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New Books
A Story Lately Told: Coming of Age in Ireland, London and New York
By Anjelica Huston
The daughter of legendary director John Huston, Anjelica Huston is a member of one of Hollywood's most enduring dynasties--a dynasty that includes her Academy Award winning grandfather Walter, her Academy Award winning father John, her brother Danny and her nephew Richard.
Unlike her peers, Jane and Peter Fonda, Liza Minnelli and Candice Bergen, Anjelica Huston was not raised in Hollywood, and her family life was very different. Written with an exuberant love of language and detail, Anjelica Huston shares her enchanted childhood in Ireland, her teen years in London, and her coming-of-age as a model and young actress in New York.
Living with her glamorous and artistic mother, educated by tutors and nuns, intrepid on a horse, Huston was raised on an Irish estate to which--between movies--her father brought his array of extraordinary friends, from Carson McCullers and John Steinbeck to Peter O'Toole and Marlon Brando. Every morning, Anjelica and her brother visited their father while he took his breakfast in bed. "What news?" he'd ask. "I'd seen him the night before," Anjelica recalls. "There wasn't much to report." So she became a storyteller.
In London, where she lived with her mother and brother in the early sixties when her par¬ents separated, Huston had a front row seat to the changing times in music, fashion and culture. She encountered the Rolling Stones and Fleetwood Mac, and understudied Marianne Faithfull in Hamlet. Seventeen, striking, precocious, but still young and vulnerable, she was devastated when her mother died in a car crash.
Months later she moved to New York, fell in love with the much older, brilliant but disturbed photographer Bob Richardson, and became a fashion model. Living in the Chelsea Hotel, working with Richard Avedon and other photographers, she navigated a volatile relationship and the dynamic cultural epicenter of New York in the seventies.
Anjelica Huston is an actress, poet, activist and author. She lives in Los Angeles. - More >
The Fat Lady Sang
By Robert Evans
Robert Evans, the flamboyant producer of a number of movies that have become modern film classics, continues the story he started with his first autobiographical book, The Kid Stays in the Picture.
Evans is often credited with the renaissance of Paramount Studios in the late 1960s and 1970s, when he was in charge of the studio. He is also known for the beautiful women he squired around town, as well as his marriage to Ali McGraw. But the one thing Evans has always been best known for? The stories he tells, not only about Hollywood but about himself as well.
Born in New York City in 1930, he was bitten by the acting bug at an early age. Though he began his career as an actor, Evans never lost sight of the fact that he wanted to become a producer. He was a millionaire by his 25th birthday thanks to running his older brother Charles' women's clothing label, Evan-Picone.
While in Los Angeles to open a series of boutiques for the fashion label, he was discovered poolside by Norma Shearer and she championed him for the role of her late husband, the renowned producer, Irving Thalberg, in 20th Century-Fox's production of Lon Chaney's biopic, The Man of a Thousand Faces. Mentored by legendary producer Darryl F. Zanuck, Evans went through the usual ups and downs of a career in Hollywood before finding his niche when he optioned the bookand signed Frank Sinatra to the project. His career took off and he never looked back.
The Fat Lady Sang picks up where The Kid Stays in the Picture ended. With Evans' usual flair, the book chronicles his recovery from a series of strokes with the aid of neurologists, physical therapists and old friends like Warren Beatty, Jack Nicholson and Beverly D'Angelo.
Robert Evans, the former chief of Paramount Studios, where he produced many of the most acclaimed and successful films of all time, including The Godfather, Chinatown, Rosemary's Baby, Love Story, Marathon Man, and Urban Cowboy. He lives in Beverly Hills, California. - More >
Maureen OHara: The Biography
By Aubrey Malone
With her porcelain skin, her fiery green eyes and that mane of glorious red hair, Maureen O'Hara was destined to be in the movies, especially movies filmed in Technicolor. She commanded attention with her striking beauty and impassioned portrayals of spirited heroines, whether she was being rescued from the gallows by Charles Laughton in The Hunchback of Notre Dame, (1939), falling in love with Walter Pidgeon against a coal-blackened sky in How Green Was My Valley (1941), learning to believe in miracles with Natalie Wood in Miracle on 34th Street (1947), or matching wits with John Wayne in The Quiet Man (1952). She charmed audiences with her powerful presence and easy confidence.
Maureen O'Hara: The Biography is the first book-length biography of the screen legend hailed as the "Queen of Technicolor." Following the star from her childhood in Dublin to the height of her fame in Hollywood, film critic Aubrey Malone draws on new information from the Irish Film Institute, production notes from films, and details from historical film journals, newspapers, and fan magazines. Malone also examines the actress's friendship with frequent costar John Wayne and her relationship with director John Ford, and she addresses the hotly debated question of whether the screen siren was a feminist or antifeminist figure.
Though she was an icon of cinema's golden age, O'Hara's penchant for privacy and habit of making public statements that contradicted her personal choices have made her an enigma. This breakthrough biography offers the first look at the woman behind the larger-than-life persona, sorting through the myths to present a balanced assessment of one of the greatest stars of the silver screen.
In the words of Mollie Gregory, author of Women Who Run the Show: How a Brilliant and Creative New Generation of Women Stormed Hollywood. "Maureen O'Hara: The Biography is a significant contribution to scholars in the field and to movie fans for its broad scope, rich movie lore and enlightening information about O'Hara, the woman and the actress, whose career spanned a vital period in American film history."
Aubrey Malone, a professional film critic, has written more than seventy books, including Hemingway: The Grace and the Pressure and The Hunchback of East Hollywood: A Biography of Charles Bukowski. - More >
The Making of Hitchcock's The Birds
By Tony Lee Moral
In 1963, Alfred Hitchcock frightened moviegoers with his apocalyptic tale of Mother Nature's revenge, The Birds. Now, fifty years later, the film is considered an essential in Hitchcock's filmography. To coincide with the landmark anniversary of the film, this is the first book-length treatment on the production of this modernist masterpiece.
Featuring new interviews with stars Rod Taylor, Tippi Hedren, and Veronica Cartwright, as well as sketches and storyboards from Hitchcock's A-list technical team (Robert Boyle, Albert Whitlock, and Harold Michelson), this book charts every aspect of the film's production--all set against the tumultuous backdrop of the 1962 Cuban missile crisis and JFK's presidency.
Using unpublished material from the Alfred Hitchcock Collection, Evan Hunter's files, Peggy Robertson's papers, and Robert Boyle's artwork, this is the ultimate guide to one of Hitchcock's most ambitious films. This book analyzes the film's modernist underpinnings, from art director Boyle's initial sketches influenced by Munch's The Scream, to the groundbreaking electronic score by pioneering German composers Remi Gassmann and Oskar Sala.
Tony Lee Moral is a documentary filmmaker, a writer, and the author of Alfred Hitchcock's Movie Making Masterclass and Hitchcock and the Making of Marnie. He has produced, written, and directed more than 100 hours of television for major broadcasters in the United States and the UK. He also has produced behind-the-scenes documentaries for the Doctor Who series, as well as animation and short films. - More >
DVD Reviews
Il Generale Della Rovere on Blu-ray
1959's Il Generale Della Rovere is an atypical film for Roberto Rossellini. After his neo-realist beginnings and a multi-film collaboration with Ingrid Bergman, Rossellini was already turning away from feature entertainments, with a semi-documentary project filmed in India. Filmed mostly on studio sets, the film combines the wartime setting of Open City with the moral uplift of the Bergman films. The most accessible and conventional of his films, it was cultivated to be a hit, and make a strong showing at the Venice Film Festival. Actor-director Vittorio De Sica was chosen to star because he would appeal in other European countries besides France. As Rovere is so performance oriented, De Sica's creative contribution probably equals that of Rossellini.
