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Luxury hotel in tuscany
Luxury Hotel in Tuscany charming holidays in Italy
Standing in the small village of San Pietro a Marcigliano, nearby Capannori, the Luxury Hotel Tenuta San Pietro can be found amidst the fascinating rolling Lucca hills. The careful restoration of a 16th century country house, this delightful hotel overlooks the village and proudly shines for its exquisite combination of modern techniques with long-standing traditions.
Eight bedrooms and two Suites offer all comforts, attractive design, functionality yet warm decor whilst maintaining cutting edge services and exclusive attention to details.
Two meeting rooms, it own Cellar for Wine and Food Tasting experiences are just an example of what opportunities awaits either business and leisure travellers.
A impeccable choice and location for Weddings in Tuscany amidst the surrounding landscape of Lucca.
A romantic hideaway resort hotel for your Honeymoon and special events. Sign up to our NEWSLETTER to find out all our services, promotions and packages.
Wedding venue in Lucca, Cooking Course and Class in Tuscany and fine dining in a Resort Hotel.
The Restaurant is one of our key features and benefits from extraordinary reviews both by our guests and the surrounding community.
Our Chef has created an exquisite dining offer mixing homegrown ingredients and traditional recipes to deliver exciting menu that changes with each season.
The impeccable service at our Restaurant combined with an outstanding scenario makes it an ideal choice for special occasions, Wedding banquets or indeed one of our many courses available throughout the year.


text: GALLERIES Kataxenna Kataxenna Pics 1/7 Kataxenna Share Tweet 0 Shares AskMen Editors February 20, 2009 Next Slide Comments Show Comments More Like This Around the Web Special Features Special Feature Revealed: The Final Word On Getting & Maintaining The Body You Want Read More Special Feature Over 100 Ways To Make This The Most Jaw-Dropping Year Of Your Life Read More Special Feature From Dating To Fitness, Over 75 Ways Men Are Winning 2015 Read More Special Feature 100 Ways To Look Better Than You Do Now. Smooth Up, Man. Read More ad

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Floor Polisher Parts
If you have wooden floors then it is mandatory that you invest in a good floor polisher. Though the wooden floors give the rooms a warm and golden tone, taking care of them can be tricky if you're not very careful. Wooden floors can be easily scratched, excess moisture and chemicals can damage the wood. Here we look at how to use a floor polisher on a wooden floor.
How to use Floor Polisher on Wooden Floors
•Clean the floor with a soft brushed broom or a vacuum cleaner before using the floor polisher.
•Ensure that the pad of the floor polisher is clean and sparkling. Buff the floor with the pad from one corner to another until the entire room is covered.
•You can either use a floor wax or make a all natural floor polish at home. In a double boiler heat 2 cups of mineral oil and 1 tbsp beeswax. Once they are melted drizzle the mixture evenly over the floor.
•Slide a new pad into the floor polisher. Slowly move the floor polisher from the back of the room to the front in gentle motions. The slow and gentle motion of the floor polisher over the polish will bring a glow and sparkle to the floor.
If you are planning to invest in a good floor polisher look no further than GoVacuum.com. Here we deal with only the top most brands such as Bissell, Bosch, Carpet, Dyson and so on. The floor polisher replacements such as pads, shower feed brush, roller brush are available with us. GoVacuum.com is a one stop for all your cleaning solutions.
ZVac Oreck Uprights, 100C, 9100C, 988, 9000 series Brush Roller$28.49ZVac Oreck Uprights, 100C, 9100C, 988, 9000 series Brush Roller Learn More
1 & 1/4 inches (32MM) DELUXE FLOOR BRUSH for most vacuum cleaners (1)$7.99Fit all floor brush fits all vacuums that accept standard 1 1/4\" (32MM) inside diameter attachments. Deluxe floor brush is 12\" wide, has natural horse hair bristles and two non marking rubber wheels. 360 degree swivel neck allows for very easy cleaning of any hard surface. Learn More
S 3101 Shark Pads By Zvac (3)$15.90100% microfiber Learn More
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Play a-Round! Dandelion's Soft Busy Block is a classic toy that is safe for baby to explore with organic cotton and filling made from corn. The variety of soft textures & assorted sounds enchant your baby while developing fine motor and sensory skills. The Busy Block has a chubby handle little hands can hold, a fabric flap that crinkles and knots and tags to tug. Give it a shake and hear the pleasant rattle! Made of organic velour, waffle weave, terry and canvas. Machine Washable too! Recommended for babies 6 months and up. 6 inches around.
Dandelion Toys are made of organic fabrics with natural corn filling and 100% recycled packaging with vegetable inks. Going Green can be adorable, safe AND practical with Dandelion.


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5.75" X 9.75" Majestic 1 3/4" Patterned Rectangular Grill from the 225 Series
Add a unique decorative element to any room with perforated grilles from Architectural Grille. From the historically accurate to the stylishly artistic, our perforated grilles will beautifully ornament walls, ceilings, windows, and more.
Choose from a variety of architecturally accurate designs in a number of beautiful materials and finishes.
- Duct Size: 4" x 8"
- Overall Dimensions: Height 5.75" X Width 9.75"
- Includes screw holes for wall mount
- 1-3/4" Majestic Pattern
Additional Architectural Grille Links
This Architectural Grille item can also be referenced by the following color/finish specific model #:
- Architectural Grille W22548-BZA
Antique Bronze
- Architectural Grille W22548-AB
Black Flat Aluminum
- Architectural Grille W22548-AMP
Polished Aluminum
- Architectural Grille W22548-ARAL
RAL Color Aluminum
- Architectural Grille W22548-AS
Satin Aluminum
- Architectural Grille W22548-BS
Satin Brass
- Architectural Grille W22548-BZS
Satin Bronze
- Architectural Grille W22548-SS
Satin Stainless Steel
- Architectural Grille W22548-AW
White Flat Aluminum
*Discontinued model or finish
More Than Just a Store - Your Reasons to Shop
Discover the best online deals for the W22548 and everything else for your home from the leading online home improvement store.
We're committed to providing you with the best assortment of Architectural Grille products with over 400 warehouses across the country.
Our knowledgeable product specialists work to bring you the best prices on every product and provide unmatched customer service. Your satisfaction is our highest priority!
Installation Resource Center
Whether you are installing the product yourself or hiring a professional, our installation Resource Center has everything you need to get your project done. Visit the Installation Resource Center to get started.


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Tuesday, July 9, 2013
The Citadel men's basketball coach Chuck Driesell has hired Justin Argenal as an assistant coach and Zavier Anderson as director of basketball operations.
The school announced the additions Monday.
