mannerisms of the actors all convince the audience of the time period and of the distinctions among the social classes, and the film's pictorial beauty does much to stress the contrasting cruelty of some of the characters. The movie is not "pretty" for prettiness' sake. Most important, one really feels the isolation of Tess throughout the film, which is at once sprawling and intimate. The plot itself, while important, feels less vital here than the depiction of Tess' emotional experience of the world she is forced to inhabit, and as a result, the long running time feels entirely appropriate and never tedious.
Tess was shot entirely in France, mostly on locations in Normandy and Brittany, because Polanski worried that if he traveled to England he would be extradited to the United States. Polanski later wrote, "To tell the story at all, it was essential to find the proper setting, a twentieth-century equivalent of Hardy's nineteenth-century Dorset. The only way to convey the rhythm of his epic was to use that setting as an integral part of the film, signaling the passage of time and the change in Tess herself by means of a visible, almost palpable change in seasons. Once our rural locations were chosen, we would have to film throughout the year from early spring, through high summer, to the depths of winter." With such a shooting strategy, filming wound up lasting nine months over 80 separate locations, and Tess became, at $12 million, the most expensive film ever made in France to that point. Freak weather and labor strikes only added to the overall time and expense.
If Tess is atypical of Polanski, it's in the way that The Age of Innocence (1993) is atypical of director Martin Scorsese. But in fact, both films are completely emblematic of their directors' concerns and are indeed suffused with violence. It's just that the violence is emotional, an undercurrent beneath a pristine surface -- exactly like the societies the films depict.
That being said, it's hard to shake some of Tess's most exquisitely beautiful imagery, such as the lovely natural light of an outdoor dance, or the riders and dogs on a fox hunt who appear out of a sublime mist, or the face of Nastassia Kinski, who is heart-stoppingly gorgeous (a quality, incidentally, that is vital to the story). Cinematographer Geoffrey Unsworth, who had shot such films as Becket (1964) and Cabaret (1972), died a few weeks into production and was replaced by Ghislain Cloquet, who sadly would himself pass away two years later. They shared the Oscar for Best Cinematography. The film also won for Best Art Direction and Best Costume Design and was nominated for Best Picture, Best Director and Best Original Score.
Criterion's dual-format release contains one Blu-ray disc and two DVDs, with both formats containing the film and identical extras. And there are plenty, starting with three short documentaries about the film's making (originally included in Columbia's 2004 DVD release), directed by Laurent Bouzereau and totaling 73 minutes in length. Bouzereau expertly interviews key players like Polanski, producers Claude Berri and Timothy Burrill, co-writer John Brownjohn, actors Nastassia Kinski and Leigh Lawson, set decorator Pierre Guffroy, costume designer Anthony Powell, hair and makeup artists, the crew electrician, the assistant editor and others. The artists discuss fascinating details of production, like the challenge of getting the "strawberry seduction" scene between Kinski and Lawson just right (which astonishingly was shot on a rainy day despite looking on-screen like the height of warm summer), the creation of the Stonehenge set outside of Paris, and the design of the costumes to be authentic and truly expressive of character -- beautiful without being decorative. Powell is fascinating as he discusses his approach, and also about the little splotch of blood he put on the hem of Tess' dress at a key point in the story, which Polanski shot for maximum impact.
Burrill recalls that on location the filmmakers were only able to see the rushes days after shooting, rather than the next day, and not always under the best conditions. But gradually, he says, "we started to see what was happening, the magic that was coming off the screen, and the extraordinary professionalism of Nastassia.... I don't think there was ever one day when she fluffed a line. She was word-perfect, always."
Second is a 52-minute documentary from 2006 by Daniel Ablin and Serge July entitled Once Upon a Time... Tess. This is also interesting, but it covers much of the same material as the Bouzereau pieces, with many of the same interviewees telling the same stories. It's also not as smoothly edited. But unlike the Bouzereau film, it includes composer Philippe Sarde, and delves more into Polanski's pre-Tess life and career. It also recounts the difficulties in Tess's post-production, particularly concerning the running time. Francis Coppola was brought in by producer Claude Berri to trim the film, which was deemed overlong, but Polanski hated the result, leading to a falling-out between Berri and Polanski and between Polanski and Sarde. Polanski himself eventually trimmed the film by about 20 minutes, resulting in the current running time of 171 minutes.
Third, there's a 1979 episode of the French TV program Cine Regards, running 48 minutes, that looks at the making of Tess and interviews Polanski during the film's production. The interviews with Polanski are revealing, but the real strengths of the piece are the long, uninterrupted slices of life on the set as Polanski directs and thinks through scenes, conducting his orchestra of crewmembers. These sequences go on long enough to make us feel as if we are there.
