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David Thomson discusses The New Biographical Dictionary of Film: Sixth Edition
David Thomson's The New Biographical Dictionary of Film, recently released in its Sixth Edition (Alfred A. Knopf, 2014), has been selected as the featured TCM "Movie News" book for August. It was voted the best film book of all time in a poll of international critics by Sight & Sound magazine, called "the finest reference book ever written about movies" by film columnist Graham Fuller and named by editor Tom Nissley as "the greatest bathroom book of all time." Thomson himself was hailed as "probably the greatest living film critic and historian" by Benjamin Schwarz, former literary and national editor for The Atlantic.
"I am touched and flattered," was Thomson's response to these accolades in a recent interview for TCM. He seems happy for readers to pick up his 1,154-page "Dictionary," no matter the location where they choose to leaf through it: "By the TV is common. Bedside, often. And, yes, a bathroom book. But I think since 1971 - when the book began as a project - our sense of the bathroom has developed a lot."
Composed as a series of career biographies/commentaries, the book makes for compulsive reading, and every entry yields examples of Thomson's imposing knowledge and wit, along with his flair for dead-on analysis and evocative language. He writes of Marilyn Monroe, the book's cover girl in a playful pose from Some Like It Hot, "If she sometimes resembled a sleepwalker, perhaps that showed how many dreams impelled her." James Franco, who has earned an entry in the latest edition, is described as "immensely sympathetic and entirely implausible." Thomson muses of Judy Garland's compassionate performances in The Wizard of Oz and A Star Is Born that "Perhaps she yearned to care for people; is that the vibrato always trembling in her voice?"
The Thomson wit can sting. He describes Lana Turner as being "close to the spirit of small-town waitresses ready to be picked up by a toothbrush salesman with a cousin in casting." Of Robert Redford in Indecent Proposal (1993), he writes that an undeveloped script left "time to see how far Redford resembled used wrapping paper." Still, the assessments - however subjective - are generally positive and often generous.
Previous editions of the book were published in 1975, 1980, 1994, 2004 and 2010. Along with Franco, the more than 100 new entries in the Sixth Edition include Amy Adams, Casey Affleck, Steve Coogan, Benedict Cumberbatch, Claire Danes, Michael Fassbender, Ryan Gosling, Tom Hardy, Jennifer Lawrence, Joaquin Phoenix, Michael Shannon, Kristen Stewart and Michelle Williams.
Along with performers, the book offers looks at the careers of producers, writers, directors and other film artists and craftsmen.
In addition to new entries, Thomson revises existing biographies as various individuals add to their credits or are the subjects of rethinking by the author. In revising one biography, he notes wryly that "Updating Meryl Streep is always eventful." His summation: "It seems possible that she is troubled by her stature now... and she is, in a plain, decent way, someone much troubled by the world. Well, she has done her best with that dilemma, and she represents the best we will ever have."
In planning his revisions Thomson has been aided by Knopf editor Robert Gottlieb, who "opened my eyes to some '30s actors and actresses and to Japanese players." Re-evaluations included those for directors Ernst Lubitsch and Howard Hawks: "I once underrated Lubitsch. I think now I am too kind to Hawks. But what this all adds up to is the need to keep seeing the classics and questioning them."
The first edition was a labor of love, and Thomson says now that he was not sure at the time that it would ever see publication. In the early 1970s, with no access to online sources of information and limited opportunities for seeing older films, research was laborious. "Literally, I spent hours and months in the BFI [British Film Institute] Library in London, making lists of credits from trade papers because filmographies simply didn't exist. Now there are databanks so the work is easier. But the databanks are not always accurate and often films depend on some people who are not in the credits. So knowing the inside stuff matters."
In that first edition Thomson wrote that the most important actors in film history were Cary Grant, Robert Mitchum and Barbara Stanwyck. Why? "Because they are actors who would probably not have 'worked' onstage, but who bring fantastic intelligence and personality to the camera. I think if you go back to the early '70s people were generally too much of the opinion that great acting has to be theatre. It can be. But there is great acting onscreen, too. Of course, some people are good at both."
