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205	dbpedia	2	32	https://tastedive.com/movies/like/Body-Of-Evidence	en	Movies like Body of Evidence	https://upload.wikimedia…yofevidence1.jpg	https://upload.wikimedia…yofevidence1.jpg	[ "https://upload.wikimedia.org/wikipedia/en/b/bb/Bodyofevidence1.jpg", "https://images.qloo.com/i/a7a49897-5b5a-46fe-b48f-e611fa29bd47-127x180-outside.webp", "https://images.qloo.com/i/1b9b8e65-6a3a-4768-8094-0bbdf52d8519-127x180-outside.webp", "https://images.qloo.com/i/0eeb2d28-7c63-4e47-b3e9-023a016d3601-127x180-outside.webp", "https://images.qloo.com/i/7e5c093d-23fe-41d8-aeee-ca9cf4795923-127x180-outside.webp", "https://images.qloo.com/i/9ef73cd3-7c17-4f16-a994-5a4c6fa8a467-127x180-outside.webp", "https://images.qloo.com/i/7c5dd864-7951-43b9-871f-8d3c017fe647-127x180-outside.webp", "https://tastedive.com/assets/icons/info-icon.svg", "https://lh3.googleusercontent.com/a/ACg8ocJQY8oZtpcjIRxS_11Z1pO7n2iUtSxBs8Jy4v6bSe4cJSZjlYETZQ=s96-c", "https://lh3.googleusercontent.com/a/ACg8ocK6JMeziQEO6MVYdOK_x6Dsxep_tw102S0EdSr39KCvYWmNqT9a=s96-c", "https://lh3.googleusercontent.com/a/ACg8ocLpDuE-s76X94hUc5ID8q4qWwWbCmPJyVGBEUKd0sF5Cg=s96-c", "https://lh3.googleusercontent.com/a/AATXAJx0Tf7RQurxoYw2NOM1jzcxCKei8nL-r9ExsuDT=s96-c", "https://pbs.twimg.com/profile_images/1545042489597431814/ifbQaU1j_normal.jpg", "https://tastedive.com/assets/icons/info-icon.svg", "https://img.tastedive.com/a/407629-1617656075-0733fba.jpg", "https://tastedive.com/assets/icons/facebook.svg", "https://tastedive.com/assets/icons/twitter.svg", "https://tastedive.com/assets/icons/instagram.svg" ]	[]	[]	[ "" ]	null	[]	null	Similar movies like Body of Evidence include Poison Ivy: The New Seduction, Sliver, Poison Ivy II…		/assets/favicon.png	TasteDive	https://tastedive.com/category/movies/like/Body-Of-Evidence	1993, Uli Edel 1.9/5
205	dbpedia	3	87	https://catalog.afi.com/Catalog/moviedetails/67203	en	Catalog			[ "https://catalog.afi.com/Content/Images/afi_Logo.png", "https://catalog.afi.com/Content/Images/afi_Logo.png", "https://catalog.afi.com/Content/Images/afi_Logo.png", "https://catalog.afi.com/Content/Images/Icon/search.png", "https://catalog.afi.com/Content/Images/Icon/white_search.png", "https://catalog.afi.com/Content/Images/Icon/search_close.png", "https://catalog.afi.com/Content/Images/Icon/search_small_icon.png", "https://catalog.afi.com/Content/Images/Icon/toggle.png", "https://catalog.afi.com/Content/Images/Icon/white_toggle.png", "https://catalog.afi.com/Content/Images/Icon/search_close.png", "https://catalog.afi.com/Content/Images/Viewed-AFI.svg", "https://catalog.afi.com/Content/Images/afi_100_years_100_movie_quotes.svg", "https://catalog.afi.com/Content/Images/afi_100_years_100_heroes_villains.svg", "https://catalog.afi.com/Content/Images/afi_100_years_100_thrills.svg", "https://catalog.afi.com/Content/Images/Viewed-AFI.svg", "https://catalog.afi.com/Content/Images/Partially-view.svg", "https://catalog.afi.com/Content/Images/Offscreen-Credit.svg", "https://catalog.afi.com/Content/Images/Name-Occurs-B4-Title.svg", "https://catalog.afi.com/Content/Images/Achievement-Award.svg", "https://catalog.afi.com/Content/Images/afi_100_years_100_movie_quotes.svg", "https://catalog.afi.com/Content/Images/afi_100_years_100_heroes_villains.svg", "https://catalog.afi.com/Content/Images/afi_100_years_100_thrills.svg", "https://catalog.afi.com/Content/Images/Icon/top.png" ]	[]	[]	[ "The Shining", "Stanley Kubrick", "Douglas Twiddy", "Brian Cook", "Terry Needham", "Michael Stevenson", "Stanley Kubrick", "Jan Harlan", "The Producer Circle Company", "Robert Fryer", "Martin Richards", "Mary Lea Johnson", "Stanley Kubrick", "Diane Johnson", "Jack Nicholson", "Shelley Duvall", "Danny Lloyd", "Scatman Crothers", "Barry Nelson", "Philip Stone", "Joseph Turkel", "Anne Jackson", "Tony Burton", "Lia Beldam", "Billie Gibson", "Barry Dennen", "David Baxt", "Manning Redwood", "Lisa Burns", "Louise Burns", "Robin Pappas", "Alison Coleridge", "Burnell Tucker", "Jana Sheldon", "Kate Phelps", "Norman Gay" ]	null	[]	null	In the Colorado mountains, teacher and writer Jack Torrance interviews for the position of off-season caretaker at the Overlook Hotel. Because the area becomes snowbound in winter, only the caretaker and his family remain onsite from December to May. The hotel’s manager, Stuart Ullman, cautions Jack that in 1970, a caretaker, Grady, became overwhelmed by “cabin fever” and killed his wife and two young daughters with an ax, then shot himself. Jack assures Ullman that five months of peace is what he is seeking in order to begin a writing project he has planned. Meanwhile, in Boulder, Jack’s wife Wendy and their son Danny discuss the possibility of moving. Danny says that his imaginary friend, “Tony,” is against the move. While Danny brushes his teeth, “Tony” tells him that Jack will get the job and, soon after, Jack calls Wendy and confirms that he has been hired. When Danny insists that “Tony” tell him what is wrong with the hotel, he goes into a trance and sees startling images, among	en	/favicon.ico		https://catalog.afi.com/Catalog/moviedetails/67203	The summary and note for this entry were completed with participation from the AFI Academic Network. Summary and note were written by participant Jeremy Carr, Visiting Research Fellow with the Arizona State University Center for Film, Media and Popular Culture. A 1 Nov 1976 Publisher’s Weekly news item reported that Stephen King’s forthcoming Doubleday novel, The Shining had been purchased by the Producer’s Group (Producer Circle Company in the onscreen credits). As noted in a 4 Nov 1976 DV article, the novel was acquired in galley form and scheduled to be published 28 Jan 1977. Although a 6 Jun 1977 DV news item reported that Stanley Kubrick would begin directing the film in early 1978 with Jack Nicholson attached, Kubrick had not decided whether he would shoot in England or the U.S. A 27 Apr 1997 NYDN article reported that King had written a screenplay based on his book, but Kubrick rejected it, preferring to co-write an adaptation with previous collaborator, Diane Johnson. A 14 Jun 1978 Var news item announced that Kubrick would shoot the film for Warner Bros. at EMI’s Elstree Studios, using four of the nine stages. Although the news item added that filming was expected to begin in November, a 28 Dec 1977 HR news item reported that production would start in 1978. According to a 12 May 1980 LAHExam news item, script problems delayed filming for three months. A 23 May 1978 HR news item stated that filming began in late May; however, an 18 Nov 1978 Screen International production chart and a 22 Nov 1978 Var news item reported that principal photography was in its twenty-eighth and twenty-ninth weeks, implying that filming began in early May. Although a 7 April 1978 LAT article stated that Kubrick would not release the name of the child chosen to portray “Danny Torrance” until shooting was finished, a 14 Jun 1978 Var new items named Danny Lloyd as the young star. The 7 April 1978 LAT article also referred to moments from King’s novel that were not seen in the completed film, including sequences in which Danny sees blood dripping down the walls and is pursued by topiary hedges that become “malevolently alive.” According to a 31 Jan 1979 Var article, a fire occurring the previous week gutted one of the nine stages, including an active set. The damage was estimated at $2,500,000 and expected to add three weeks to the film’s shooting schedule. Despite the delays, a 13 Feb 1979 LAT news item reported that shooting was complete except for three close-ups of Shelley Duvall, and that Kubrick was rebuilding the charred sets for those shots. The article also stated that Nicholson had finished his scenes and returned home. Although Nicholson reported in a 5 Jan 1978 DV news item that he agreed to work for Kubrick for six months, a 12 Nov 1979 LAHExam news item reported that he ultimately spent thirteen months before the cameras. Some modern sources list the end of principal photography as late as Apr 1979, but the 12 Nov 1979 LAHExam news item reported the end as Mar 1979. At the time of the news item, the film was still in post-production and its release was postponed from Christmas 1979 to Easter 1980. A 13 Jun 1979 HR news item noted a new bidding procedure undertaken by Warner Bros. that began with The Shining. The procedure required exhibitors to mail a carbon copy of their offer to the studio in Burbank one year in advance, in addition to the originals they sent to the respective Warner Bros. branch offices. The process, according to the article, was designed to lessen the time between the receipt of bids at the branch office and processing of bids at studio headquarters. At the time, Paramount Pictures had a similar process. As reported in a 12 May 1980 LAHExam article, Nicholson refused to do any promotion until he saw the completed production. According to Hollywood columnist Marilyn Beck, Warner Bros. would not screen the film for anyone until 21 May 1980, the day Kubrick promised to deliver a print and two days before the film’s New York and Los Angeles openings. The article noted that, “Only a few members of Warners’ top brass have seen [the film] in anything close to a completed form – and they had to fly to London … to accomplish that.” Although The Shining was expected to screen out of competition at the Cannes International Film Festival, a 13 May 1980 HR article stated that it would not. The film was also considered to show at the 28 Aug–8 Sep Venice International Film Festival, according to a 20 May 1980 DV news item, but it ultimately did not screen there. As reported in a 14 May 1980 DV article, the ad for the film was printed with an R rating, although the film had not yet been officially rated by the Classifications & Ratings Administration. Due to the degree of violence in the film, there were rumors that it would receive an X rating. Ultimately, as reported 19 May 1980 in the same publication, the film received an R rating. Following screenings, the DV review commented that The Shining might become Warner Bros.’ “biggest box office disappointment” since their 1977 production, Exorcist II (see entry, Exorcist II: The Heretic). The review stated that Kubrick had “destroy[ed] all that was so terrifying about Stephen King’s bestseller.” Positively, the review acknowledged Kubrick as a “visual artist,” adding that, “with the help of cameraman John Alcott and Roy Walker’s production design, the atmosphere of the old hotel is properly menacing and glamorous.” A 23 May 1980 HR review questioned the seriousness of Kubrick’s intentions, further pointing to an unsatisfactory dénouement and curious character rationale. A 23 May 1980 LAT review, referring to the film as “A Freudian’s Picnic,” noted that it had “moments so visually stunning only a Kubrick could pull them off,” but was “too grandiose to be the jolter that horror pictures are expected to be.” Thomas also praised the contributions of Walker and Alcott, and surmised that The Shining was the type of film that “invites interpretations.” A 23 May 1980 NYT review also criticized the film for ambiguousness, noting that the domestic side of the story was “by far the more effective” and that “the supernatural story knows frustratingly little rhyme or reason, even by supernatural standards.” A 30 May 1980 WSJ review dubbed the film as Kubrick’s “sadly disappointing venture into horror,” stating that it was “trying to be so much … [but] ultimately ends up being very little.” Despite these pessimistic early reviews, however, a 28 May 1980 NYT article reported that The Shining broke house records in dozens of theaters, opening in only ten theaters, yet grossing $626,052 in its first four days. According to Terry Semel, executive vice president and chief operating officer for Warner Bros., The Shining was the “biggest opening our company has ever had in New York and Los Angeles,” bigger than The Exorcist and Superman (1973, 1978, see entries). The article also pointed out that the final version of the film was not the version that was previewed for the press the week previous; Kubrick, via a telephone call from London, revealed that he deleted a brief epilogue between Shelley Duvall and Barry Nelson, who played the hotel manager, deciding it was “unnecessary” given the “fantastic pitch of excitement which the audience reached during the climax of the film.” By the end of the film’s first week, a 28 May 1980 HR news item reported that The Shining had grossed $1 million. In 