The book by Indro Montanelli has its basis in real events. In wartime Genoa, gambler Emanuele Bardone (Vittorio De Sica) has subsisted by becoming a petty swindler, using bribes to a German staff clerk to buy the freedom of Italians suspected as partisans. Posing as a Colonel from the Great War and pretending to have real influence, Bardone overcharges the wealthy Chiara Fassio (Anne Vernon) for the promised release of her husband. He then gambles away the bribe money and tries to cover his losses by selling fake jewelry. When Bardone befriends the high-ranking German Colonel Mueller (Hannes Messemer), all of his problems seem to be over. But Mueller instead arrests the con man and gives him a choice: impersonate a dead Italian resistance organizer, the respected General Della Rovere, or be shot. Bardone finds himself in a German prison surrounded by genuine Italian heroes; to save his own life he's expected to act as a Judas and identify Rovere's contact man, the leader of the resistance.
Oddly celebrated as a return to Rossellini's roots in Italian neorealism, Il Generale Della Rovere is a tightly scripted story filmed with professional actors on studio sets. Rossellini's staging is conventional and he even uses a zoom lens in a couple of scenes. He match-cuts between his artificial settings and authentic film footage of war action and bombed streets. Yet the marvelous performances, particularly that of Vittorio De Sica, have an authenticity no 'realism' could provide.
Emanuele Bardone is a fascinating character, a reckless charlatan accustomed to lies and impersonations, fantasies that also make him feel good about himself. Posing as a WW1 veteran named "Colonel Grimaldi', he foolishly believes that he's helping the people he robs. Even with the privations of wartime Bardone manages to keep two girlfriends, the entertainer Valeria (Giovanna Ralli) and a prostitute, Olga (Sandra Milo). Olga's devotion to Emanuele is so great that she gives him money, rather than let him swindle the other girls in the brothel. Bardone is really swindling himself, thinking that he can gamble his way out of debt and square things with all the people he's harmed. He owns up to his true character only when Colonel Mueller reads his civilian rap sheet from before the war: "...thief, drug pusher...".
Forced to collaborate with the enemy, Bardone sees what conditions are like for political prisoners. Some are tortured and one commits suicide to avoid giving up information. For the first time Bardone is uncomfortable playing a 'theatrical' role. His fake general is treated as a VIP by the SS guards and their Italian stooges. He's mortified by the hurried messages he finds written on his cell walls, from men being called to be executed. The patriotic scribbles profess love for country and beg somebody to convey their feelings to their families. Bardone shouts out a patriotic speech to his fellow prisoners during an air raid -- mostly to calm his own nerves. How can he betray these men? How low can he allow himself to sink even lower?
Il Generale Della Rovere would seem a perfect role for Charles Chaplin, were the internationalist comic interested in a story about patriotism to a particular country. De Sica performs the role as would Chaplin post- Monsieur Verdoux. Both characters commit moral crimes to survive, but only the sentimental Bardone attempts to atone. De Sica had made the leading character of his own Miracle in Milan very Chaplinesque, and the Bardone character evolves from thoughtless selfishness to 'noble contrition' in much the same way a later Chaplin character might. He watches a common barber (Vittorio Caprioli) die rather than betray his country. Having assumed the role of the great General, Bardone is compelled to behave as the General would.
Anne Vernon (of The Umbrellas of Cherbourg) makes a strong impression as Bardone's most wronged victim. A real Baronessa Bazzani performs without credit as Della Rovere's wife, who comes to the prison in hopes of seeing him. The SS Colonel played by Hans Messemer (The Great Escape) is unlike the vicious monsters Rossellini portrayed years earlier in Rome Open City. Colonel Mueller expresses regret for having to force men to talk, a script detail possibly encouraged by the commercial need to avoid offending German audiences. Mueller rightfully sees Bardone as an ideal chameleon to impersonate the near-legendary General; but doesn't take into account Bardone's capacity for patriotic feeling.
Roberto Rossellini's direction is always good for character. Many scenes are done in long takes, usually with camera motion. A roundup of prisoners near the end seems slow, as every faction represented (Communists, Jews, random arrestees) have their say. But an earlier scene in which Bardone is forced to face the sad people he has fleeced is better, mainly because De Sica has the floor and does most of the talking. Like Chaplin in Monsieur Verdoux, Rossellini purposely eschews emotional effects for his strongest scenes. The grim finish plays out in a wide shot. Rossellini made only a few more films before shifting over to a series of TV docudramas and miniseries, often about historical figures. His next picture Era notte a Roma (Escape by Night) is another story of the German occupation that reunited actors Giovanna Ralli and Hannes Messemer.
Raro Video's Blu-ray Remastered Edition of Il Generale Della Rovere reflects an Italian restoration done several years ago, and a different transfer than Criterion's earlier DVD from 2009. Setting this release apart is the inclusion of the restored cut of the version Rossellini screened at Venice in 1959. It is six minutes longer than the 132-minute theatrical cut, which is included as an extra.
The transfer is excellent in quality, with only the restored sections having more film grain; they were apparently taken from a surviving print. More puzzling is the flat aspect ratio, which is maintained at 1.33:1 for both versions, although the layout of the main titles and cameraman Carlo Carlini's compositions clearly point to a wider aspect ratio being correct. Even more curious is the fact that the entire frame has been scanned, resulting in a slightly window-boxed image that reveals the full camera gate, with bits of dirt clinging to the extremes of the image. The presentation would be much more focused had the unnecessary real estate below and above cropped away. Those prison cells have very high ceilings.
Raro's extras are also different from those on the Criterion disc. A long video essay (45 minutes) contains interview material with Roberto Rossellini's son Renzo and critic Adriano Aprá; the critic returns for more analysis of Rovere's mix of realism and artifice. A separate interview with Renzo Rossellini includes material used in the video essay. The original Italian trailer uses no scenes from the movie. It instead shows De Sica and Rossellini at the Venice Film Festival, where the director is seen accepting the Golden Lion award. Actor Hans Messemer also won a special mention for his performance.
By Glenn Erickson - More >
La Notte on Criterion Blu-ray
Michelangelo Antonioni's 1957 Il Grido is a gritty drama about lower class romantic entanglements. Nine years later his England-set Blow-Up became the first of several internationally based movies. But the four features between those made Antonioni one of the most influential art film directors of the 1960s. Difficult to categorize, the pictures are commonly described as studies of modern alienation, or the failure of human communication. The central disappearance in Antonioni's L'Avventura goes unsolved when its affluent characters lose the will to continue their search. In L'Eclisse a similarly disconnected upscale couple's disaffection is partially expressed in abstract terms, using the modern city as a metaphor for lost humanity. The abstractions become an experiment in color in Red Desert, in which Antonioni's muse Monica Vitti leads a frustrating, fragmented life amid wrecked industrial landscapes.
1961's La Notte is perhaps the most accessible film of the four, as it does not abandon its conventional story about a marriage in crisis. Retaining a realistic surface, Antonioni observes his disaffected husband and wife through their subdued, muted behaviors. Their feeling of emotional deadness is never difficult to understand. Architectural context is everything for this director. The modern city's cold surfaces seem to negate the human dimension, as if making honest relationships impossible.
The first thing we see is a shot of a glass tower blocking our view of an older, traditional building. Popular novelist Giovanni Pontano (Marcello Mastroianni) and his wife Lidia (Jeanne Moreau) visit a hospital where their dear friend Tommaso Garani (Berhnard Wicki) is dying. Warm feelings are expressed, but Giovanni keeps his emotions in check. Giovanni will later be surprised to learn that Tommaso, an important mentor and inspiration for his writing, has always been in love with Lidia. Lidia leaves to wait outside, and Giovanni is almost seduced by a disturbed young woman from a room down the hall. Later, at a reception to celebrate Giovanni's new book, Lidia feels redundant. She excuses herself and spends the afternoon in a taxi, driving around the city to places where she once lived. She finally calls Giovanni from a neighborhood where some young men are firing off small rockets. Although Giovanni pouts and Lidia remains aloof, they end up attending an all-night party at the palatial home of the industrialist Gherardini (Vincenzo Corbella), where they are treated as extra-special guests. While the revelers dance to a live jazz band in the vast garden, the Pontanos go their separate ways. Each resents seeing the other behave in a lively and animated manner around other people. Lidia begins to flirt with a globe-hopping playboy, Roberto (Giorgio Negro), while Giovanni becomes fascinated with Gherardi's twenty-something daughter Valentina (Monica Vitti), who he finds reading his new book.