Argenal spent the last two seasons on the Louisiana Tech staff. He takes over for Quinton Ferrell, who accepted an assistant's job at Army. Argenal was also with The Citadel as director of basketball operations during the 2011 season. Before that, he was a graduate assistant at Mississippi.
Anderson played basketball at Clemson and worked for the past two years as a graduate assistant at Virginia Commonwealth. He replaces Pat Rogers, who went to Notre Dame as video coordinator.
Moultrie News is pleased to offer readers the enhanced ability to comment on stories. We expect our readers to engage in lively, yet civil discourse. We do not edit user submitted statements and we cannot promise that readers will not occasionally find offensive or inaccurate comments posted in the comments area. Responsibility for the statements posted lies with the person submitting the comment, not Moultrie News.
If you find a comment that is objectionable, please click "report abuse" and we will review it for possible removal. Please be reminded, however, that in accordance with our Terms of Use and federal law, we are under no obligation to remove any third party comments posted on our website. Read our full terms and conditions.
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Registration on or use of this site constitutes acceptance of our Terms of Service, Privacy Policy and Parental Consent Form.


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Hilbert College Awarded 2014 Military Friendly Schools ® Designation
- Release Date:
- September 10, 2013
- Contact:
- Matt Heidt, firstname.lastname@example.com
- 716-926-8792
Victory Media, the premier media entity for military personnel transitioning into civilian life, has named Hilbert College to the coveted Military Friendly Schools® list. The 2014 Military Friendly Schools® list honors the top 20 percent of colleges, universities and trade schools in the country that are doing the most to embrace America's military service members, veterans, and spouses as students and ensure their success on campus.
"Inclusion on the 2014 list of Military Friendly Schools® shows Hilbert College's commitment to providing a supportive environment for military students," said Sean Collins, Vice President at Victory Media and a nine-year Navy veteran. "The need for education is growing and our mission is to provide the military community with transparent, world-class resources to assist in their search for schools." Complete survey methodology is available at militaryfriendlyschools.com/Article/methodology-press-kit.
The Military Friendly Schools® media and website, found at www.militaryfriendlyschools.com, feature the list, interactive tools and search functionality to help military students find the best school to suit their unique needs and preferences. The 1,868 colleges, universities and trade schools on this year's list exhibit leading practices in the recruitment and retention of students with military experience. These schools have world-class programs and policies for student support on campus, academic accreditation, credit policies, flexibility and other services to those who served.
Now in its fifth year, the 2014 list of Military Friendly Schools ® was compiled through extensive research and a data-driven survey of more than 10,000 schools nationwide approved for VA tuition funding. The survey results that comprise the 2014 list were independently tested by Ernst & Young LLP based upon the weightings and methodology established by Victory Media. Each year schools taking the survey are held to a higher standard than the previous year via improved methodology, criteria and weightings developed with the assistance of an Academic Advisory Board (AAB) consisting of educators from schools across the country. A full list of board members can be found at http://militaryfriendlyschools.com/board.
A full story and detailed list of 2014 Military Friendly Schools® will be highlighted in the annual Guide to Military Friendly Schools ®, distributed in print and digital format to hundreds of thousands of active and former military personnel in early October.
Victory Media is a service-disabled, veteran-owned small business that has been serving the military community since 2001. Our data-driven Military Friendly® lists are published in G.I. Jobs, Military Spouse, Vetrepreneur media channels, republished in periodicals like USA Today, Wall Street Journal, Fortune, Bloomberg BW and are frequently cited on national TV by NBC, ABC, CBS, CNN, CNBC, Fox News and others.
Hilbert College, located in suburban Hamburg, N.Y., south of Buffalo, is a private four-year college founded in 1957 in the Catholic Franciscan tradition. With nearly 1,100 students, Hilbert is a dynamic Western New York college that offers career-focused majors, including one of the top criminal justice programs in the region, and more than 50 minors and concentrations. The college's engaging, student-centered campus community offers numerous leadership, internship, and service learning opportunities from which students launch successful careers while making positive changes in their communities. The Hilbert Blueprint promotes a well-rounded student experience over four years – starting with the Foundations Seminar in the freshman year, followed by Sophomore Service, Junior Symposium, and culminating with the Senior Capstone. Hilbert has expanded its academic offerings with the college's first graduate programs and new Accelerated Degree Programs geared to adult learners.
Upcoming Events
- First Year Student Orientation
- Aug 14, 2015
- Summer Session A2 Ends
- Aug 21, 2015
- First Year Student Orientation
- Aug 28, 2015


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Still, I knit away with lovely yarn while sitting at the pool. I started another slouchy cardigan. A.) Because I LOVE that sweater. (I think it has been my all time favorite sweater that has gotten the most wear of anything that I have ever knit.)
Have you seen Vogue Knitting Stitchionary 5? The 5th in the series that is an amazing reference that would benefit every knitters library, lace knitter or not. It is full of clear instructions and charts of over 150 different designs. I sort of got lost in the photographs. They are absolutely gorgeous. I just love this book sitting on the coffee table.


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Root Catalog
Scooba Battery item #5930$69.99Get more continuous cleaning time from your Scooba with a second rechargeable battery. To add convenience and extend Scooba's cleaning time, charge one battery in the Charging Base while Scooba is cleaning.This item is currently out of stock and probably Learn More
Scooba Charging Base item #5931$49.99Scooba Charging Base charges Scooba's battery in less than 3 hours. STANDARD FEATURES Enables you to charge Scooba's battery on the counter while Scooba is Learn More
Scooba Cleaning Brush item #5941$19.99Replaces Scooba's cleaning brush. STANDARD FEATURES Effective on all sealed hard floors Gen Learn More
Scooba Cleaning Head item #5940$27.99Replaces Scooba's brush and cover assembly. Cleaning head is safe and effective on all sealed hard floors, and easy to clean. Learn More
Scooba Filter item #5943$19.99iRobot Scooba filter, for use with iRobot Scooba, prevents hair and other large debris from interfering with Scooba's fan. Clean Scooba's filter regularly for optimal cleaning performance. STANDARD FEATURE Learn More
Scooba Measuring Cup #14971$1.99Plastic measuring cup is marked with a Fill Line to indicate the appropriate amount of Clorox Learn More
Scooba Power Supply item #5932$49.98Scooba Power Supply, for use with iRobot Scooba, charges Scooba's battery in just three hours when used with either Scooba Floor Washing Robot or Scooba Charging Base (items sold separately). Learn More
Scooba Vacuum Port item #5947$19.99
It's time to put your mop and broom away if you have invested in the iRobot Scooba. If you have been using it for a while now, you know how handy its prep, wash, scrub and squeegee features are. Cleaning's a chore no more, but what do you do if you find that the vacuum port in your Scooba cleaning system is damaged? Here's a replacement part for your lost or damaged Scooba vacuum port. The floor washing robot is well known to bring a simplified design and longer battery life to high-performance cleaning. Buy this replacement part on time so you can continue to enjoy the convenience of cleaning your home.