Fourth is a 1979 episode of the British TV program The South Bank Show, 50 minutes in length, in which host Melvyn Bragg interviews Polanski. And Criterion rounds things out with the film's trailer as well as a handsome printed booklet containing a fine essay by Colin MacCabe and crisp, colorful photos from the film, almost all of which feature the entrancing Nastassia Kinski. It's a beautiful package and motion picture, all very highly recommended.
By Jeremy Arnold
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Used Cars on Blu-ray
The opening of Used Cars (1980) has the ominous, wind-scoured character of a modern crime film in a desperate southwest town where a Sergio Leone western wouldn't be out of place. The camera cranes down from a high shot over a struggling used car dealership, where a few pathetic beaters line the lot, and slowly glides over to one car with someone is crammed under the dashboard. The only sound is the lonely wind--the kind of strangled, desolate howl you get in dustbowl dramas and desert survival thrillers--and the grunts of the man struggling with the mechanics under the dash. And then we see the odometer turn back, shaving some 40,000 or so miles from the record. The title hits the screen, a brass band jumps in with "Stars and Stripes Forever," and the unidentified mechanic wriggles out to reveal Kurt Russell in a cheap, loud suit making his rounds to mask the sorry condition of the cars on the lot. It turns out that this is a crime movie after all, or at least a film of multiple misdemeanors and bald-faced misrepresentation, and the perpetrators are the good guys.
The second feature from director Robert Zemeckis and co-writer and producer Bob Gale, Used Cars comes right out of the screen comedy culture of the late 1970s and early 1980s, when the underdogs snubbed their collective noses at authority, propriety, property and privacy laws and anything else that crossed their paths in slobs vs. snobs comedies like Animal House (1978), Caddyshack (1980) and Ghostbusters (1984). Used Cars is raucous and reckless and far more gleefully corrupt than any of its brothers in rebellion, embracing the confidence games and illegal stunts pulled by the skeleton crew that works for Luke Fuchs (Jack Warden), who is the closest thing that the film has to an honest man. The devotion of salesmen Rudy (Russell) and Jeff (Gerrit Graham) and mechanic Jim (Frank McRae) to Luke is really all that separates them from Luke's rapacious brother and across-the-street rival Roy L. Fuchs (Warden again) and his slick sales force. That and the fun they have ripping off the rubes who wander on to their lot.
The premise of film - two used car outfits at war with one another - was hatched by John Milius, who was one of the executive producers (along with Steven Spielberg), but the script is pure Zemeckis and Gale. The rivals are twin brothers, the Cain and Abel of used car dealers. When impending freeway construction threatens to destroy bad brother Roy's dealership and make the good brother Luke rich, Roy finds a way to speed the demise of Luke's bad heart and Rudy makes good on his promise to keep Roy from taking over the lot. Rudy has his own, more immediate motivation, of course--he's trying to buy his way into the local political machine and he's still a little short on the down payment--but it's also personal. Luke is something of a father figure to the crew, which makes them the mischievous sons who break the rules whenever dad's back is turned. After Luke dies, their antics more outrageous, from secretly burying Luke on the lot (his beloved convertible fittingly serves as his casket) to jamming satellite signals with wild pirate commercials replete with gratuitous nudity and senseless destruction of private property. The plot seems to careen from one comic collision to another but there's a nicely-constructed plan under it all, simple but ingenious enough that you don't actually see how the pieces are laid in place until it all comes together in the ragged spectacle of final act.
It's not really a satire of American business so much as a wicked lampoon: lie, cheat and steal as the American way, as long as you do it with a sense of fun. Kurt Russell was just breaking out of his clean-cut post-Disney persona when he took on the role and he sinks his teeth into Rudy, turning the brash characters into the epitome of the smiling mercenary selling lemons to suckers with dirty tricks and phony promises. Gerrit Graham is his partner in commercial piracy, unfazed by anything but harbingers of bad luck, notably red. Deborah Harmon is both romantic interest and plot complication as Luke's long lost daughter, who shows up just after dad's death. Jack Warden has a field day playing twin brothers and Frank McRae is hilarious as the giant adrenaline-pumped mechanic. The crotch-grabbing Mexican junk car wholesaler is ubiquitous character actor and future director Alfonso Arau in his first great comic role in an American film (Romancing the Stone and Three Amigos soon followed). But the entire cast is in danger of being upstaged by the adorable dog Toby, who has his own role to play in the sale stunts. This pooch's hilarious performance makes him one of the greatest movie dogs.
Zemeckis matured into a polished filmmaker and an ambitious storyteller and went on to make more sophisticated, more provocative, and certainly more subtle films, but he never made anything as savagely funny as Used Cars. Its banged-up ingenuity and rough-and-tumble energy and warped mirror reflection of the American Dream as a snatch and grab free-for-all is wickedly funny. Everyone is a crook here and the epilogue even enshrines mendacity as a virtue, at least when it comes to stepping into the used car game.