La Notte is a study of modern Italian sophisticates that aren't coping well with their affluent, selfish lifestyles. The slightly jaded, self-obsessed Giovanni is so caught up in complacent comfort that his handsome face seems drained of real emotion. The neglected Lidia feels as if she has been cheated in life: at one point she was also involved in creative pursuits, and now lives in Giovanni's shadow. Women flock to the author like a magnet, leaving Lidia feeling like an accessory to an unappreciative husband. At one point she reads a passionate love note to Giovanni, who asks who wrote it. Lidia doesn't even express anger when she tells him that he wrote it to her, back when their relationship meant something.
Lidia's wandering on the outskirts of Milan can't bring the past back to life. In her expensive clothes she's offered assistance; a bored taxi-driver patiently waits for her, presumably satisfied by the charge being rung up on the meter. The model rockets are an interesting diversion, and perhaps a symbol of the future Lidia might have had, if she had stayed single and pursued her own interests.
Lidia and Giovanni glide into the fancy house party looking like a fabulous success story; they blend right into the crowd of privileged Italians celebrating their own wealth. The host regales Giovanni with talk about his vast business empire; he wants the writer to head up his company's new corporate culture and morale division. Signora Gherardini (Gitt Magrini) is the definition of the gracious society hostess, all clever talk and smooth introductions. Lidia is politely unimpressed. Giovanni is soon following the attractive Valentina around the glass walls of her father's designer mansion. They play a shuffleboard- like game on the checkered floor of the playroom, which becomes an impromptu arena and betting parlor for the party guests. Lidia allows the on-the-make Roberto to take her for a spin in his new sports car. Giovanni behaves as if he were free to toss his life away and run off with the first interesting woman he sees, something that Valentina is wisely aware of. Lidia realizes that she's incapable of making a casual conquest, no matter how unfulfilled she feels. As the dawn approaches, the Pontanos find themselves together again. Have they learned anything?
What makes Michelangelo such an admired filmmaker? La Notte is an uncomplicated narrative about complicated people, packed with insights not expressed in dialogue. Busy street scenes and two large parties contrast with Lidia's lonely wanderings on the fringe of the city, and in every scene we feel as if we have taken a time machine back to Milan of 1961. Antonioni carefully stages and lights everything, but his camera technique rarely draws attention to itself. Images in the millionaire's house frequently involve reflections in the glass walls that make people look like ghost figures, or duplicates of themselves. It's a house for vain, ostentatious creatures. The shots can be disorienting, but angles are never chosen simply for pictorial effect. We feel as if we're inside a cinematic equation that relates interpersonal relationships with architectural forms. The architectural abstraction is not an end in itself, but instead connects the viewer with Antonioni's feelings about the quality of life. When Lidia and Giovanni walk together on Gherardini's vast garden lawn, the feeling that their marriage might be healed is not an intellectual deduction.
This is one picture in which the handsome Marcello Mastroianni convinces as a shallow intellectual. Giovanni takes Lidia utterly for granted. He needs to find his way back to the basic realities of his life, to remember which people and commitments really matter. The fact that Jeanne Moreau is dubbed in Italian is never an issue. The actress's seemingly neutral stares express a range of emotion, from complete despair to muted optimism. Her Lidia has simply been burned far too often. Monica Vitti would soon become Antonioni's leading player; here her character is quite a charmer. Valentina sees nothing wrong with flirting with Giovanni, but makes no promises and surrenders no emotional ground. In a telling moment, she reports to her mother that the famous married author is getting rather serious. Mother and daughter assess the situation as if similar intrigues are common occurrences, and best resolved without undue dramatics.
German actor Bernhard Wicki was also a prolific film director. His character Tommaso begins the film with a burst of honest emotion that affects everything that follows. La Notte is perhaps the Antonioni that casual viewers should see first, as it is least likely to frustrate (or annoy) those unacquainted with unconventionally structured movies. It creates strong feelings about its characters, a quality that seems of less importance to the director in some of his more abstract, complex films.
Criterion's Blu-ray of La Notte is a marvelous encoding of Michelangelo Antonioni's B&W masterpiece, conveying the many textures in the cinematography of Gianni Di Venanzo (Salvatore Giuliano, Juliet of the Spirits). When Lidia rides in the playboy's sports car, a downpour sends curtains of water pouring down the windows - the minimalist visuals instantly give them isolation and privacy. The widescreen aspect ratio enables Antonioni to feature his characters in relationship to architecture old and new, maintaining a sense of human scale. We come to know that lavish party house inside and out.
The extras are lightly illustrated video lectures. Critic Adriano Aprà and historian Carlo di Carlo investigate all aspects of the film, while professor Giuliana Bruno gives us insights on Antonioni's cinematic use of architecture. Richard Brody's insert booklet essay condenses the film's unique qualities into a few informative pages. In a brief but insightful article, director Antonioni explains that the show was inspired by parties he attended. He began planning La Notte before L'Avventura, but needed extra time to work out various story problems.
By Glenn Erickson - More >
Intolerance on Blu-ray
Earlier this year the new disc label the Cohen Film Collection released a fine restoration of Douglas Fairbanks' silent classic The Thief of Bagdad. It's now following up that epic with what is still the considered the most grandiose silent movie ever made, D.W. Griffith's Intolerance: Love's Struggle Throughout the Ages. Cohen's digital restoration is quite an accomplishment: most film students were introduced to Griffith's masterpiece in mediocre prints that didn't convey the quality of G.W. "Billy" Bitzer's cinematography.
Intolerance was Griffith's next release after his incredibly successful, bitterly controversial Birth of a Nation. Deciding that his next career step needed to be something bigger than his just-finished film Mother and the Law, the producer-director decided to use it as just one part of a multi-story super-epic. The film's four separate narratives take place in entirely different eras. They do not play out one after another, but instead simultaneously. Griffith frequently cuts between them, bridging centuries in a single cut. The idea is that their common theme of injustice and intolerance will be reinforced as a constant part of the human condition.
The story thread taken from Mother and the Law is about a modern working class couple in crisis. After a cruel industrialist orders troops to fire on a labor demonstration, they are forced to move to a city slum. The Boy (Bobby Harron) hires on with a gangster. Nosy social 'Uplifters' see his wife the Dear One (Mae Marsh) struggling to raise her baby, and decide to take it away from her. The Boy is sentenced to the gallows for a murder he did not commit.
In the second, French storyline, religious persecution leads to the St. Bartholomew's Day Massacre of 1572, with a Catholic Mass Murder of Huguenots. Innocent young Brown Eyes (Margery Wilson) is a victim. The third story takes place in Judea, and depicts events in the life of the Christ (Howard Gaye), ending with his crucifixion.
The fourth narrative is an epic tale of ancient Babylon. Prince Belshazzar (Alfred Paget) opens his empire to a wider number of religions, and prepares to marry his Princess Beloved (Seena Owen). Unknown to the Prince, the High Priest of Bel (Tully Marshall) is so fearful that his power has been diminished, he betrays Babylon to the conqueror Cyrus the Great. A lighter story involves the mischievous Mountain Girl (Constance Talmadge), who avoids a marriage auction and eventually becomes a fierce, devoted warrior for the Prince. After Babylon's high walls repel a direct assault by Cyrus' army, the High Priest follows through on his treachery. The Mountain Girl races to warn Belshazzar in time.
Griffith adds one more structural element. Like a repeated refrain in an epic song, the film repeatedly returns to a single image of the Eternal Mother (Lillian Gish) by a cradle, accompanied by a phrase from Walt Whitman: "Out of the cradle endlessly rocking." Griffith uses the image as a buffer between the stories.
The film's highly original narrative structure hasn't been used again, at least not on this scale. The historical and Biblical stories amplify the theme of social intolerance in the Modern Story. Griffith switches between the parallel narratives at least fifty times, often comparing internal content. For instance, the guilty verdict in the Modern Story is delivered just before Pontius Pilate hands down his judgment on Jesus in the Judean Story. The idea is that there is but one human drama, and our personal conflicts are replays of experiences shared by everyone who ever lived.
