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Tam Lin on Blu-ray
When child star Roddy McDowall graduated into a busy adult career as a character actor, he also became an accomplished photographer specializing in intimate and candid shots of the movie stars he knew and admired. Late in the 1960s he was quick to seize a long-desired opportunity to direct a film of his own. For subject matter McDowall chose a fantastic tale derived from a border country ballad by Robert Burns, about Tam Lin, a legendary Scot trapped by the Queen of the Fairies, and the woman whose love redeems him. Shifted to the present day, the legend seemed perfect for 1970, when the cultural spotlight on the British Isles had begun to fade. The Beatles had broken up, and the fantasy of Carnaby Street and Swinging London could no longer sustain itself.
McDowall used his sterling professional connections to arrange a classy production for this horror fable, to be filmed on location in Scotland. He signed rising star Ian McShane as the Tam Lin character, and lobbied Hollywood legend Ava Gardner for months to take the lead role. The 47 year-old preferred to work as little as possible, and was perhaps wary of the "hag horror" roles then being filled by older actresses -- Bette Davis, Joan Crawford, Tallulah Bankhead. Ms. Gardner was also concerned about doing sex scenes, especially with an actor twenty years younger than she. But McDowall was convinced that Ava was the perfect choice to play his imperious woman of mystery, and she wanted to help him become a director.
Writer William Spier's original screenplay lacks dramatic conflict. Fabulously wealthy, the beautiful but aging Michaela "Micky" Cazalet (Ava Gardner) lives life as a never-ending party. For amusement she keeps a crowd of young people around her, smartly dressed hangers-on that are allowed to partake of her generosity even as she treats them with contempt. Driving a flotilla of luxury sports cars, they relocate from the lady's urban town house to the luxurious Carter Hall in Scotland. Michaela's present lover-consort is Tom Lynn (Ian McShane), a photographer who has been her willing playmate for several months of endless ease and vacationing. Tom slowly becomes aware that he's living in a gilded cage. Michaela's personal secretary Elroy (Richard Wattis) runs all of her personal business, including the task of eliminating lovers that she tires of, or who displease her. Michaela's fierce pride puts Tom in jeopardy when he falls in love with Janet Ainsley (the popular Stephanie Beacham), a local vicar's daughter. Micky immediately senses his disloyalty, as do Elroy and Oliver (David Whitman), a hanger-on who would like to take Tom's place. When Tom takes off with Janet for a few days, Michaela has Elroy prepare a terrible punishment.
A lot of terrible things can happen to unlucky movies, and most of them seem to have happened to The Ballad of Tam Lin. It never received a real release. There were no problems during filming, but Commonwealth United couldn't decide on a title: as Tam Lin sounded Chinese they initially went with Games and Toys. Distribution was eventually arranged through American-International Pictures, which was having success with an English remake of Wuthering Heights. Despite going on official record with a U.K. release date of 1970, trade notices reported that The Ballad of Tam Lin was sold to American-International in an incomplete state, and that Roddy McDowall was obliged to volunteer to make revisions, without pay. Trimmed by six minutes, it saw a very brief release in 1972. The reviews were not kind. McDowall's direction was criticized as mannered and fussy; it was also noted that the Mod fashions on view were already painfully out of style. American-International re-titled the picture The Devil's Widow and offered it to theaters with early-'70s exploitation fare such as Blacula and The Thing with Two Heads.
An instant 'lost picture', The Ballad of Tam Lin was considered enough of a rarity to be later showcased on Los Angeles' legendary "Z" Channel cable station, in a pitiful pan-scanned video transfer. Until now it has remained something of a mystery. Roddy McDowall referred to it as an allegory for the end of the swinging '60s.
Tam Lin is a true oddity in that one can enjoy its component elements even as a compelling story fails to emerge. The screenplay lacks forward momentum -- sidebar characters and issues pop up, but fail to amount to anything. Stephanie Beacham's Janet is likeable enough, but several scenes with her father (Cyril Cusack) go nowhere, as does Janet's inquiry into an abortion. Some horror authorities praise the film's dreamlike qualities. The movie is shapeless: nothing that happens seems to be of consequence. The story unfolds as if the audience were already familiar with the original Tam Lin legend.
Micky's crowd of attractive freeloaders mostly fail to distinguish themselves -- besides David Whitman's schemer, only the baby-doll whining of Madeline Smith (The Vampire Lovers, Taste the Blood of Dracula) makes an impression. The group plays dull parlor games, eats and lounges about. No debauchery or drugs is depicted. When she's angry Michaela throws tantrums, calling "her children" moochers and scum. At one point she has Elroy dismiss them all and get in a different crowd. The new crop dresses severely and seems more willing to indulge in cruelties, but we learn nothing about them. Does Elroy have teams of party people stashed in local hotels, waiting for his call?
Most of the story barely connects with the traditional legend. An early scene is filmed through an ornate etched glass representation of the source story, and at one point Michaela wears a glittering, colorful tribal mask. The folk rock group The Pentangle provides two good songs, Tam Lin and The Best Part of You, with vocals that also evoke the traditional source tale. But the brief voiceover explanation of the ballad is soon forgotten as the movie unspools. The unfortunate advertising reference to the 'Devil's Widow' prompts viewers to expect Michaela Cazalet to be revealed as a demonic entity. Her concern with aging also makes us think that the legend might be similar to vintage pulp tales about savage queens in lost worlds that stay young by draining the life force from their male lovers. But Micky is not a supernatural force and her decadent hangers-on are not a coven.
Ian McShane's personal charm is sorely taxed, for there's little in his character to inspire us. Tom Lynn is pretty stupid not to pick up on the abundant clues of danger, and he remains careless even after it becomes clear that his life is on the line. He and Janet walk on the foggy shore in yet another beautiful scene that neutralizes any sense of apprehension. After an endless middle section, the movie finally puts Tom in a situation similar to the classic thriller The Most Dangerous Game. Given an LSD-like drug, he's beaten severely and then set loose to flee for his life in a sleek white sports car. Elroy and Micky expect him to crash and burn, but he instead finds himself stumbling through a swamp, hallucinating horrible monsters. The reason for this could have been made clear - in the original legend, Tam Lin transforms into several monstrous forms, and is only saved because his true love Janet refuses to leave his side.
Ava Gardner brings a sense of credibility to the selfishly amorous Micky. A bedroom scene sees her getting Tom drunk, and laughing herself silly when he collapses naked on the floor. Ava has a wrinkle or two around the eyes but can still turn on the glamour. She looks properly intimidating in impressive fashions by Balmain of Paris. As a woman scorned Gardner can muster 57 varieties of displeasure: biting sarcasm, resentful pleading, promises of happiness, and finally a simmering hatred that cannot be cooled. Gardner is also able to infer without words that Michaela holds some kind of secret power over her secretary Elroy. Actor Richard Wattis spent a lifetime playing bored valets and stuffy authority figures. His jaded stare in this film is so sinister that we wish the character were better explained.
So much is left unexplained in The Ballad of Tam Lin that it eventually becomes a frustrating experience. The lush visuals and Roddy McDowall's careful direction are compensations, but even they falter when the film tries to visualize Tom Lynn's nightmare in the swamp. At one point Tom thinks he's on fire, which cues a blast of impressive animated flames. But audiences invariably laugh when Tom literally transforms into a bear. The cinematography looks good but McShane is all too obviously wearing an unconvincing bear costume.
The film's younger cast members held a reunion a few years back to celebrate when they went to Scotland to play Gents and Dolly Birds. Among the beautiful people in Michaela's coterie are Joanna Lumley of Absolutely Fabulous, Jenny Hanley (On Her Majesty's Secret Service) and Bruce Robinson, who would later write The Killing Fields and write and direct the admired Withnail & I.
Olive Films' Blu-ray of The Ballad of Tam Lin is a beautiful widescreen (Panavision) encoding of the longest (106 minutes) version of Roddy McDowall's ill-fated film. The on-screen title is The Ballad of Tam Lin. Billy Williams' glowing cinematography can at last be appreciated, as can the director's carefully planned shots. A few scenes make extensive use of a zoom lens, but always with a plan in mind. Tam Lin is an ambitious film idea that simply needed to be told in a more cohesive manner.
By Glenn Erickson
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Top News Stories
New Books
A Girl's Got to Breathe: The Life of Teresa Wright
By Donald Spoto
"A girl's got to breathe!" Teresa Wright to Gary Cooper after receiving a lengthy kiss in The Pride of the Yankees (1942)
Teresa Wright lived a rich and complex life against the backdrop of Hollywood's Golden Age. She worked with some of the leading actors of that generation in beloved films including Mrs. Miniver, The Pride of the Yankees, Shadow of a Doubt, and The Best Years of Our Lives
"I never wanted to be a star," she told the noted biographer Donald Spoto at dinner in 1978. "I wanted only to be an actress." She began acting on the stage in summer stock and repertory at the age of eighteen. When Thornton Wilder and Jed Harris saw her in an ingénue role, she was chosen to understudy the part of Emily in the original production of Our Town (1938), which she then played in touring productions. Samuel Goldwyn saw her first starring role on Broadway--in the historic production of Life with Father and immediately offered her a long contract.