Used Cars has a remarkably tidy visual aesthetic for a film about a seedy, shabby culture, with a screen that is uncluttered and flooded with desert sunlight in day scenes and blasted with floodlights as bold as a football stadium night game for the after-dark stunts. The new HD transfer shows a well-preserved print and is sharp and clear. Simply put, it looks superb.
The commentary track with Zemeckis, Gale, and Russell, carried over from the 2002 DVD reelease, is almost as fun as the movie. "We wanted Jimmy Stewart in It's A Wonderful Life, except he's totally corrupt," is how Zemeckis explains the genesis of Rudy. Kurt Russell laughs back: "So you cast me!" These guys are having a blast laughing their way through their remembrances, but they manage to stay on track and keep the production stories coming. Few commentaries manage to balance the information and entertainment so well.
There's a four-minute reel of outtakes (apparently taken from surviving video dub; it's all quite hazy), a radio interview with Russell, a car commercial featuring Russell, galleries of art and stills, and not one but two isolated score tracks: along with Patrick Williams' musical score heard in the film is an alternate, unused score by Ernest Gold. We don't quite get it in the context of the film (at least not with dialogue and sound effects) but it's a more conventional, less satirical approach. The accompanying 8-page booklet features another fine essay by Julie Kirgo.
By Sean Axmaker
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Press Release
John Wayne Birthplace Museum Grand Opening
WINTERSET, Iowa--Over the past 30 years more than one million visitors have journeyed to historic Madison County to tour the modest four-room home where film icon John Wayne was born on May 26, 1907. Guests have included President Ronald Reagan, movie legend Maureen O'Hara, Wayne's widow and all of his children and fans from 50 states and 40 foreign countries. And, as testament to the star's enduring popularity, they keep on coming.
To provide a more meaningful visitor experience, the Birthplace organization has announced the May 23rd Grand Opening of the John Wayne Birthplace Museum, a brand-new 5,000 square ft. facility which will offer an astounding collection of memorabilia from the screen legend's life and motion picture career. The only museum in the world dedicated to John Wayne, it will feature the largest diversified exhibit of John Wayne artifacts in existence, including original movie posters, film wardrobe, scripts, letters, artwork and sculpture, one of his customized automobiles and, of course, a movie theater.
A birthday celebration of this magnitude requires considerable flourish and the weekend of May 23-25 will not disappoint. Providing patriotic fanfare for the opening ceremonies will be the 100-member Iowa Military Veterans Band, in addition to rodeo queens, reduced price admission to the new museum, free John Wayne movies, food and merchandise vendors, cowboy mounted shooters and much more.
A highlight for many will be the Museum Benefit Dinner ($150 per person) headlined by country music legend and RFD-TV star Marty Stuart & His Fabulous Superlatives. Also featured will be an auction of unique and one-of-a-kind John Wayne collectibles including artwork and film wardrobe.
For further information call 877-462-1044 or visit the website at
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Dick Dinman and George Feltenstein Salute Black and White on Blu-ray
DICK DINMAN AND GEORGE FELTENSTEIN SALUTE BLACK AND WHITE ON BLU-RAY: Defying initial doubt by some of the viability of releasing black and white film classics on blu-ray Warner Home Video has been instrumental in repeatedly demonstrating how visually effective the melding of both formats could be and their latest stunning blu-ray restoration releases such as YANKEE DOODLE DANDY, THE PICTURE OF DORIAN GRAY, POSSESSED and CHRISTMAS IN CONNECTICUT continue to hammer home the point with consistently beautiful results. Producer/host Dick Dinman's returning guest George Feltenstein (Warner Home Video Senior V.P. of Classic and Theatrical Marketing) extols the limitless visual virtues of back and white on blu-ray.
DICK DINMAN AND GEORGE FELTENSTEIN SALUTE "PETE KELLY'S BLU-RAY.": Producer/host Dick Dinman welcomes back Warner Home Video Sr. V.P. George Feltenstein and both share their enthusiastic admiration for director/star Jack Webb's lavish and invigorating foray into the guns, gangster, gals, gams and most emphatically the musical traditions (flawlessly demonstrated by both Ella Fitzgerald and Oscar -nominated Peggy Lee) that made the roaring 20's roar all of which has been brought brilliantly to renewed sight and sound life in Warner's magnificent new blu-ray incarnation of PETE KELLY'S BLUES.
The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only weekly half hour show devoted to Golden Age Movie Classics as they become available on DVD. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.