Vacuum cleaning systems are designed to last for years. That's why it is recommended that you research enough before choosing a good one. The vacuum cleaning systems have also come a long way from being used to clean floor surfaces to carpets. They are capable of cleaning all parts of your home today. But what is the right vacuum cleaner for you? Visit GoVacuum.com and use our review videos and blog to determine the things you must keep in mind while shopping for vacuum cleaners or spare parts online. We will help you decide which one to buy among leading brands and also help you buy it at our comprehensive online store.
Product Features: • Scooba Vacuum Port item #5947 • Replaces lost or damaged Scooba Vacuum Port • Ideal to use with iRobot Scooba
Scooba Virtual Wall item #5946$39.99iRobot Scooba Virtual Wall creates a beam of infrared light that Scooba will not cross. The Virtual Wall is perfect for blocking doorways, cords, and other areas that you want Scooba to avoid. Also compatible with iRobot Roomba Vaccuuming Robots. Requires Learn More
Scooba(r) Virtual Wall(r), Grey Item #5927$44.99iRobot Scooba Virtual Wall creates a beam of infrared light that Scooba will not cross. The Virtual Wall is perfect for blocking doorways, cords, and other areas that you want Scooba to avoid. Also compatible with iRobot Roomba Vaccuuming Robots. Requires Learn More
IRobot Cleaning Head for Scooba Floor Cleaning Robot Item Number # 5928$29.99IRobot Cleaning Head for Scooba Floor Cleaning Robot Item Number # 5928 Learn More
Scooba Replenishment Kit #5942$40.00Scooba Replenishment Kit #5942 Learn More
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Movie News - Our extensive online Hollywood film and classic DVD news page.
Top News Stories
The Earrings of Madame de... on Blu-ray
The European films of Max Ophuls are elaborate dances of romance and seduction in a world of social constraints and fickle lovers, and his 1953 The Earrings of Madame de..., considered by some critics one of the perfect pictures of cinema, is the most elegant of these melancholy waltzes. And it is amazing, a piece that is not just directed, not just choreographed, but sculpted, with actors and décor as the raw materials and the camera carving out the story in time and space and black and white.
Danielle Darrieux is the Madame de... of the title, an old-world socialite in 19th century Paris in a marriage of convenience to confident, cultured diplomat Charles Boyer. She plays the Countess as a supremely poised actress who stages her own personal dramas for effect, such as fainting to force the sale of the earrings, or to stop a confrontation at a dance. Boyer gives the most delicate and nuanced performance of his career as the General, the very picture of a cultured gentleman at ease with social convention and manners, the confident, smiling high society habitué. Together they master the illusion of the perfect social pair while spending their free time dallying with flirtatious suitors and casual lovers, but the illusion is shattered when the Italian diplomat Baron Donati (Vittorio De Sica) enters the picture.
Where Boyer's General is easy and joshing to hide a lack of feeling, De Sica has an effortless charm that covers a romantic passion, and he falls for the Countess in a magical dance sequence that Andrew Sarris describes so eloquently: "In a series of Strauss waltz sequences, the most dazzling courtship in film history is conducted before the probing eyes of the Parisian Belle Epoque aristocracy." The Countess's whole social life has been a series of flirtations and romantic play, but this scene is unabashedly romantic, a fairy tale of love at first sight. But it's a fleeting moment, and for all the dreamy romance of the scenes, there's no heat between them. The passion simply doesn't break through their carefully cultivated facades and their romance isn't so much true love as a glimpse into the possibilities of true emotion that she has denied herself. Donati isn't necessarily her soulmate, but he shows her that perhaps such a thing is possible, and that possibility haunts her.
As in Ophuls' La Ronde, there is a circularity to the story carried along by the journey of the earrings of the title. They are sold at the opening of the film by Madame, bought again by the Count, given away as love tokens and farewell gifts, and ultimately make their way back to Madame. The jewels are never more than tokens, and the heart-shaped diamonds are a cold, impersonal stand-in for affection, but by the time they come back to the Countess as a gift from Donati, she has invested them with a meaning far greater than they ever had when they were merely a present from her husband.
Ophuls choreographs as much as he directs and his camera is both an intimate part of the dance and a distant observer of inevitable tragedy, capturing a culture of courtly manners petrified into meaningless ritual threatened only by the irrationality of emotion. He's sympathetic, but never really intimate. The camera acts like a respectful partner in an elaborately choreographed routine, one of those elaborate 19th Century group dances where you spend more time moving away from and dancing around your partner than actually touching them, always maintaining a proper distance.
Darrieux is so restrained that, by the end, it's not passion but desperation that drives her. She's enthralled by the ideal of love that she has denied herself. Boyer's Count is as emotionally driven as she is -- his jealousy is as real as her heartsick love -- yet his actions are determined more by pride and ego than romantic passion. It's not her affair that he objects to, it's her emotional engagement. A meaningless distraction he can understand, but love with another man an affront to everything that defines his life. He's as much a victim of social convention as is his wife.
The tragedy of The Earrings of Madame de... is ultimately not about losing a soulmate -- de Sica's Baron Donati is simply too removed a lover to have an emotional presence, a man who plays the game of romance so well that he never really seems to risk his heart -- but the realization that her life has been so empty, and is about to be so again. She realizes how meaningless her little games and flirtations have been when faced the possibility of something more. Fear of a life without the hope of something more meaningful (real or not) becomes more than she can face.
Criterion previously released the film on DVD in 2008 in a windowboxed edition. The Blu-ray is newly remastered (with no windowboxing) from Gaumont's 2012 2k restoration and the image is cleaner, sharper, and richer than the earlier DVD, though there have been pockets of criticism accusing the Gaumont restoration of too much digital filtering. That may be true, but on my screen it's a distinct improvement over the DVD.
New to disc is an "Introduction" by Paul Thomas Anderson, which is more accurately a 14-minute appreciation with discussion of some key scenes (and some spoilers). Carried over from the earlier release is commentary by film scholars Susan White and Gaylyn Studlar, which is a decidedly scholarly affair of prepared essays presented as a conversation, and an excellent 17-minute video essay on the visual style by Tag Gallagher. Also from the earlier release is a lengthy video interview with Ophuls' assistant director Alain Jessua, archival interviews with co-screenwriter Annette Wademant and assistant decorator Mar Frédérix (both from 1989), and a 1965 interview with Louise de Vilmorin, the author of the original story.