She was the only actress to be nominated for an Academy Award for her first three pictures -The Little Foxes; Pride of the Yankees; and Mrs. Miniver), and she won for the third film. Movie fans and scholars to this day admire her performance in the classics Shadow of a Doubt and The Best Years of Our Lives. The circumstances of her tenure at Goldwyn, and the drama of her breaking that contract, forever changed the treatment of stars. She had two rocky marriages, the first to writer Niven Busch--who wrote Duel in the Sun for her but she had to drop out when she became pregnant--and then to writer Robert Anderson. Both ended in divorce.
Spoto had the cooperation of Wright's family and heirs and also had exclusive access to her papers and letters. He draws on a number of interviews and anecdotes from a variety of directors and actors who worked with the actress including Alfred Hitchcock, William Wyler, Karl Malden, Jean Simmons, Bette Davis and many more.
Donald Spoto is the author of twenty-nine books published in more than twenty-six languages including The Dark Side of Genius, High Society: The Life of Grace Kelly and Enchantment: The Life of Audrey Hepburn.
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The Ice Cream Blonde: The Whirlwind Life and Mysterious Death of Screwball Comedienne Thelma Todd
By Michelle Morgan
Thelma Todd began her career in silent movies but went on to work with Laurel and Hardy and the Marx Brothers, and make a series of hilarious shorts with Patsy Kelly. She was a savvy businesswoman who opened her own successful nightclub and a beloved comedienne who's mysterious death has intrigued film fans for years.
This new biography of the actress dubbed "the Ice Cream Blonde" traces Todd's life beginning with her as a vivacious little girl growing up in Lawrence, Massachusetts. Her brother's death changed the dynamics of the family. Todd wanted to go to college but her mother insisted she enter beauty contests. The reluctant daughter became a beauty queen.
It wasn't long before the movies beckoned and Todd found herself in demand as an actress. She worked steadily throughout the mid-to-late 1920s and made the successful transition to sound.
Increasingly disenchanted with Hollywood, in 1934 Todd opened Thelma Todd's Sidewalk Café, a hot spot that attracted fans, tourists, and celebrities. Despite success in film and business, privately the beautiful actress was having a difficult year including receiving disturbing threats from a stranger known as the Ace and having her home ransacked. It all ended tragically when she was found dead in a garage near her café. An inquest concluded that her death, at twenty-nine, was accidental, but in a thorough new investigation that draws on interviews, photographs, documents, and extortion notes-much of these not previously available to the public--the author offers a compelling new theory that the vivacious young actress was murdered.
But by whom? The suspects include Thelma's movie-director lover, her would-be-gangster ex-husband, and the thugs who were pressuring her to install gaming tables in her popular café. This fresh examination on the eightieth anniversary of the star's death raises interesting questions and is sure to interest any fan of Thelma Todd or of Hollywood's Golden Age.
Michelle Morgan is the author of The Mammoth Book of Hollywood Scandals, The Mammoth Book of Madonna, and several books about Marilyn Monroe: Marilyn Monroe: Private and Confidential, Before Marilyn: The Blue Book Modeling Years, and Marilyn's Addresses: A Fan's Guide to the Places She Knew.
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Stuntwomen: The Untold Hollywood Story
By Mollie Gregory
Stunt players are often the unsung heroes of filmmaking. They rarely receive recognition for the harrowing work they do to make the leading actors and villains look convincing. This is often even more true for women in the stunt industry.
In the early days of filmmaking, women were highly involved in all aspects of film production, from writing to editing to directing to stunt work. But as the movies matured and sound was introduced, women found their roles curtailed. Capable stuntwomen found themselves on the sidelines as stuntmen donned wigs and women's clothes to double as actresses. As a result very few stuntwomen found work between the 1930s and the 1960s.
Not until the political movements of the late 1960s and the 1970s raised the issue of flagrant sexism and discrimination did the number of working stuntwomen begin to increase. But even as late as the 1990s, stuntmen were still doubling for actresses and some were "painted down" for more convincing performances.
For decades, stuntwomen have faced institutional discrimination, unequal pay and sexual harassment even as they jumped from speeding trains and raced horse-drawn carriages away from burning buildings. They've traded punches in knockdown brawls, crashed biplanes through barns and raced to the rescue in fast cars.
Featuring sixty-five interviews, Stuntwomen showcases the absorbing stories and uncommon courage of women who make their living planning and performing action-packed sequences that keep viewers' hearts racing.
Mollie Gregory is the author of Women Who Run the Show: How a Brilliant and Creative New Generation of Women Stormed Hollywood, 1973-2000 .
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Hollywood Celebrates the Holidays
By Karie Bible and Mary Mallory
We have all seen those wonderful black and white photographs of stars posing for holiday pictures--Bette Davis posing amidst a box of chocolates (Valentine's Day), Mae West as Lady Liberty (4th of July), Clifton Webb carving a turkey (Thanksgiving), W.C. Fields as old Saint Nick (Christmas), and just about everybody helping to sell War Bonds during World War II.
Marvelously illustrated with more than 200 rare images from the silent era through the 1970s, this joyous treasure trove features film and television's most famous actors and actresses as well as starlets on the brink of discovery, celebrating the holidays, big and small, in beautiful re-produced photographs.
The images were often taken by legendary stills photographers and the entire book harkens back to the Golden Age of Hollywood when motion picture studios devised elaborate publicity campaigns to promote their stars and to keep their names and faces in front of the movie-going public all year round.
From Clara Bow to Elizabeth Taylor to Ann-Margaret, there is a wonderful mix of black and white and color photography throughout the book.
Karie Bible is the 'Historian in Black,' at the famed Hollywood Forever Cemetery where she gives guided tours and shares with visitors the stories of the famous and nearly forgotten who are buried at the Cemetery. She co-authored the book, Location Filming in Los Angeles with Marc Wanamaker and Harry Medved. She lives in Los Angeles, California.
Mary Mallory is a film historian, photograph archivist, and researcher, focusing on Los Angeles and early film history. She is the author of Hollywoodland and she blogs on early Hollywood history for The Daily Mirror. She serves on Hollywood Heritage, Inc.'s Board of Directors, and acts as a docent for the Hollywood Heritage Museum. She lives in Studio City, California.
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DVD Reviews
Point Blank on Blu-ray
When documentary filmmaker John Boorman made the leap to feature filmmaking with Catch Us If You Can (aka Having a Wild Weekend, 1965), a low-budget rock-n-roll vehicle for the Dave Clark Five, he transformed the quickie into a surprisingly biting satire of popular culture set to a bouncy soundtrack, displaying a remarkable sophistication and creativity unexpected from such a project. It was enough to land him his first American film, Point Blank, where he revealed an even greater ambition and talent.
Based on the novel The Hunter by Richard Stark (a pen name for Donald Westlake), Point Blank shuffles the lean, straight-forward story of a gunman named Walker (Lee Marvin), who is double crossed by his partner in crime and returns (seemingly from the dead) for revenge, into a surreal, abstracted crime drama. The plot is faithful to original novel, a hard-boiled piece of crime fiction reimagined for the underworld culture of the sixties, but Boorman and Marvin, who requested the young director and supported his unconventional vision for the film, refract it through a modern lens. Walker's odyssey from Alcatraz in San Francisco to the underworld of Los Angeles is splintered with short, sharp shards of memory that cut through his story, as if reflecting Walker's attempts to put the pieces of cause and effect together in his mind.
Boorman views L.A. through an alienated lens and edits it more like a European art film than an American crime thriller, but fills it with offbeat, ultra-stylized scenes of violence. It opens on a gunshot that should have killed him and he struggles to put it all together when he wakes up: "Cell. Prison cell. How did I get here?" Marvin is enigmatic, to say the least, as he tracks down his unfaithful, guilt-ridden wife (Sharon Acker), his wife's sister (Angie Dickinson), his old friend turned double-crossing heist partner Mal Reese (John Veron), and finally the syndicate bigwigs, all just to get his due: "I want my 93 grand."
This vision of urban Los Angeles is alternately crowded and noisy and urban, and austere and empty and dislocated. His footsteps echoing through an empty, anonymous hallway becomes the disembodied beat of his march of revenge. A scatting, screaming R&B singer at a chic night spot called The Film Club is the feral soundtrack of a brutal backstage fight, at once visceral and abstracted in the clutter of 35mm film cans and nightclub supplies. The aftermath of a suicide becomes a psychedelic vision of destruction, which disappears in a cut to the apartment suddenly empty, a ghost house with no evidence of life or death, just transition.
The dialogue is loaded with references to "a dream" and characters constant remind Walker that he's supposed to be dead. Keenan Wynn adds another level of remove as the devil whispering in Walker's ear, another unreal figure with a carefully concealed agenda who is preternaturally attuned to Walker's movements. More than an informant, he appears from nowhere to provide a name, an address, a piece of information on the trail to the top man in the Organization as Walker's debt keeps getting passed up the chain of command.