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Dustin Hoffman, Alec Baldwin and Filmmaker Spike Lee Added to 2015 TCM Classic Film Festival
TCM is pleased to announce additional film luminaries have been added to the already-exciting 2015 TCM Classic Film Festival lineup: Oscar®-winner Dustin Hoffman, Oscar®-nominee Alec Baldwin, and Oscar®-nominated filmmaker Spike Lee are set to appear.
Dustin Hoffman will sit down for an extended discussion with Oscar® nominee and former co-host of TCM's The Essentials, Alec Baldwin following a screening of Bob Fosse's LENNY (1974). Hoffman earned an Oscar nomination for his performance as comedian Lenny Bruce.
Academy Award®-nominated filmmaker Spike Lee will present a screening of his acclaimed biographical drama MALCOM X (1992), starring Denzel Washington in one of his most celebrated performances.
The festival will also feature tributes to a pair of artists whose work behind the camera has helped shape the last half-century of movie-making. Oscar-winning film editor Anne V. Coates will appear at screenings of David Lean's LAWRENCE OF ARABIA (1962) and Steven Soderbergh's caper OUT OF SIGHT (1998). Stuntman and stunt coordinator Terry Leonard will introduce and discuss two of his best-loved films, Steven Spielberg's RAIDERS OF THE LOST ARK (1981) and John Milius' THE WIND AND THE LION (1975).
In addition to the screenings of their films, Coates and Leonard also will participate in detailed conversations about their careers at Club TCM.
Peter O'Toole makes one of the greatest screen debuts starring in the title role of director David Lean's epic about a bold young WWI British officer who unites Arab tribesmen against the mighty Turkish Empire. In attendance: Anne V. Coates, ACE
Dustin Hoffman gives a devastating, Oscar-nominated performance in the title role of director Bob Fosse's biopic of the groundbreaking and drug addicted standup comic, Lenny Bruce. In attendance: Dustin Hoffman featuring an extended conversation with Alec Baldwin
Directed and co-written for the screen by Spike Lee and based on the autobiography by Malcolm X and Alex Haley, this epic drama earned Denzel Washington an Oscar nomination for his riveting performance in the title role as the still influential 1960s freedom fighter. In attendance: Spike Lee
Romantic sparks fly between an escaped bank robber (George Clooney) and a kidnapped U.S. Marshal (Jennifer Lopez) in this big screen adaption of the Elmore Leonard novel directed by Steven Soderbergh. In attendance: Anne V. Coates, ACE
Steven Spielberg directs and Harrison Ford stars in this thrilling adventure about an archaeologist who must find the lost Ark of the Covenant before it falls into the hands of the Nazis and Adolf Hitler. In attendance: Terry Leonard
Loosely based on early 20th-century events, director John Milius' adventure film tells the exciting tale of an American woman and her children who are kidnapped in Morocco by Berber tribesmen and President Theodore Roosevelt's maneuvers to free them. Sean Connery, Candice Bergen and Brian Keith star. In attendance: Terry Leonard
Passes for the 2015 TCM Classic Film Festival are still available, but supplies are limited. Complete information about 2015 pass prices and levels can be found at the festival's website: filmfestival.tcm.com
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TCM Announces Sally Field as Co-Host for THE ESSENTIALS
Turner Classic Movies announced Oscar®, Golden Globe®, Emmy® and Screen Actors Guild® Award winner Sally Field will co-host the 15th season of TCM's signature showcase: The Essentials. Field will take the chair opposite TCM host Robert Osborne each week to introduce a hand-picked classic film and offer commentary on its cultural relevance and what makes it a timeless, must-see movie. The new season of The Essentials, which airs on Saturday nights premieres Saturday, March 7, at 8 p.m. (ET) with a screening of William Wyler's classic, Roman Holiday.
"We couldn't be happier that Sally will be joining us throughout 2015 on The Essentials," said Osborne. "Besides being an extraordinary actress with two Academy Awards® to her credit, Sally has a great passion for film and a unique understanding of how the movie industry works which will bring a refreshing and entertaining point of view to our weekly talks. Plus I can't imagine any one more delightful to sit and talk with about movies on a regular basis."
The lineup of movies selected by Field and Osborne for the 15th season of The Essentials includes such enduring classics as:
--David O. Selznick's adventure The Prisoner of Zenda (1937) starring Ronald Coleman
--George Stevens' World War II comedy The More the Merrier (1943), starring Jean Arthur and Charles Coburn
--Iriving Rapper's enduring love story Now, Voyager (1942) starring Bette Davis and Paul Henreid
A complete lineup for TCM's 15th season of The Essentials, which airs each Saturday at 8 p.m. (ET), will be announced at a later date.