The new edition includes many individuals who are better known for their work in television than in the world of feature films, and Thomson acknowledges that TV is producing some of today's most interesting film work. "I was always opposed to the snobbery towards TV," he notes. "And now we are in a golden age of television in which long-form series are generally far better than our theatrical movies. I think it was clear with Matthew McConaughey in True Detective that we were watching a movie event. I think Top of the Lake may be the best thing [director] Jane Campion has done."
Thomson dreams of a seventh edition "that is a complete rewrite of the whole book," though "various entities have to remain in business, or alive, for that to happen." He is now "at a point where I would love the chance to redo a lot of big entries, placing these people in a newer historical perspective - for example, Griffith, Eisenstein, Chaplin, Hawks, Hitchcock, Renoir, Godard. It is not that my feelings would be different, but I think the age I grew up in - of auteur appreciation - has shifted and by now business, technology and audience response mean more. I felt I was watching movies, but I see now that I was watching screens. There's a big difference and it doesn't bode well for the art of film."
As for the exact nature of the "Dictionary," he allows that "It's up to readers and reviewers to say what sort of book it is. For myself, I think it's a collection of genres: It is a reference book; it's a kind of critical history of film; it's a memoir; it's a book about the nature of careers; and it's even a kind of novel about someone writing this book."
Thomson, born in London, began seeing movies there "at the age of five, sitting on the knees of my parents. This was 1945, and I'm not sure whether the first film was Olivier's Henry V or a Lassie movie in which the dog is pursued by Nazis [Son of Lassie] . Whichever it was, I had to be taken outside because I was in tears at my emotional involvement - with burning pageboys in the Shakespeare film, and the plight of Lassie." By the age of eight he was going on his own to three theaters within walking distance, and asking strangers to take him into the theater if the film was rated so that children required adult company. "Sounds alarming now, but it was safe then," he observes.
As a youngster he had no particular ambition to write about films: "I was mainlining on fantasy." But by the time he was 14 or so his mother had become alarmed at the number of films he was seeing when he was "supposed to be doing homework in order to go to Oxford. So she made a bargain with me. If I insisted on seeing movies, then I had to write something about them. The fantasy rush had to be turned into respectable intellectual process." He began writing essays of about a hundred words each on certain films and presenting them to his mother.
Thomson eventually enrolled not at Oxford but in the London School of Film Technique. He continued his habit of thinking and writing about films and published his first book, Movie Man, in 1967. In addition to the various editions of the "Dictionary," he has written more than 30 other books including America in the Dark: Hollywood and the Gift of Unreality (1978), Hollywood: A Celebration (2001), "Have You Seen...?": A Personal Introduction to 1,000 Films (2008), The Big Screen: The Story of Movies (2012) and Moments That Made the Movies (2013). He has published studies on such screen personalities as Warren Beatty, David O. Selznick, Orson Welles, Marlon Brando, Nicole Kidman, Humphrey Bogart, Ingrid Bergman, Gary Cooper and Bette Davis, along with such novels as Suspects (1985) and Silver Light (1990). His books about Beatty and Kidman incorporate elements of fiction, and the 1987 Beatty book alternates chapters with a Thomson novel, Desert Eyes. In the interview he notes that "I don't make much distinction between fiction and non-fiction, and I think I get that from movie-going. Movies seem to be about fact - the truth at 24 times a second - and yet they are dreams."
In addition to his books Thomson has contributed to The New York Times, Film Comment, Movieline and Salon. Currently, he writes regularly for The New Republic.
Thomson first visited the U.S. in 1973 and came here to live in 1975. He notes that he gets back to England "once a year, sometimes more," and thinks of himself as both English and American. He lives in San Francisco with his second wife, with whom he has two sons. He has three children by a first marriage who live in England, and three grandchildren - "so far." Earlier this year he was the recipient of the Mel Novikoff Award, named after the San Francisco exhibitor and presented to an individual or institution whose work "has enhanced the film-going public's appreciation of world cinema."
Because of his 1993 book Showman: The Life of David O. Selznick, written with the cooperation of the Selznick family, Thomson was asked by executive producer Jeffrey Selznick to write the script for Turner Entertainment's The Making of a Legend: Gone With the Wind. He recalls that project as "one of the happiest times of my life - in the Selznick archive in Austin, Texas, working with Jeffrey and Danny Selznick, the two sons of David O. Selznick, and bringing this film to life - a full two-hour documentary that was shown on TNT in 1989, the 50th anniversary of GWTW."