Walker is both an unstoppable sentinel who seems more than flesh and blood and a vulnerable man wounded by betrayal who has armored over his emotions with a mission. Marvin delivers both sides of the character without compromising either. There's a cold fury under his deliberate movements and his eyes betray a moment of regret and sadness when he finds his wife dead by her own hand, but it is all pushed down and kept in check by his single-minded focus. "I just want my money" is his mantra, not a matter of greed but a debt to be settled to balance the scales. Marvin is at once deliberate and relaxed, a veteran criminal soldier alert to everything, which makes his character even more fascinating. He doesn't demand attention on screen, he commands it through confidence and ability and cool focus.
That alone makes him more admirable than Mal, who is played by John Vernon as an oily, arrogant, amoral rat, selling out anyone and everyone to buy his way back into the Organization. The rest of the members of the cast don't play characters as much as cogs, functionaries in a criminal enterprise as a cutthroat corporation, simply doing their jobs as if Walker was a rival in a hostile takeover. Only Angie Dickinson's Chris has the passion and fury and emotional life of a human being, siding with Walker out of both loyalty and for payback against Mal ("He makes my flesh crawl") and the Organization that has taken over her business and her life. Sharon Acker, who plays Walker's wife, comes off less haunted than simply weak. She barely leaves an impression, which is fitting for her character but fails to offer any sense of tragedy to her story, and she's almost instantly forgotten after she exits the film. It's really the only weak element of the film, which otherwise is strong, confident, and sure from beginning to end.
Point Blank has been called a modern film noir but it has more in common with Performance, another crime thriller that fractures time, offers enigmatic and ambiguous characters, and equates organized crime with big business. Boorman delivers meticulously executed set pieces that are designed for the wide CinemaScope frame with a sure sense of space and a dispassionate perspective. He emphasizes intelligence over action and presents Walker as total professional, never flustered and always emotionally removed from the situation. And if Walker is an extreme incarnation of the revenge driven noir anti-hero, the modern syndicate has transformed the old school mob into a world of paper jungles and corporate businessmen, an alienating concept to a two-fisted, gun-wielding independent like Walker. "Profit is the only principle," is their motto. Almost 50 years later, it's more modernist than modern, a fascinating time capsule of an era when young directors brought nouvelle vague style to classic genres, and a cryptic crime thriller that turns Marvin into the most enigmatic criminal professional in the movies.
Boorman creates a hard, austere look for the film and the new Blu-ray delivers a sharp clarity to his vision of Los Angeles as an impersonal modern city. Apart from a few scenes, he strips the frame down to isolated figures in an empty urban landscape under the hard light of the California sun. It's an urban desert and the disc preserves that atmosphere of a ghost city by day and a shadowy underworld at night when the crowds gather on the streets and in the clubs. The impersonal palette of concrete surfaces and blank office interiors in the day gives way to the color of human habitation after dark, which oddly enough has a warmer atmosphere than the harsh light of day.
Carried over from the earlier DVD release is an audio commentary track with director John Boorman and fellow director Steven Soderbergh, a fan of the film who essentially hosts the commentary. He engages Boorman in conversations about the film's style, the use of color and camera lenses, working with Lee Marvin (who became close friends with Boorman), and making his Hollywood debut with a film that refused to play by the studio rules. Soderbergh's The Limey was clearly indebted to Point Blank in both its theme of revenge and in its fractured storytelling and unconventional use of flashbacks. Taking part in this commentary is like paying tribute to his inspiration.
Also features the vintage promotional featurette The Rock (in two parts), which looks at shooting the film on location in Alcatraz, and the original trailer.
by Sean Axmaker
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Ravenous on Blu-ray
Ravenous (1999) channels the story reminiscent of the Donner Party disaster and the legend of Alferd Packer (the only American ever convicted of cannibalism) into a gruesome survival thriller with a crimson-hued streak of black humor and an elemental hint of the supernatural. The resulting film takes top honors as the definitive frontier cannibal movie. Not that there's a long list to choose from, mind you, but this earns its position with honors, thanks to a gleefully weird and savagely bloodthirsty sensibility.
Guy Pearce is Captain John Boyd, whose battle cowardice during the Mexican-American war inadvertently results in making him an accidental hero. The ordeal of playing dead under the bleeding corpses of his fellow officers also puts him off meat, as the opening scenes so vividly illustrate. Director Antonia Bird cuts straight to the heart of the situation as she intercuts soldiers devouring bleeding-rare steaks at a military luncheon with the bloody casualties of battle stacked like cordwood: meat is meat, at least as far as this film is concerned. Boyd's commanding officer (John Spencer of The West Wing), who knows that his valor is a fraud, ships him out to the fringes of military reach: a fort in a California mountain pass, which runs with a minimal compliment during the impassable winter months. "This place thrives on tedium," smiles fort commander Colonel Hart (Jeffrey Jones), who takes everything with a bemused indulgence. How else to survive a company made up of a useless drunk second-in-command(Stephen Spinella), a giggling weed-head idiot (David Arquette), a twitchy, mumbling chaplain (Jeremy Davies), and a macho soldier boy (Neal McDonough) who holds the rest of the company in utter contempt?
The tedium is quickly dispersed when a bedraggled disaster survivor (Robert Carlyle) stumbles into camp. He spins a horrific story of a lost wagon train and an incompetent scout who strands them in the mountains, where as the winter snows traps them and desperation leads to feeding on human flesh. It's a tale right out of the Donner Party until it turns feral, but it's not even close to the real story of Carlyle's wild-eyed survivor. For a starving man, he looks remarkably fit when he doffs his shirt, and other clues suggest that this is no production gaffe. One night, while camping on the trail to his old camp to search for survivors, he's caught licking the bleeding wounds of an injured soldier. You know, tasting his next potential meal.
That's when the film takes its twist into weird and wild horror, a bizarre plot that doesn't really make much logical sense but sure makes for a wicked mix of psychodrama and visceral body horror. The Native American Wendigo myth is referenced to explain madness, but you could say it's a vampire tale without the supernatural dimension--it turns out human flesh is addictive, and it helps to have a nest of fellow flesh-eaters to keep the diet coming--or call it a particularly gruesome metaphor for manifest destiny. However you label it, it is off-the-charts crazy, an eat-or-be-eaten thriller served very, very rare.
British director Antonia Bird seems like an odd match for this material. She honed her craft on TV drama and made her reputation with the tough, wrenching dramas Priest and Face, two films with complex characters and socially conscious themes. What they have in common with Ravenous is star Robert Carlyle, who recommended Bird after the film's original director Milcho Manchevski was let go after three weeks and the producer's chosen replacement, Raja Gosnell, was rejected by the cast. Bird (who passed away last year at the relatively young age of 62 after a battle with thyroid cancer) was frustrated by the conditions of the production and the oversight of the producers and she complained that her cut was compromised in post-production. That may explain the awkward pace, jarring turns, and a climax that feels tossed together--an uninspired way to end such a devious film--but she is clearly the architect of the odd, offbeat key of the film's blackly comic tone and surreal atmosphere and Carlyle is her partner in outsized madness. He leads the cast in playing their eccentricities big, though next to Carlyle's juicy performance, Arquette and Davies come off more like actor's studio sketches in twitchy weirdness or fidgety indecision than actual characters. Guy Pearce provides the contrast, creating a character fighting to maintain control and keep his emotions and his reflexive revulsion in check as everyone else lets their freak flag fly. It oddly enough makes him the most intense character on screen. As all that fear and disgust and anxiety just bottles up behind his desperate eyes and increasingly battered body, Pearce shows us the toll this ordeal exacts on him. In this survival drama, he's the one in true survival mode.
Scream Factory's Blu-ray features a solid new HD transfer that preserves the dynamic contrast between the white-out daylight scenes of snow and the ominous shadows of the deep forest and the dark rough-hewn quarters of the frontier fort. Night doesn't have to fall for the darkness to seep into the image. Given the elemental quality of the imagery--much of the film takes place in the snowbound wilderness, with the Tatra Mountains of Slovakia standing in for California--the transfer has a satisfying level of grain that not only preserves the texture of the film but gives the entire atmosphere an added level of authenticity. These images feel like they were carved into the film.
The film was previously released on DVD over a decade ago with three separate commentary tracks. Director Antonia Bird and composer Damon Albarn team up for the most informative track, with Bird talking in detail about the physical challenges of the production. Screenwriter Ted Griffin and co-star Jeffrey Jones tend to lapse into silences in their track and actor Robert Carlyle is even more intermittent in his the solo track. Also carried over from the earlier disc is a collection of deleted scenes (many of them in rough-cut form) with optional commentary by Bird and a gallery of stills. New to this edition is a 20-minute interview with Jeffrey Jones, who looks back on the themes of the film.
by Sean Axmaker
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Southern Comfort on Blu-ray
A motley crew of Louisiana National Guardsman wade out into the swamps for weekend maneuvers. It's 1973, as the war in Vietnam is grinding away the soul of America and the heart of the military, and this platoon of weekend warriors--a volatile collection of rednecks, hotheads, jokers, and guys who probably signed up to steer clear of the draft--are like fresh recruits going into battle for the first time. They've got the fatigues and the cocky attitude but dubious discipline and training and their machine guns are loaded with blanks as they head into the bayou. To the Cajun swamp folk, the trappers and hunters living on the fringes of society, these men are invaders who trample their camps and steal their boats. And when one of the soldiers lets loose a burst from his weapon, laughing like the class bully after humiliating the new kid, these shadowy swamp dwellers defend themselves, becoming a guerilla strike force waging a war of terror on the utterly unprepared toy soldiers. They don't know that it's just blanks in those guns but it likely wouldn't matter if they did. They've been attacked and they will respond. These city dwellers are out their element and after their commanding officer (Peter Coyote) is gone, the first casualty in the war of attrition, they are out of their depth, flailing around with a panic that dumps their radio, compass, map, and pretty much everything else that was supposed to keep them alive.