Additionally, fans are able to watch TCM live whenever and wherever they want via http://www.tcm.com/watch and the Watch TCM mobile apps by logging in with a user name and password provided by their TV service provider. Watch TCM features live streaming of the network, industry leading in-depth movie information, as well as more than 300 titles available on demand each month.
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TCM and Walt Disney World Resort Team Up
Turner Classic Movies, Walt Disney World Resort and The Walt Disney Studios Team Up to Share Stories Centered on Classic Film
Features Include New TCM Integration in Theme Park Attraction and On-Air Showcase of Disney Treasures
Turner Classic Movies has announced new strategic relationships with Walt Disney World Resort and The Walt Disney Studios to broaden its reach in family entertainment with joint efforts centered on classic film.
At Disney's Hollywood Studios, the "The Great Movie Ride" Attraction highlights some of the most famous film moments in silver screen history and is set to receive a TCM-curated refresh of the pre-show and the finale. TCM branding will be integrated into the attraction's marquee as well as banners, posters and display windows outside the attraction. In the queue line, families will enjoy new digital movie posters and will watch a new pre-ride video with TCM host Robert Osborne providing illuminating insights from the movies some of which guests will experience during the ride. The finale will feature an all-new montage of classic movie moments. After guests exit the attraction, they will have a photo opportunity with a classic movie theme. The TCM-curated refresh is set to launch by spring.
As part of the relationship with The Walt Disney Studios, TCM will launch Treasures from the Disney Vault, a recurring on-air showcase that will include such live-action Disney features as Treasure Island (1950), Darby O'Gill and the Little People (1959) and Pollyanna (1960); animated films like The Three Caballeros (1944) and The Adventures of Ichabod and Mr. Toad (1949); classic nature documentaries, including The Living Desert (1953) and The African Lion (1955); made-for-television classics, such as the Davy Crockett series; special episodes from Walt Disney's Wonderful World of Color; documentaries about the studio, including Walt & El Grupo (2009) and Waking Sleeping Beauty (2010); and animated shorts, such as 1932's Oscar®-winning "Flowers and Trees."
Treasures from the Disney Vault is scheduled to premiere on TCM Sunday, Dec. 21 at 8 p.m. The opening night will include the holiday and winter animated shorts "Santa's Workshop," "On Ice" and "Chip An' Dale," followed by The Disneyland Story. The night will also include The Reluctant Dragon, Disney's 1941 film that combined a live-action tour of the Walt Disney Studios facility with animated shorts; Davy Crockett, King of the Wild Frontier (1955), a compilation of the first three episodes of the iconic series starring Fess Parker; the Oscar®-winning documentary The Vanishing Prairie (1954), part of Disney's True Life Adventure series; the rarely seen Third Man on the Mountain (1959), an Alpine tale starring Michael Rennie and James MacArthur; and Perilous Assignment (1959), a documentary about the making of Third Man on the Mountain.
"At TCM, it's our mission to share and celebrate the greatest films of all time," said Jennifer Dorian, general manager of TCM. "Disney provides the perfect relationship through which we can share the magic of the movies with every generation, not only through an amazing new showcase on TCM, but also through newly refreshed components of 'The Great Movie Ride' Attraction."
"We are looking forward to this collaboration, which complements Disney's commitment to telling great stories and immersing our guests in family entertainment," said Tiffany Rende, senior vice president of Disney Corporate Alliances and Operating Participants. "Through this alliance, we are able to share more classic Disney stories with TCM audiences, while further enhancing the guest experience by showcasing TCM content and talent."
This marks an expansion of TCM's already robust relationship with the family entertainment and media enterprise. TCM set sail on its fourth TCM Classic Cruise in October 2014, the second aboard the Disney Cruise Line's Disney Magic. In addition, TCM has collaborated with Buena Vista Home Entertainment on various initiatives, including the 2008 documentary The Age of Believing: The Disney Live-Action Classics, which premiered in conjunction with a 25-movie showcase of family classics. The 2012 TCM Classic Film Festival in Hollywood featured a multi-film collection of Disney classics presented in collaboration with D23, The Official Disney Fan Club. And the 2014 TCM Classic Film Festival featured the 50th Anniversary screening of one of Walt Disney's most successful films Mary Poppins (1964) at Disney's El Capitan Theatre.