1981, when Stephen King published Danse Macabre, his non-fiction book about horror fiction, he claimed that The Shining was “fairly treated” in Kubrick’s adaptation. However, as noted in the 27 Apr 1997 NYDN article, King later hinted at his dissatisfaction with the film in publications such as the Jun 1983 Playboy. King wrote a television miniseries adaptation, titled Stephen King’s The Shining, which aired on the NBC network 27 Apr—1 May 1997. The television production was directed by Mick Garris, and starred Steven Weber and Rebecca De Mornay as “Jack and Wendy Torrance.” The mini-series followed the novel more closely than the film, changing the focus of the story from the father’s devolution into madness to a dysfunctional family dealing with the father’s alcoholism; also, the character “Dick Halloran,” is not killed at the end. As in the book, the mini-series retains the animal-shaped topiaries, instead of the hedge maze, and Steven Weber’s “Jack” pursues his family with a croquet mallet rather than an ax. Unlike the Kubrick film, the miniseries also retains the novel’s over-heating boiler. Kubrick's The Shining contains excerpts from the 1971 Warner Bros. production, Summer of ‘42 (1971, see entry); a Miami WPLG television program, Newswatch; a KBTV Channel 9 Denver news report; and a KHOW Denver radio broadcast of the Hal and Charlie Show. The theme song of Warner Bros.’ animated character, “Road Runner,” is also heard briefly in the film. The end credits contain a “special acknowledgement” to the radio and television stations listed above; Timberline Lodge, Mt. Hood National Forest, OR; Continental Airlines; State of Colorado Motion Picture Commission; Harrods of London; American Motor Company; Carl Zeiss of West Germany; National Vendors; Music Hire Group Ltd.; Cherry Leisure (UK) Ltd.; JVC (UK) Ltd. Many sequences in the film are introduced by title cards that mark the time or day within the story. In addition, the statement, “A Peregrine Film,” appears in the end credits. Less In the Colorado mountains, teacher and writer Jack Torrance interviews for the position of off-season caretaker at the Overlook Hotel. Because the area becomes snowbound in winter, only the caretaker and his family remain onsite from December to May. The hotel’s manager, Stuart Ullman, cautions Jack that in 1970, a caretaker, Grady, became overwhelmed by “cabin fever” and killed his wife and two young daughters with an ax, then shot himself. Jack assures Ullman that five months of peace is what he is seeking in order to begin a writing project he has planned. Meanwhile, in Boulder, Jack’s wife Wendy and their son Danny discuss the possibility of moving. Danny says that his imaginary friend, “Tony,” is against the move. While Danny brushes his teeth, “Tony” tells him that Jack will get the job and, soon after, Jack calls Wendy and confirms that he has been hired. When Danny insists that “Tony” tell him what is wrong with the hotel, he goes into a trance and sees startling images, among them, two young girls identically dressed and hotel doors from which blood gushes. The visions become so frightening that Danny blacks out and Wendy arranges for a doctor to visit. When the doctor asks Danny what he remembers, he says he was talking to “Tony,” but is otherwise reticent. The doctor prescribes rest and suggests there is a psychological explanation for the incident. Wendy tells her that “Tony” first appeared in Danny’s life after an “accident” in which an inebriated Jack dislocated the boy’s arm. In denial about the significance, Wendy says that good came out of the event, because Jack vowed to quit drinking and has remained alcohol-free for five months. Days later, the family arrives at the Overlook Hotel as staff and guests are leaving. Ullman and staff members give the family a tour of their living quarters and other areas of the labyrinthine building that was built in 1907 on a Native American burial ground. Outside, Jack and Wendy are shown the hotel’s thirteen-foot-high hedge maze and the snowcat, a vehicle necessary to traverse deep snow. While showing the Torrances the grandly decorated Gold Room, Ullman explains that alcoholic beverages are removed during the winter for insurance reasons. While playing in the game room, Danny again sees a vision of the identically dressed girls. Wendy and Danny visit the kitchen and meet head chef, Dick Hallorann, who shows Wendy the stored food in the pantries and walk-in freezer. Wendy is surprised when Dick addresses Danny as “Doc,” because it is a nickname she and Jack sometimes call the boy. As Dick continues the tour, he telepathically asks Danny if he would like some ice cream and, later, when Danny and Dick eat ice cream alone together, Dick reveals that he sensed Danny’s mental powers. Dick explains that he, too, has them and that the abilities are known as “shining.” Danny confides that “Tony” told him not to tell Wendy and Jack about the powers and asks if there is something bad about the hotel. Dick says that the hotel also has a way of shining and that when events happen, they can leave traces like pictures in a book that only those who “shine” can detect. Danny asks about Room 237 and says he thinks Dick is scared of it. Dick tells him he has no need to know about that room, and is adamant that Danny avoid it. A month passes, but during this time Jack is unable to start his novel. However, he proclaims his fondness for the hotel, and tells Wendy he feels as if he has been there before. As Wendy and Danny explore the maze outside, Jack, frustrated about his lack of productivity, bounces tennis balls against the hotel’s inner walls. Days later, while racing his tricycle through the halls, Danny comes to Room 237 and cautiously tries the door handle. The door is locked and an image of the two girls again appears in his mind. Lonely, Wendy visits Jack as he is typing, but, showing anger out of proportion to the situation, Jack tells her to never enter the room while he is working. When the phone lines go down due to snowstorms, Wendy contacts the Forest Service by radio. The ranger suggests she leave the radio on at all times so they can make emergency contact, if necessary. Danny is again racing through the halls on his tricycle when the two girls appear unexpectedly on his path. This time they speak, inviting him to play and anticipating they will be together forever. In his mind, Danny sees images of their bloody and mutilated bodies, and tells “Tony” he is scared. “Tony” reminds him that Dick said the images are harmless, like pictures in a book. One morning, Danny finds Jack in the family’s apartment, sitting in his bathrobe, undressed and unshaven, and staring blankly into space. Jack says he is tired but cannot sleep, and wishes they could stay at the hotel forever. Danny asks if Jack would ever hurt him or Wendy, but Jack reassures Danny that he would never do him harm. A few days later, Danny is playing when Jack’s tennis ball rolls toward him. Danny follows the ball’s path and arrives at Room 237, where the door is now open. In the basement, Wendy is checking the furnaces when she hears Jack screaming. She finds Jack asleep at his desk and when she wakens him, he says he had a nightmare in which he killed her and Danny, and cut them into pieces. Soon after, a traumatized Danny walks into the room, his shirt torn and his neck bruised. Accusing Jack of injuring Danny, she takes the boy from the room, leaving Jack bewildered. Later, Jack enters the empty ballroom, yearning for a drink. At the bar, he sees Lloyd the bartender and orders a bottle of bourbon. He tells Lloyd he always liked him and that he was the best bartender. When Lloyd asks Jack how things are going, Jack expresses resentment that Wendy will not forgive him for injuring Danny. Wendy runs in and tells Jack that Danny told her a “crazy woman” tried to strangle him. Searching for the woman, Jack finds, in Room 237, a young, nude woman, who silently leaves her bath and approaches him. After they embrace, she turns into an elderly hag with gaping sores. Frightened, Jack backs out of the room, but when he returns to the family’s apartment, he says he found nothing and suggests that Danny’s bruises are self-inflicted. Wendy proposes that the family leave, but Jack condemns her for creating Danny’s problem, and not appreciating his need to write or his responsibility to the hotel. In his bedroom, Danny spots the word “Redrum” written on the door in red then sees the vision of the elevator gushing blood. Meanwhile, in Miami, Dick watches Colorado weather reports and is unable to shake his feeling of foreboding. After seeing visions of Room 237 and a terrified Danny, he phones the Forest Service about his concerns for the family. The ranger tries several times to contact the Torrances, but to no avail. On his return to the Gold Room, Jack sees the Overlook’s hallways strewn with balloons and party streamers, and hears music and finds the room filled with revelers in 1920s attire. When a waiter bumps into Jack, spilling a drink on his coat, he offers to help Jack clean up in the men’s room and reveals his name is Grady, the name of the caretaker who killed his family. However, Grady denies he is the man and claims that Jack has always been the caretaker. Grady tells Jack that Danny is trying to bring in someone from outside and that Danny has a “very great talent,” but is “naughty.” In the family’s apartment, Wendy makes plans to leave Jack and drive Danny down the mountain in the snowcat. When Danny begins to call out the word, “Redrum,” repeatedly, she talks to him, but “Tony” answers, saying that Danny cannot wake up. In the hallway, Jack hears the Forest Service’s attempt to contact them and dismantles the radio. Spurred by his concern for Danny, Dick flies to Denver where he borrows a snowcat and drives the winding roads up the mountain. At the Overlook, Wendy, armed with a baseball bat, looks for Jack at his desk and, finding him gone, examines a stack of papers that Jack typed. She discovers that all of them contain, in multiple formats and with spelling and grammatical variations, the words, “All work and no play makes Jack a dull boy.” When Jack appears, Wendy warns him to stay away. Although Jack addresses her with brutal language, he maintains that he will not hurt her. Menacingly, he backs her up the staircase until she swings the bat at him and sends him tumbling down the steps. She then drags Jack into a large pantry and locks him inside. Soon after, she discovers that Jack has disabled the snowcat. In the afternoon, Jack is addressed from outside the pantry by the voice of Grady, who chides him for not disciplining Wendy and Danny, and questions his motivation and sincerity. After Jack asks for another chance, the pantry door unlocks, freeing him. In the apartment, Danny repeatedly chants “Redrum,” and takes a knife. With Wendy’s lipstick, he writes the word on a door. As his chant gets louder, Wendy looks in a mirror and sees the word reversed to read “Murder.” Jack breaks the apartment door with an ax, and Wendy and Danny take refuge behind the locked bathroom door. Wendy pushes Danny outside through a window, where he slides down a snow bank to the ground below. However, she cannot fit through the window and, as Jack chops his way through the bathroom door, she takes the knife Danny dropped and slashes Jack’s hand. Jack abandons his pursuit of Wendy when he hears Dick’s Snowcat approaching. When Dick enters, Jack bursts out of the darkness and kills him with the ax. Hiding in the kitchen, Danny lets out a blood-curdling scream and Jack chases the boy. Danny escapes to the hedge maze, but observes that his footprints in the snow will lead Jack to him. After walking backwards several steps, careful to step into his previous tracks, Danny squeezes through a hedge wall. Jack follows Danny’s tracks until they end, but then, cold and exhausted, he collapses. While searching the hallways for Danny, Wendy encounters ghostly images of previous hotel patrons. After she finds Dick’s mutilated corpse, a blood-spattered ghost appears and tells her it is a “great party.” She finds the Colorado room filled with cobwebs and skeletons, and the elevator doors gushing blood. She joins Danny outside and they drive down the mountain in Dick’s snowcat. The next morning, Jack is dead, frozen in the maze, but inside the Overlook there is a photo hanging on a wall. The photo, dated July 1921, shows a large group of people at a party. Jack is among them, front and center, smiling into the camera. Less