Southern Comfort will never be mistaken for a Nation Guard recruitment tool. Call it an anti-platoon movie. Hill gives the squad the outward accoutrements of a real fighting force, down to the uniforms and weapons, but this is a military unit in name only. Beyond the swaggering banter of the soldiers and self-deprecating comments of Spencer (Keith Carradine), the self-appointed company joker, they have no real training, no experience under fire, and no commitment to one another. These guys are more like barroom buddies playing soldier than a disciplined force.
There are two voices of restraint in the wilderness, Spencer and new guy Hardin (Powers Booth), a transfer from Texas who doesn't know anyone in the company but sizes up their weaknesses quickly and realizes that they haven't much a chance as long as wild cards like Reece (Fred Ward) and Stuckey (Lewis Smith) go charging through the swamps looking for payback. Casper (Les Lannom) takes command by virtue of an essentially meaningless detail of rank and bumbles around quoting regulations and making speeches, doggedly following the book because he hasn't a clue what to do next. The filmmakers don't make him a figure of ridicule, mind you, just a guy falling back on the only thing he knows. In fact, none of them are necessarily "bad guys," though like any Hill ensemble, it has its share of jerks, bullies, racists, and anger management candidates and the pressure brings out their worst instincts.
So yes, it's a story of American soldiers in an alien land, lost in an unfamiliar landscape and outmaneuvered by a guerrilla army at home in the jungle. Director / screenwriter Walter Hill and producer / co-screenwriter David Giler insist to this day that Southern Comfort was never intended to be an allegory for Vietnam, simply a survival tale in an overwhelming and unfamiliar environment. It's hard to take them at face value but it is easy to forget the allegory in the heat of the drama. It also shares DNA with Deliverance, another film about city boys with guns who take their sense of ownership and entitlement into the wilderness, threaten the locals, and end up hunted by them. But where John Boorman's primal thriller turns his Appalachian backwoods men into brutal outlaws who take pleasure in stalking the city invaders, Hill and Giler keep their Cajun soldiers hidden, seen as figures in the distance or blurs running behind the trees, ghosts on the fringes of sight. They treat the would-be soldier like wild game, silently shadowing their progress and whipping them into a state of panic to steer them into their traps. And whatever the short-fused guys in the platoon think, this is no cultural conspiracy to wipe out the invaders. Their enemy consists of a handful of isolated hunters who didn't start the war but by God are determined to finish it. The rest of the Cajun folks they meet don't seem to be a part of it, though after a couple of days in the swamps, the paranoia is powerful enough to make every sidelong glance look ominous. Ry Cooder's eerie and haunting score only intensifies the paranoia.
What ultimately differentiates them from the soldiers of a classical platoon drama is that they haven't bonded under fire and have never had to put their trust in one another. This group unravels and tears itself apart from fear and panic and unfocused rage. And in classic Hill manner, there are no philosophical musings or existential conversations. The closest the film comes to putting its theme into words is from the mantra of a terrified Simms (Franklyn Seales), who finds himself cut off from the group and suddenly aware of just how vulnerable he is. "I'm not supposed to be here," he repeats, as if begging the universe to correct some cosmic planning error. And then he's no longer there.
While this band of infighting brothers wades blindly through the swamp without a clue as to their bearings or direction, Hill's direction never falters. He has always had a sure hand as a storyteller, keeping his plots uncluttered and letting the details of character, conflict, and the world around them define the story. Southern Comfort limits the world to the middle of the swamp, where we (like the soldiers) are unable to find any point of reference, and observes how the discomfort of the environment and the constant disorientation takes its toll on what little good sense the characters bring with them to the mission. It exacerbates the already dysfunctional dynamics of this platoon of battle virgins and is as deadly on its own as the native hunters who use the environment as a weapon in their arsenal. It's not necessarily skill or even luck that saves the guardsmen who survive the ordeal. In classic Hill fashion, it is a matter of intelligence, awareness, teamwork, and the commitment to do what is necessary to survive. There's no sense of victory in survival, merely relief.
Blu-ray / DVD Combo Pack. Both discs feature the new HD master but the Blu-ray of course features superior clarity and richness of color. Both are clean, strong images while the Blu-ray shows off excellent detail. The Dolby Digital Mono soundtrack puts the mix right up front. A couple of scenes of chaos and confusion overwhelm the dialogue with background sound, which is surely intentional but still seems a little out of balance to my ears.
New to this release in an original 27-minute featurette with new interviews with actors Keith Carradine, Powers Boothe, Lewis Smith, and Peter Coyote and, on low-resolution video via Skype, director Walter Hill and producer David Giler, who collaborated on the script with Hill. The actors share stories of shooting in the Louisiana swamps in February with wet suits under their uniforms, six weeks of working in the cold and damp, and they remind us that they were all in it together. The crew endured the same conditions so no one had the right to complain. More interesting is the discussion around the themes of the film. Hill and Giler maintain that while they did not intentionally set out to make a Vietnam allegory they were aware that audiences would make that connection, while the actors admit that they knew it was an allegory from the moment they read the script. Keith Carradine's reading is particularly detailed and interesting. Curiously, none of the six participants mention Deliverance.
Carried over from the old DVD release is a brief collection of outtakes and the original trailer. All of the supplements are featured in both the Blu-ray and DVD discs of the Combo Pack.
By Sean Axmaker
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Tess on Blu-ray
Tess (1979), Roman Polanski's film adaptation of Thomas Hardy's 1890 novel Tess of the D'Urbervilles, has in 2014 received a sublime Blu-Ray and DVD release from Criterion. Restored by Pathe under the direct supervision of Polanski himself, the movie looks and sounds magnificent. At first glance, the lushly beautiful Tess is a seemingly unusual work for Polanski, whose films we tend to associate with horror and sex, but this was actually a highly personal project for the master filmmaker. It was his first picture after fleeing the United States in 1977, and also a project that his wife, Sharon Tate, had suggested he make as a vehicle for herself -- just before she was murdered by the Manson gang in 1969. Polanski read the novel after her death and realized it was indeed right up his alley, and he dedicated the eventual film to her with an on-screen inscription.
Hardy's tale, to which the film is very faithful, is about a poor English girl, Tess, whose father learns he is a distant descendant of a once prominent, rich family, the D'Urbervilles. He sends Tess to the home of a remaining D'Urberville to find employment (or at least a handout), but Tess winds up being seduced by the ne'er-do-well Alec D'Urberville (Leigh Lawson), who becomes obsessed with her. Fleeing Alec, she eventually finds work at a dairy farm and starts a passionate relationship with a young farmer named Angel Clare (Peter Firth). But in this society, the revelation of the sins of her past, even if they were not her fault, could doom Tess to shame, ostracism and worse. Ultimately, Tess is about a woman struggling to make her way in the world, looking for happiness, or at least survival, but finding that a judgmental society, timing and even luck are all working against her.
Polanski explores this theme vividly, sympathetically and cinematically. Costumes, speech and physical mannerisms of the actors all convince the audience of the time period and of the distinctions among the social classes, and the film's pictorial beauty does much to stress the contrasting cruelty of some of the characters. The movie is not "pretty" for prettiness' sake. Most important, one really feels the isolation of Tess throughout the film, which is at once sprawling and intimate. The plot itself, while important, feels less vital here than the depiction of Tess' emotional experience of the world she is forced to inhabit, and as a result, the long running time feels entirely appropriate and never tedious.
Tess was shot entirely in France, mostly on locations in Normandy and Brittany, because Polanski worried that if he traveled to England he would be extradited to the United States. Polanski later wrote, "To tell the story at all, it was essential to find the proper setting, a twentieth-century equivalent of Hardy's nineteenth-century Dorset. The only way to convey the rhythm of his epic was to use that setting as an integral part of the film, signaling the passage of time and the change in Tess herself by means of a visible, almost palpable change in seasons. Once our rural locations were chosen, we would have to film throughout the year from early spring, through high summer, to the depths of winter." With such a shooting strategy, filming wound up lasting nine months over 80 separate locations, and Tess became, at $12 million, the most expensive film ever made in France to that point. Freak weather and labor strikes only added to the overall time and expense.
If Tess is atypical of Polanski, it's in the way that The Age of Innocence (1993) is atypical of director Martin Scorsese. But in fact, both films are completely emblematic of their directors' concerns and are indeed suffused with violence. It's just that the violence is emotional, an undercurrent beneath a pristine surface -- exactly like the societies the films depict.