How about Gone With the Wind itself, which he first saw in one of its re-releases when he was 12 or so? "Today, I think one has to be honest - the film has dated. Why not? Just as it's hard now to show The Birth of a Nation [1915] without exploring our history, so GWTW is a portrait of attitudes to the South, the Civil War, to black life and so many other things that jar in the culture of 12 Years a Slave. That's just the way it is. I think if you are an historian of the movies you have to be ready to see and admit the way in which the culture moves on.
"It's an issue that faces TCM all the time. Yes, it's fun to enjoy the past, but you have to be able to see what is archaic, wrong and dangerous. Film tries to deal with reality but it has a constant urge to turn into fantasy. It's our duty to watch this and talk about it. By 2014, GWTW and The Birth of a Nation are epic achievements over which we need to have mixed feelings."
Thomson served as a Guest Programmer for TCM in 2007, when his film picks were Act of Violence (1949), Angel Face (1953), Mr. Arkadin (1955) and The Killing (1956). He watches the channel regularly and finds it "a treasury" that "offers the chance of filling holes" in his research. "I cherish TCM, and in my world I meet many people who live by it. I love the decision to run silent films and wish it would show more foreign stuff."
By Roger Fristoe
- Comment
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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.
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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.
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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.
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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.
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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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TCM Book Corner Try for a chance to win a free book ENTER NOW >
TCM Podcast An in-depth look at this month's films by the employees of TCM DOWNLOAD TODAY >
TCM This Show Taking viewers beyond the pages of TCM's Now Playing Guide WATCH FEATURES >
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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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The Skilly and Duff Trio will perform at the Red Willow Arts Coalition free concert on Thursday, July 26 at 7 p.m. on the lawn at the Douglas County Courthouse in Alexandria.
Skilly and Duff were the 1st place winners of the Irish music competition at the Irish Fair of Minnesota in St. Paul in 2009 and have travelled in Ireland and Canada, performing and researching their Irish songs and stories.
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subset: commoncrawl


text:
Construction & Remodeling Pros.
13131 NE 20th St
Bellevue, WA 98005
|MON 7:30am - 5:00pm
|TUE 7:30am - 5:00pm
|WED 7:30am - 5:00pm
|THURS 7:30am - 5:00pm
|FRI 7:30am - 5:00pm
|SAT closed
|SUN closed
H C S Construction Services Co. is located in Bellevue, WA, and we are here to meet all your remodeling and reconstruction needs. Since 1979 we have providing professional craftsmanship and quality construction services.
Services we offer include:
• Custom building projects
• Remodeling
• Commercial improvement
• Insurance restoration
We can handle just about any project you can imagine, including kitchen renovation, bathroom remodeling, fire damage remodeling, flood damage restoration, basement remodeling, and so much more. We accept most major credit cards.
Call H C S Construction Services Co. to schedule an appointment today.
Category: Residential Roofing Contractors|Kitchen Ideas|Home Electrical|Home Countertops|Garage Ideas|Residential Plumbing|Residential Siding Contractors|Residential Remodeling Contractors|Additional Home Services|Laundry Room Ideas|Residential Cabinets and Countertops|Building Supplies|Residential Handyman Services|Home Restoration|Home Projects|Residential General Contractors|Residential Electricians|Room Ideas|Home Additions|Disaster Recovery|Home Safety and Accessibility|Bathroom Ideas|Residential Plumbers|Family Room Ideas|Residential Flooring Contractors|Home Recreational Spaces|General Contractors|Remodeling Contractors|Basement Ideas|Progressive Home Ideas|Home Insulation|Home Structural Elements|Home Exterior|Smart Home Ideas
Serving: Mercer Island WA, Redmond WA, Kenmore WA, Bellevue WA, Sammamish WA, Greater Eastside WA (Metro), Kirkland WA, Woodinville WA
Specialty: Wall Contractors, Garage Builders
Type: Home Builders, Commercial Contractors, Industrial General Contractors, commercial general contractor, general building contractor, general construction contractor, general contractor, general contractor certification, general contractor license, general contractors, licensed general contractor, management general contractor, residential general contractor