The most written-about part of Intolerance is the drawn out, suspenseful conclusion, in which the crosscutting between the stories accelerates to a dizzying climax. A car carrying the Dear One races to save the Boy from the hangman's noose, is intercut with The Mountain Girl's chariot as she hurries to warn Babylon of the Persian attack. The cutting pace becomes fairly frantic. Griffith's idea is to superimpose the excitement of one storyline onto the next, multiplying the drama. As most of the stories end tragically, the suspense heightens as the final climax approaches.
The four stories vary in filming and acting styles. Most scenes in the Modern Story are staged in conventional 1916 terms, in boxy sets with a static camera. But Griffith will also use dynamic shots taken from moving vehicles. Other scenes in the city slums express a gritty naturalism that matches the unwholesomeness of the occupants, including the femme fatale (Miriam Cooper). The French story shows off fancy costumes but is easily the weakest. The Judean episodes resemble dioramas From The Bible, with reverent graphic embellishments, such as when a cross is superimposed over the Jesus character. Griffith acknowledged that he made the Babylon sequence on a grand scale to out-spectacle the Italian epic Cabiria. The enormous set is certainly bigger than anything in the Pastrone movie, but Griffith wasn't comfortable moving the camera as much as the Italian director. Beyond the enormous moving 'elevator crane' angles, we see only a few shots that truck with Belshazzar as he walks.
But Griffith takes every opportunity to display extravagant violence in the Babylon battles. Break-apart dummies are beheaded on camera and spears are plunged into screaming victims. We also see experiments with erotic imagery. C.B. De Mille must have been impressed by the license shown in Griffith's harem sequence, which abounds with artful nudity.
Griffith defines intolerance rather loosely, as the absence of Love of One's Fellow Man. He's against greedy industrialists, power-mad High Priests and religious bigots. But the need for villains occasionally makes the Griffith seem intolerant as well. The "Uplifters" that take away the Dear One's baby are presented as sexually frustrated spinsters looking to make other people suffer. We aren't convinced that Griffith would feel any differently about the progressive feminist reformers that in 1916 were beginning to make progress against terrible social problems in the slums.
But Griffith displays a knack for feel-good sentiments likely to be welcomed by movie audiences. His epilogue shows armies on a battlefield dropping their weapons as the skies open up to admit an angelic host. It's still a highly emotional climax.
Critics have been debating the strengths and weaknesses of this gargantuan motion picture for almost a century. The extras on Cohen's disc tell us that original audiences had no trouble understanding the multiple story structure. The film's reported box office failure may have occurred because Griffith insisted on touring it with an expensive full orchestra. Another factor is that it was released during WW1, at a time when many newspapers and politicians were lobbying President Wilson to enter the war. That's not optimal timing for an essentially pacifist movie.
The Cohen Film Collection's Blu-ray of Intolerance: Love's Struggle Throughout the Ages is a beautiful encoding of this impressive show. The 2K digital restoration eliminates many of the common flaws dogging older film prints. The shots are steady, sharp and detailed. In the crane shots of the Babylon steps we can make out plenty of detail even when the view is fairly wide. Scenes end smoothly and the color tinting is even and consistent. Missing frames and tiny up-cuts are still present, but as they no longer jump they seem less obtrusive.
A second Blu-ray disc contains the disc extras plus two entire separate feature film presentations derived from Intolerance. The stand-alone version of Mother and the Law was finally issued on its own in 1919, and plays quite effectively. The Fall of Babylon assembles the epic segment into one narrative thread. To make audiences happy, a partial "happy" ending was shot, to exploit the blooming stardom of actress Constance Talmadge.
The must-see extra is silent movie authority Kevin Brownlow's entertaining, informative lecture featurette. Brownlow adds special insights and interesting detail to well-known facts about the movie. He has special praise for Carl Davis' orchestral score, which appears on this disc in 5.1 sound. An insert pamphlet contains essays by William M. Drew and Richard Porton.
By Glenn Erickson - More >
Hunted on DVD
The noir-tinged 1952 British drama Hunted, now available on Region 1 DVD from distributor VCI, is a gem of a movie, as good as the best adult-child relationship dramas produced over the years -- titles like The Champ (1931), Captains Courageous (1937), and Clint Eastwood's A Perfect World (1993), which seems in particular to have been heavily influenced by Hunted. Like A Perfect World, Hunted is also a road movie, in which a man on the run from police abducts a boy and takes him along, partially as hostage and partially because the boy himself is running away from something in his own life. What makes this picture special are the tough, no-nonsense yet tender storyline, the excellent, sympathetic performances, and the gritty atmosphere achieved from prime location shooting.
Dirk Bogarde is superb as Chris, a man who has killed his wife's lover in a crime of passion yet is clearly a decent, sensitive guy at heart -- just one caught up in unfortunate and grim circumstances. Six-year-old John Whiteley plays Robbie, a kid who is terrified he has set his family's flat on fire (in fact, he just started a minor kitchen fire). Running away from home, Robbie stumbles into the basement of a derelict house and happens upon Chris -- and the dead body -- making him a witness Chris cannot set free. But we soon learn that Robbie has abusive foster parents and that he is right to be terrified of their potential reaction to discovering the remains of his accidental fire.
Chris and Robbie set out on the run, first to retrieve money from Chris' apartment, which results in an expert set-piece of suspense filmmaking, and then eventually on the road (and rails) to northern England and Scotland. They exist in a world of almost existential bleakness, with policemen at seemingly every corner, and the world out to get them. Along the way, a truly touching bond develops between these two damaged souls. It may seem miraculous that Hunted never becomes cloying, but it's no miracle -- it's the result of spare, to-the-point screenwriting by Jack Whittingham, lean direction by Charles Crichton, and two great performances.
Bogarde called Hunted one of his favorite films of his own work, and it's easy to see why. The movie is all the more powerful for staying within itself and not trying to become something grander than it demands to be. Focus is kept primarily on the two main characters, with the camera often on Bogarde's face, transmitting one thought, emotion and reaction after another -- purely visually. Bogarde has an especially good moment where Robbie asks Chris for a bedtime story. Chris obliges, and what starts as a fairytale about a giant gradually turns into Chris talking about himself and his own situation, and the betrayal he feels. It's a powerful, fantastic piece of writing and delivery that you will want to watch over again, if only to find the point at which the story changes. It's that subtle.
John Whiteley as Robbie is every bit Bogarde's equal here -- a great child performance. This was Whiteley's debut, after which he was cast in a handful more prominent films including The Little Kidnappers (1953), Moonfleet (1955) and The Spanish Gardener (1956) (in which he was again paired with Dirk Bogarde), but he soon left the acting profession and grew up to become a respected art historian.
Director Charles Crichton was best known for his Ealing comedies and his late-career comedy classic A Fish Called Wanda (1988), but he did drama quite well, too. In fact, Crichton sandwiched Hunted in between two of his funniest comedies: The Lavender Hill Mob (1951) and The Titfield Thunderbolt (1953). Like the Ealing comedies, Hunted uses location work vividly. It offers a fascinating glimpse of postwar England, with evocative images in London and the Scottish highlands, on railroads and in harbors.
The crisp black-and-white cinematography looks great on VCI's DVD, which showcases this film in very good shape all-around. VCI has also just put out another classic Dirk Bogarde picture, The High Bright Sun (1965), co-starring Susan Strasberg and Denholm Elliott.
By Jeremy Arnold - More >
Stories We Tell on DVD
Sarah Polley has been an actress from almost the time she could speak. The daughter of two actors in Toronto, Canada, she attended her first audition when she was five years old and made her feature debut at age six in the film One Magic Christmas. As a child she starred in the TV shows Ramona and Avonlea and in Terry Gilliam's The Adventures of Baron Munchausen and as a young adult she earned a reputation is one of the most interesting and talented actresses of her generation for performances in The Sweet Hereafter and Go, but she has consistently shied away from the media spotlight and splashy roles in mainstream pictures, preferring to take on challenging parts, work with interesting directors, and become a filmmaker in her own right.