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Wednesday, March 20, 2011
Removed: 10:00pm Springfield Rifle 12:00pm Casablanca Added: 1:00pm Virginia City 12:15pm Casablanca
Wednesday, March 20, 2011
Removed: 10:00pm Springfield Rifle 12:00pm Casablanca Added: 1:00pm Virginia City 12:15pm Casablanca
Wednesday, March 20, 2011
Removed: 10:00pm Springfield Rifle 12:00pm Casablanca Added: 1:00pm Virginia City 12:15pm Casablanca


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Refuge @SBC 2:00 am
Refuge @SBC @ Second Baptist Church
May 1 @ 2:00 am – 3:00 am
Handiboe Reception 3:30 pm
Handiboe Reception @ Verser Lobby
May 1 @ 3:30 pm – 4:30 pm
Reception for Mary Handiboe
One-Act Festival 8:00 pm
One-Act Festival @ Verser Theatre
May 1 @ 8:00 pm – 10:00 pm
Ouachita Baptist University's Department of Theatre Arts will host its student-directed One-Act Play Festival on Thursday and Friday, May 1-2, at 8 p.m. in Verser Theatre. The performances are free and open to the public. The One-Act Plays are a project of a directing class and a requirement for students seeking to fulfill a theatre degree. This semester, eight one-acts...read more →
Recital 8:00 pm
Recital @ McBeth Recital Hall
May 1 @ 8:00 pm – 9:00 pm
Ashley Bundy- Senior Vocal Recital
Recital 2:00 pm
Recital @ McBeth Recital Hall
May 2 @ 2:00 pm – 3:00 pm
Ouachita Baptist University's Division of Music will present T.J. Bailey in his senior piano recital Friday, May 2, at 2 p.m. The recital, which is free and open to the public, will be held in Mabee Fine Arts Center's McBeth Recital Hall. Bailey, a worship arts major from Fort Smith, Ark., has been involved with music his whole life and...read more →
Keck Reception 3:00 pm
Keck Reception @ Mabee Hammons Gallery
May 2 @ 3:00 pm – 3:30 pm
Reception for Ouida Keck
Virginia Queen Piano Comp. 3:30 pm
Virginia Queen Piano Comp. @ McBeth Recital Hall
May 2 @ 3:30 pm – 5:30 pm
Ouachita Baptist University's Division of Music will host the annual Virginia Queen Piano Competition Friday, May 2, at 3:30 p.m. in McBeth Recital Hall in Mabee Fine Arts Center. The competition performances are free and open to the public. "The competition was established by Virginia Queen 37 years ago to motivate our piano majors and minors to excel," said Ouida...read more →


text:
by phishfood » 20 Nov 2005, 06:25
by suanj » 20 Nov 2005, 11:09
phishfood wrote:Suanj,
Thanks so much for doing this. I really appreciate it. I have Luigi's birth act that is harder to read the script. I have not scanned this one in yet. If I send it through e-mail would it be possible to read this one too?
by phishfood » 22 Nov 2005, 06:43
by suanj » 22 Nov 2005, 14:47
phishfood wrote:I hope I did this right. Let me know. If it did not work can I just e-mail it to you? If it did work, when you translate, what is all the handwritten info. on the side? Just curious.
by phishfood » 23 Nov 2005, 01:28
by phishfood » 23 Nov 2005, 01:42
by suanj » 23 Nov 2005, 03:37
by phishfood » 23 Nov 2005, 12:34
by suanj » 23 Nov 2005, 12:47
phishfood wrote:suanj,
Still could it be human error? We have on U.S. records fromhis immigration that he was born December 13th. I know it is only 1 day off but still could it be a mistake from someone in the U.S.???
Return to Italian language, handwriting , script & translations
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@Qlshow loved the 'mama floras family' mentioning! I loved that miniseries movie, u were so great in it @iamqueenlatifah & all of the cast!
432 days ago.
and Cap mama looooved taking us to McDonald's and the dollar movie. We was balling every weekend.
We don't do very many stay home Friday movie nights. Very nice thing for tonight. Finally watched Guillermo del Toro's MAMA.
LMAO "@TreHunnid: Lil Mama thought she was back on the scene with that TLC movie lol"
Lil Mama thought she was back on the scene with that TLC movie lol
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Rating 9
Overall customer rating based on 19 individual reviews for this property.
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Great view and owners very friendly
Blankets available for hot weather
We were invited to the host's terrace to enjoy the magnificent view over the harbour
Customer did not leave their comments.
1 person found this review helpful
The views were even more fabulous than advertised. Jen was a gret hostess.
The room needed a cupboard for clothing.
We stayed in the Sunrise room and the views from the balcony were stunning. We would highly recommend this B & B and would certainly return there.
Customer did not leave their comments.
Fantastic views and situation. Really friendly owner who was available whenever we needed her. Great breakfast. Child friendly. Would definitely recommend this band b to friends and family who are visiting the coromandel.
Customer did not leave their comments.
Great views and friendly chatty hosts. The location was absolutely quiet and out of the way so we were able to relax completely. We received lots of good tips on places to visit and sights to see.
Some facility for hanging clothes in the room would have been helpful.
Peace of mind and hospitality. Friendly and fun people to stay with. I strongly recommend this place and look forward for a second stay soon.