205	dbpedia	3	68	https://billsmovieemporium.wordpress.com/2013/03/14/review-full-metal-jacket-1987/	en	Review: Full Metal Jacket (1987)	https://billsmovieempori…metal-jacket.png	https://billsmovieempori…metal-jacket.png	[ "https://billsmovieemporium.wordpress.com/wp-content/uploads/2013/08/cropped-cropped-cropped-chung-king-express-640.jpg", "https://billsmovieemporium.wordpress.com/wp-content/uploads/2013/03/full-metal-jacket.png?w=500&h=281", "https://2.gravatar.com/avatar/264a5868035155cbe5e25a9e59e09a4339286cc0d721153b79f8507e9901149f?s=48&d=wavatar&r=X", "https://2.gravatar.com/avatar/2f0f5f61647271cc498e4f0408b30d5227f0d0a92edb539f63794908a0f894d3?s=48&d=wavatar&r=X", "https://secure.gravatar.com/blavatar/adb3b4279002d190873c465f254cc9ba675ced04beff208161b53585f7bdd3cf?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/adb3b4279002d190873c465f254cc9ba675ced04beff208161b53585f7bdd3cf?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2013-03-14T00:00:00	Sometimes a killing machine just has to be a killing machine! Screenplay By: Gustav Hasford, Michael Herr, & Stanley Kubrick Directed By: Stanley Kubrick Full Metal Jacket is most definitely a film of two halves. However, unlike the majority of people I found that the two halves inform one another and make for one heck…	en	https://secure.gravatar.com/blavatar/adb3b4279002d190873c465f254cc9ba675ced04beff208161b53585f7bdd3cf?s=32	Bill's Movie Emporium	https://billsmovieemporium.wordpress.com/2013/03/14/review-full-metal-jacket-1987/	Sometimes a killing machine just has to be a killing machine! Screenplay By: Gustav Hasford, Michael Herr, & Stanley Kubrick Directed By: Stanley Kubrick Full Metal Jacket is most definitely a film of two halves. However, unlike the majority of people I found that the two halves inform one another and make for one heck of a complete picture. I will grant the naysayers this much, the tonal shift from the first half to the second half is quite jarring. If there was one negative I would put upon Full Metal Jacket it is that the film does not shift gears as smoothly as it probably could have. That’s a minor beef though, and in the end the jarring tonal shift between the two halves is not a real knock against Full Metal Jacket. The first half of Full Metal Jacket is a magnum opus on a favorite theme of Stanley Kubrick’s, dehumanization. The obvious target is that of Private Pyle, or as he’s known when others aren’t mocking him, Leonard Lawrence. His character is focused on heavily, and the performance from Vincent D’Onofrio is chilling to behold. However, I was struck by how Mr. Kubrick dehumanized all of the characters and that the one who ends up being the most human is actually Pyle. Joker has his moment in the barracks where he loses it and strikes out at Pyle for his failings. Cowboy, Snowball, and all the rest of the grunts also engage in the telling moment that shows how much of their humanity has been stripped away. But, all the while it is the character of Drill Instructor Hartman, brilliantly portrayed by R. Lee Ermey, who shows the true lack of humanity in Mr. Kubrick’s military. He thinks he is servicing humanity by breaking down the grunts and making them better men and serviceable soldiers. In reality he is slowly stripping away his own humanity, until he faces his final test and is unable in that moment to muster even a shred of humanity for a damaged human being standing in front of him. The second half of Full Metal Jacket may be tonally different, but it is in actuality an extension of the first half. Mr. Kubrick shifts the focus of Full Metal Jacket from dehumanization to the idea of inhumane killing machines let loose in the world. The soldiers are put in common scenarios that have been seen a hundred times in a hundred other war movies. The difference as far as Full Metal Jacket is concerned is that the first half exists to inform the second half. We have seen the humanity ripped from these soldiers, some literally others in the sense that they are soldiers and we know they have undergone the same trials as the grunts we followed in the first half. They are madmen loosed upon a hellish world where only madmen can survive. The world of war is not a place for humanity, it is a place where those who display humanity are discarded like expired meat. Full Metal Jacket needs to be as hellish as it is in its second half, because hell is the only destination that makes sense for the killing machines that are the product of the first half. There’s almost no point in me talking about the beautiful framing found in Full Metal Jacket. The composition from Mr. Kubrick, score from Vivian Kubrick, and cinematography help from Douglas Milsome all work together to create a beautifully creepy vision of war and humanity. In the case of Mr. Kubrick’s daughter, her score is powerful not only in the atmosphere she creates through her musical choices but in the powerful ambiance she gives to certain scenes by not adding in any score whatsoever. Mr. Kubrick and Mr. Milsome combine their talents to create a film that is impeccably framed and filmed from stem to stern. Then there is the acting, which is surprisingly restrained and all the more effective because of the restrained approach. On every technical level Full Metal Jacket is an impressive feature. It’s not the greatest war film ever made, nor is it the greatest feature from Mr. Kubrick. That does not lessen Full Metal Jacket’s ability to be a chilling treatise on war and humanity. Mr. Kubrick shines his lens bright on the machines that keep our country going and the results are aesthetically pleasing but morally troubling. Full Metal Jacket belongs in the same breath as the top tier films from Mr. Kubrick. It is a hellish trip through war and an atmosphere laden rupturing of humanity that is painful and yet essential to watch. Rating: ***1/2
205	dbpedia	1	26	https://www.telegraph.co.uk/tv/0/no-one-should-die-shot-tragic-death-bbc-cameraman/	en	'No one should die for a shot': the tragic death of a BBC cameraman	https://www.telegraph.co…icy=logo-overlay	https://www.telegraph.co…icy=logo-overlay	[ "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/UK-SVG.svg", "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/USA-SVG.svg", "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/UK-SVG.svg", "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/USA-SVG.svg", "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/UK-SVG.svg", "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/USA-SVG.svg", "https://www.telegraph.co.uk/content/dam/tv/2021/08/05/TELEMMGLPICT000266846018_trans_NvBQzQNjv4BqOfbQuL7vt0ioTIEx8Tqi0HwSCF1R0VweJ7DS2UnVMSQ.jpeg?imwidth=680", "https://www.telegraph.co.uk/content/dam/tv/2021/08/05/TELEMMGLPICT000172866264_trans_NvBQzQNjv4BqA7N2CxnJWnYI3tCbVBgu9T0aesusvN1TE7a0ddd_esI.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/tv/2021/08/05/TELEMMGLPICT000266766267_trans_NvBQzQNjv4BqURrGzHIAHnnu_TDaU21Vhr5f1eIj0QrdtDiphwtVTAM.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/tv/2021/08/05/TELEMMGLPICT000266846020_trans_NvBQzQNjv4Bq-4q6-tlhTWCitdlCW0B0ITZcsiRorngdEKW6sNREWAc.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/tv/2021/08/05/TELEMMGLPICT000242682267_trans_NvBQzQNjv4BqA7N2CxnJWnYI3tCbVBgu9T0aesusvN1TE7a0ddd_esI.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/tv/2021/08/06/TELEMMGLPICT000266846022_trans_NvBQzQNjv4BqvB5LaUc5OAoESmrCQlSkUNkM9MM8VM3G1BxlGUO4L8Q.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/tv/2024/06/17/TELEMMGLPICT000379150274_17186364774310_trans_NvBQzQNjv4Bqbe775R1SNzm4sSSdJaF7PFKgqRD8QjI0RaZmbYcesHw.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/tv/2024/08/09/TELEMMGLPICT000388627765_17232217677160_trans_NvBQzQNjv4BqFOgdDOZBSSpUpWf9Rnp5s6Aezwuvexs_ues-aCB_TCg.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/tv/2024/08/10/TELEMMGLPICT000351454663_17233014851070_trans_NvBQzQNjv4Bq7qX1Cq-VwKUfDurkbnekSUILJJpwdHwkstMv3u0Srgc.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/tv/2024/08/09/TELEMMGLPICT000388106475_17232237972080_trans_NvBQzQNjv4Bqe7L1VZl8RtJs4QFVVv_yN3XLrPDHdQy4tHvoRq453IQ.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/tv/2024/08/09/TELEMMGLPICT000388121670_17232190182100_trans_NvBQzQNjv4Bq_GWnPq_o4R_C0makuwC7P0HxT2cjZg2yCVAQ3bF28bg.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/tv/2024/08/09/TELEMMGLPICT000002560893_17232214494490_trans_NvBQzQNjv4Bq4KdjWabbidXRBu7jUVums9soS3PcRHfLJuy0324MpQ8.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/vouchercodes/GoPro.png?impolicy=thumbnail", "https://www.telegraph.co.uk/content/dam/vouchercodes/logo_groupon.png?impolicy=thumbnail", "https://www.telegraph.co.uk/content/dam/vouchercodes/logo_bloomandwild.png?impolicy=thumbnail", "https://www.telegraph.co.uk/content/dam/vouchercodes/NationalTrust.png?impolicy=thumbnail", "https://www.telegraph.co.uk/content/dam/vouchercodes/Wayfair.png?impolicy=thumbnail", "https://www.telegraph.co.uk/content/dam/vouchercodes/logo_made.png?impolicy=thumbnail" ]	[]	[]	[ "Culture Editor's Choice", "Television Editor's Choice", "Ghana", "BBC", "Standard", "South Africa", "Culture", "Television" ]	null	[ "Chris Harvey" ]	2021-08-07T05:00:00+01:00	In 2017, Mark Milsome was killed while filming a stunt for the Michaela Coel drama Black Earth Rising. How did things go so badly wrong?	en	/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/core/resources/icons/favicon.ico	The Telegraph	https://www.telegraph.co.uk/tv/0/no-one-should-die-shot-tragic-death-bbc-cameraman/	On Saturday November 18 2017, British cameraman Mark Milsome called home from Accra in Ghana. He had been out there for weeks filming Hugo Blick’s BBC/Netflix drama series Black Earth Rising, starring Michaela Coel and John Goodman. Milsome usually phoned his wife Andra and daughter Alice every evening, at the 11-year-old’s bedtime, but this was the last day on location in nearby Achimota Forest, and a night shoot had been scheduled – to film a stunt sequence involving a Land Rover rolling onto its side. Mark rang before leaving for the set. It was around 3.30pm when Andra took the call, in the Waitrose car park near their home in Herefordshire. “He rang to tell me that he couldn’t call us to say good night, but he would speak to me in the morning, when he woke up,” she tells me. That call would never come. Later that night, Mark was killed filming the stunt. The 54-year-old Milsome was an experienced camera operator. He was the son of the cinematographer Douglas Milsome, a long-time collaborator with Stanley Kubrick. “We were brought up on film sets,” Mark’s sister Sarah Harrison tells me, as she describes growing up with her “protective, very loving older brother” in Buckinghamshire. She remembers them visiting the vast sets built at Elstree for the interiors of the Overlook Hotel in The Shining, and the year they spent in Ireland filming Barry Lyndon. They were a close family unit, especially Mark and his mother Debbie. “He was a quiet little boy,” she recalls, “but with a wonderful sense of humour and a great gift for telling and doing funny things.” Milsome would grow up to be a well-loved figure in the film and TV industry. Mark Herman, the writer/director of Brassed Off and Little Voice – which Milsome worked on – gave a speech at a packed memorial service at Bafta in 2018, paying tribute to “his brilliant technical skills, his professionalism, his enthusiasm, his loyalty”. Mark was a “kind, charming, generous soul”, he said. He had a reputation, too, for being supportive to younger colleagues making their way in the industry. Milsome had worked his way up through the ranks in a more-than-25-year career. He’d been a clapper loader on Four Weddings and a Funeral, a camera assistant on Saving Private Ryan, on which he’d spent weeks hunkered down shooting the famous Omaha beach sequence, and a camera operator on Sherlock, Downton Abbey and Game of Thrones. He’d recently graduated to cinematographer on the S4C series Bang. “Mark would have relished the opportunity to work in Africa, to capture the light and atmosphere,” his friend Jay Odedra tells me, although he notes that its heat and humidity “naturally slows and wears a crew down”. Andra reports that Mark had complained of feeling uncomfortable and unhappy during the shoot for Black Earth Rising. His sister says: “He almost felt it was a cursed production.” Last autumn, Mark Milsome’s death became the subject of a coroner’s inquest which heard evidence from those who had witnessed the accident