Service: Repair Contractors, Accessibility Solutions, Basement Remodeling, Bathrooms, builder contractor, building contractor, Carpentry, construction contractor, construction seattle, Countertops, Custom Floorin, deck contractor seattle, Decks, Proches, Doors, Drywall, Fire Damage Repairs, Flood Damage Remodeling, Flooring, Furnace Repairs, Garages, General Contractor, Handyman Services, Home Exterior Projects, home remodeling contractor, house contractor, Interior Wood Finishes and Details, Kitchens, Landscape, Masonry, Plumbing, Property Management Repairs, remodeling contractor, Renovation, roofing contractor, roofing seattle, seattle contractor, Sidewalks, siding contractor, Skylights, Storm Damage, window installation seattle, window replacement contractor
Specialty: Kitchen Remodeling, Bathroom Remodeling, House Additions, Basement Remodeling
Type: Home Remodeling, Commercial Remodeling
Service: Accessibility Solutions, Altering and Remodeling, Basement Remodeling, Basement Repairs, Bathrooms, bellevue seattle, buy replacement window, Carpentry, concrete contractor, contractor, contractor builders, contractor electrical, contractor repair, copper roofing, Countertops, Custom Home Building, Decks, Proches, Doors, Drywall, drywall contractor seattle, Electrical, Exterior Doors, Fire Damage, Flood Damage, Flooring, foundation contractor seattle, Garages, garden window, general contractor, Handyman Services, Heating Repairs, home contractor, Home Exterior Projects, Home Improvement, home improvement contractor, home window replacement, Insulation, Insurance Repairs, Interior Doors, king county seattle, metal roofing, Plumber, plumbing contractor, remodel contractor, remodel contractor seattle, replacement window manufacturer, replacement window prices, residential contractor, residential replacement window, roof contractor, roof contractor seattle, roof repair seattle, roofing, roofing companies seattle, roofing company seattle, roofing contractor, roofing contractor seattle, roofing contractors, roofing material, roofing shingles, roofing slate, roofing tile, seattle contractor, seattle contractors, seattle general contractor, seattle roofer, seattle washington, Siding, siding contractor seattle, Skylights, steel roofing, Storm Damage Repairs, storm window replacement, vinyl window comparison, wa seattle, washington state contractor, washington state seattle, window contractor, window contractors, window estimates, window repairs, wood window
Convenience: Online
Payment Options: Cash, Personal Checks, Debit Cards, Visa, Mastercard, American Express, Financing, Insurance Accepted
Assurances: Licensed, Certified, Insured, Bonded, Accredited, References Available, Warranties, Locally Owned
Services: Builders
DexKnows Mobile profile for H C S Construction Services Co in Bellevue, WA


text:
USDA outlines SURE for 2011, 2012 crops
Tunica County USDA Farm Service Agency Executive Director Aaron Robinson, announced that legislative authority for the Supplemental Revenue Assistance Payments program ends on September 30, 2011. Producers must meet specific eligibility requirements to receive SURE assistance for disasters that occur on or before September 30, 2011, and affect fall 2011 and 2012 crops.
"The SURE program compensates producers for production and/or quality losses during times of disaster," said Robinson.
Producers can apply for a 2011 or 2012 SURE payment if a crop of economic significance located in a primary or contiguous disaster county under a Secretarial Disaster Designation suffered at least a 10 percent loss because of disaster occurring on or before September 30, 2011.
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View all available promotions
This was absolutely fabulous this ocean front hotel is newly renovated connected to a bar and diner...
See full review
This was absolutely fabulous this ocean front hotel is newly renovated connected to a bar and diner...
We had so many doubts as it was our first trip to Miami as a couple but as soon as we arrived to...
See full review
We had so many doubts as it was our first trip to Miami as a couple but as soon as we arrived to...
Customers who viewed Days Inn & Suites Miami/North Beach Oceanfront also booked these hotels.
Rates quoted in currencies other than the hotel's base currency are subject to the rate of the international exchange. Rate may change throughout stay. Rate may reflect average nightly rate. Extra charges may apply. Incidental charges, such as room service, are not included in the rate.
The amenities and/or facilities may not be located at the hotel, but within a reasonable distance, and additional charges may apply for use. All information has been provided by this hotel and not by Orbitz
Overall score
would recommend to a friend.