The view Sam the dog The general location at Coromandel The Spa


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St. Teresa of Avila pray for her. God Bless your Sister and you for posting. I pray she receives help as soon as possible.
I would appreciate prayers for my sister Christy...she deals with terrible migraines. She has gone to the ER twice in 2 weeks & has been referred to a Migraine Clinic. I am very hopeful she will get an appointment tomorrow morning, but she is in so much pain now & I don't know how to help her. She may end up being hospitalized until they can figure out what's wrong. I pray that God brings her comfort! Thanks in advance for any prayers you can offer up!
Thanks for your prayers everyone! My sister was able to get an appointment on the 15th with the Migraine Clinic & this morning she went into the ER for a round of meds through an IV. Because she wasn't feeling any better, they admitted her & recently did an MRI. We are waiting to hear back from the neurologist with the results! I appreciate all the prayers my friends


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Standard Blind Specifications
Width: 8" – 120"
Height: 24" – 120"
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Width: 14" Outside Mount – 96"
Height: 12" – 108"
Multiple Blinds on One Headrail for Cornetta 2 inch Faux Wood Blinds Faux Wood Blinds from Steve's Exclusive Collection
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(based on 26 reviews)
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Great blinds!
By Roja
from Green VAlley, AZ
About Me Midrange Shopper
Comments about Blinds Steve's Exclusive Collection Faux Wood Blinds 2" Slat Premium S-Curve 2" Slat:
Was impressed by the quality of these blinds [...]
Bottom Line Yes, I would recommend this to a friend
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I definitely buy again
By Linda
from Edmond, OK
Color matches woodwork. Consistent color throughout. Looks expensive. Hangs well. High-end design. Great price.
(1 of 1 customers found this review helpful)
Faux Wood 2" S-Curve blinds
By mjo
from Ky
I purchased 5 of the faux wood blinds. 2 of the blinds are for 2 very large windows....96 inch wide. I had 3 blinds on one headrail for each 96 inch window and it turned out great. My windows are casement type windows(sliding), so each big window has "3 small windows" . I ordered the Maple color , S-curve and routeless. I think the routeless will be great when it comes to cleaning....all you have to do is slide a slat out to clean it, then slide it back in...how much easier could you get! The only con I have is that the headrails leave a little bit to be desired....kind of an odd design on how these attach to the blinds...very confusing on how to install these...still not sure if I have them on right....but they fit, so that's the way they will stay. All in all....love my new blinds!!!!
Extremely pleased with price and quality
By Kathy
from Massachusettes
About Me Budget Shopper
Used these blinds in our master-bath over the whirlpool tub, easy to clean, great privacy control and moisture proof. They complete the bathroom and give the windows a very "finished" look.
Very pleased.
By Norman
from Akron, OH
Easy to install.
By Nancy
from Denver, CO
The blinds are more attractive than aluminum mini blinds, and not as heavy as wood.
Would definitely buy these again!
By The O'Keefe Family
from Chula Vista, CA
We bought these for all 12 windows in our house. We are pretty handy anyway, but the whole house was installed by us in about 3 hours! These blinds have helped to make our house feel like home.
premium S-Curve2" Slat
By mom
from chicago, Il
It took me awhile to decide on getting the blinds because of the cost. But when i discovered Steves and was able to have the color, style and cost i could afford i did it. I couldn't have been happier with the results. The difference in the appearance of the room was amazing and i couldn't be happier.
Love my New Blinds!
By Stacey Bacey
from Foster City, CA
I was looking for blinds and Steve's prices were so low i had to try them. I called customer service and thier service was excellent. The blinds I recieved were amazing! I love them! They look good, they are constructed very well and they blew away the competition's blinds that I have in my home. I'm actually replacing the other blinds with Steve's blinds!
very satisfied with the blinds
By Ma
from Frazee,Mn
The blinds give the windows a finished look. Very reasonably priced for the quality. We will order blinds from Steve's Blinds again.
Great blinds for the value!
By TizS
from Gary, IN
Wasn't sure about the S curve slats but they fit together better when closed and look much nicer than straight flat slats.
Very nice blind
By Wally G
from Minneapolis
Very attractice blind with smooth cord action. This faux blind is every bit as attractive as a wood blind. Great product!
great quality - perfect fit
By bigmatt
from HB Ca.
very happy with product and service
Routeless versus non routeless
By Michele
from Dallas, Tx
2" S-curve blinds are very attractive with a Prettier look than the flat slat. I bought a couple with the routeless feature to see if I liked it. If you raise your blinds frequently or lift the slats to peek out often, you may not like the routeless because the slats do not always stay with the cord in the notch to stay aligned, especially with lifting and lowering. So I will live with the 2 that I have, however when I ordered for the rest of the house, I did not get routeless because I do not want to be re-seating slats all of the time. Otherwise, wonderful blinds !!!!