Stories We Tell is Polley's third feature as a director (after Away From Her and Take This Waltz) and her first documentary. It's also a kind of autobiography by way of family mystery. Sarah is the youngest of the Polley siblings, born years after her older brother, and was only 11 when her mother Diane died in 1990. It was just Sarah and her father, Michael, in the house after Diane's death. So she turns the camera on her family, interviewing brothers and sisters, aunts and uncles, friends of the family, and folks whose relationship to Sarah isn't clear until well into the film. They all tell their own stories about the vivacious and lively Diane while her father reads narration that he himself wrote, adding his own story to the mix. The film opens on Michael Polley, her father, in a recording studio with Sarah on the other side of the glass manning the controls and asking her dad, ever the professional, to retake a line or two as necessary. It's only the first reminder that this is, as the title says, all about telling stories.
The initial portrait of Diane that emerges is a free spirit who felt constrained by the quiet realities of family life as their family grew bigger and she grew restless. She was the life of the party, a loving mother, a born performer, and a restless spirit. It's a mosaic approach, with snippets of interviews interspersed with family photos, fuzzy home movies, and a black-and-white video clip of Diane talk-singing "Ain't Misbehavin'" for a TV audition, and Polley revels in the contradictory perspectives. You can sometimes hear her from behind the camera pushing her interview subjects (or "the storytellers," as she calls them) to dig back for memories or insights, and you can sense a level of trust as they ease up in front of the camera and feel the mutual affection as they joke with one another.
As the portrait of Diane unfolds, another story emerges. With her red hair and freckles and "gummy smile" (as she describes her grin), Sarah doesn't look a thing like her father. The family rumor is that she was the proverbial red-headed stepchild, born of an affair when Diane was out of town for a play. It apparently was something of a family joke at get-togethers, good-natured rather than nasty or accusatory, but with a grain of suspicion that it may just be true after all. Her father, for instance, suspected that she had affairs. So Sarah seeks out Diane's colleagues from that fateful play and asking what they remember. Secrets are revealed, as they say, and I wouldn't want to spoil any of those revelations as they are a part of the film's dramatic delights, but Stories We Tell isn't about secrets so much as mysteries, relationships, memories, and the stories we tell to make sense of them all. Every perspective is a little different, informed by individual observations and experiences. They all contain some truth to them and none of them has a monopoly on it.
But ultimately Stories We Tell is about the role that stories play in our own family lives. When we first get Diane's story, she's a bohemian actress who meets Michael in the Toronto art scene. They marry and have a family, but while a quiet suburban life suits Michael just fine, Diane is restless. Clearly that's not the whole story, but when Sarah reaches back further to the details of an earlier failed marriage that left her devastated, it quite dramatically puts her conflicted personality in a different perspective and reminds us of how many dimensions there are to our lives. Just as illuminating, but in a different way, is the revelation that those delightful home movies are in fact era-perfect recreations directed by Polley herself. What we first accept as documentary records are in fact her interpretation of those stories played as silent scenes from a life on super8 film.
What makes Stories We Tell so engrossing isn't the stories themselves or the secrets she unearths along the way. They are interesting in their own right, to be sure, but this is no tragedy or juicy tell-all memoir. These stories are about identity and relationships, about how families understand themselves and construct their histories around that understanding, and the film grapples with the very act of autobiography in the general sense even as it delves into the specific details of her family history.
It's also a recognition that documentary is, ultimately, another form of storytelling. Sarah may keep herself off camera as she interviews friends and family but she's solidly in the middle of the film, commenting on her journey, reacting to revelations, coming to terms with what it all means to her. Polley isn't interested in controlling the story of her mother. She's all about discovering the woman she never got to know in the way her older siblings did and discovering her own origins along the way. And while she shares her odyssey with us by putting her experience into a narrative, she also comes to terms with the realization that she will never know the whole story. But she may be able to more confidently tell her story.
The DVD features no supplements beyond a trailer.
By Sean Axmaker - More >
Press Release
Dick Dinman Explores Hollywood's Pact with Hitler
DINMAN EXPLORES HOLLYWOOD'S PACT WITH HITLER (Part One): To celebrate the Criterion Collection's just-released luminous Blu-ray restoration of Ernst Lubitsch's brilliant and iconic anti-Nazi political satire TO BE OR NOT TO BE producer/host Dick Dinman chats with author Ben Urwand whose latest book THE COLLABORATION: HOLLYWOOD'S PACT WITH HITLER chronicles the shocking depths to which all of the major studios sunk during the 30's in order to maintain business with Hitler and his minions. PLUS: "Dick's Picks" highlight's Criterion's Blu-ray releases of THINGS TO COME, THE EARRINGS OF MADAME DE and BABETTE'S FEAST.
DINMAN EXPLORES HOLLYWOOD'S PACT WITH HITLER (Part Two): Author Ben Urwand relates to producer/host Dick Dinman more shameful details about Hollywood's collaboration with Hitler during the 30's and explains why he considers Ernst Lubitsch's hilarious anti-Nazi screwball masterwork TO BE OR NOT TO BE (which is now available on Blu-ray from the Criterion Collection) to be one of his five favorite films.
The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only weekly half hour show (broadcast every Friday 1:00-1:30 P.M. EST on WMPGFM) 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 the online archive. - More >
Legendary Composer Ennio Morricone in Concert
Ennio Morricone, who celbrated his 85th birthday on November 10, will be conducting an ensemble of 200 musicians and singers, for a single performance at Nokia Theatre L.A. LIVE on Thursday, March 20, 2014 at 8 pm. This concert marks the legendary Morricone's first Los Angeles performance. Morricone has composed the scores for more than 450 films including five of Sergio Leone's westerns - A Fistful of Dollars; For a Few Dollars More; The Good, The Bad, and the Ugly; Once Upon a Time in the West and A Fistful of Dynamite - and The Battle of Algiers; Sacco and Vanzetti; Cinema Paradiso; 1900, Malena; The Untouchables; Once Upon A Time in America; The Mission; U-Turn; The Unknown Woman; and The Best Offer, among hundreds of others.
Tickets priced from $45 go on sale Friday, October 25 at 10am through AXS.com, and by phone at (888) 929-7849. Nokia Theatre L.A. LIVE is located at 777 Chick Hearn Ct., Los Angeles, CA 90015. For more information please visit enniomorricone-usa-2014.com. The concert is presented by Massimo Gallotta Productions and AEG and also will be scheduled in New York at Barclays Center Cushman and Wakefield Theatre on March 23, 2014.
Born in Rome on November 10, 1928, Ennio Morricone started his film-composing career in 1961 with Il Federale directed by Luciano Salce. Morricone then became famous worldwide with his scores for Sergio Leone's westerns. Since that time, Morricone has composed music for films by directors including Pedro Almodovar, Warren Beatty, Bernardo Bertolucci, Brian De Palma, Roland Joffè, Adrian Lyne, Giuliano Montaldo, Pier Paolo Pasolini, Roman Polanski, Gillo Pontecorvo, Oliver Stone, Giuseppe Tornatore, Margarethe Von Trotta, Henry Verneuil, and Lina Wertmuller.
Morricone is the recipient of the honorary award from the Academy of Motion Pictures Arts and Sciences for his "magnificent and multifaceted contributions to the art of film music" (2007), nominated for five Academy Awards, induction into the Grammy Hall of Fame for the soundtrack album of The Good The Bad and the Ugly, two Grammy Awards for Once Upon a Time in the West and The Untouchables, two Golden Globe awards for his scores for The Mission and 1900; the ASCAP lifetime achievement award, the career achievement award by the Film Music Society, and 27 Gold and 6 Platinum records.
Morricone has composed over 100 pieces of concert music since 1946 including Concerto per Orchestra n.1 (1957); Frammenti di Eros (1985); Cantata per L'Europa (1988); UT, per tromba, archi e percussioni (1991); Ombra di Lontana Presenza (1997); Voci dal Silenzio (2002); Sicilo ed altri Frammenti (2006); Vuoto D'Anima Piena (2008); and Una Messa (2013).