or had knowledge of the events that preceded it. The independent production company making Black Earth Rising was Forgiving Earth Limited, of which Blick is a director. The proposed stunt, in which a Land Rover Defender would go up a ramp before turning on its side, was “not that difficult”, says stunt co-ordinator Lee Sheward, who in his long career has done everything from being lead driver in the death-defying car chase in The Bourne Supremacy to co-ordinating Benedict Cumberbatch’s fall to his death in Sherlock. “It wasn’t like you were trying to near-miss 10 cars coming at an angle,” he says, “or land the car in a ravine. It’s just a straight road, one car, one driver, and they want to put the car on its side.” Still, there was what the original stunt co-ordinator Julian Spencer described as a “golden rule” that came into play when filming car stunts: “All cameras in front of a moving vehicle should be unmanned – no ifs, no buts.” This would have ensured Milsome’s safety. But Spencer was not there in Accra; he had pulled out of the project three weeks earlier after a flare-up of a gastric condition. Forgiving Earth tried to replace him at short notice with Sheward, who was already on a different job. Sheward recommended another experienced stunt co-ordinator, Séon Rogers, who has performed and co-ordinated “hundreds of crashes” on film and TV sets, from Bond movies to Silent Witness. The production company maintains that Rogers made himself unavailable by flying to Italy the day after he was contacted. Rogers says he asked producer Abi Bach if they could push the date of the shoot back, and was told “the schedule is so tight, we can’t move anything at all”. He also says he offered a solution that involved his nominated driver taking over as stunt co-ordinator, while he returned to the UK to get a visa before flying out to drive the vehicle himself. The producers, who dispute Rogers’s version of the call, moved on to other options. Bach emailed to tell Sheward, “I’m bringing a guy up from South Africa, he’s got a great reel, already has his vaccinations and seems very game!” This was John Smith, an award-winning South African film professional with a number of stunt co-ordinator credits to his name. He came recommended by a line producer on Black Earth Rising, who had previously engaged Smith to work on the US TV series Homeland. Smith inherited the ramp that had been built to Spencer’s instructions, and brought with him a fellow South African, Nathan Wheatley, to do the driving. The latter test-drove the Land Rover provided for the stunt on two days before filming at the Achimota Forest location. Wheatley discovered that the speedometer was not working, and the right front brake was locking up. Smith told the coroner he was assured that the braking system would be bled overnight. The two men used Smith’s Garmin watch to estimate the car’s speed. A risk assessment carried out before the production arrived in Ghana stated that the two cameras planned to film the stunt should be unmanned, but in court its author said that on set “it is down to the stunt co-ordinator’s discretion… they’re in charge”. And in Accra, on the evening of the shoot, plans were about to change. Milsome and a fellow camera operator arrived on set early, followed at around 4.15pm by the director of photography, Hubert Taczanowski. He intended to put cameras in three spots – all to be manned. “We wanted to capture it, it was our biggest stunt, we wanted to get the best effect,” he said in court later. Smith, however, kept moving two of the cameras “back and back”, Taczanowski noted, and by the time Blick arrived, at about 5.30pm, it had been decided that these would be unmanned and operated remotely, with the third camera positioned almost directly in front of the ramp, to be manned and operated by Milsome. Beside Mark would be Paul Kemp, the “key grip” in the camera department. Kemp took the unusual step of holding on to Milsome’s belt with the intention of pulling him clear if there was a problem. In court, he said that he and others, including Milsome, Blick and Bach had checked repeatedly with Smith if the camera position was safe. His statement read: “John said, ‘As long as you’re with him.’” Milsome, however, was very close to the end of the ramp – “significantly less than 13 metres away”. The stunt car would be travelling at around 12.5 metres per second. If anything went wrong, there would be less than a second before the car reached his position. An expert’s report read out by Andra Milsome in court concluded there was no chance of Kemp dragging him out of harm’s way in time. Taczanowski insisted that safety was not something in which he had a say. And there was no crew safety briefing before the stunt. In his evidence, assistant director Dean Byfield explained that in his view, this only applied in “very hostile” environments. He judged a meeting between himself, Smith and Wheatley to be adequate. “The only possible abort element I’d anticipated was if this generator” – which had been overheating, affecting the main light on the set – “went down again on [the driver’s] approach,” Byfield added. At around 8.45pm, Wheatley was ready to set off. Byfield recalled that the car appeared to veer from its line but believed this had been corrected. Yet as it mounted the ramp, the vehicle did not turn over but flew straight off the end, ploughing directly into the position where Milsome had been placed. It was 8.49pm. Witnesses recalled the aftermath; one crew member reported that Kemp called several times, “Ambulance! We need an ambulance.” A stand-by ambulance and paramedic were on set and within minutes, Milsome, who had been struck directly by the hurtling vehicle, was being attended to. He had received multiple injuries, including a high cervical spine injury, the most severe of spinal injuries, affecting the vertebrae at the top of the neck. Kemp had a broken arm. Blick asked for assurances that Milsome was stable and able to travel and, at 9.02pm, the ambulance set off for the West African Rescue Association (WARA) hospital in Accra but, the Ghanaian police report stated, Milsome was pronounced dead upon arrival. An autopsy performed five days later at the 37 Military Hospital in Accra concluded that Milsome had died from a “massive left hemothorare”, presumably a hemothorax – an accumulation of blood in the pleural cavity between the lungs and the chest wall, often caused directly by injury to the chest. The police also reported that the driver, Wheatley, had been interviewed as a suspect in Milsome’s death. The South African told them that “the brakes of his vehicle failed to function causing it to move headlong without turning” and that he “felt something slip or slide which pulled me straight instead of pulling me sideways”. Prof James Brighton, a specialist in vehicle dynamics from Cranfield University, told the UK coroner that he had carried out simulations showing that the ramp, estimated at 900mm high (about 3ft), would have rolled the Land Rover at speeds from 20kmph to 50kmph (about 12mph to 31mph) had the vehicle “traversed the full extent of the ramp”, but that from footage of the event, he assumed the car to have risen only just above halfway (500mm) travelling at an estimated 47kmph, which “did not promote significant enough roll acceleration” to turn the car onto its side. Spencer, however, said in evidence that after discussing the stunt with Blick months earlier, the ramp he’d gone away to design was “not what we’d normally use to make a car fly up in the air and roll… this was going to be an incredibly low ramp, at about two-and-a-half to three-foot high… just so the car could get up onto two wheels at a low speed”. He said he intended it to fall onto its side after 15-20ft. He’d sent a message to the SFX department about the building of the ramp, which asked them to “look on YouTube for ‘how to drive a car on 2 wheels’ on 5th gear” – referring them to a sequence from the British TV show, Fifth Gear. The producers said this had never been the intention. Certainly, Smith told the inquest that a slower pace had not been communicated to him; he claimed that in fact he had been asked by Blick if the car could go faster, up to 60kmph. Blick, who did not want to go on the record but provided background, denies this conversation ever took place. Smith also claimed that he told Milsome and Kemp that they were “in the line of fire”, which no other witness recalls hearing. Back in Accra, the police concluded there was no proof that Wheatley was careless or negligent in his manner of driving and that he should be discharged for lack of compelling evidence to prosecute him. Milsome’s family and friends, however, did not feel that his death was no one’s fault. At the inquest last October, his father Douglas Milsome displayed anger: “I have shot Bond movies and death-defying action sequences far more complex than the one that killed my son,” he said from the witness box. “The standards of professional stunt crew and producers, those who make key decisions, should never have allowed Mark to die that night – a fact.” In more than 60 years of working in the industry, Milsome senior has experienced the dangers of film sets first-hand. He has shot films from The Guns of Navarone to Robin Hood: Prince of Thieves, as well as the daring aerial sequences on A View to a Kill. He worked with Kubrick on A Clockwork Orange, Barry Lyndon and The Shining, and was cinematographer on Full Metal Jacket. He tells me about filming Desperate Hours with the director of The Deer Hunter, Michael Cimino, in Utah in 1990, on a tarmac road in the desert. “A Cadillac doing 100 miles an hour had to do a 180 to chase a car going in the opposite direction. I was below the road, where Michael wanted me to be. But the stuntman, Billy Burton, took me back another 150ft. Michael Cimino said, ‘You’re a bit of a wuss, aren’t you? It was a great shot there, Doug.’ “But what happened was the car burst its tyres and came off the tarmac road right onto my camera position, then carried on going for another 50ft. I left the camera when the car left my eye in the air, and it still just missed me by inches where I was. If I had died, who would have accepted the blame for that action?” The absence of Wheatley from the inquest, he says, leaves many questions unanswered. “By definition, stunt driving involves dangerous driving, but the driver always has to be fully and utterly in control of his vehicle. And I don’t believe he was. There’s no doubt about that. He lost it.” Doug believes his son was placed in a position that was clearly dangerous. Smith, in the veteran cinematographer’s opinion, “utterly misjudged it”. He does not believe that he warned Mark and Paul Kemp that they “were in the line of fire”. “You say that prior to the event, not after, with hindsight – he f------ knew he screwed up. “I’d never have placed a [manned] camera there…” Doug adds. “It’s just creative excitement overruling common sense… If I’d been there, I know it wouldn’t have happened… nobody would have died.” “Mark should never have been there,” agrees stunt co-ordinator Séon Rogers. If he had been available to do the shoot, “I would have insisted it was a locked-off camera, and everybody walks away. It’s as simple as that.” Senior coroner Chinyere Inyama ruled that Milsome’s death was accidental, yet his conclusion was damning. It states that “shortly before the execution of the stunt, the risk of Mr Milsome being harmed or fatally injured was not effectively recognised, assessed, communicated or managed”. His widow Andra expressed disappointment after the inquest: “It’s upsetting to me that Heads of Department seemed unwilling to take responsibility for their parts in Mark’s death.” Later, she tells me: “That lack of human connection, it just really floors me.” Mark’s friends, meanwhile, have compiled a document of concerns that runs to more than 80 pages, and includes information suggesting that Smith could not personally claim credit for the impressive car roll on his showreel, from the 2005 film Slipstream. Smith did not respond to interview requests. Andra has set up the Mark Milsome Foundation to support young people getting started in the industry. Actor Rory Kinnear is a patron. His father, the actor Roy Kinnear, died from injuries after falling off a horse in Spain while filming The Return of the Musketeers in 1989, when his son was just 12 years old. Kinnear says, “No one should die for a shot. And nor should it even be a possibility ever again.” For Andra and her daughter, their lives go on without a husband and father. “For Alice, her whole world is just gone,” Andra says. “She was Daddy’s girl, they did everything together.” For the Milsome family, three years have not eased the pain of loss. “Words will never say how forever lost we are without him,” Mark’s mother Debbie tells me. “He was one of life’s gentlemen.”