The accompanying booklet features an essay by critic Molly Haskell, an excerpt from costume designer Georges Annenkov's 1962 book Max Ophuls, and Louise de Vilmorin's novella Madame de, which inspired the film.
By Sean Axmaker
- Comment
New Books
My First Time in Hollywood: Stories from the Pioneers, Dreamers and Misfits Who Made the Movies
By Cari Beauchamp
Film Historian and author Cari Beauchamp has assembled a terrific line-up of Hollywood legends for her latest book, My First Time in Hollywood. Utilizing a wide array of archives, she has traced back to the beginning days of Hollywood and the siren call that brought so many people westward to find their fame and fortune in the movies.
Actors, directors, screenwriters, cinematographers and editors--half of them women--recall their initial impressions of Hollywood, their struggle to find work and the love they had for making movies that kept them going. From Herbert Marshall to Noel Coward, she covers the first twenty years of the western migration that brought the cinematic pioneers to the sleepy little sun-kissed community that would become internationally known as Hollywood.
Throughout the book, legends such as Mary Pickford, Harold Lloyd, Lillian Gish, Myrna Loy, Cecil B. DeMille and many others talk about what inspired them to come west and their first impressions of the dusty roads and orange groves that dominated the landscape of the future home to the dream factories.
Drawn from letters, speeches, oral histories, memoirs, and autobiographies-and with over sixty vintage photographs and illustrations, each story is intimate and unique but all speak to our universal need to follow our passions and be part of a community that feeds the soul.
Cari Beauchamp is the award-winning author of Without Lying Down: Francis Marion and the Powerful Women of Early Hollywood;, Joseph Kennedy Presents, Adventures of Hollywood Secretary, and other books on Hollywood history. She has written and produced documentaries, writes for Vanity Fair and is the only person to be twice named as an Academy of Motion Picture, Arts and Sciences scholar.
- More >
Madeline Kahn: Being the Music, A Life
By William V. Madison
Madeline Kahn was one of the brightest comedic stars of her generation. Beginning with her scene-stealing (and Oscar-nominated) roles as Trixie Delight in Paper Moon and her wonderful homage to Marlene Dietrich in Blazing Saddles, Kahn lit up the screen with her hilarious portrayals and witty sense of timing.
After her break-through role in Paper Moon, she became part of the Mel Brooks stock company, co-starring in Blazing Saddles, Young Frankenstein, and High Anxiety. She starred on Broadway as well as television, enjoying much success along the way.
In private, though, she was as reserved and refined as her characters were bold and bawdy. Almost a Method actor in her approach, she took her work seriously. When crew members and audiences laughed, she asked why--as if they were laughing at her--and all her life she remained unsure of her gifts.
The book explores her film career, from her well-known roles to her underappreciated and often overlooked performances in films like Sherlock Holmes' Smarter Brother and Judy Berlin. Author William V. Madison also focuses on her Broadway career where she found great success and remarkably bad luck in equal doses, culminating in a disastrous turn in On the Twentieth Century that left her theater reputation in tatters. It took her fifteen years and a Tony-winning performance in The Sisters Rosensweig to regain her stature on Broadway.
Drawing on new interviews with family, friends, and such colleagues as Lily Tomlin, Carol Burnett, Gene Wilder, Harold Prince, and Eileen Brennan, as well as archival press and private writings, Madison uncovers Kahn's lonely childhood and her struggles as a single woman working to provide for her erratic mother. Readers will discover the paramount importance of music in Kahn's life. A talented singer, she entertained offers for operatic engagements long after she was an established Hollywood star, and she treated each script as a score. As Kahn told one friend, her ambition was "to be the music" and she always delivered her best.
William B. Madison is a former producer at CBS News and a former associate editor of Opera News; he was the lone production assistant on the Broadway musical Rags in 1986. A graduate of Brown University and of Columbia's School of Creative Writing, he is a native Texan currently living in New York City.
- More >
In the Company of Legends
By Joan Kramer and David Heeley
In the Company of Legends gives its readers an insider's view of some of Hollywood's most elite and well-known stars of the silver screen. With their captivating behind-the scenes stories of some of the town's most beloved but hard-to-get interviews, Joan Kramer and David Heeley offer a rousing reading adventure.
They began documenting the lives and careers of many of the stars of the golden age of Hollywood in 1980 with their award-winning profile of Fred Astaire, and they quickly gained a reputation for finding the un-findable, persuading the reluctant and maintaining unique relationships long after the end credits rolled. They revitalized the genre of star biography with their high-quality, definitive portraits and helped turn the genre into a mainstay of modern television programming.
The roster of stars who sat down for interviews with them includes Katharine Hepburn, James Stewart, Elizabeth Taylor, Bette Davis and Audrey Hepburn, along with many others. The stories of the productions and the personalities involved are amusing, sometimes moving, and some are revealed for the first time.
Joan Kramer and David Heeley began their long producing partnership WNET before forming their own production company, Top Hat Productions. Their programs have received five Emmy awards, twenty Emmy nominations and national and international honors.
- More >
A Fine Romance - New autobiography by Candice Bergen
By Candice Bergen
Candice Bergen has had a varied career that has included being a film actress, an award-winning television star as well as an acclaimed photographer. Her first memoir, Knock Wood covered her early years growing up with her "brother" Charlie McCarthy and breaking into acting. This new memoir details her later life--her marriage to French film director Louis Malle, her success with Murphy Brown, the birth of her daughter, the tragic loss of Malle to cancer and forging a new life from that loss. Throughout the book, Bergen talks frankly about the journey of her life and shares it with a writing style that is honest, down-to-earth and often hilarious.
As she writes in this memoir, falling in love with Malle changed her life in many ways. The director's huge appetite for life broadened her horizons, and their romance flourished despite the ups and downs of their career choices. But, the heart of the story is in her love for her daughter, Chloe. After years of ambivalence about motherhood, Bergen discovered the overpowering love and bond that can exist between mother and daughter. As Chloe grew up, Bergen found her comic genius in the biggest TV role of the 80s, Murphy Brown, and made headlines as the storyline of the show spilled over into the presidential campaign politics in 1992.
Fifteen years into their marriage, Malle was diagnosed with cancer, and Bergen is unflinching in describing her and Chloe's despair over his death. But after years of widowhood, she discovered she missed the company of men and was surprised to find love anew with a man very different from Malle. She takes us through the first years of her new marriage and shares the bittersweet journey of watching Chloe leave home and flourish, while finding comedy in being an older actress in Hollywood and the losing struggle with wrinkles and extra pounds.