That being said, it's hard to shake some of Tess's most exquisitely beautiful imagery, such as the lovely natural light of an outdoor dance, or the riders and dogs on a fox hunt who appear out of a sublime mist, or the face of Nastassia Kinski, who is heart-stoppingly gorgeous (a quality, incidentally, that is vital to the story). Cinematographer Geoffrey Unsworth, who had shot such films as Becket (1964) and Cabaret (1972), died a few weeks into production and was replaced by Ghislain Cloquet, who sadly would himself pass away two years later. They shared the Oscar for Best Cinematography. The film also won for Best Art Direction and Best Costume Design and was nominated for Best Picture, Best Director and Best Original Score.
Criterion's dual-format release contains one Blu-ray disc and two DVDs, with both formats containing the film and identical extras. And there are plenty, starting with three short documentaries about the film's making (originally included in Columbia's 2004 DVD release), directed by Laurent Bouzereau and totaling 73 minutes in length. Bouzereau expertly interviews key players like Polanski, producers Claude Berri and Timothy Burrill, co-writer John Brownjohn, actors Nastassia Kinski and Leigh Lawson, set decorator Pierre Guffroy, costume designer Anthony Powell, hair and makeup artists, the crew electrician, the assistant editor and others. The artists discuss fascinating details of production, like the challenge of getting the "strawberry seduction" scene between Kinski and Lawson just right (which astonishingly was shot on a rainy day despite looking on-screen like the height of warm summer), the creation of the Stonehenge set outside of Paris, and the design of the costumes to be authentic and truly expressive of character -- beautiful without being decorative. Powell is fascinating as he discusses his approach, and also about the little splotch of blood he put on the hem of Tess' dress at a key point in the story, which Polanski shot for maximum impact.
Burrill recalls that on location the filmmakers were only able to see the rushes days after shooting, rather than the next day, and not always under the best conditions. But gradually, he says, "we started to see what was happening, the magic that was coming off the screen, and the extraordinary professionalism of Nastassia.... I don't think there was ever one day when she fluffed a line. She was word-perfect, always."
Second is a 52-minute documentary from 2006 by Daniel Ablin and Serge July entitled Once Upon a Time... Tess. This is also interesting, but it covers much of the same material as the Bouzereau pieces, with many of the same interviewees telling the same stories. It's also not as smoothly edited. But unlike the Bouzereau film, it includes composer Philippe Sarde, and delves more into Polanski's pre-Tess life and career. It also recounts the difficulties in Tess's post-production, particularly concerning the running time. Francis Coppola was brought in by producer Claude Berri to trim the film, which was deemed overlong, but Polanski hated the result, leading to a falling-out between Berri and Polanski and between Polanski and Sarde. Polanski himself eventually trimmed the film by about 20 minutes, resulting in the current running time of 171 minutes.
Third, there's a 1979 episode of the French TV program Cine Regards, running 48 minutes, that looks at the making of Tess and interviews Polanski during the film's production. The interviews with Polanski are revealing, but the real strengths of the piece are the long, uninterrupted slices of life on the set as Polanski directs and thinks through scenes, conducting his orchestra of crewmembers. These sequences go on long enough to make us feel as if we are there.
Fourth is a 1979 episode of the British TV program The South Bank Show, 50 minutes in length, in which host Melvyn Bragg interviews Polanski. And Criterion rounds things out with the film's trailer as well as a handsome printed booklet containing a fine essay by Colin MacCabe and crisp, colorful photos from the film, almost all of which feature the entrancing Nastassia Kinski. It's a beautiful package and motion picture, all very highly recommended.
By Jeremy Arnold
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Used Cars on Blu-ray
The opening of Used Cars (1980) has the ominous, wind-scoured character of a modern crime film in a desperate southwest town where a Sergio Leone western wouldn't be out of place. The camera cranes down from a high shot over a struggling used car dealership, where a few pathetic beaters line the lot, and slowly glides over to one car with someone is crammed under the dashboard. The only sound is the lonely wind--the kind of strangled, desolate howl you get in dustbowl dramas and desert survival thrillers--and the grunts of the man struggling with the mechanics under the dash. And then we see the odometer turn back, shaving some 40,000 or so miles from the record. The title hits the screen, a brass band jumps in with "Stars and Stripes Forever," and the unidentified mechanic wriggles out to reveal Kurt Russell in a cheap, loud suit making his rounds to mask the sorry condition of the cars on the lot. It turns out that this is a crime movie after all, or at least a film of multiple misdemeanors and bald-faced misrepresentation, and the perpetrators are the good guys.
The second feature from director Robert Zemeckis and co-writer and producer Bob Gale, Used Cars comes right out of the screen comedy culture of the late 1970s and early 1980s, when the underdogs snubbed their collective noses at authority, propriety, property and privacy laws and anything else that crossed their paths in slobs vs. snobs comedies like Animal House (1978), Caddyshack (1980) and Ghostbusters (1984). Used Cars is raucous and reckless and far more gleefully corrupt than any of its brothers in rebellion, embracing the confidence games and illegal stunts pulled by the skeleton crew that works for Luke Fuchs (Jack Warden), who is the closest thing that the film has to an honest man. The devotion of salesmen Rudy (Russell) and Jeff (Gerrit Graham) and mechanic Jim (Frank McRae) to Luke is really all that separates them from Luke's rapacious brother and across-the-street rival Roy L. Fuchs (Warden again) and his slick sales force. That and the fun they have ripping off the rubes who wander on to their lot.
The premise of film - two used car outfits at war with one another - was hatched by John Milius, who was one of the executive producers (along with Steven Spielberg), but the script is pure Zemeckis and Gale. The rivals are twin brothers, the Cain and Abel of used car dealers. When impending freeway construction threatens to destroy bad brother Roy's dealership and make the good brother Luke rich, Roy finds a way to speed the demise of Luke's bad heart and Rudy makes good on his promise to keep Roy from taking over the lot. Rudy has his own, more immediate motivation, of course--he's trying to buy his way into the local political machine and he's still a little short on the down payment--but it's also personal. Luke is something of a father figure to the crew, which makes them the mischievous sons who break the rules whenever dad's back is turned. After Luke dies, their antics more outrageous, from secretly burying Luke on the lot (his beloved convertible fittingly serves as his casket) to jamming satellite signals with wild pirate commercials replete with gratuitous nudity and senseless destruction of private property. The plot seems to careen from one comic collision to another but there's a nicely-constructed plan under it all, simple but ingenious enough that you don't actually see how the pieces are laid in place until it all comes together in the ragged spectacle of final act.
It's not really a satire of American business so much as a wicked lampoon: lie, cheat and steal as the American way, as long as you do it with a sense of fun. Kurt Russell was just breaking out of his clean-cut post-Disney persona when he took on the role and he sinks his teeth into Rudy, turning the brash characters into the epitome of the smiling mercenary selling lemons to suckers with dirty tricks and phony promises. Gerrit Graham is his partner in commercial piracy, unfazed by anything but harbingers of bad luck, notably red. Deborah Harmon is both romantic interest and plot complication as Luke's long lost daughter, who shows up just after dad's death. Jack Warden has a field day playing twin brothers and Frank McRae is hilarious as the giant adrenaline-pumped mechanic. The crotch-grabbing Mexican junk car wholesaler is ubiquitous character actor and future director Alfonso Arau in his first great comic role in an American film (Romancing the Stone and Three Amigos soon followed). But the entire cast is in danger of being upstaged by the adorable dog Toby, who has his own role to play in the sale stunts. This pooch's hilarious performance makes him one of the greatest movie dogs.
Zemeckis matured into a polished filmmaker and an ambitious storyteller and went on to make more sophisticated, more provocative, and certainly more subtle films, but he never made anything as savagely funny as Used Cars. Its banged-up ingenuity and rough-and-tumble energy and warped mirror reflection of the American Dream as a snatch and grab free-for-all is wickedly funny. Everyone is a crook here and the epilogue even enshrines mendacity as a virtue, at least when it comes to stepping into the used car game.
Used Cars has a remarkably tidy visual aesthetic for a film about a seedy, shabby culture, with a screen that is uncluttered and flooded with desert sunlight in day scenes and blasted with floodlights as bold as a football stadium night game for the after-dark stunts. The new HD transfer shows a well-preserved print and is sharp and clear. Simply put, it looks superb.
The commentary track with Zemeckis, Gale, and Russell, carried over from the 2002 DVD reelease, is almost as fun as the movie. "We wanted Jimmy Stewart in It's A Wonderful Life, except he's totally corrupt," is how Zemeckis explains the genesis of Rudy. Kurt Russell laughs back: "So you cast me!" These guys are having a blast laughing their way through their remembrances, but they manage to stay on track and keep the production stories coming. Few commentaries manage to balance the information and entertainment so well.
There's a four-minute reel of outtakes (apparently taken from surviving video dub; it's all quite hazy), a radio interview with Russell, a car commercial featuring Russell, galleries of art and stills, and not one but two isolated score tracks: along with Patrick Williams' musical score heard in the film is an alternate, unused score by Ernest Gold. We don't quite get it in the context of the film (at least not with dialogue and sound effects) but it's a more conventional, less satirical approach. The accompanying 8-page booklet features another fine essay by Julie Kirgo.