205	dbpedia	2	73	https://bangaloremirror.indiatimes.com/entertainment/reviews/kannada-movie-review-evidence-a-tale-of-friendship-and-betrayal/articleshow/110427702.cms	en	Kannada Movie Review-Evidence: A tale of friendship and betrayal	https://static.toiimg.co…07/110427707.jpg	https://static.toiimg.co…07/110427707.jpg	[ "https://static.toiimg.com/photo/msid-21243785/21243785.jpg", "https://static.toiimg.com/thumb/imgsize-16134,msid-110427707,width-400,resizemode-4/110427707.jpg", "https://static.toiimg.com/photo/62986185.cms", "https://static.toiimg.com/photo/62986185.cms", "https://static.toiimg.com/photo/62986185.cms", "https://static.toiimg.com/photo/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms", "https://static.toiimg.com/thumb/62986185.cms" ]	[]	[]	[ "shivakumar aradhya", "robo ganesh", "rachita", "manmohan rai", "manasa joshi", "karthik varnekar.", "Kannada Movie Review", "chamak chandra", "betrayal", "akarsh aditya" ]	null	[ "Y Maheswara Reddy" ]	2024-05-26T06:00:00+05:30	The movie begins with Shashi (Karthik Varnekar) visiting an isolated place by mistake. He finds a bag, consisting of a stethoscope and a camera, in his car.	en	https://bangaloremirror.indiatimes.com/icons/favicon_bm.ico	Bangalore Mirror	https://bangaloremirror.indiatimes.com/entertainment/reviews/kannada-movie-review-evidence-a-tale-of-friendship-and-betrayal/articleshow/110427702.cms	. Evidence revolves around jealousy, friendship, love, lust and murders. Director Praveen CP, who makes debut as an independent director in Sandalwood with this movie, has succeeded in keeping the audiences on the edge of their seats. Appropriate introduction of evidence at regular intervals to make the process of interrogation interesting is his USP and what is more, he has ensured there is much-needed relief to the audiences at intervals. The introduction of Robo Ganesh in a new avatar indicates the director is all set to come up with a sequel – Ravana arrives - to this movie. The movie begins with Shashi (Karthik Varnekar) visiting an isolated place by mistake. He finds a bag, consisting of a stethoscope and a camera, in his car. At this juncture, the director narrates how the government appointed police officer Priya Ramakrishnan (Manasa Joshi) to investigate the deaths of Swaroop (Akarsh Aditya) and Sanvy (Rachita) that were assumed to be suicides. Priya summons Dr Kevin (Robo Ganesh) to the police station. The process of interrogation begins and the latter denies his involvement in the murder that is closed by the police as a suicide case. What happens to Dr Kevin and whether or not the police officer produces the evidence to prove Dr Kevin guilty is what the movie is all about. Robo Ganesh is convincing as the villain. His body language and gestures are good. Manasa Joshi, as a tough cop, has acted well. Rachita has tried her best to prove her dance skills. Manmohan Rai and Shivakumar Aradhya provide good support. Well-known Telugu actor Chamak Chandra, who plays still photographer Pushpa, fails to impress. His dialogue delivery is not up to the mark. It is not clear why the director selected Chamak Chandra for this movie. . The song – Ayyayyo Aremanake Rekke Bandanthaagide – sung by Chetan Naik is melodious. It is worth a watch for those who crave suspense thrillers.
205	dbpedia	3	48	https://cinema.com/articles/31/dungeons-dragons-production-notes.phtml	en	Dungeons & Dragons : Production Notes			[ "https://cinema.com/affiliates/bet.me/header.gif", "https://cinema.com/images/toolbar.gif", "https://cinema.com/images/twitterLogo.png", "https://cinema.com/image_lib/22427_fp_side.jpg", "https://cinema.com/images/fp_bluemore.gif", "https://cinema.com/images/front_page_comp.gif", "https://cinema.com/images/fp_bluemore.gif", "https://cinema.com/images/fp_bluemore.gif", "https://cinema.com/image_lib/3872_dd27_thumb.jpg", "https://cinema.com/image_lib/3872_dd28_thumb.jpg", "https://cinema.com/image_lib/3872_poster_thumb.jpg", "https://cinema.com/image_lib/3872_dd36_thumb.jpg", "https://cinema.com/image_lib/3872_dd40_thumb.jpg", "https://cinema.com/image_lib/3872_dd32_thumb.jpg", "https://cinema.com/image_lib/3872_dd05_thumb.jpg", "https://cinema.com/image_lib/3872_dd12_thumb.jpg", "https://cinema.com/image_lib/3872_dd21_thumb.jpg", "https://cinema.com/image_lib/3872_dd13_thumb.jpg", "https://cinema.com/image_lib/3872_dd39_thumb.jpg", "https://cinema.com/image_lib/3872_dd03_thumb.jpg", "https://cinema.com/image_lib/3872_dd23_thumb.jpg", "https://cinema.com/image_lib/3872_dd10_thumb.jpg", "https://cinema.com/image_lib/3872_ddearlyconcept_thumb.jpg", "https://cinema.com/image_lib/3872_dd20_thumb.jpg", "https://cinema.com/affiliates/bet.me/footer.gif" ]	[]	[]	[ "" ]	null	[]	null					null	Joining forces with leading action-adventure producer Joel Silver, New Line Cinema is about to take the game to a whole new level when it releases Dungeons & Dragons on December 8, 2000. The highly anticipated fantasy-adventure film brings to life the magical world that three generations of aficionados have seen only in their imaginations, but it also stands alone as an exciting adventure that non-players can enjoy as they discover the wonders of that much-visited D&D universe for the first time. Dungeons & Dragons stars Justin Whalin (Lois & Clark: The New Adventures of Superman (1993)), Zoe McLellan (Mr. Holland's Opus (1995)), Academy Award winner Jeremy Irons (Reversal Of Fortune (1990)), Bruce Martyn Payne (Passenger 57 (1992)), Marlon Wayans (Scary Movie (2000)), Lee Arenberg (Cradle Will Rock (1999)), Kristen Wilson (Doctor Dolittle (1998)), Thora Birch (American Beauty (1999)), Richard O'Brien (Dark City (1998)) and Tom Baker (Doctor Who (1963)). The film is directed and produced by first time director Courtney Solomon based on a screenplay written by Topper Lilien and Carroll Cartwright. Thomas M. Hammel and Kia Jam are Producers and Executive Producer Joel Silver. The Director of Photography is Academy Award nominee Douglas Milsome, BSC; the Production Designer is Bryce Perrin, and the Costume Designer is Barbara Lane. Caroline Ross edited the film. Joan Collins Carey served as Visual Effects Supervisor and Academy Award winner -George Gibbs as Special Effects Supervisor. About The Film ...... Since it was sprung on the world in 1974, Dungeons & Dragons has become the undisputed champion of role-playing games, even as the RPG (role-playing game) phenomenon has continued to grow, with hundreds of new games being invented and the realm of play expanding onto the Net. In the 25 years since it was introduced, "D&D", has acquired three generations of fans, 25 million strong. To put perspective on this phenomenally popular property, there are more than 400 paperback fantasy adventure novels that have been published set in the D&D world. That world is medieval and geographically vague, but filled with beings human and inhuman, exotic settings and magical paraphernalia which have all been defined for players with the wide-eyed attention to detail one would expect to find in a medieval bestiary or Grimoire. The roots of the D&D world are literary, so heroic fantasy authors like L. Sprague de Camp and Fletcher Pratt, R. E. Howard, Fritz Leiber, H. P. Lovecraft and A. Merritt figure prominently in the library of any Dungeons & Dragons devotee worthy of the name. The wealth of exotic lore accumulated over 25 years of play is probably the most important element in richness of the D&D experience, but it is not the whole story, according to Gary Gygax, the co-creator of the game: It is absolutely necessary to understand the only valid purpose for role-playing games. The games exist to provide entertainment. (But) without the interaction of the social group, the role-playing game experience is less entertaining --its drama is less intense, its dangers abstract, its triumphs shallow....There is a message contained in the true role-playing game. It is the message of the difficulty of surviving alone, and the folly of trying to profit from the loss of others. That philosophy is part of the spirit of Dungeons & Dragons, along with the heroic role-playing and the fantastic intricacies that continue to enthrall new players in each generation. It would therefore have to be part of the first D&D movie, along with the tapestry of mayhem and marvels that players love to weave when they play the game, if the game's unique spirit was to be preserved. Who better to do that than a Dungeons & Dragons aficionado? That is why the game's proprietors, after years of dodging major studio offers to translate the D&D world to film, took the unusual step of optioning the rights to a young man named Courtney Solomon - an aspiring filmmaker with no studio backing. Solomon's mother is a production coordinator, which had allowed him to get experience of all sides of film production by working on some 20 different films shooting in his native Canada, but he never attended film school. "Instead of going on with my university education, or moving to Hollywood to look for work," he explains disarmingly, "1 decided I wanted to make a big action-adventure movie like the ones George Lucas and Steven Spielberg were doing at the time. "1 always liked Dungeons & Dragons when I was a kid, and my friends and I thought it would make a great movie, particularly when movies like Raiders of The Lost Ark (1981) began coming out. It's a unique world." Hollywood had had the same thought, but so far no producer had succeeded in securing the rights to make a D&D film, because of the proprietors' fear that a big company would distor[ the game-world to suit its own ends. The 20-year-old Solomon must have looked less menacing. "1 'cold-called' the company and befriended some of the people there," he recalls, "and then I worked for 18 months convincing them to give this young untried kid the rights to make the movie." Early in the creation of a campaign the aspiring Dungeon Master will encounter sizable financial obligations. So began a quest that lasted nine years. Securing an option, Solomon eventually obtained financing from Hong Kong-based investors Allan Zeman, Nelson Leong and the Shaw family. Learning that Joel Silver had long been interested in the idea of a D&D film, Solomon showed him a short film he had made with a horse chase to convince the producer that he could handle the creative logistics of the huge assignment. Silver signed on as executive producer, and nine years after Solomon's first "cold call" to the Dungeons & Dragons company the 28-year-old D&D aficionado found himself in Prague, Czech Republic, as the Dungeon Master -- producer, writer and director -- of a $36 million production that would be his first feature film. "I didn't think anyone would let me direct," says Solomon, "but I had been working on it so intensely for so many years that everybody thought it would be a bad idea to give it to someone else to direct -- they might not give it the heart and soul I would. It was a scary proposition, but it was the kind of movie I always wanted to make." Before the play session, have the scenario ready. It must be known to you and you must visualize in relation to the players and their game personas. During that long nine year process, pieces had been falling into place. Solomon's first visit to Prague, for example, happened three years before the production of Dungeons & Dragons set up shop there, with the result that the script was rewritten to incorporate locations he had seen. Justin Whalin, who agreed to play the thief-hero Ridley before the picture was a "go," had been another early addition to the production: "I got the part before the film was greentit," he recalled during filming, "and stayed very involved throughout the whole process." Whalin devoted three years to working on Dungeons & Dragons, which consequently lead to his Associate Producer credit on the film. "I have been there every step of the way. Besides being creatively fulfilling, working on Dungeons & Dragons has been an amazing educational experience as well," added Whalin. The most important thing, Solomon says, was finding the right story, which means the right cast of characters -- the heart