Candice Bergen has penned numerous articles, written a play as well as her first memoir, Knock Wood. Her film credits include The Sand Pebbles, Carnal Knowledge, Starting Over (for which she received an Oscar nomination), and Miss Congeniality. On television, she made headlines as the tough-talking broadcast journalist and star of Murphy Brown, for which she won five Emmys and two Golden Globes. She later starred with James Spader and William Shatner in the critically acclaimed series Boston Legal.
- More >
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
Dick Dinman and Eddie Muller Salute Noir Classic THE PROWLER
DICK DINMAN AND EDDIE MULLER SALUTE "THE PROWLER" : THE PROWLER, which is quite possibly the most shockingly subversive film noir classic ever conceived, has just been released by VCI Entertainment in a spectacular new blu-ray restoration and to celebrate the release of this dauntingly chilling and unseen-for-decades masterpiece producer/host Dick Dinman welcomes back "Czar of Noir" Eddie Muller whose Film Noir Foundation played a significant role in restoring this much requested noir gem to its present sublime condition and both pay tribute to the uncommonly raw and riveting performances of leads Van Heflin and Evelyn Keyes.
DICK DINMAN AND EDDIE MULLER SALUTE "THE PROWLER" (PART TWO) : In part two of our salute to VCI's blu-ray release of THE PROWLER producer/host Dick Dinman and Eddie Muller discuss the searingly uncompromising contributions of uncredited blacklisted screenwriter Dalton Trumbo and soon to be blacklisted director Joseph Losey.
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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3-D Summer at MoMA in New York
June 13-July 4, 2015
On June 10, 1915, the Astor Theater in Times Square presented the first documented public exhibition of three-dimensional motion pictures. In the century since, 3-D filmmaking has gone through at least three boom-and-bust cycles, but the process is still with us and, thanks to the new digital technologies, is in many ways better than ever.
Perhaps the most fertile of the 3-D fads was that of 1953 to 1955, when an advance in technology (clear polarized lenses replaced the red and green filters of the first 3-D glasses) aligned with the desperate need of the studios to offer spectacles beyond the reach of the movies' new rival, television. Fifty feature films and countless shorts were produced in those years, but just as 3-D was graduating from low-budget exploitation films (such as the notorious Robot Monster) to major studio productions with A-list stars and directors, the market evaporated--not because audiences disliked the new process (as the box office figures demonstrate) but because it was too difficult to keep two projectors in perfect synchronization, as the technology demanded.
With digital projection, however, those problems have been largely eliminated. The last few years have seen a resurgence of "golden age" 3-D films, remastered from original dual-strip elements for digital presentation. Our centennial celebration begins with the New York digital "re-premiere" of perhaps the most sought-after of the golden age stereoscopic films, John Farrow's 1954 Western Hondo, starring John Wayne and Geraldine Page, presented in a newly scanned DCP courtesy of Gretchen Wayne and Batjac Films. This series also includes a brand-new scan of George Sidney's 1953 MGM musical version of Cole Porter's Kiss Me Kate, as restored from the original Ansco Color negative by Ned Price and his associates at Warner Bros. Motion Picture Imaging; and three presentations of 3-D Rarities, a collection of historically significant and/or plain silly stereoscopic films newly preserved by Bob Furmanek and Greg Kintz of the 3-D Film Archive.
Organized by Dave Kehr, Adjunct Curator, Department of Film.
Special thanks to Gretchen Wayne, Ned Price, Bob Furmanek, and Greg Kintz.
3-D Rarities
Archivist Bob Furmanek (who brought us The Bubble last year) returns with the world premiere of a new, feature-length, eclectic collection of 3-D films. Included are the earliest surviving stereoscopic film, Thru the Trees: Washington, D.C. (1922); a 1940 promotional film for the Pennsylvania Railroad, Thrills for You; the 1953 stop-motion animation The Adventures of Sam Space; and a 1940 Technicolor 3-D short, New Dimensions (aka Motor Rhythm) produced for the Chrysler Pavilion of the New York World's Fair. Courtesy 3-D Film Archive. 97 min.
Saturday, June 13, 2015, 4:30 p.m., Theater 2, T2
Sunday, June 28, 2015, 2:30 p.m., Theater 2, T2
Tuesday, July 7, 2015, 2:00 p.m., Theater 2, T2
1953. USA. Directed by John Farrow. Screenplay by James Edward Grant, from a short story by Louis L'Amour. With John Wayne, Geraldine Page, Ward Bond, James Arness, Leo Gordon, Paul Fix. Striding with all of his mythical stature into the 3-D space created by long-take specialist John Farrow (with an assist from uncredited second unit director John Ford), Wayne is a dispatch rider who takes rancher Geraldine Page and her young son under his protection in the unsettled Southwest of 1874. Courtesy Batjac Productions. 83 min.
Saturday, June 13, 2015, 7:00 p.m., Theater 2, T2 (Introduced by Gretchen Wayne)
Sunday, June 14, 2015, 5:00 p.m., Theater 2, T2
Monday, June 15, 2015, 7:00 p.m., Theater 2, T2
Tuesday, June 16, 2015, 7:00 p.m., Theater 2, T2
Wednesday, June 17, 2015, 7:00 p.m., Theater 2, T2
Thursday, June 18, 2015, 7:00 p.m., Theater 3, mezzanine, Education and Research Building
Friday, June 19, 2015, 7:00 p.m., Theater 2, T2
Saturday, July 4, 2015, 4:30 p.m., Theater 2, T2
Kiss Me Kate
1953. USA. Directed by George Sidney. Screenplay by Dorothy Kingsley, from the musical Kiss Me Kate, book by Samuel and Bella Spewack, music and lyrics by Cole Porter. With Kathryn Grayson, Howard Keel, Ann Miller, Keenan Wynn, Bobby Van, James Whitmore, Bob Fosse, and Ron Randell. Backstage intrigue alternates with onstage extravagance as composer Cole Porter (Ron Randell) struggles to mount a Broadway musical adaptation of The Taming of the Shrew, while tensions between his formerly married stars (Kathryn Grayson and Howard Keel) find reflections in Shakespeare's plot. Ann Miller is the tap-dancing other woman; Bob Fosse performs with Carol Haney in his first choreography for film (all 48 seconds worth). Courtesy Warner Brother Classics. 109 min.
Sunday, June 28, 2015, 5:30 p.m., Theater 2, T2
Monday, June 29, 2015, 7:00 p.m., Theater 2, T2
Tuesday, June 30, 2015, 7:00 p.m., Theater 2, T2
Wednesday, July 1, 2015, 7:00 p.m., Theater 2, T2
Thursday, July 2, 2015, 7:00 p.m., Theater 3, mezzanine, Education and Research Building
Friday, July 3, 2015, 7:00 p.m., Theater 2, T2
Saturday, July 4, 2015, 6:30 p.m., Theater 2, T2
For more information, links and showtimes, visit www.moma.org.