By Sean Axmaker
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Press Release
Library of America's The Moviegoer on LAURA
Library of America's new regular web feature called The Moviegoer is devoted to great films inspired by classic American writing. This biweekly column features columns by Megan Abbott, David Denby, Wendy Lesser, Charles McGrath, Farran Smith Nehme, Carrie Rickey,Terrence Rafferty, Harold Schechter, Michael Sragow, & others and launched on January 27, 2016.
American literature has proven an endlessly renewable resource for filmmakers, its originality and vitality inspiring whole catalogues of memorable movies. Now Library of America, the acclaimed nonprofit publisher of the nation's greatest writing, presents The Moviegoer, a biweekly column in which curator Michael Sragow (Film Comment) and other leading writers and critics offer fresh, penetrating examinations of the best of these films, gems that readers will want to revisit or watch for the first time. Standing at the intersection of classic American writing and classic filmmaking, The Moviegoer, offers not reviews but full scale reevaluations that explore the creative alchemy involved in translating a masterwork from page (or stage) to screen. It takes its inspiration, and its catholic compass, from the hero of Walker Percy's famous novel, and, in the words of curator Sragow, "aims to generate new enthusiasm for cinema as well as for literature."
To read the entry in the series on Laura by Megan Abbott and to sign up for an alert when a new Moviegoer is published, click here.
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Dick Dinman Visits the Deadly GARDEN OF EVIL
DICK DINMAN VISITS THE DEADLY "GARDEN OF EVIL" : Twilight Time's co-founder the award winning writer, producer and documentarian Nick Redman and acclaimed writer and film aficionado Julie Kirgo join producer/host Dick Dinman as they salute the singularly riveting Gary Cooper/Susan Hayward/Richard Widmark edge-of-your-seat action adventure GARDEN OF EVIL which Twilight Time has just released in a spectacular wide screen transfer emboldened by no less than three listening choices each of which graphically stress the essential importance of the monumentally powerful and unique Bernard Herrmann score.
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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John Wayne Cancer Foundation kicks off SHOW YOUR GRIT campaign on May 26
Join TCM on May 26 as we honor one of Hollywood's greatest stars, John Wayne, on his birthday with a full day of his films beginning at 6am. An icon of American individualism and courage, Wayne is perhaps best known for his work in the Western and war genres--where his image as the direct (sometimes gruff) yet always just and strong hero has become the stuff of screen legend for generations of film fans. Our tribute begins with an early Wayne film, Ride Him, Cowboy (1932) and continues through McLintock! (1963) at 5:45pm ET.
The day of programming is also in support of the John Wayne Cancer Foundation's Show Your Grit campaign, which kicks off on May 26. The John Wayne Cancer Foundation (JWCF) was created by his family in honor of Wayne's memory with a mission to bring courage, strength and grit to the fight against cancer. For 25 days, beginning on John Wayne's birthday and ending on Father's Day, June 19th, the John Wayne Cancer Foundation challenges you to #ShowYourGrit on social media to raise awareness and honor those who have shown courage, strength, and grit in the face of cancer.
To learn more about the John Wayne Cancer Foundation and to join the John Wayne movement please visit http://johnwayne.org/.
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TCM Podcast An in-depth look at this month's films by the employees of TCM DOWNLOAD TODAY >
- Added:...
buy it now > ...
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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Working for an organization with the size and resources of Kaiser Permanente Southern California means having the potential to positively affect the health and well-being of entire communities.
The PBX operator answers a multi-incoming computerized PBX system and directs calls to the appropriate extension, department or individual.
HCR ManorCare provides a range of services, including skilled nursing care, assisted living, post-acute medical and rehabilitation care, hospice care, home health care and rehabilitation therapy.
Healthcare Client Relations Manager
A Sales Account Executive position at Ortho Molecular Products for our Los Angeles, CA territory may be the career choice for you!
In this role, you will provide administrative and patient care support to various ambulatory clinics throughout the greater Southern California area.
Growth and expansion have created an outstanding opportunity for a Physician Recruiter to join one of the leading and fastest growing medical management companies in California.
At the David Geffen School of Medicine at UCLA you will be part of an internationally recognized leader in education, research and patient care.
As Practice Manager of the UCLA Health Santa Monica Breast Surgery Clinic, you'll support business and patient care, and manage the hiring and supervision of medical front and back office staff.
As Director, you'll support business and patient care functions for EIMG outpatient ambulatory practices.
Palmdale Regional Medical Center is committed to providing high quality healthcare in a compassionate and efficient manner.
Indian Health Service provides a comprehensive health service delivery system for American Indians & Alaska Natives. Join us in our Mission to raise the physical, mental, social & spiritual health of American Indians & Alaska Natives to the highest level.
Company Overview:Comprehensive Cancer Centers of Nevada (CCCN) is an award-winning multidisciplinary oncology group comprising medical oncology, hematology, radiation oncology, breast surgery and pulmonary medicine, with 13 treatment centers and off
Under direct supervision, provides administrative and staff support services for the department. Handles administrative tasks for projects, programs or processes specific to the operating unit served.
Humana Inc., headquartered in Louisville, Kentucky, is one of the nation's largest publicly traded health benefits companies.
The Pre-Access Specialist is responsible for the accurate and complete pre-registration, insurance verification and authorization of scheduled professional and hospital services.
District Medical Group, one of the largest multi-specialty medical groups in Phoenix is in search of a Risk Management Insurance Specialist.
This position supervises, develops and provides direction to Managers of Business Development, Account Liaisons and Hospital Liaisons-RNs.

subset: commoncrawl


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The 11th annual Under Armour All-America Lacrosse Games are gearing up for another exciting event set to take place the weekend of July 2 at Towson University's Johnny Unitas Stadium. The best-of-the-best high school lacrosse players will earn the sports' most prestigious honor as an Under Armour All-American.
The Top 44 senior boys and girls are selected by a committee made up of the nation's most knowledgeable figures in high school lacrosse. Seniors in good academic standing are considered for participation. The players will compete in separate boys' and girls' North vs. South All-Star Games during the event.
The 2016 Under Armour All-America rosters are selected by INSIDE LACROSSE and the selection committee. Rosters will be announced in waves through the Spring with final rosters set in May.
Johnny Unitas Stadium at Towson University will host the 2016 Senior All-America Games on Saturday, July 2nd. The girls game will face-off at 5:30pm, with the boys game at 8pm.


text:
- Report: #407511
Report - Rebuttal - Arbitrate
Complaint Review: National Congress Of Employers
National Congress Of Employers100 Garden City Plaza, Suite 102 Garden City, New York U.S.A.
National Congress Of Employers health insurance company fraud, I paid $344, but never received my policy. Garden City New York
*Consumer Comment: National Congress of Employers-Fraud!!! My 15 month-old daughter is UNDERINSURED, and cannot get vaccinations!!
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I'm trying to see if I can get my money back. I thought I would find their website to see if I could get more info but the website doesn't exist!! And instead I found a lot of rip-off reports of people having the same issues as I am. Can somebody help me or point me in the right direction. How do they get away with this.
New York, New York
This report was posted on Ripoff Report on 01/03/2009 08:59 AM and is a permanent record located here: http://www.ripoffreport.com/r/National-Congress-Of-Employers/Garden-City-New-York-11530/National-Congress-Of-Employers-health-insurance-company-fraud-I-paid-344-but-never-rece-407511. The posting time indicated is Arizona local time. Arizona does not observe daylight savings so the post time may be Mountain or Pacific depending on the time of year.
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#1 Consumer Comment
National Congress of Employers-Fraud!!! My 15 month-old daughter is UNDERINSURED, and cannot get vaccinations!!
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SUBMITTED: Sunday, January 18, 2009POSTED: Sunday, January 18, 2009
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Activities At-a-Glance, Large Group Meetings, Teaching Circles,
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I've been at this for hours and can't find a straight answer. I've been through many, if not all, of the topics on this forum, and tried almost all of the popular solutions on the interwebs. But none seem to work.
I have a custom post type: 'clipping' as well as a custom taxonomy: 'tag'. All I want to do is:
1: on single.php retrieve posts that contain one or more tags of the current post.
2: randomize and retrieve only 4 of all results.
I found this topic, which is now closed, that seems to do what I want, but not for a custom taxonomy.
I've also tried the following tutorials to no avail:
Justin Tadlock
Stack Overflow
WP forum thread
There's many others I've tried that I can't find the link to... hopefully someone can help me out and perhaps put an end to the search once and for all!


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- AFI's 100 Years... Series:
- Deleted Scene: During the film's production, a tacked-on ending scene set in Midge's apartment was shot, offering a clearer exposition of Elster's and Scottie's fates. It was shot for overseas prints of the film in countries whose censor boards were tougher than the Hays Office (which, by 1958, was a lot more lenient and was entering its twilight), and was eventually included as an extra on various home video releases.