Since 2001, Morricone has engaged in intense concert activity, and has conducted more than 100 concerts in Europe, Asia, the United States, and in Central and South America of his film music and concert works. On February 2, 2007, Morricone conducted Roma Sinfonietta Orchestra in a major concert at the United Nations General Assembly to celebrate the appointment of UN General Secretary Ban Ki-Moon, followed the next day by his historic United States debut at Radio City Music Hall, in a concert produced by Massimo Gallotta, who is producing the current Nokia Theatre L.A. LIVE and Barclays Center concerts. - More >
Dick Dinman Salutes Versatile Master of the Macabre Vincent Price
DICK DINMAN SALUTES VERSATILE MASTER OF THE MACABRE VINCENT PRICE (Part One): Shout Factory's "spook"tacular THE VINCENT PRICE COLLECTION (which includes enticingly lustrous Blu-ray restorations of HOUSE OF USHER, THE HAUNTED PALACE, THE MASQUE OF RED DEATH, PIT AND THE PENDULUM, WITCHFINDER GENERAL, and THE ABOMINABLE DR. PHIBES) is sure to thrill classic horror film aficionados and Vincent Price's talented and gracious daughter Victoria joins producer/host Dick Dinman to honor her iconic star-of-the-ages father.
DICK DINMAN SALUTES VERSATILE MASTER OF THE MACABRE VINCENT PRICE (Part Two): Shout Factory's magnificent THE VINCENT PRICE COLLECTION highlights Price's acclaimed horror films but producer/host Dick Dinman's guest Victoria Price sheds new light on his limitless versatility which includes his brilliant but comparatively lesser known eccentric comedy roles that he most delighted in portraying.
DICK DINMAN SALUTES VERSATILE MASTER OF THE MACABRE VINCENT PRICE (Part Three): 20th Century Fox Home Entertainment's Blu-ray restoration of their classic Vincent Price horror shocker THE FLY enhances this legendary masterwork's thrills and chills in a way never before thought imaginable and producer/host Dick Dinman's guest Victoria Price reveals how Price and distinguished costar Herbert Marshall could barely keep a straight face while shooting THE FLY's memorable ending and reveals some heretofore unknown aspects about this brilliant and multifaceted gentleman.
DICK DINMAN AND GEORGE FELTENSTEIN ENTER THE 3-D HOUSE OF WAX: Warner Home Video's new 3-D Blu-ray release of the Vincent Price classic HOUSE OF WAX brings shocking new meaning to the term "coming at you" and Dick Dinman's returning guest Warner Home Video Sr. V.P. of Classic & Theatrical Marketing George Feltenstein reveals the myriad of costly time-consuming challenges that the Warner magicians faced to achieve their goal of restoring the most popular 3-D film of the 50's to its original in-depth glory.
The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only weekly half hour show (broadcast every Friday 1:00-1:30 P.M. EST on WMPGFM) 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 the online archive. - More >
50th Anniversary Screening of "The Great Escape" at Omaha Film Event
On Saturday, November 9, Omaha film historian Bruce Crawford will be hosting his 33rd classic film salute, to the 50th anniversary of one of the most popular films of all time, THE GREAT ESCAPE. The special guest will be film and TV legend David McCallum, who plays "Ashley-Pit 'Dispersal'" in the film and now now stars on NCIS. Mr. McCallum will help introduce the film and talk of his amazing career, and will be available for autographs. Also on display will be a replica of the famous motorcycle Steve McQueen rode in the film, made famous in the now iconic scenes of him jumping the fences on his cycle to gain his freedom. And artist Nicolosi will again unveil a U.S.Postal Service Commemorative Envelope honoring the film. All of this as we observe Veterans Day weekend.
The event begins at 7pm, November 9, at the Joslyn Art Museum's Witherspoon Hall Theater, 2200 Dodge St., Omaha, NE. A benefit for the Nebraska Kidney Association, tickets are $22 and available at all Omaha Hy Vee food stores customer service counters, as well as at the Nebraska Kidney Association (402-932-7200). For more info, visit www.omahafilmevent.com. - More >
April 10-13 Set for 2014 TCM Classic Film Festival
Fifth-Annual Festival to Celebrate Family in the Movies: The Ties That Bind
Passes On Sale in November 2013
Turner Classic Movies (TCM) has set April 10-13 as the dates for the 2014 TCM Classic Film Festival. This will mark the fifth consecutive year TCM has brought together legendary stars, award-winning filmmakers and classic movie fans from around the globe for a four-day cinematic celebration in Hollywood. Making the 2014 TCM Classic Film Festival even more special, the event will coincide with TCM's 20th anniversary as a leading authority in classic film.
TCM host and film historian Robert Osborne will once again serve as official host of the TCM Classic Film Festival, with TCM's Ben Mankiewicz introducing various events. The central theme of the festival will be Family in the Movies: The Ties that Bind.
In celebration of the network's 20th birthday and the fifth anniversary of the TCM Classic Film Festival, TCM is summoning its family of movie lovers from around the globe to come to Hollywood for a cinematic celebration of the ties that bind us together. In keeping with the theme of Family in the Movies, the TCM Classic Film Festival is going to showcase on-screen clans of all types - big and small, happy and imperfect, musical and dramatic. The festival will spotlight the first families of Hollywood and the filmmaking dynasties that have entertained generations. It will explore the kinship that connects close-knit groups of professionals behind the camera, such as the stock companies of classic Hollywood. From the bond between parents and children to sibling rivalries, TCM recognizes the power of family to touch us all.
The Hollywood Roosevelt Hotel, which has a longstanding role in movie history and was the site of the first Academy Awards® ceremony, will serve as the official hotel for the festival for the fifth consecutive year, as well as a central gathering point for attendees. The Hollywood Roosevelt Hotel will also offer special rates for festival attendees. Screenings and events during the festival will be held at the TCL Chinese Theatre, the Chinese 6 Theatres and the Egyptian Theatre. Additionally, the conveniently located Loews Hotel Hollywood is also an official Lodging Partner.
Those interested in booking hotel accommodations at special Festival rates should follow the instructions below.
Hollywood Roosevelt Hotel
7000 Hollywood Blvd.
Hollywood, CA 90028
(800) 950-7667 Reservation Line
The Hollywood Roosevelt Hotel will again be the home to Club TCM with exclusive special fan gatherings, receptions and panel discussions much more for Festival passholders. To book your accommodations please call the Roosevelt directly at (800) 950-7667 and let the representative know that you will be attending the 2014 TCM Classic Film Festival.
Loews Hollywood Hotel
1755 North Highland Avenue
Hollywood, CA 90028
(855) 563-9749 Reservation Line
The Loews Hollywood Hotel is conveniently located in the Hollywood & Highland Center, across the street from the Hollywood Roosevelt Hotel and just a few steps from the TCL Chinese Theatre and Chinese Multiplex screening venues. Reservations can be made by calling (855) 563-9749 and asking for the TCM Classic Film Festival Preferred Block or you can book online at https://resweb.passkey.com/go/TCMFF. Reservations must be made no later than Wednesday, March 12th, 2014.
Passes for the 2014 TCM Classic Film Festival are set to go on sale in November 2013, and can be purchased through the TCM Classic Film Festival website. The number of passes available is limited, especially for top-level "Spotlight" passes.
The "Spotlight" Festival Pass: $1,599 - Includes all privileges available to "Classic" and "Essential" passholders, priority entry to all screening events; plus entry to the exclusive Vanity Fair opening-night party following the red-carpet gala screening at TCL Chinese Theatre; meet-and-greet events with TCM friends, including Robert Osborne and Ben Mankiewicz; and an official TCM Classic Film Festival poster signed by Osborne.
The "Essential" Festival Pass: $699 - Includes all privileges available to "Classic" passholders, plus entry to the opening-night red-carpet gala screening at TCL Chinese Theatre and official TCM Classic Film Festival collectibles.
The "Classic" Festival Pass: $549 - Includes access to all film programs at festival venues Thursday, April 10 - Sunday, April 13 (does not include admittance to the opening-night red-carpet gala screening at TCL Chinese Theatre or the Vanity Fair opening-night party); access to all Club TCM events, panels and poolside screenings at the Hollywood Roosevelt Hotel; an opening-night welcome reception at the Hollywood Roosevelt Hotel; the closing-night event; and a commemorative festival program.