- More >
Join pianist and historian Richard Glazier as he weaves together interviews, piano performances, and commentary to create a unique view of Broadway and Hollywood through music. Glazier explores the history of the great music that has been written for Broadway musicals and Hollywood films and television, sharing his lifetime love of each, as well as his proven talent as a host/narrator and pianist. FROM BROADWAY TO HOLLYWOOD WITH RICHARD GLAZIER is part of special programming premiering on PBS stations beginning Friday, May 29, 2015 (check local listings).
Among the remarkable people who appear in this special are the late actor Efrem Zimbalist, Jr. (award-winning star of The F.B.I. and son of famed violinist Efrem Zimbalist); Broadway veteran Patricia Morison (star of the original production of Kiss Me Kate); film and television composer Lalo Schifrin; author Daniel Selznick (son of famed producer David O. Selznick, and grandson of MGM founder Louis B. Mayer); composer/conductor David Newman (son of Alfred Newman, longtime head of the 20th Century Fox Music Department and composer of over 200 film scores); Miles Kreuger, founder of the Institute of the American Musical; and Gene Allen, former president of the Motion Picture Academy and the Art Directors Guild, Academy Award-winning art director (My Fair Lady), and longtime production manager for famed director George Cukor.
Each of the fascinating interviews relates to, and is shown in conjunction with, a musical selection. For example, Patricia Morison talks about her role in Kiss Me Kate, her relationship with composer/lyricist Cole Porter and the song "So In Love," followed by Richard Glazier performing a glorious piano transcription of the song.
FROM BROADWAY TO HOLLYWOOD WITH RICHARD GLAZIER features these performances:
"Drifting" from the movie Auntie Mame (Bronislaw Kaper)
Theme from The FBI (Bronislaw Kaper)
"Scene D'Amour" from Vertigo (Bernard Herrmann)
Theme from Mannix (Lalo Schifrin)
Medley from My Fair Lady (Frederick Loewe/Alan Jay Lerner)
"It's A New World" from A Star Is Born (Harold Arlen/Ira Gershwin)
"Over the Rainbow" from The Wizard of Oz (Harold Arlen/E.Y. Harburg)
"So in Love" from Kiss Me Kate (Cole Porter)
"Sabre Dance" transcribed for piano by Oscar Levant (Aram Khachaturian)
Conclusion of "Rhapsody in Blue" for solo piano (George Gershwin)
PBS special programming invites viewers to experience the worlds of science, history, nature and public affairs; hear diverse viewpoints; and take front-row seats to world-class drama and performances. Viewer contributions are an important source of funding, making PBS programs possible. PBS and public television stations offer all Americans from every walk of life the opportunity to explore new ideas and new worlds through television and online content.
For more information, please visit www.richardglazier.com
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TCM Podcast An in-depth look at this month's films by the employees of TCM DOWNLOAD TODAY >
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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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At DentalWorks Alcoa, we've made it easy for you and your family to experience the way dental should work since 2008. With affordable rates and unrivaled expertise, Kairav Vyas, DDS, and friendly staff provide the quality care both you and your smile deserve.
From cleanings and exams to dental veneers, and even custom dentures and partials, Alcoa can bring out the best in your smile.
By coming in for regularly scheduled dental care checkups and cleanings now, you can help prevent serious problems ranging from cavities to gum disease from occurring later. To help combat such issues, we offer:
More Info: General Dental Services.pdf
A chipped tooth, a lost filling: some of the most pressing dental problems have a habit of happening when you least expect them. Fortunately, we offer emergency dental services. If you have a problem that requires immediate treatment, our dentists do their best to take care of you as quickly as possible.
More Info: Emergency Dental Care.pdf
Self-conscious about wearing dentures? Don't be.
Custom dentures look and feel natural, so the only thing people will see is a winning smile. Custom-designed to match your appearance as well as your bite, they're protected by exceptionally long warranties. With so many sensibly priced styles, shades, and materials from which to choose, you're sure to find a solution that fits your budget as comfortably as your dentures will fit you.
More Info: Custom Dentures.pdf
Don't let a few missing teeth ruin your day – or your smile.
Custom-crafted dental partials can easily fill in any gaps and get your smile back to looking its best.
More Info: Custom Partials.pdf
Not satisfied with your smile? We offer a variety of cosmetic dentistry services to brighten, whiten, repair, and restore your teeth.
More Info: Cosmetic Dentistry.pdf
Orthodontic braces and dental services are available.
If your teeth are out of line, our orthodontists can help straighten them out. They can correct misalignments to give children and adults alike the smile they've always dreamed of.
More Info: Orthodontics.pdf
During the course of their lives, three out of four people will suffer from some form of periodontal or gum disease.
In fact, it's so common that it's the leading cause of 70% of adult tooth loss. Periodontists can perform a comprehensive examination of your gums and provide treatment to help prevent, reverse, or offset the damaging effects of this disease.
More Info: Periodontics.pdf
One of the newest solutions to the age-old problem of missing teeth, dental implants are durable enough to last a lifetime.
They are placed into the bone, then restored to replace lost teeth or retain loose dentures.
More Info: Dental Implants.pdf
If you are having problems with your mouth or jaw, you may want to consider oral surgery. Our surgeons are equipped to diagnose and treat diseases, injuries, and defects that may arise.
For your convenience, Alcoa accepts most dental insurance plans. We are a preferred provider with many dental insurance plans. Below is a list of insurance companies whose plans we participate in:
In addition to accepting more dental insurance plans, Alcoa will actually file your dental health care claims for you, so you won't have to bother with all that annoying paperwork. Plus, you don't have to pay the full amount at the time of your dental services, either – in most cases, just your estimated deductible or co-payment.
At Alcoa, a point is made to exceed your expectations, not your budget. With quality care at affordable rates, everyone in your family can get the dental care they need and deserve. So when you walk out the door, you'll leave with a great big smile, not a great big bill.
And while giving you lots of payment choices is important, there's one choice you should never have to make: deciding between the dental care you need and the dental care you can afford. So the staff at Alcoa sits down with you to figure out which payment option and plan make sense for you for the dental services you need.
To make things even easier for you, Alcoa offers plenty of ways to pay, including VISA®, MasterCard®, Discover®, and American Express®.
And Alcoa now offers an even more convenient way to make payments through Online Bill Pay.
Other financing options accepted at Alcoa include:
Genesis - Financing solutions for near and non-prime credit consumers, enabling more patients to purchase the treatment they deserve.
Contact the practice staff for more information.
*Subject to credit approval. Minimum monthly payments required. Ask us for details.