Reviewer score
Would recommend
This hotel is great if you are taking a fight out of Orlando because of its close proximity to the airport. If you are looking for amenities or comfort, look somewhere else.
Would not recommend
Overpriced room is dirty, location is good
The room is dirty. The tub has mold stains on it. The ocean front view is not impressive because the window is not big enough. The only good thing is location. It is over-priced.
Bang for your buck
This is a beautiful location for a walk on the beach. The hotel is not great but it's clean and definitely worth it for a quick stay.
Awful hotel, horrible service
There was blood on the bedsheets and dirty towels on the floor when I entered. The front desk person said the manager could not come help me because it was too late in the evening and that she was the only employee on site.
Trip to Miami beach
Stay here only if you really have to be near the beach, which you can drive down from other hotels anyway with $1/hr parking fee. This was adverstised as high-speed internet and ended up with 3rd grade connection, you can barely browse more than
5-10min. 2nd day of our stay no internet connection at all - rainfall was blamed by the receptionist at the lobby when complained abt it :)
Bathroom was too small - you can barely move around.
Receptionist at the lobby was not very helpful either.
Wouldn't recommend to anyone.
Stay here only if you are trying to stay near the beach
Great location, walking distance to the beach.
Advertised as free high speed internet, what turned out to be of very slow connection (even 3rd world country has better internet connection - I happen to b ein one of those countries), almost like
having no internet connection. Connection goes on and off. You cannot browse more than 10-15 min max. On our 2nd day, no internet connection at all. Person at the lobby didn't seem like care about it, when complained. Only thing he told me that, he cannot do anything abt it except that calling the internet company. Funniest thing I heard is, because of rainfall there is no internet connection :). Very small bathroom - can hardly move around and paid parking.
Avoid it unless you absolutely have to be near the beach. You can stay in a hotel 4-5 blocks away from the beach and can visit the beach with paid parking ($1/hour, cheap compared to what we pay in big cities)
Great Vacation
We had so many doubts as it was our first trip to Miami as a couple but as soon as we arrived to the hotel from staff to cleanness,comfort we felt like we're home.Location was also perfect as it was close to South Beach.It worth the money.It was
one of the cheapest hotels by the way.
You should see Mansion night club and Liv!
Relaxing holiday
We would like to thank Lisa for all her help while we were there. She went above and beyond to find us a church nearby and to try and contact another hotel in the area.............we need more like Lisa in the business. Thank you Lisa!!
A very central location and easy to access to the beach, bus stop and restaurants
Could be better
There was NO nternet service in the room.... Night staff did not respond to this problem when asked for help..
Fantastic trip with girlfriend
The desk clerk was so nice to welcome us with enthusiasm. My girlfriend asked him a question regarding tours trips and this hotel provides this service. At the end we decided to rent a car because we wanted to go snorkeling and take our time. In
general the service at the hotel was great. I will recommend this hotel to anyone...
South beach has a lot of restaurants and it will the best choice to go.
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text:
One FREE Pilates ClassSouth East
1 of 1
- Posted
- 995 days ago
It is fantastic for back problems, postural realignment, core strength, weak bladders, toning and relaxation. As well as helping correct bad habits, it compliments other types of exercise and is a brilliant accompaniment to individual and team sports.
All levels are welcome and there is no need to book. Just come on down! 280 Milkwood Road, Herne Hill, SE24 0EZ
First session completely Free
After that:
£9.00 for a one-off session
£72.00 for 10 sessions (non consecutive)
Ad ID: 106402129


text:
The Faculty of Rehabilitation Medicine is the only free-standing rehabilitation faculty in North America.
Our satellite campuses in Camrose and Calgary make us a successful model of Campus Alberta.
Pursuing your best is our mission statement. It not only describes our students and faculty in their academic and professional careers, but also the patients and clients they work with.
We are a research leader in the following areas: musculoskeletal health, neuroscience, aging and rehabilitation technology, among others.
May 2-3 2015 The Cancer Associated Lymphedema Management (CALM) workshop is developed for clinicians who primarily provide lymphedema management for cancer patients. This workshop will provide health practitioners with theoretical (development, progressions, treatment interventions) and practical knowledge (risk reduction strategies, assessment, management, challenges).