The "Matinee" Festival Pass: $349 - Includes access to all film programs starting prior to 6 p.m. (PT) at all festival venues Friday, April 11 - Sunday, April 13; admission to Club TCM events and panels at the Hollywood Roosevelt Hotel until 6 p.m. daily, Friday, April 11 - Sunday, April 13; and a commemorative festival program.
The "Palace" Festival Pass: $249 - Includes access to all screenings and events at the TCL Chinese Theatre (excluding the opening-night red-carpet gala) and the Egyptian Theatre Friday, April 11 - Sunday, April 13, as well as a commemorative festival program. - More >
TCM Book Corner Try for a chance to win a free book ENTER NOW >
TCM Podcast An in-depth look at this month's films by the employees of TCM DOWNLOAD TODAY >
TCM This Show Taking viewers beyond the pages of TCM's Now Playing Guide WATCH FEATURES >
- Added:...
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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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RT @DreamHack: All @DreamHack brackets can be found over at http://t.co/CEmyWLO1Nz. #DHW13
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Thursday, December 12, 2013
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ATC student wins raffle & car
Allen Carter
Posted: 10.28.2011 at 1:40 PM
Updated: 10.31.2011 at 3:10 PM
Maggie Griffin sitting in the front seat of her "new" 1991 Nissan Maxima.
Allen Carter
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Albany police investigating Beats by Dre felony theft
Yesterday at 11:25 AM
Albany police need your help identifying two women who are considered persons of interest after $800 worth of Beats by Dre headphones were taken.
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Pope Francis is Time's Person of the Year
Yesterday at 9:14 AM
Time says the Roman Catholic church's new leader has changed the perception of the church in an extraordinary way in a short time.
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Shoplifting stop leads to multi-person meth bust
Thursday, December 05, 2013
Lowndes County Sheriff's deputies have made six arrests after a shoplifting incident led to find meth and meth supplies.
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Cell tower victim's Sister speaks on accountability
Wednesday, December 04, 2013
The sister of a man who lost his life after he fell from a cell phone tower is talking about the dangers of his job and who should be held accountable.
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Four arrested in Douglas dog fighting ring
Monday, December 02, 2013
Four Coffee County men are behind bars after officials busted a dog fighting ring on Sunday night, according to the Douglas Enterprise.
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Manhunt picks up new leads at Lee County dairy
Monday, December 02, 2013
Lee County Sheriff Reggie Rachals said several employees of Oak Hill Dairy spotted Bobby Smith Monday morning.
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Gunshot wound sends one for treatment
Sunday, December 01, 2013
The Moultrie Police Department responded to a shooting in Southwest Moultrie Sunday afternoon around 2:30.
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Restaurant Report: December 2, 2013
Saturday, November 30, 2013
Health inspectors are keeping a close eye out for hygiene violations - things like handling food and drinks properly and correct hand washing procedures.
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Fire Department battles Ken Gardens Road blaze
Wednesday, November 27, 2013
Multiple agencies including Albany police, Albany Fire Department, and EMS have responded after a fire was reported in the 1400 block of Ken Gardens Road.
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Four apprehended in cold case murder
Wednesday, November 27, 2013
The Cordele Police Department has made arrests in an unsolved, Christmas Eve cold case with the help of anonymous tips.
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The why of Sandy Hook remains elusive
Tuesday, November 26, 2013
Investigators have learned a lot about Adam Lanza, but not why he murdered 27 people, including 20 children.
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Barbarian Hero by Howard de Wied
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People are encouraged to submit announcements about upcoming events for the Community Calendar. Send announcements to firstname.lastname@example.com. Items submitted less than two weeks in advance will be less likely to be published.Tuesday, Dec. 10The Mancos School Bands present "A Warm Breeze in the Cool Pines" on Dec. 10 at 6:30 p.m. at the Mancos Opera House.


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About Your Ship: MSC Musica
About Your Ship: MSC Musica
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About the Reviewer:
18 - 29
Cruise Experience:
2 - 3 cruises
Traveler Type:
Family w/older children
Stateroom Type:
Different than we are used to.
by Shannon B. from Dublin, Ireland
Sailing date:
Aug 2009
Our waiter at dinner was fantastic- but sadly he was one of FEW fantastic waiters; the excursions at the ports were well-organized and handy.
The unfriendly dining staff (besides our waiter), feeling like being nickeled and dimed on the boat; not enough time in ports; no food options if you miss dinner; poor entertainment on the boat; food was mediocre overall.
Overall the ship was immaculately clean! You constantly saw people coming around and cleaning every inch of the ship. However, there were some downfalls as well. Generally, we felt as though we were being nickeled and dimed throughout the cruise. We would have rather paid a couple hundred euro more and had access to free bottled wate, coffee, tea, and room service at our leisure. Also, we wished there was more time spent at the ports of call. At one of the ports we spoke to a taxi driver that was talking quite negatively about MSC cruise lines and claims that they purposely spend less time at the ports than other cruise lines because they want their passengers on board spending money for as much of the time as possible. In relation to other American cruise lines that we have been on the entertainment and overall friendliness of the staff was poor. During dinner there was no entertainment provided by the waiters, which is a common theme of American cruises. There were no "themed" dinner nights to make dinner fun and interesting and DIFFERENT. Our waiter was very friendly at dinner however, it didn't seem that any of the others were. Also, if you miss your formal dinner each night there are no other FREE FOOD options other than the buffet. There is pizza and sushi available but you must pay extra for these services. The food overall on the boat WASN'T great or gourmet at all. The shows each night were mediocre....most of them were like bad Vegas shows. Overall, we were not particularly happy with our experience on MSC cruises. However, we enjoyed the port cities very much!
Ship Details:
Ship Quality
Boat was immaculate!
Early dining time was a good time. Late dinner seating would have been way too late.
Stateroom Quality
Room was average.
Ship Staff Quality
Our waiter was friendly but I think we got lucky. Staff in dining rooms were mostly down to business and didn't go out of their way to assist you.
Entertainment & Activities
There were a few decent shows...but overall not good.
Read this user's port of call reviews:
Bari, Italy; Corfu (Kerkyra), Greece; Dubrovnik, Croatia; Mykonos, Greece; Santorini (Thira), Greece; Katakolon (Olympia), Greece; Piraeus (Athens), Greece
Collapse List of Ports
Ports of Call:
Bari, Italy
Not much to see in Bari at ALL.
Don't Miss:
We went and saw the caves which was very cool and well worth it.
Corfu (Kerkyra), Greece
Cute little town. We hiked up to the top of the fort for an excellent view of the entire city. Don't miss your chance to get some authentic greek food.
Dubrovnik, Croatia
Gorgeous City. A tour is not needed here as it is small enough to get around in the 6 hours or so that you are there. I recommend doing the city walls and having a drink in one of the cafes that are between the city walls and the water.
Don't Miss:
Climb the city walls.
Mykonos, Greece
We did not spend long enough in this port. We hardly had enough time to go have dinner in the city. The queue to get a bus back to the boat was ridiculous and very UN-organized. People were cutting in the queue which made our wait even longer. Avoid the restaurants along the water because they are overpriced and don't seem to care about their customers because they know they will never see you again.
Santorini (Thira), Greece
Not too much to see in town but don't miss the wonderful Greek food. The shops are cute and well worth a visit. I wouldn't recommend riding up the DONKEY TRAIL or walking down it. It smells of donkey poop and isn't a fun walk. I recommend taking the cable car up and down, although on the way down there was a massive queue (which is why we walked down).
Don't Miss:
The tour of the volcano was excellent.
Katakolon (Olympia), Greece
Seeing Olympia was fantastic. It was so cool to see the place where the Olympics began and where the torch is lit every year. We didn't even have time to go in to Katakolon but it appeared that it was just some shops similar to the ones in Olympia, so we didn't feel like we miss anything.
Don't Miss:
The tour to Olympia was fantastic.
Piraeus (Athens), Greece
Although the city is quite dirty it was amazing to see the Acropolis. The Archaeological museum was included in our excursion but by the time we got there we were quite burnt out and didn't even feel like looking around. If you can just do a tour of the Acropolis and then have free time in the city....that would be an ideal choice.
Don't Miss:
Tour of the Acropolis was great.