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Puddin's Training Tips
La Trenda lives with 4 dogs, all rescues who came to her with special needs. She spent 8 years volunteering and working for various shelters and rescues. She now spends most of her time going to dog training classes and studying training and behavior books to learn about better ways to connect with her dogs.
Posts filtered on Tag
Just ignore it. It will go away.
If the behavior is self-reinforcing, ignoring will not help [Read More]


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HOME NFL Detroit Lions Gear Detroit Lions Ladies Detroit Lions Ladies Gameday & Tailgate Jewelry (23 items) Product ID: 444055
Main Content
This item ships within one business day.
$4.99 flat rate shipping. See other shipping options.
Ladies, put the finishing touches on your team-spirited garb with this funky enamel charm beaded bracelet! It features alternating, domed team logo charms in vibrant team colors for Lions style that truly pops. To fully bring your game day look together, check out the matching enamel logo charm drop earrings!
- Bracelet measures approximately 6.5" around
- Domed enamel charms with vibrant team colors
- Double elastic nylon bands
- Officially licensed NFL product
- Silvertone beads
- Small parts may present choking hazard; not intended for children under 12
Special event items are produced by manufacturers only after the outcome of a game or event. These are advanced sale items and will ship immediately after they are received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.


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This is a list of West Palm Beach Probate attorneys and lawyers.
If you are searching for West Palm Beach Probate lawyers, please choose from the attorneys listed below. Finding out more about each attorney in the AttorneyLocate.com directory is easy! Just click an attorney's name and you will be able access their Web site. Want to compare all of the attorneys listed below? Just click the first name listed, then click "Next Attorney" at the top of the page and you can easily gather information about each Probate attorney in our directory.
Attorney Locate - The informed way to find West Palm Beach Probate Attorneys!
Please select an attorney to continue:
Ruden McClosky Schuster & Russell, P.A.
Weinstein, Scharf & Dubinsky, P.A
El Centro De Divorcio, P.A


text:
Our Leather
At Kiki James we build our reputation on using only the finest hides sourced at home and abroad. With the most sumptuous suedes, durable calf leathers, and smartest of smooth leather business goods, our skins are selected by hand with the strictest of quality control to ensure that the customer has the best use out of the product without any faults or difficulty.
Kiki James knows that its important to support small family tanneries, which is why we strive to employ the same values with our factories. Keeping production in England is important and part of our brands recognition for quality and home grown style.


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Wednesday, September 4, 2013
A Mount Pleasant 12-year-old boy is back in town after a year abroad, training at an elite soccer academy in Brazil. Alexandre Ballish Regueiro, who goes by Zinho, was invited to join Vasco da Gama Youth Academy, where some of the most well-known international soccer stars have trained.
The intense program included daily indoor and outdoor training, visits to a nutritionist and long, high-pressure sessions. Zinho, who was just 10 years old when he arrived, stood out among his peers – an impressive feat in an environment where his spot at the academy was always up for grabs, as other young stars were invited daily to try out.
Zinho managed all of this while also completing the sixth grade through an online public school based in Columbia. South Carolina Virtual Charter School (SCVCS) provided Zinho with the ability to accept the opportunity without missing a beat in his academic career.
Zinho's father, a former professional athlete, stressed the importance of keeping up with your education while training for a professional athletic career.
"You have to have education to fall back on, because even if you're the best in the world at something, one bad fall or concussion is all it takes to end a sporting career," he said. "That's why education has always been a huge priority for our family."
SCVCS is a tuition-free public school option that gives K-12 students across South Carolina the chance to learn in the ways that are right for them. Students receive support from state-licensed teachers and engage with an active school community online and in person.
With SCVCS, Zinho has access to a premier, individualized curriculum, delivered online and focused on his individual learning needs. For Zinho, it is a perfect option – he excels in certain subject areas, and the curriculum is built in a way that lets him move more quickly through the material that he grasps with ease.
"With SCVCS, if Zinho understands something right away, we can move forward," his father said. "Math comes really easily to him, and he loves history. We spend a lot of time going into detail in the areas that interest him most. For example, we've watched Ken Burns documentaries on the Civil War. A normal 11 year old would never get into that, but he did."
Now, back in the U.S., Zinho is fluent in Portuguese from his year abroad. He started seventh grade at SCVCS on Aug. 19 and has rejoined his Mount Pleasant soccer club.
Sheree Muse is a local development manager with South Carolina Virtual Charter School. Visit the school's website at www.scvcs.org.
Moultrie News is pleased to offer readers the enhanced ability to comment on stories. We expect our readers to engage in lively, yet civil discourse. We do not edit user submitted statements and we cannot promise that readers will not occasionally find offensive or inaccurate comments posted in the comments area. Responsibility for the statements posted lies with the person submitting the comment, not Moultrie News.
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Gallery: 1985 Marshall football media day
The Marshall University football media day is conducted Aug. 22, 1985. That season, the team had a 7-3-1 record under coach Stan Parrish.
More Marshall Football Photos
We are cracking open the archives from past Marshall University football seasons.
What game would you like to see again? E-mail online editor Andrea Copley-Smith at firstname.lastname@example.com.
1985 Marshall University football roster (according to the media guide)
1, Mike Beasley, TB, Sophomore, Cincinnati, Ohio.
2, Jim Marshall, LB, Senior, Cincinnati, Ohio.
3, Nelson Hutchings, SE, Sophomore, Cincinnati, Ohio.
4, Jerome Hazard, LB, Sophomore, Louisville, Ky.
5, Jeff Clinton, QB, Sophomore, Vienna, W.Va.
6, Keith Baxter, FL, Sophomore, Miami, Fla.
7, Darryl DeBoes, TB, Sophomore, Miami, Fla.
8, Garfield Lewis, WC, Senior, Lexington, Ky.
9, R. J. Beals, SS, Sophomore, Ft. Lauderdale, Fla.
10, Carl Fodor, QB, Senior, Weirton, W.Va.
11, John Mitchell, K, Freshman, Coral Springs, Fla.
12, Bob Ulliman, FL, Senior, Cincinnati, Ohio.
13, Kevin Gault, FS, Junior, Uhrichsville, Ohio.
14, Jeff McElroy, TE, Junior, Lexington, Ky.
15, Jim Matthews, QB, Freshman, Wheelersburg, Ohio.
16, Dan Boring, QB, Sophomore, Alliance, Ohio.
17, Britt Arthur, WC, Sophomore, Huntington.
18, Rudy Colombo, QB, Sophomore, Clarksburg, W.Va.
19, Tim Lewis, TE, Senior, Clarksburg, W.Va.
20, Doug Davenport, TB, Freshman, Athens, Ga.