To date, the Faculty boasts over 6,500 alumni.
Offered in Calgary and Edmonton
A #UAlberta degree can take you anywhere, including under the big top! ow.ly/KNus2 @UofA_Alumni pic.twitter.com/y1844cXFGF3/25/2015 12:39:18 PM
Do you speak English as a second language? @ISTAR_UofA offers accent reduction workshops. ow.ly/KNg1P #UAlberta #ESL #yeg3/25/2015 11:10:45 AM
RT @YEG_SLP: Watching Michelle Swift's talk on "#LidcombeProgram: More Than Verbal Contingencies" @UofARehabMed #SLPeeps #fluency #stuttering3/24/2015 12:51:33 PM


text:
Hodgson convinced England have won Euro 2012
ROY Hodgson has congratulated his side for winning Euro 2012 after misunderstanding how the tournament works.
Nalbandian signs as Rooney's petulance-trainer
WAYNE Rooney has recruited David Nalbandian to give him tips on lashing out ahead of Tuesday's match against Ukraine.
Football cameramen threaten 'sexy woman' strike
TECHNICAL staff covering Euro 2012 have asked for more pay to continue filming attractive female spectators.
French teach English meaning of 'ennui'
ENGLAND'S opening Euro 2012 game against France has taught fans what cheroot-smoking philosophers have been going on about all these years.
Middle-aged executive announced as 100m Olympic champion
PAUNCHY company director and Olympic sponsor Stephen Malley is the world's fastest sprinter, it has emerged.
Inconsiderate park football ruins 5,000 picnics
THE inconsiderate park football season got off to a flying start this weekend, with a record number of picnics ruined.
Wembley to trial cliché-detecting technology
A NEW type of predictable pundit platitude software is to be tested at England's forthcoming game against Belgium.
Terry dedicates Champions League win to himself
JOHN Terry's single-handed capture of the Champions League trophy was especially for John Terry, it has emerged.


text:
Support fearless, open, independent journalismPolly Toynbee
Become a member of the Guardian for free
When you register free or sign in to theguardian.com, we're able to give you a better experience on our website. It also helps to support our journalism.
Publishers are now willing to embrace ebooks - but are they ready to head off the threat of a format war?


text:
Looking for a fun and innovative way to make extra money?
Start your own business today!
Join us in the Art Advocacy movement!
What you do:
What we do:
hosting a party is easy!
Love is in the air! We have a fun new selection full of lovely painting selections. We have several seasonal and customer favorites in our gallery!
We specialize in creating custom events. Perfect for you and your guests!
- Adult In-Home Parties
- Corporate Celebrations
- Team Building Events
- Children's Events
- Conferences & Conventions
- Fundraisers
- Public & Community Events
.......and more!


text:
A Guide to Car Finance
Motor loans are becoming an increasingly popular way to pay for a new car. Read on for more information on how such an arrangement could work for you.
How to Bleed Your Car's Brakes
Learn how to remove harmful air from your car's brake fluid with this straight forward guide. Includes all you need to know with easy to follow instructions.
A Guide to Getting an MOT
You can't drive without a valid MOT. Here we take you through all you need to know about the MOT process.
A Guide to Appealing a Parking Fine
If you've been hit with a parking ticket you feel is unjustified, you may be able to have it overturned. Read on to learn more about the circumstances under which you can appeal and how the process works.
A Guide to the Pros and Cons of Buying Part-Worn Tyres
Whilst you could save a considerable some of money, buying part-worn tyres comes with a number of risks. Read on for everything you need to make an informed decision.
How to Find Out Your Car Insurance Group
If you're a driver over the age of 25, the insurance group your car falls into will play a big part in determining the premiums you pay. Read on to find out more about how car insurance groups work and how they can help you save money.
A Guide to Choosing a First Motorcycle
Depending on your needs, your first motorcycle could take many different forms. Read on for advice to ow to chose the bike for you, with advice on everything from engine size to manufacturer.
A Guide to Winter Tyres
The vast majority of road accidents occur in the winter when conditions are most hazardous, yet many British drivers are still reluctant to fit winter tyres. Read on to find out why you should.
A Guide to Driving in Snow
Driving in wintery conditions can be difficult. By taking precautions and planning ahead you can avoid complications to your journey. Read on for more information.