No installation instructions
By Tilt
from Wisconsin
Blinds arrived quickly and look great installed. There were no installation instructions included which was no problem as we've installed blinds before but for anyone who has never done it before this would make it challenging. The head rail is held in place by magnets vs. clips as we've had with other types of blinds - I am somewhat concerned from a safety standpoint on our widest blind (54") but so far it's holding.
Excellent product slow delivery
By Tampanian
from Tampa, FL
Kitchen - center attention. Great product. Elegant and just like described. Great value for the price
Wonderful product - amazing price!
By Linder
from Pennsylvania
I have always been told (and believed it) that you only get what you pay for. With Steve's blinds I feel I got much more than I paid for! THey are beautiful, add home value & add total privacy - no shapes or shadows thru the shades. I absolutely love them!!!!!!
exactly what I ordered
By CCR
from baltimore, MD
This was exactly what I was looking for. The blinds were the exact dimensions we ordered & the price was well worth it. Excellant!
just what i had in mind.
By blanca
from monroe,nj
came w good instructions, early delivery,nice 4 upgrading.
Attractive and affordable blinds
By Garden Gal
from Lewiston, ID
I was very pleased with the quality and appearance of the blinds I purchased. They really added a lot of class to the whole room.
classic look
By bianca
Living in a development means homes are not to far apart.I wanted privacy but light as well for my kitchen windows:which are also not standard sizes. The blinds were not too difficult after the 1st one went up and look high end. makes kitchen look warmer and the color was perfect match for cabinets.
beautiful blinds!
from Ocean Park, WA
These blinds work much better than the ones I replaced. I love that they are routeless as they are easier to dust. They give my room a rich look. Wish I had ordered them long ago. I just ordered more for another room.
I would buy these blinds again!
I love these blinds and have had several compliments on them. They have a rich look to them and operate very nicely.I did not have good luck dusting them with a feather duster - need a little more pressure.Some of the slats have a few light scratches on them, but they are not noticable from a distance.I would buy them again and am contemplating purchasing them for additional rooms.
Fantastic Service!
By Handman
from Irvine, CA
Excellent service, quick shipping, 1/3 the cost compared to big box stores. The samples made it easy to select the product.
Really nice
By Jim
from Chicago
Got the 2" S-slat design. Five windows in the living room. Impressed with the mounting hardware (seems good & strong) but it would've been nice to get a couple extra screws with each package. Install is relatively simple and they were cut to fit perfectly. Quite nice, and the S-shaped slats add a unique reflective dimension to the light when they're partially open. Happy with the purchase.
Very Nice Blind
By Cali S.
from California
The S-Curve blind is very nice looking. I ordered the S Curve from Steve's and another faux wood from a different big online blind company.I think the S curve looks much better than the regular flat slat. Also, the S curve has a shinier paint finish to it, making it look more appealing and easy to clean. Steve's was easy to order from with no problems. The only small con is that Steve's took a little bit longer to receive and the S curve was a little higher priced than the flat slat. But, if neither of those are an issue, I'd go with the S curve from Steve's.
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Free Shipping on most Blind OrdersMost blind orders include FREE Ground Shipping to your home or office in the contiguous United States. Some manufacturers charge an oversized freight charge per order (regardless of the number of blinds) on extra wide blinds because they must use a special delivery company. The width when oversized freight charges apply varies depending on the manufacturer (usually it is around 95 inches or wider) and the charge may be up to $75 per manufacturer per order. M & B and Levolor do not charge oversized freight. Shutters have a freight charge due to the weight of the product. Most blind orders ship within 3 to 5 business days. We do ship to Canada and all other countries. Please call us or send e-mail for applicable charges. Our manufacturers impose a handling fee per order depending on the type of product and order amount that is purchased. For Blind orders, the handling fee is $4.95 per order. You will only be charged one handling fee per order and if ordering blinds and wallpaper together the total handling fee will be determined by the wallpaper order total.
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Experience Michiana: July 22nd, 2013
Having trouble with this video? Let us know.
About This Episode
Episode #451
Kevin Asselin and Jacob Schrimpf stop by to talk about their upcoming performance of "A Comedy of Errors". Then, Elaine Hovenkamp is back in the kitchen with Gordy, this time making Pesto Port-a-Burgers. Also, Ted Barron from the Browning Cinema at Notre Dame shares about the ANDkids World Film Festival. Jessica Brookshire talks about a chance to go behind the scenes at Notre Dame Stadium.
- Original Airdate:
- July 22, 2013
In This Episode
Also In This Episode
- Introduction
- Festival calendar
- Live Music Calendar
- Closing


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