of any Dungeons & Dragons adventure. "Most of the characters we chose are around 20," he says. "The Empress Savina is just 17. I wanted characters who were that age because it's the point in life when people make decisions about where they're going to go and what they're going to do." "Then you've got your older establishment characters, who are set in their ways and don't want things to change, while the young people want things to change and have all this enthusiasm -- somewhat naive at times -- about making that happen." "It's a movie about people finding out who they are and making the right or wrong choices. You get taken through this great world, but you do it through the eyes of these characters, and you get to grow and learn with them. It's got a lot of action and special effects, but at the core of it, it's a great story with great characters, and all the characters are unique." Elves are inclined to haughtiness and do not make friends easily, but friend or enemy is never forgotten. Dwarves tend to be dour and tacitum. They are strong and brave, but they also enjoy beer, ale, mead, and even stronger drink. Each character involved in the quest, who belongs to a defined race or class within the D&D world, is also an individual: The Empress Savina, thrust onto the throne by the murder of her father when she is still just 17, has to find the strength to thwart a palace revolution. Ridley, thief and commoner, has to overcome his hatred of Mages, while his friend Snails (described by Marion Wayans as "a punk") learns courage on the journey. The young Mage Marina has to overcome her pride, the elf Norda has to overcome a tendency to see things in black and white, and Elwood the dwarf is forced to relinquish his dwarfish propensity for solitude, which has no doubt been reinforced by signs like those we see in a tavern at one point: "No dwarves allowed." "I had a lot of friends who were D&D players, and I sat in on a couple of sessions," says Lee Arenberg, who plays Elwood. "The game is very cinematic. The Dungeon Master who leads you through the experience is making up a story very similar to the one in this film. I'm a dwarf, I'm impervious to magic, I react like a dwarf would in the game." Citing dwarves' love of meat and even stronger beverages, Arenberg notes that Elwood's greatest conflict arises from Marina's orders that no one is to drink during the adventure. The professional thief is not dishonorable, although he is neither honored nor highly respected in some quarters. The primary functions of a thief are 1) picking pockets, 2) opening locks, 3) finding~removing traps, 4) moving silently and 5) hiding in shadows. While magic users are not strong in combat with weapons, they are possibly the most fearsome of all character classes when high levels of ability are finally attained. Survival up to that point, however, can be a problem. Although Dungeons & Dragons is a heroic fantasy adventure, Justin Whalin notes that inside the standard fairytale battle between good and evil "there's a real-world kind of world." There's a political struggle between the generations, between magic users and non-magic users (rich and poor), and conflicts between races who each have there own biases." "All people are equal," says Zoe McLellan, who plays Marina. "The message is what drew me to this story." The characters played by McLellan and Whalin exemplify that. "Marina first meets Ridley and Snails when they're breaking into the Magic School, and that's not a good first impression," says McLellan. 'qhere's an attraction right away, but they're thieves, and they're commoners, and they're boys, so it takes a while for her to get used to them." Elwood and Norda, whose races have always been like oil and water, are another case in point: "Dwarves and elves go back centuries," says Kristen Wilson, who plays Norda. 'they are exact opposites, so they clash. But by the end of the adventure Elwood and Norda reach an understanding with one another." "The theme is equality among different peoples," says Lee Arenberg, "that you can be whoever you are -- you can be a dwarf, you can be an elf -- but the main thing is that we get along together. This motley group of adventurers is fighting for the idea that everyone should have the same chance to succeed in life, and I think that's a great message for kids, and maybe even a better reminder for us "adults" that have forgotten this basic principal." The need for cooperation arises out of characters who can only achieve their goal by joining forces. Marina, who is just in her third year of Magic School, knows a bit about magic and has the map that shows where the potent talisman they are seeking can be found, but she needs the combat skills of Ridley and Snails, who are professional thieves, to complement her own limited powers. Elwood, as a dwarf, is partially immune to magic and fearless in battle, particularly when he is made irate by his bald-spot being uncovered. As for Norda, Kristen Wilson explains, "She works with the natural order. She's part of magic, instead of trying to harness it the way humans do." The Dungeon Master approaches each play session with verve. It is not just a regular event -- it is a special exciting one in which danger, excitement, fun and adventure will prevail. Your attitude, posture, tone of voice and words all relay this to the group assembled. They are inspired, they believe, and for a time they are immersed in the mythic world thus created. "We were very careful with the casting," says Courtney Solomon. "1 only wanted people who really loved the characters that they're playing." That was not hard to discern in Kristen Wilson, at least. "When I went into my first audition," she recalls, "1 told Courtney that I was Norda. That was pretty much it." When the cast first assembled in Prague, Solomon spent two weeks helping them become their characters. "We were very untraditional in the way we set up," he says, "We figured how each character was feeling at different times, and I took them to the locations when there was nobody else around to show them where they'd be, because they really were going into a different world. And they've come through by creating these wild and interesting characters." A trained dancer, Kristen Wilson says she found Norda by concentrating first on the special way she moved, and then on the way she talked: "She speaks many languages" -- "elvish, gnome, goblin, hobgoblin, orcish, gnoll and the 'common tongue' of mankind" according to the D&D handbook - "so her use of language and the way she articulates herself are different. "Elves see things that humans don't see. Time is relative for elves. They see what's happening in the past and the present as well as what's going to happen in the future, so they're constantly filtering things and deciding what they're going to say." Jeremy Irons took a more traditional approach to his character, the arch-villain Profion. "I think a lot of actors enjoy playing characters that allow them to be villainous, wild," he says. "Richard III and lago are among the most wonderful characters to play in Shakespeare." The director's enthusiasm for the project was communicated to the actors, who gave it their all. Zoe McLellan, after describing Marina as "a priss," says her favorite day of filming was the nine hours she spent wearing a wetsuit under her costume and wading around in a sewer set, which was a major turning point for her character. "It was really dirty and gross," she recalls fondly, "but I loved it." For Bruce Martyn Payne, who plays Profion's cruel lieutenant and head of the Empires forces Damodar, the opportunity to do all his own swordfights, with a sword that weighed a ton, was one of the high points of the game. "I have a great passion for it," he says. "I've done a lot of sword fighting beginning in drama school. It's a very eloquent domain for showing the largesse of a character without the accent being on the aggression. You're actually writing with your sword, and everybody has a different style." Justin Whalin, Marlon Wayans and Lee Arenberg also did almost all their own fighting. Whalin, who is a skilled martial artist, overshot during a fight and broke a stuntman's nose. Later it was his turn when a swinging 400-pound axe came within less than an inch of him during the scene where Ridley braves the deadly maze of the Thieves' Guild: "We had four cameras on him," Courtney Solomon said, "and that shot is in the film." Preparation is the key to an exciting and satisfying play session. This applies to the Dungeon Master's psychological preparation, the conceptual preparation of the material to be used, and the physical preparation of the place where the play session is to be held. "Prague is a city with a unique look and a lot of locations that had never been filmed before," says the director, explaining his choice to make the film there, after citing the well-known high quality of Prague studios and technicians. "With a little dressing they fit right into the world we were trying to create." Bruce Martyn Payne, who is a student of Celtic lore, thinks there may be a reason for that. "Historically," he points out, "a lot of Celtic and Gaelic tribes started here." "Western Bohemia," the name of the Czech province where Prague is located, is derived from the name of the Celtic tribe that first settled the region. St. Nicholas Cathedral, one of the masterpieces of high baroque architecture, was the Empress Savina's private chapel and a memorable experience for Thora Birch, who was visiting Europe for the first time. "St. Nicholas left me dizzy with awe," she says. "200 feet high, huge statues, marble, wood -- it was very humbling in the scenes where I was alone there." Jeremy Irons had a more out-of-the way architectural marvel for his lair -- the Bone Chapel in the All Saints Church of Kutna Hora, once used as a burial site for 30,000 of Prague's wealthy citizens who died during a plague. In 1870 an ingenious woodcarver arranged human bones into the shape of bells, a chandelier, a monstrance and a coat of arms, using them to decorate the walls of the chapel as well. "Nobody had filmed there before," Solomon said. The Prague authorities liked the message of the film, so they let us use the Chapel as the bad guys' base." The setting where Profion and Savina circle around each other on a huge mosaic floor while debating the future of the Empire before a gallery of Mages in red velvet boxes is not a CGI creation -- it is Prague's State Opera, which required almost no re-dressing for these key scenes. The interior of the Magic School at the beginning of the film was filmed inside the Library of the Strahov Monastery, normally closed to visitors, which contains half a million books written in over a hundred languages. Two real castles figure prominently in the action: Lipnice Castle became the setting for the Thieves' Guild, and the crumbling Rabi Castle became the setting for Ridley and Snails' fateful confrontation with Damodar. Although all these settings were real, the sweeping opening shot of the film, which portrays the city of lzmer from the air, is a CGI creation of Digital Firepower, which did all the digital effects in the film. Working in conjunction with production designer Bryce Perrin, the Digital Firepower wizards sought inspiration for their magical city in the architecture of the city that had played host to the production for eleven weeks, which Zoe McLellan describes as "like a dreamworld." How did the first-time director fare with his big-budget action film, whose challenges would daunt many a more seasoned filmmaker? All concurred, after the first weeks of shooting on difficult practical locations, that Courtney Solomon did not seem to be a first-time director. "I was impressed with his knowledge of this movie," says Marlon Wayans. "He knows every shot, he knows the world." "He's very knowledgeable about the process, and very clear and exact about what he wants," says Thora Birch. "What won me over was Courtney's passion. His vision of everything, the characters, the sets, the effects - he has it right at his fingertips." Kristen Wilson adds, "I don't think of Courtney as a first-time director." Because this is a game, there is nothing in the scenario to be tasted, touched, seen, smelled, or heard. Yet all of the five senses function in the game because the Dungeon Master provides this information to the players. The production finished filming on soundstages at Prague's Barrandov Studios, where much of the blue-screen work was done to prepare such CGI effects as Teleportation Portals, a spectacular device the film's magic users employ to get from place to place. For scenes like the final combat between Savina's forces and Profion's, when the sky above Izmer is filled with countless winged dragons battling for the soul of the Empire, actors and director alike had to make a special effort of imagination. "Fantastic!" says Bruce Martyn Payne. "Courtney Solomon has great passion for these things and is happy to share it with you. He'll spend time showing you storyboards, or computer visualizations, so you have a whole vision of this world inside you when you step before the cameras. You feel very much included." "You have to know what it's going to be," says the director, "because the actors are playing against nothing! You have to give the 3D CGI characters a personality, and the actor has to appear to be really interacting with these non-existent characters." Lee Arenberg found that not very different from "normal, acting. "Actually you have a creative role in that process," he says, "because when they start working at the computer they build it off what your reaction was, where you were looking, how you were reacting, and design the CGI character's action accordingly. So in my mind I was playing with another character."