A Guide to Top Gear Live
Top Gear live presents petrol heads with the chance to see all the high octane action of the beloved TV show up close and personal. Read on for more information on this great day out.
A Guide to the Theory Test
The theory test was introduced some years ago to compliment the practical driving test and has to be passed before you can earn a full license. Read on for all the information you'll need to prepare.


text:
Phoenix Suns
Suns' Dragic leads Slovenia to Group D win over Mexico at FIBA World Cup
Another day, another great performance for Phoenix Suns guard Goran Dragic in the 2014 FIBA World Cup.
The 28-year-old paced the Slovenians with 18 points on 6-of-8 shooting to go along with a team-high six assists in a 89-68 victory over Mexico.
But Dragic was outdone by younger brother Zoran, who led Team Slovenia with 22 points on a perfect 8-of-8 from the field.
The Dragics will resume play Tuesday morning against South Korea.
Most Popular
Suns Audio
- Tim Kempton, Suns analyst and Notre Dame alumnusTK explains what Notre Dame has to do to have a chance against Kentucky in the Elite Eight.
- Mike D'Antoni- Former NBA head coachYou won't see Mike D'Antoni coaching college basketball.
- Lon Babby- Suns president of basketball operationsLon Babby says the Suns gave up an opportunity in their playoff race.
- Al McCoy, Hall of Fame voice of the SunsAl talks about the Suns' disappointing loss to the Kings in the midst of a playoff push.
- Ryan McDonough, Suns general manager Ryan McDonough talks about the development of the Suns younger players and gives an update on Brando


text:
|Property type
|Minimum Stay
|4 - 7 nights
This 2005 1900 square foot, 4 bedroom, 3 bathroom home, Mayapple Cottage, is on 1.4 wooded acres and is perfectly situated for your Acadia vacation. It is located 2 miles from the Hulls Cove Visitor Center/main entrance to Acadia National Park and 4 miles to downtown Bar Harbor. Walk 5 minutes to either Frenchman's bay or to pick up the Island Explorer (free) bus, whose routes cover the island.
This bright comfortable home is perfect for a larger family, family reunion or just a group of friends. It features an open-design first floor with living room, dining room, and kitchen as well as a downstairs bedroom and full bath. Slip through the sliding glass door in the dining room, and you can enjoy dining, reading or just relaxing on a large sunny deck at the back of the house. The second floor features a master bedroom-bathroom with spa tub, two additional bedrooms with a full bath as well as a beautifully lit open study and upper deck. The kitchen is fully outfitted with all appliances and accessories for any cooking or dining need, and a washer and dryer are conveniently located down the hall. The living room and upstairs study contain HD TVs with Direct TV & Blu-Ray players and lots of books and games, and the home is outfitted with WiFi as well as assorted items for a baby or toddler. In short, this property has all of the comforts of home with the Park and shore next door for a perfect holiday experience.
Sandra and Don have raised 4 children and have 2 granddaughters. Sandra is a minister with the United Church of Christ in New Haven, and Don is a professor at Wesleyan University. Don discovered Acadia and the island at age 16 as an National Science Foundation student at Jackson Laboratory in Bar Harbor, and we have been coming back ever since with children and now grandchildren in tow. One of our passions is hiking throughout the world. Acadia with its superb beauty and vast set of trails offers unparalleled hiking opportunities.
Donald Oliver purchased this house in 2014
Everyone should have a special place in this world: a wellspring to draw strength from, and which rejuvenates them. Acadia National Park and Mount Desert Island is that place for us, and we want you to see and experience it first hand.
Moving beyond the limitations of Acadia cottages, we decided to buy a larger modern, private house and equip it with all the comforts and conveniences of home to provide a superior vacation experience for the whole family. The property is also ideally located: 2 miles from the Hull's cove (main entrance) to Acadia National Park and 4 miles from downtown Bar Harbor. You can walk 5 minutes down our quiet road to Frenchman's Bay or pick up the Island Explorer (free) bus and go anywhere on the Island without driving. The latter option is great for those long one-way hikes or bike rides across the island.
We had a wonderful time at Mayapple cottage. The scenery and ameneties were just perfect. There is a wooded area in the back for the kids to discover nature.