- The Other Marty: Hitchcock originally cast Vera Miles as Madeline. She performed a costume test and modeled for an early version of Carlotta's portrait, but had to leave the project after becoming pregnant.
- Trope Namer: Hitchcock helped give rise to the term Fridge Logic when admitting that he had no explanation for the scene where Madeline leaves her hotel room without Scottie or the desklady seeing:
"[This scene] hits you after you've gone home and start pulling cold chicken out of the icebox."
:: Indexes ::
- Versus
- « Trivia »
- Veruca Salt


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I know most people dont like the name Asa for a girl, but I think SO has decided . He's too stubborn to argue with and it's really starting to grow on me. I cannot decide on a middle name though, no idea- any suggestions?
Middle name for Asa Clark?
Jessica--- mom to
My handsome man Mercury (7/30/07)
My little princess Phoenix (11/29/2008)
Love the suggestion of something more traditional and obviously feminine in the middle. How about . . .
Asa Melanie
Asa Claire
Asa Brooke
Asa Camille
Boy 07/07, Girl 12/10, Boy 03/05/13 VBA2C!!!!
Did you name Mercury for the panet or the god? Maybe a planet or a goddess name would work for Asa also. : )
Here's a list of Roman goddesses:
Actually we named Mercury after a football player mostly- Mercury Morris. Strange I know but his dad loved it and I do too now. These are really cute suggestions! Definitely want something feminine as a middle name so if they read the full name with out seeing the baby they will know she's a girl
Jessica--- mom to
My handsome man Mercury (7/30/07)
My little princess Phoenix (11/29/2008)
"Follow your own path and let people talk." ~ Dante
Asa Louisa
No, really - it isn't "uniQuE" if it's in the Top 1000!
Asa is very likely to be confused with Ava, for sure. I think you should use a male name, like Asa, or at least unisex, for the mn so that they "go". Like Asa John, Asa Moses, Asa Rowan, Asa Jeremiah, Asa Benjamin, Asa Beckett, Asa Paul. Oooh, or Murray is supposed to be the next big thing for girls soon, Asa Murray!
Clara 10/07, Ned 06/10
Posy 05/12
Alice Eulalie 8-27-13
Bizzy's suggestion of Asa Rowen sounds nice. I personally would spell it Rowan, but I think it sounds pretty. Other suggestions:
Asa Kate (if you have a longer last name)
Asa Lenore
Asa Simone
Asa Marie
Asa Joanne
Asa June
Rebecca+Scott = Elliot Faye (2/21/09) and Jack Alan (4/26/13)
My Mommy Blog- Whine and Musings
How do you pronounce this first name? I've never heard it. I'm guessing its like ace-ah
Kirsten, Mommy to Isla Rose, March 8th 2009 & Charlotte Rena, May 17th 2011


text:
We Are Kelsey Rose
We are inspired by love.
We believe in celebrations, beginnings and the everlasting. We believe in colour. We swoon when we've designed a great dress and our design room is covered in our dream colour palettes.
We make bridesmaid dresses born from happiness, laughter and love. Owning a Kelsey Rose gown should be an experience, a chapter of your story and a memory to make you smile.


text:
Waynesburg University's American Chemical Society (ACS) student chapter was selected to receive the "Outstanding Award" for the sixth consecutive year. The award, a result of the chapter's activities for the 2014-15 academic year, was recently presented at the ACS National Meeting in San Diego, California.
The congratulatory letter from ACS President Diane Grob Schmidt read as follows: "Professors Evonne Baldauff and Robert LaCount, faculty advisors of the chapter, deserve special commendation. Few faculty members are willing to make the great commitment of time and energy that a successful chapter requires. Professor Baldauff and Professor LaCount's efforts certainly represent the best in undergraduate science education and mentoring around the country. We extend our warmest congratulations to the students and Professors Baldauff and LaCount for setting such a fine example for other chapters and being exemplary chemistry ambassadors!"
More than 400 student chapter reports were submitted for review by The Society Committee on Education. There were 314 awards given, including 55 outstanding, 99 commendable and 160 honorable mention awards.
"Winning the outstanding award is a wonderful recognition for the efforts that our students undertake through various activities, events and projects," said Dr. Evonne Baldauff, assistant professor of chemistry and chair of the Department of Chemistry and Forensic Science at Waynesburg University. "Receiving this award also validates that the work we do is meaningful to the audiences we serve, which is very important as we strive to be excellent representatives of the University."
Led by Baldauff and Dr. Robert LaCount, professor emeritus of chemistry, the student chapter was highly involved in campus and community outreach activities throughout the year, such as monthly labs for homeschooled students, a Haunted Lab open to the campus and local community, among many others. The chapter also assisted with the undergraduate portion of the Central Regional Meeting of the ACS in Pittsburgh.
According to Baldauff, the reviewing committee noted that there were only five weeks out of the academic year when the chapter was not involved in an event or project.
ACS is a congressionally independent membership organization which represents professionals at all degree levels and in all fields of chemistry and sciences that involve chemistry.
Founded in 1849 by the Cumberland Presbyterian Church, Waynesburg University is located on a traditional campus in the hills of southwestern Pennsylvania, with three additional sites located in the Pittsburgh region. The University is a member of the Council for Christian Colleges and Universities (CCCU) and is one of only 21 Bonner Scholar schools in the country, offering local, regional and international opportunities to touch the lives of others through service.
# # #
Ashley Wise, Assistant Director of University Relations
724.852.7675 or firstname.lastname@example.com


text:
Taylor 2 Festival (NYC)
Taylor 2 has travelled from Alaska to Zimbabwe and back. And on April 24–26, they return to the Schimmel as part of the Pace Presents season.
From Ahmedabad to Alaska, Mozambique to Montana, Bangalore to Boston, Taylor 2 has performed in nearly 400 cities to date, with international tours in Africa and India, as well as a domestic tour that took the troupe to 46 of the 50 states.
Paul Taylor's renowned Taylor 2 Company, composed of six professionals with a particular gift for his style, are coming back to the Schimmel for three shows on Thursday, April 24–Saturday, April 26 at 7:30 p.m.
One of the pioneers of modern dance, Taylor will have three works presented in the program: "AIRS" with music by George Frideric Handel, "ESPLANADE," with music by Johann Sebastian Bach, and "THE UNCOMMITTED" with music by Arvo Pärt. See what The New York Times has called "a kind of a miracle."
Live music for these performances is the result of a special collaboration with the distinguished American Virtuosi, an ensemble of period and modern instruments, conducted by Kenneth Hamrick, Artistic Director.
Now's your chance to see Taylor 2 and hear American Virtuosi. This is the way Taylor's dances were meant to be experienced!
For $5 student tickets, visit http://schimmel.pace.edu.
Next up at the Schimmel: Gelsey Kirkland Ballet on May 16–18.
Live music made possible by a gift from Dr. Frank L. Ellsworth and Dr. Kristin L. Ellsworth and the American Virtuosi Foundation Inc. as part of the Live Music for Dance Initiative.
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On Tuesday, September 6, the University will roll out the blue and gold carpet to welcome the Class of 2020 to the Pace Community at Convocation 2016!
Come Together for Convocation!
With more than 100 student clubs and orgs in NYC, PLV, and WP, there's something for everyone to get involved in. So pick up your thimble, roll the dice, and advance to Campus Involvement Fairs.
PaceOPoly 2016
September is just around the corner and it's almost time to race for the cure. Register today and join the Pace team in the fight against breast cancer on September 10.
Run Breast Cancer Out of Town


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Requires 2 AA batteries, sold separately.
(based on 114 reviews)
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Most Liked Positive Review
Easy Cut-Out Fix
When I got this the TV listening portion was fine but the FM radio would cut out and in constantly. I did some simple surgery and now everything works perfectly! Here's...Read complete review
When I got this the TV listening portion was fine but the FM radio would cut out and in constantly. I did some simple surgery and now everything works perfectly! Here's how...1st, follow the suggestions in the other reviews about pulling apart the transmitter and turning the screw a bit counter-clockwise thus putting the transmitter at the bottom range of the FM scale. When I turn my unit on I don't even have to reset to tune it in. It just comes in on the proper TV station. Next, pull the cover off the earphone with the controls on it. It just pulls apart--no screws--easy-peasy. Now look for a thin black wire that's all coiled up inside the earphone housing. It's the antenna wire. It is only attached to the board at 1 end. Uncoil it and get it out of the case. You can take a knife and score the edge of the case to give the wire a channel to run through and keep it from pinching. Pop the ear cover back on. I taped the wire to the headband in a couple of places with black elec. tape but you could use twist ties, zip ties, a drop of hot glue, or whatever you like to hold the wire in place. Now I can walk all over the house and out in the yard and still get excellent TV reception. The FM radio works equally as well anywhere I go.Try it before returning them as "defective"! I now have 2 of these and they both work well.Good luck!
Most Liked Negative Review
Kind of Works?