205	dbpedia	2	53	https://petersonreviews.com/2019/12/18/body-of-evidence-dangerous-game-and-evita-reviewed/	en	Bedtime Stories	https://petersonreviews.…13-pm.png?w=1200	https://petersonreviews.…13-pm.png?w=1200	[ "https://petersonreviews.com/wp-content/uploads/2019/12/screen-shot-2024-03-10-at-2.19.13-pm.png?w=1024", "https://petersonreviews.com/wp-content/uploads/2024/01/icons8-t-100-1.png", "https://petersonreviews.com/wp-content/uploads/2023/07/192971-0320-px.jpeg?w=50", "https://petersonreviews.com/wp-content/uploads/2023/07/192971-0320-px.jpeg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2019-12-18T00:00:00	'Body of Evidence,' 'Dangerous Game,' and 'Evita,' reviewed.	en	https://petersonreviews.…320-px.jpeg?w=32	Peterson Reviews	https://petersonreviews.com/2019/12/18/body-of-evidence-dangerous-game-and-evita-reviewed/	he popular narrative is that Madonna is a terrible actress. Most of her movies have been poorly reviewed and commercially unsuccessful; she killed it at the Razzies in the 1980s and ‘90s, the decades during which she was most eager to add “actress” to her list of accomplishments. But as it goes for a lot of entertainers who’ve tried their hands at acting and have floundered at it at least in the public eye — e.g. Mariah Carey, Janet Jackson — I’ve come to notice with some hindsight that typically the bad performances in the so-called bad films are actually for the most part serviceable. The spat-out venom by the public is more so an overenthusiastic pile-on reaction. Effectiveness for some reason becomes synonymous in this case with straight-up badness. If a new-to-acting musical artist isn’t incendiary, then what’s the point? Madonna is indeed terrible in a lot of the features comprising her filmography — Shanghai Surprise (1986), Who’s That Girl? (1987) — but when she’s working with good enough material she can be winning. That’s a phenomenon experienced by people who act for a living, though, so what gives? In Madonna’s worst movies, her co-stars are also terrible but she gets the most vitriol. In her best stuff, praise typically is heaped more on other people in the ensemble, and if she’s at all positively mentioned, there’s an element of surprise invoked. But I find her not-so-controversially good-to-terrific in movies like Desperately Seeking Susan (1985) and Dick Tracy (1990) — and also, more controversially, in the two films she starred in in 1993, about which critics and audiences at the time were emphatically rancorous. Madonna got some of the worst reviews of her career for Body of Evidence (1993), a wholly ridiculous erotic thriller made to capitalize on what was done by Basic Instinct (1992). In the film she plays a platinum-blonde femme fatale named Rebecca Carlson who is accused of — and then goes to trial for — fucking her lover to death. (How this is a crime, I’m not sure; the guy had a weak heart and her body was too much, I guess.) The film is ludicrous but a lot of fun — abounding with overlong and unintentionally humorous sex scenes and camp dialogue. (“That’s what I do: I fuck — and it made me $8 million,” a character snarls at one point.) The movie has a monotonous hamster-wheelness to it. The long and unconvincing courtroom scenes are dependably followed either by confrontations or vaseline-on-the-cameras rendezvouses. Body of Evidence is among the worst erotic thrillers of the 1990s (which isn’t saying much) but is also one of the most entertaining. That’s because the narrative is senseless enough to be consistently funny and because it’s been made by someone (Uli Edel) who markedly knows the words but not the music. The movie often has the farcicality of an accidental parody. Body of Evidence looks like knock-off Verhoeven, too, which at a minimum ensures it’s still nice to stare at, with its shimmering lighting, high-ceilinged and expensive-looking interiors, and asymmetric camera angles. Madonna was most singled out as the film’s nadir in its invariably terrible reviews. But I think she’s about as good, if not better than everyone else in the cast, which includes such should-have-known-better talents as Willem Dafoe (as Rebecca’s lawyer, who very-quickly gets seduced by her), Joe Mantegna, Julianne Moore, Anne Archer, and Frank Langella. Madonna doesn’t have the persuasive sexiness cum villainy of the erotic-thriller grand dame, Sharon Stone. Still, she’s good enough here, even if the movie isn’t quite the companion piece I think she wanted it to be for her underrated 1992 album Erotica and its subsequently released photography book, Sex. It’s the epitome of a guilty pleasure, though the misogynistic ending (the original one was changed at the last second) does dull it. Madonna was refreshingly candid about the reception from the outset and offered a fair analysis of her treatment. “I’m disappointed in it,” she said in a 1994 interview with The Face. “But I’m not sorry I did it. I think I did a good job. But I got the blame for everything. It was like I wrote it, produced it, directed it, and I was the only one acting in it, you know?” In the same interview, Madonna offers her thoughts on the other film she made in 1993, Abel Farrara’s Dangerous Game. But whereas Body of Evidence was legitimately bad and she was on the money in how she viewed it, I think Madonna is wrong about Dangerous Game. She sells herself short. In the film, which stews in meta-commentary, she plays Sarah Jennings, a ubiquitous celebrity (we assume a singer, like the woman playing her) who is trying to build a second career as an actress. The movie was the first production done by Madonna’s newly formed movie company, Maverick. It was selected by the singer because, when she received the script, Sarah was the main character. Her arc mostly consisted of her infiltrating the De Niro-Scorsese rapport of Sarah’s director, Eddie Israel (Harvey Keitel), and her male co-star (James Russo). But Farrara ultimately had final cut, and after it was edited the movie wound up being more about the Eddie character. The film, finally, is primarily about how the turmoil of Eddie’s personal life has infected the production of the movie focused on in Dangerous Game — a marriage drama called “Mother of Mirrors.” Madonna was pissed off when she saw the end result and decried the feature publicly. Speaking with The Face, she called it “a shit movie,” and characterized Ferrara as a Benedict Arnold sort of figure. “From Dick Tracy to A League Of Their Own, Body of Evidence, and this movie, I keep coming to the same conclusion: that I have to be a director. I feel like I’m constantly being double-crossed,” she said. (Madonna would eventually try her hand at directing with 2008’s Filth and Wisdom and 2011’s W.E., both of which were negatively received.) Madonna knew she was good in Dangerous Game, but I’m not sure she realizes how good with the level of bitterness underpinning her belief. She’s staggering in the movie, traversing convincingly from the drugged-up and fed-up character played in “Mother of Mirrors” to the charming and conniving Sarah, who, like Madonna, is charismatic especially at gatherings and seems to be a bit above things, even when she’s being victimized. (During the shooting of “Mother of Mirrors,” Eddie increasingly insults his actress to try to get genuine reactions out of her during emotionally charged takes. Sarah’s male co-star is prone to inflicting violence “for real.”) You don’t really detect Madonna acting — a lot of the movie was improvised. So we enjoy watching her the same way we did in Desperately Seeking Susan and the Truth or Dare (1991) documentary. We see a lot of candid-seeming flashes of the star we’re used to and find ourselves riveted as she scopes out and navigates what’s laid out in front of her. One can understand why Madonna isn’t fond of the final version of the movie. No one likes a rug-pulling, especially when it’s like the one she describes. But Ferrara has nonetheless made a largely exquisite movie about how difficult a task it can be to separate art from the artist who’s made it. (Complicatedly, Keitel stands in for Ferrara and Madonna’s co-star stands in for Keitel. Eddie’s spouse in the movie is played by Ferrara’s own wife, Nancy.) Though the movie has been methodically constructed, how it unfolds as a thrilling elasticity and capriciousness to it. The excitement of unpredictability never wears off; Dangerous Game has a queasy magnetic pull to it. The film made just $23,671 at the box office (against a $10 million budget), but I wonder if, had it been more widely seen, it would have resulted in a broader reevaluation of Madonna’s acting career. She got above-average notices for the Evita musical of 1996 (she even won a Golden Globe). But in Dangerous Game she’s more so a revelation — a bona-fide “serious actress” after all. Madonna is also wonderful in Evita, which is adapted from a 1976 concept album and 1978 play by Tim Rice and Andrew Lloyd Webber. I’m not sold on the premise, regardless of the medium. It’s a “biography” of the Argentine first lady Eva Perón made in the same style as Jacques Demy’s The Umbrellas of Cherbourg (1964). That is to say practically every word is sung, and the sights are supposed to dazzle in ways comparable to old Technicolor musicals. (Though Evita marries lavishness with carefully constructed “realism.”) Musically it’s a wonder — “Don’t Cry for Me Argentina” is pretty great no matter the vantage point. And I was hooked on director Alan Parker’s way of moving through history and gigantically realized sets with a treadmill-like fluidity. There’s an infectious how-did-he-do-it-ness at play. But ultimately it’s a protracted music video. The sonics of Evita are in no doubt enhanced by what we’re seeing, but it’s more an art object than anything else. And the nearly two-and-a-half-hour-long movie shouldn’t be an art object. Like Cherbourg, it should first get our attention emotionally, then worry about how it’s going to engage us sensorily. It doesn’t help that the movie has a misogynist bent — it’s a bit like “How Do You Solve a Problem Like Maria” writ large, only the Maria of Evita is exceptionally ambitious. (What the film’s obsessed with saying is that Evita slept her way to the top.) And the movie doesn’t dig into the political and cultural climate it depicts past the surface level: if there are any signs of unrest, they’re there to be eye-catching props — personifications of passion. Madonna is excellent, though — a certifiably skillful sing-actress. I also dug the performance of Antonio Banderas, who plays a sort of chorus figure: he’s a narrator who looks at the camera and morphs into several characters in the movie to guide the story. Like Madonna, Banderas credibly gets his singing and acting to feed off each other in a becoming way. It’s fun to watch them. (The trouble is that Banderas’s character also taps into that aforementioned misogyny the most; his disdain for Perón isn’t very much of the time founded in fair criticism.) Evita, in keeping with its actors, knows all the right moves when it comes to asking our eyes, ears, for attention. But it’s largely soulless. And the shallowness with which its political and cultural environments are characterized stoke its problems.