The house is fully equipped with everything needed and the dining room allows for great family time. Being so close to Bar Harbor and Acadia National Park allows you to simply go and enjoy hiking, cycling, walking or trekking.
Thank you to the owners and manager for making this such a wonderful stay.
Has everything you need. Great porches. Great kitchen, had lobster and steak every night
Exquisite home, very clean, superb accommodations for our family of 8 adults and one infant. Well stocked with appliances, dishware, furniture and everything you need. Upon our arrival, we discovered two benches located around the dining room table were broken. Owner promptly replaced them with top quality benches that were more than adequate. Home is located in a quiet wooded setting with easy access to the Ocean and Acadia National park. Highly recommended!
Everything was clean and new, delightfully decorated and comfortable. No amenity was overlooked- right down to a great BBQ and a big old Lobster pot for enjoying what Maine was made for! We loved our stay and would come again in a heartbeat.
Especially enjoyed sitting on deck each morning watching the deer. Kitchen has every amenity & cooking utensil imaginable. Only drawback is that Master Bathroom shower is not yet tiled so it cannot be used. Otherwise, I would definitely rent this home again.
Mayapple Cottage is an outstanding family vacation spot! The home is in a perfect location for hikes in Acadia and for dining, shopping, whale watching, and more in Bar Harbor.
Acadia National Park with its spectacular scenery and extensive system of trails for hiking and carriage roads for nature walks, biking, or horse-drawn carriages is a must. Be sure to check out the summit of Cadillac mountain, and Jordan Pond house with its blueberry popovers. Drive the Park loop road or walk the Shore Path past Sand Beach, Thunder Hole, and Otter Cliffs for unforgettable images that dance in your heart. Canoe in Long Pond, or sea kayak to the Porcupine Islands in Frenchman's Bay. Take the kids to pristine Sand Beach or go for a swim at Echo lake. Shop and dine out in Bar Harbor or visit other cute shops in Northeast or Southwest Harbors. In the latter location be sure to pick up a fresh pita, smoothy or home-baked dessert at Eat-A-Pita. Take a Nature cruise or whale watch out of Bar Harbor or Southwest Harbor and see puffins, eagles, seals, whales, and more. And of course no visit to the Maine shore is complete without that lobster. We have described these activities and more in our 'Must-do' notebook in our living room.
|Rate Period
|Weekend Night
Off season
Nov 2 2014 - May 9 2015
4 night minimum stay
May 10 2015 - Jun 13 2015
Changeover Day: Sunday
7 night minimum stay
Early summer
Jun 14 2015 - Jun 27 2015
Changeover Day: Sunday
7 night minimum stay
Peak summer
Jun 28 2015 - Aug 29 2015
Changeover Day: Sunday
7 night minimum stay
Early fall
Aug 30 2015 - Oct 17 2015
Changeover Day: Sunday
7 night minimum stay
Late fall
Oct 18 2015 - Nov 1 2015
4 night minimum stay
|Property Damage Protection
Rentals are weekly Sunday(4 PM check-in)-to-Sunday(10 AM check-out) except Off-season when 4 night minimum stays are done.
Payments schedule: 1st half plus Damage Protection fee due at Booking;2nd half due 60 days prior to arrival.
Cancelation Policy:100% refund if cancelled 90 days before arrival; after that refund dependent on filling vacant dates; no refunds possible within 30 days of arrival.
Payment is usually accepted in the quoted currency (USD) unless the currency and the amount is specifically agreed in advance with the owner / advertiser.


text:
Hacker Exposes Florida's Voting Database — Again 76
from the florida-is-always-good-for-news dept.
We've improved Slashdot's video section; now you can view our video interviews, product close-ups and site visits with all the usual Slashdot options to comment, share, etc. No more walled garden! It's a work in progress -- we hope you'll check it out (Learn more about the recent updates).
The voting system in Florida is 100% secure, they absolutely positively guarantee that there is ZERO chance of ANY voter being able to affect the predetermined outcome sold to the highest bidder.
Oh yeah thought they were trying to ensure the voters choice was not tampered with? What a silly idea.
IF I HAD A MINE SHAFT, I don't think I would just abandon it. There's got to be a better way. -- Jack Handley, The New Mexican, 1988.