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Customer Testimonials
Amazing Apartment at Clearwater Beach
We stayed in Harborview Grande 507 in April 2013 and would just like to say that we had such a fantastic time there and it made our stay in Clearwater Beach special. Our party consisted of three adults, two adult children and twins of 9 and the condo accommodated us all perfectly. Lots of space for us to spread out. The facilities at the condo were excellent and the décor was fabulous, really clean and fresh and obviously quality furnishings which were greatly appreciated, we traveled down to Clearwater Beach from a villa in Clermont which was beautiful and the condo was equally so. The balcony was very spacious and we all fitted on there with plenty of room and enjoyed our breakfast looking out at the amazing view, it was so nice. I would just like to say that the staff at Florida Beach Rentals were very friendly and very helpful, us being British we like our cup of tea and when we asked if there was a kettle available staff provided us with a new one straight away which was much appreciated! Also upon our arrival Jan at the office was so helpful and friendly and gave us lots of information about the local area which was a great help and made us feel very welcome. The only thing I would say that on a couple of occasions there was a lot of noise/very loud music coming from Shepards Resort Hotel opposite the condo, you couldn't hear it inside the condo but on the Sunday 21st April when we arrived there was some sort of event and the music was excessively loud until the early ours of the morning, obviously if this had continued every day then there would have been an issue with it, I would say that it is a shame this resort hotel is actually allowed to host this type of music event in what is mostly a residential area of Clearwater Beach, that said however our vacation was amazing and we would use this condo again as the location is exceptional and the standard very high in all areas. The Allanson family Carole from Little Sutton, GB
Month | High | Low | Rainfall |
January | 75 | 52 | 2.21" |
February | 76 | 53 | 2.32" |
March | 80 | 57 | 2.73" |
April | 84 | 61 | 1.70" |
May | 89 | 66 | 3.15" |
June | 91 | 72 | 8.45" |
July | 92 | 73 | 7.78" |
August | 92 | 74 | 7.82" |
September | 91 | 73 | 6.75" |
October | 86 | 67 | 3.12" |
November | 81 | 60 | 1.88" |
December | 76 | 54 | 1.77" |


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FAIRBURN MAP OF LONDON, WESTMINSTER AND THE NEW DOCKS Seventh Edition 1802 (3 3/4 inches to a mile)
Map segment 45 (row 5, column 9). To move to adjacent pages click on the links below.North  South  West   The scale of the orginal is 3 3/4 inches to a mile. You can move the image either using the scroll bars, or click on the image and then use the Page Up/Down and Home keys or the Up/Down and Left/Right Arrows.


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President Barack Obama will announce "concrete" proposals to prevent gun violence at 11:45 a.m. Wednesday, Press Secretary Jay Carney said Tuesday.
He will be joined by Vice President Joe Biden who led the administration's efforts to determine policy steps to take. Obama said Monday he was reviewing Biden's proposals.
"They will be joined by children from around the country who wrote the president letters in the wake of that tragedy expressing their concerns about gun violence and school safety along with their parents," Carney said.
Carney declined to provide details about what the proposals will include but said Obama "intends to take a comprehensive approach," including renewal of the assault weapons ban which expired after ten years in 2004, a ban of high-capacity gun magazines and closing background check loopholes.
Biden's set of proposals includes as many as 19 executive actions that Obama could take without congressional approval, legislators briefed by Biden said Tuesday.
But Carney noted "there are limits on what can be done within existing law" and said Congress would have to act on certain proposals "because the power to do that is reserved by Congress and to Congress."
President Barack Obama said at a news conference on Monday, "I expect to have a fuller presentation later in the week to give people some specifics about what I think we need to do."
Rep. Elizabeth Esty, a freshman Connecticut Democrat, acknowledged the forthcoming announcement earlier Tuesday. Her district includes Newtown, Connecticut, where 20 children at an elementary school were among the 27 killed December 14 by a gunman who also shot and killed himself. She is vice chairwoman of an informal gun violence group appointed by House Minority Leader Nancy Pelosi.
"We are focused on a comprehensive approach that will deal with true gun safety regulations and protect the rights of responsible gun owners but also deal with mental health issues but most importantly keeping our children and our communities safe," Esty told reporters Tuesday.
Biden held a meeting with the group appointed by Pelosi on Monday, the White House said.
Obama said at the Monday news conference that the panel "presented me now with a list of sensible, common-sense steps that can be taken to make sure that the kinds of violence we saw at Newtown doesn't happen again."


text: An elegant mountain retreat in the heart of the Kitzbühel Alps, Hotel Kitzhof Mountain Design Resort blends smooth lines with rugged native textures, creating an environment where guests can savor the true essence of Austrian alpine living. Dining options include four restaurants and an enoteca, as well as the Kitz Lounge & Bar. All 163 rooms and suites designed by co-owner Ursula Schelle-Müller seamlessly blend contemporary lines with textured, locally sourced materials like leather and loden, while some rooms feature inspirational views over the powder-covered slopes.


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Phone: 8664924768Fleet Location: BAHAMAS & CARIBBEAN, Bahamas, Caribbean - Leeward Islands, Caribbean - Windward Islands, Caribbean -U.S. & British Virgin Islands, EUROPE & MEDITERRANEAN, Croatia, France, Greece, Italy, Other Eastern Mediterranean, Other Western Mediterranean, Turkey, New England, Pacific Northwest, South Pacific Islands [...] More +Boat Type:Crew: CrewedSeasons:


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Utilizing active botanicals from the Indonesian archipelago, Juara combines these ingredients with the best in sophisticated western technology to deliver efficacious and elegant skincare solutions of the highest quality. Discover more about Juara. |
East meets west with Juara, a line of skin care products inspired by the sunny island of Bali. Developed by four young women with Indonesian roots, this line combines ancient Indonesian skin care remedies with Western science to create a line of supremely natural botanically-based skin care products. With exotic ingredients like tumeric, tamarind and herbal teas with known health benefits, Juara takes a dual approach to skin care. Juara products combine the best nature and science has to offer into high-performance skin care products that are both therapeutic and pleasing to the senses.
Juara believes skin care products should work gently without irritating skin. That's why you'll find natural formulations infused with beneficial and gentle botanicals. It's conscientious skin care that melds ancient, natural remedies with modern skin care science. The result is high-performance skin care that's gentle, soothing and always pleasing to the senses. You'll feel like you've taken a trip to the beautiful island of Bali every time you use the Juara line.
Juara offers products that avoid harsh chemicals, artificial colorants, chemical preservatives, synthetic fragrance and chemical sunscreens wherever possible. |
Juara Skincare Products
Learn More About Juara Skincare
All Juara products were developed to be both luxurious and effective. Juara Skin Care encourages healthier, stronger skin through traditional remedies that date back hundreds of years. These remedies are formulated into modern, convenient products in order to create a full line of Juara skincare.
Juara Candlenut Body Creme is a rich and creamy moisturizing treatment for the body. The formula contains candlenut oil which has been used in Indonesia for hundreds of years as a natural hydrator and skin softener. Juara Candlenut Body Crème has a smooth texture that glides over the skin and penetrates easily so as not to leave a heavy residue behind. The exotic fragrance lasts for hours.
Juara Sweet Black Tea and Rice Facial Moisturizer is a unique hydrator that uses sweet black tea in fermented form which has been known to possess exceptional hydrating properties, making the skin soft and supple. Rice brand oil also aids in the retention of water. This moisturizer is also a natural anti-aging treatment that contains Vitamin E to protect and nourish the skin, improving firmness and elasticity. Regular use of the Juara Sweet Black Tea and Rice Facial Moisturizer will make the skin smoother and more radiant. The formula improves the health of the skin, leaving it soft and balanced.
For an extra dose of much needed moisture, consider a treatment mask once or twice a week. Juara Avocado Banana Moisture Mask is perfect for times when you feel like you need extra hydration. Just smooth it on and leave it for about 10 to 15 minutes. When you are ready to remove the mask, rewet the face and gently wipe away all excess product with a damp cloth or sponge. Make sure you follow with the Juara Sweet Black Tea and Rice Facial Moisturizer to lock in water and prevent further drying.