I received these headphones as a gift to be used with a Plasma TV located in a bedroom. The transmitter output consists of 1 red RCA male and 1 - 3.5mm headphone male. I...Read complete review
I received these headphones as a gift to be used with a Plasma TV located in a bedroom. The transmitter output consists of 1 red RCA male and 1 - 3.5mm headphone male. I hooked up the red RCA to my Plasma - no sound. I tried the FM radio scan and was able to listen to radio stations, but the sound quality is very poor - no bass, etc.I tried hooking the transmitter to the DVR audio output, still no sound. Finally, I fired up my laptop, and put it on Pandora. Plugged the 3.5mm jack into the laptop. I could hear garbled sounds emitting from the headphones. I put them on, and the sound was gone. Pushed the reset button, still no sound. Turned off the transmitter and headphones. Turned them back on - still no sound. Repeatedly plugged and unplugged the 3.5mm jack, and then - SOUND! The audio quality is poor, but it is clear with no static. I connected the RCA jack to the Plasma, and now there is sound. The TV volume control doesn't affect the headphone volume, which is good. You can turn your TV sound all the way down and still listen through the headphones.I have no idea why they didn't work for so long, and I have no idea if they will continue to work.
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Just what I needed!
By Larry
from Horse Shoe NC
About Me Casual Do-It-Yourselfer
Comments about Wireless Headphones:
Bought these to use in my RV to be able to view TV without disturbing those who had gone to bed for the night. Just the best for this purpose and at a very reasonable price!
Bottom Line Yes, I would recommend this to a friend
Was this review helpful? Yes / No
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Comment on this review
By Ivan
from Thornton co
Set it up for my sons TV. He love them and I don't have to hear cartoons all day
Price & Quality
By APPS
from Manning, SC
Great when I listen to TV without waking wife, can't compare anywhere to Quality & Price.
nice headphones
By hill billy
from Pocono Summit, PA
About Me Avid Do-It-Yourselfer
My son got these on our last trip to HF. They work pretty good. In our area he was only able to pick up one or two stations on the built in radio. I don't know if he tried the wireless part of it yet, other than the built in mike, but that worked really well.
work good
By don
from saginaw mich
my girlfriend got it and she love it she had ear buds before she bought the wireless headphones, they work great in the house.
By NONE
from GREENWOOD s.c.
About Me Professional
I picked up s wireless headset from u the other day it worked so good I went back to get anither set for the other room and tv set so that should tell u something THANKS HARBOR FREIGHT TOOLS
By Demetrio
from Clermont FL
About Me Beginner
I can crank up the sound at night while the rest of the family sleeps.
bye bye tv ears
By tom
from pocatello id
I just purchased headphones and the best way to describe them is WOW!!!!!. had tv ears that are ok but these headphones are great. you'll need 4 aaa batteries which is ok because I use rechargeable.Best buy of the year.
Wireless headphones
By Barry
from Colorado
For the money works great
Headphones work as advertised. I use it on the TV .
By Jim
from Bishopville, SC
Works as well as the ones I paid quite a lot more for.
Most orders will be processed and leave our warehouses within 1-2 business days from the time your order is placed. Orders placed on Saturday or Sunday will be processed on Monday.
*Overweight items are shipped via freight delivery, please allow up to 15 business days for shipping. Standard Ground Shipping rates apply to deliveries within the continental Unites States.
© Copyright 2016 Harbor Freight Tools. All Rights Reserved. MATERIAL AND PHOTOS ON THIS SITE ARE THE COPYRIGHTED PROPERTY OF HARBOR FREIGHT TOOLS AND MAY NOT BE USED WITHOUT THE PRIOR WRITTEN PERMISSION OF HARBOR FREIGHT TOOLS.
Harbor Freight Tools does not endorse any other business or organization or any technique in any customer and/or fan video. Always follow all of the instructions and warnings included with our products. We make no representation or warranty of any kind by including any customer and/or fan video on our website.
LIFETIME WARRANTYLifetime Warranty on Hand Tools! We guarantee our Hand Tools to be free from defects in material and workmanship for the life of the product. Limitations apply.
ABOUT HARBOR FREIGHT TOOLSFounded in 1977, Harbor Freight Tools is the leading discount tool retailer in the U.S. selling great quality tools at "ridiculously low prices" in over 700 stores nationwide and on its website www.harborfreight.com. Harbor Freight Tools stocks over 7,000 items in categories including automotive, air and power tools, shop equipment and hand tools. With a commitment to quality and a lifetime guarantee on all hand tools, Harbor Freight Tools is a favorite of automotive and truck repair shops, government agencies, schools, manufacturers, contractors and tool enthusiasts who want top-quality and great selection and value. The results speak for themselves - with over 30 million customers and thousands of people switching to Harbor Freight Tools every day.


text:
Much of Beaver Nation is looking forward to the new era of Beaver basketball under new coach Craig Robinson. He's been getting plenty of press not so much about basketball but about his role in the new First Family. Obama Brother-In-Law Balances Coaching, Politics by Tom Goldman I heard this on NPR on the way […]
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College of Education - Faculty & Staff
Faculty & Staff
Amy Accardo, Ed.D., Instructor
Office: Herman D. James Hall 3050
Office Hours: Tuesdays & Fridays 11:30-12:30 and by appointment
Phone Number: 856-256-4708
E-mail: firstname.lastname@example.com
About Amy Accardo, Ed.D.
Dr. Amy Accardo received her Bachelor of Science and Master of Science in Education degrees from Drexel University in Philadelphia, PA, and her Doctor of Education in Special Education degree from Arcadia University in Glenside, PA. As a member of the Interdisciplinary and Inclusive Education Department within Rowan University's College of Education, Dr. Accardo teaches both undergraduate and graduate courses including: Differentiated Instruction in the Inclusive Classroom; Human Exceptionalities; Specialized Instruction; Curriculum, Instruction and Transition; and Instructional Methods for Students with Autism Spectrum Disorders. She also provides clinical practice supervision for Rowan University teacher candidates in the Teacher of Students with Disabilities Endorsement Program, and the Elementary Education Program.
Dr. Accardo's professional experience includes an extensive public school background, having served as a middle school special education teacher and curriculum coordinator for fifteen years, and a community and family support background. In 2006, Dr. Accardo founded Bucks County Learning Connections LLC, providing developmental support for individuals with autism spectrum disorder and their families. Dr. Accardo's current research interests surround promoting independence for individuals with disabilities and include the areas of reading comprehension and students with ASD; promoting global education in special education classrooms; and the effects of professional development on co-teaching models.


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Head over to the Kerrygold website and a take a short survey to get a printable coupon good for a FREE Product – your choice of butter or cheese. Its a RedPlum coupon so you will be able to print it once you complete the survey!
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Streep and Nichols are cousins?
The award winning actress has worked with Nichols on four films. When Gates" documentary, Faces of America revealed that they were cousins, she shrieked out saying that it was ridiculous and had trouble believing it. According to Gates" research, renowned cellist Yo-Yo Ma and actress Eva Longoria Parker are also related. The Desperate Housewives actress" first question on finding that out was whether Yo-Yo Ma was also Mexican!


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- Report: #61949
Report - Rebuttal - Arbitrate
Complaint Review: 24 Hour Fitness
24 Hour Fitness34461 Date Palm Drive Nationwide U.S.A.
24 Hour Fitness ripoff Bait and switch. Huntigton Beach, California, Cathedral City California
*UPDATE Employee: Make Sure You Read What You Sign
*UPDATE EX-employee responds: The Trainer Lied
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I checked withthe Manager there who nformed e that my fitness sesions were all paid for on my visa Card and that I should begin coming to training. I attened 42 sessions of training with no bills for traiing and no complaints from ane here had been no invoices ever sent t my house for training an amonts had been deducte fom my Visa Card. As of this date (june 25, 2003, I came to fitness an my instructor,a vry professional an compitent trainer informed me I cold not train that my bill was not paid.
He entered my accunt in the system and it showed paid. he said owed $3000.00 to the club & refused to let me cntnue. He said the program they sold me was in three parts and my payments had been divided into thrree payments on each contract for a total of $3000.00 instead of the $1000.00 I believed I had contracted for.I phoned 24 Hour fitness at Huntington Beach and they said they had written it off even though they had never billed me.
At this time I am awaaiting copies of my accouint with them but I am not allowed any more training. My trainer told me that if I don't pay , they will take the money out of his salary.I am very upset over this matter.
rancho mirage, California
This report was posted on Ripoff Report on 06/26/2003 01:22 PM and is a permanent record located here: http://www.ripoffreport.com/r/24-Hour-Fitness/nationwide/24-Hour-Fitness-ripoff-Bait-and-switch-Huntigton-Beach-California-Cathedral-City-Calif-61949. The posting time indicated is Arizona local time. Arizona does not observe daylight savings so the post time may be Mountain or Pacific depending on the time of year.
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#1 UPDATE Employee
Make Sure You Read What You Sign
AUTHOR: Justin - (U.S.A.)
SUBMITTED: Wednesday, July 19, 2006POSTED: Wednesday, July 19, 2006
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#2 UPDATE EX-employee responds
The Trainer Lied
AUTHOR: Connie - (U.S.A.)
SUBMITTED: Wednesday, February 09, 2005POSTED: Wednesday, February 09, 2005
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