21, Reginald Giles, DB, Freshman, College Park, Md.
22, Brian Swisher, SE, Senior, Friendly, W.Va.
23, Tim Bristow, TB, Junior, Randleman, N.C.
24, Mel Spicer, WR, Freshman, Cannonsburg, Pa.
25, Dermont Smith, TB, Junior, Dayton, Ohio.
26, Darryl Burgess, SC, Sophomore, Hialeah, Fla.
27, Danny Abercrombie, FL, Senior, Coalwood, W.Va.
28, Mike Barber, WR, Freshman, Fraziers Bottom, W.Va.
29, Jerry Bomar, DB, Sophomore, Cincinnati, Ohio.
30, Chris Watts, WC, Sophomore, Huntington.
31, Erric Tyler, DB, Freshman, Dania, Fla.
32, Ken Green, DB, Freshman, Ft. Lauderdale, Fla.
33, Stanley Hall, DB, Freshman, Montgomery, Ala.
35, Mike McCoy, FB, Sophomore, Vienna, W.Va.
36, Furess Whittington, SC, Junior, Stamford, Conn.
37, Brian Trent, K, Sophomore, Dayton, Ohio.
38, Mark Cerrie, FB, Junior, Dunkirk, N.Y.
40, Jeff James, LB, Sophomore, Charleston, W.Va.
41, Jerry Harris, FB, Freshman, Athens, Ga.
42, Kevin Copenhaver, LB, Sophomore, Colliers, W.Va.
43, Billy Thompson, TB, Sophomore, Louisville, Ky.
44, Randy Clarkson, FB, Senior, Columbus, Ohio.
45, David Clay, DT, Junior, Saulsville, W.Va.
46, Greg Lambert, FB, Sophomore, Branchland, W.Va.
47, Brian Jarrell, SS, Sophomore, Milton, W.Va.
48, Mike Crick, FB, Freshman, Middletown, Pa.
49, Mike Salmons, DT, Senior, Friendly, W.Va.
50, Bill Salmons, LB, Senior, Kenova, W.Va.
51, Tom McConkey, OT, Senior, Wheeling, W.Va.
52, Linn Frank, DE, Freshman, Alquippa, Pa.
53, Norman Franklin, LB, Freshman, Bridgeville, Pa.
54, Shawn Finnan, DT, Sophomore, Lakewood, Ohio.
55, Steve Willis, LB, Freshman, Ironton, Ohio.
56, Mike Birurakis, OG, Senior, Charleston, W.Va.
57, Brian Hussell, LB, Sophomore, Ripley, W.Va.
58, Cecil Fletcher, DE, Sophomore, Bloomington, Ohio.
59, Alan Jenkins, LB, Sophomore, Cross Lanes, W.Va.
60, Sam Manos, FB, Senior, New Castle, Pa.
61, Les Poindexter, OG, Sophomore, Wyoming, W.Va.
62, Jay Gleich, OT, Junior, Jackson, Ohio.
63, Dan Pottorff, OG, Sophomore, Barboursville, W.Va.
64, Tony Bolland, DT, Junior, Rand, W.Va.
65, Steve Staley, OG, Junior, New Cumberland, W.Va.
66, John Halford, OL, Freshman, Hialeah, Fla.
67, Jim Sears, OT, Sophomore, Fairmont, W.Va.
68, Rod Whitehead, OL, Freshman, Ft. Lauderdale, Fla.
70, John Fannin, OG, Sophomore, Ceredo, W.Va.
71, Chuck Felty, OT, Senior, Ceredo, W.Va.
72, Ray Lamb, OT, Senior, Reynoldsburg, Ohio.
74, Jim Torres, OL, Freshman, Ft. Lauderdale, Fla.
75, Norman Strickland, C, Sophomore, Miami, Fla.
76, Mike Talkington, OT, Freshman, Canton, Ohio.
77, Kent McDermott, OT, Freshman, New Brighton, Pa.
79, John Cook, C, Sophomore, New Cumberland, Pa.
80, Jeff Shade, TE, Sophomore, Magnolia, W.Va.
82, Scott Reidel, LB, Sophomore, Ceredo, W.Va.
83, Vincent Bodie, WR, Freshman, Leisure, Fla.
84, Bruce Hammond, WR, Freshman, Florida City, Fla.
86, Darryl Johnson, DE, Junior, Louisville, Ky.
87, Rondell Wannamaker, DE, Freshman, Montgomery, Ala.
88, Mark Smith, LB, Junior, St. Albans, W.Va.
89, Rory Fitzpatrick, DL, Freshman, Akron, Ohio.
90, Keith Turner, DL, Freshman, Miami, Fla.
92, John Spellacy, LB, Freshman, Rocky River, Ohio.
94, Preston Washington, OL, Freshman, Florida City, Fla.
95, Roy Sumlin, DT, Sophomore, Fairmont, W.Va.
96, Larry Canterbury, DE, Senior, Hurricane, W.Va.
98, Nicholas McKnight, DE, Freshman, Atlanta, Ga.
99, John Ceglie, LB, Senior, Follansbee, W.Va.


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MP Cotton-Lined Wool Tights
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♠ Tights ♠ Indulgences ♠ Wool ♠ Warm! ♠ Winter ♠ Solid ♠ Sheer To Waist
Our warmest tights! Made in Denmark, these outstanding tights are comfy cotton on the inside w/ superwash wool on the outside. They are preshrunk & have been tested for harmful substances.
Small: label says height 5'3"-5'6" weight 105-120 lbs . We found that they stretched comfortably to fit up to a 21 inch thigh and 39 inch hip.
Medium: label says these fit height 5'4"-5'8" weight 125-155 lbs. We found that they stretched comfortably to fit up to a 22 inch thigh and 40 inch hip.
Large: label says height 5'6"-5'10" weight 155-175 lbs We found the waistband elastic stretched to 45, with a couple more inches of stretch at the hip. The thigh of this size to stretch to about 23 inches around.
Shorter inseams may find the leg a bit long in the Large, but our model for the Purple Large (with a 28 inch inseam) loved that she she could scrunch the legs without the waist wanting to slide down.
Additional Info: Panty area has single seam in front & a double seam in the rear for extra comfort with covered waistband.
Fiber Content: 50% superwash wool, 30% cotton, 17% polyamid, 3% elasthan/Lycra®.
Preshrunk & will stay nice longest if hand washed in cool water & hung to dry.
Label: MP
I cannot possibly express the sheer force of my utter delight that your Extraordinarily Longer Thigh Highs (Striped and Solid versions) actually go up to my thighs on my fairly long and very curvy legs. I own four pairs of that particular style now, and plan on purchasing more!
~ Elizabeth G.