205	dbpedia	1	5	https://www.rottentomatoes.com/celebrity/douglas_milsome	en	Douglas Milsome	https://images.fandango.…--newsletter.png		[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://images.fandango.com/cms/assets/5d84d010-59b1-11ea-b175-791e911be53d--rt-poster-defaultgif.gif", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Explore the filmography of Douglas Milsome on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/celebrity/douglas_milsome	Douglas Milsome is a veteran English cinematographer best-known for his camera work under pioneering director Stanley Kubrick. After earning his first film credits as an assistant cameraman on the American adventure drama "Visit to a Chief's Son" in 1974, Milsome worked as the focus puller--a lens-oriented gig--under cinematographer and fellow Englishman David Alcott, for Kubrick's 1975 Oscar-winning war drama, "Barry Lyndon." Milsome's other contributions to the Kubrick pantheon include a role as focus puller again for the '80 horror classic "The Shining," lighting cameraman for "Full Metal Jacket"--Kubrick's psychology-heavy meditation on the Vietnam War--and in 1999, a spot as a consultant for Kubrick's final film, the mysterious thriller "Eyes Wide Shut." Milsome made his debut as a cinematographer in his own right with the 1983 New Zealand drama "Wild Horses," and the films he's photographed away from Kubrick have generally garnered little fanfare. An exception was the 1991 action-adventure romp "Robin Hood: Prince of Thieves," a box-office smash which starred Kevin Costner and Morgan Freeman. Less reputable projects have included the 2000 screen geek-fest "Dungeons & Dragons" and two straight-to-video "Dracula" movies from the mid-2000s. On television, Milsome shot movie biopics devoted to the lives of two legendary women--1993's "Diana: Her True Story" and 1995's "Liz:The Elizabeth Taylor Story," but his most critically-acclaimed project was the four-episode, epic mini-series "Lonesome Dove" (1989), for which he earned an Outstanding Cinematography Emmy nomination.
205	dbpedia	1	10	https://www.fandango.com/people/douglas-milsome-456801/film-credits	en	A Message To Our Fans			[]	[]	[]	[ "" ]	null	[]	null	A Message To Our Fans	en			null	Sorry, Fandango is not available outside the United States.
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To examine the effects of locomotor frequency and respiratory drive on the incidence of locomotor-respiratory coupling (i.e. entrainment), we	en	//cob.silverchair-cdn.com/data/SiteBuilderAssets/Live/Images/jeb/apple-touch-icon170727220.png	The Company of Biologists	https://journals.biologists.com/jeb/article/147/1/343/5737/Effects-of-Changes-in-Locomotor-Intensity-Hypoxia	To examine the effects of locomotor frequency and respiratory drive on the incidence of locomotor-respiratory coupling (i.e. entrainment), we examined the relationship between locomotor and ventilatory patterns in trained Canada geese that were: (1) running at three speeds (0·40, 0·52 and 0·72ms-1) on a treadmill, (2) free-running at three velocity intervals (0·40–0·72, 1·0–1·5 and 1·5–2·0ms-1) overground, and (3) breathing hypoxic (12 % O2/l % CO2) and hypercapnic (5 % CO2/30% O2) gas mixtures while running at one speed (0·52ms-1) on the treadmill. The portion of the time that the locomotor and respiratory systems were coupled was significantly greater during overground locomotion (41·1 ±3·2%) than at comparable speeds on the treadmill (29·0 ±2·6%). In addition, a significant increase in coupling with velocity was only observed during overground locomotion (41·1 ±3·2% at 0·40–0·72ms-1 vs 57·7 ±6·3% at 1·5–2·0ms-1). This increase in entrainment appeared to be the direct result of an increase in locomotor frequency per se and not due to the increase in metabolic rate associated with greater locomotion velocity. The effects of hypercapnia on the degree of entrainment were unclear owing to inter-animal variability; however, hypoxia caused a substantial decrease in entrainment from air-breathing values (34·8 ± 3·9 %) to levels not different from those possible due to chance alone (20%). Thus, it appears that locomotor pattern does entrain ventilatory rhythm and that the degree of entrainment is partially dependent on limb movement frequency. However, the increased respiratory drive associated with hypoxia appears to override the influence of locomotor rhythm on respiratory pattern, with a subsequent decrease in entrainment.
205	dbpedia	2	86	https://litreactor.com/columns/book-vs-films-invasion-of-the-body-snatchers	en	Book vs. Film(s): 'Invasion of the Body Snatchers'	https://cdn.litreactor.c…s-15-bceb6e.webp		[ "https://cdn.litreactor.com/admin/featured_image/1541/invasion-fb841d.webp", "https://blog-cdn.reedsy.com/directories/admin/modal/568/large_63bbe8b136f935359b59d5ec8d83b8be.webp", "https://cdn.litreactor.com/admin/attachments/tumblrm8pzyy3bpz1qc9kfpo11280-090f6f.webp", "https://cdn.litreactor.com/admin/attachments/invasion-of-the-body-snatchers-15-bceb6e.webp", "https://cdn.litreactor.com/admin/attachments/invasion-of-the-bo2485717b-3f0630.webp", "https://cdn.litreactor.com/admin/attachments/315094full-38974c.webp", "https://cdn.litreactor.com/admin/attachments/theinvasion2-9e0c8d.webp", "https://cdn.litreactor.com/admin/featured_image/74/medium_christopher-shultz-ddc011.webp", "https://cdn.litreactor.com/admin/featured_image/1/medium_lr-temp-head-13-37b683.webp", "https://cdn.litreactor.com/admin/featured_image/2/medium_sci-fi-top-10-5fa515.webp", "https://cdn.litreactor.com/admin/featured_image/3/medium_lr-temp-head-4-ea5df5.webp", "https://cdn.litreactor.com/admin/featured_image/4/medium_sow-83a1b5.webp", "https://cdn.litreactor.com/admin/featured_image/5/medium_che-cliche-a45bbd.webp", "https://cdn.litreactor.com/admin/featured_image/6/medium_wicked-21e0a3.webp", "https://cdn.litreactor.com/assets/@reedsy/reedsy-lightning/assets/icons/dark/twitter-3e14ac251edeca9fc76de96218e8d04d5cf0af6987c87e1215214a235dfdb37d.svg", "https://cdn.litreactor.com/assets/@reedsy/reedsy-lightning/assets/icons/dark/facebook-942864f2b0cdcc0ebafc579e07085b6b8cf72dd2609deecd5b07d1916df65612.svg", "https://cdn.litreactor.com/assets/@reedsy/reedsy-lightning/assets/icons/dark/linkedin-c19a873783f7577abd1dbf6757191d6d56bbed4e40c33ee572fe88c15d1bd40f.svg", "https://cdn.litreactor.com/assets/@reedsy/reedsy-lightning/assets/icons/dark/trustpilot-21fd95ca2705a99c2c6fca9fcf56d1510aa5c1a49369e59c50f58ac5736e556d.svg", "https://blog-cdn.reedsy.com/directories/admin/modal/568/large_63bbe8b136f935359b59d5ec8d83b8be.webp", "https://cdn.litreactor.com/assets/marketplace-ui-e1bff2d400672a664db3d61d2f517c02f3f9389d447a6c060c58bbb9204d8a31.webp" ]	[]	[]	[ "" ]	null	[]	null					null	Collectively speaking, we as a society accept that horror novels and movies not only reflect universal fears, but also contain critiques of contemporary—and, eventually, present day—social issues. Whether or not the creators of horror had an agenda in mind, we can retroactively root out evidence of Dawn of the Dead as a critique of consumerism, Videodrome as an equation of television addiction to insanity, Alien 3 as a warning against pro-life politics infiltrating the government, and so on. Perhaps one of the most flexible horror narratives ever written is The Body Snatchers, a short novel by Jack Finney that inspired four film adaptations in as many decades, each one shaped to echo the particular fears of the generation in which it was made. Let's delve into the original novel and explore how each subsequent movie handles the source material. Note: This probably goes without saying, but there will be SPOILERS aplenty in this column. However, if you've read the book and/or seen the 1956 film, then you've also basically seen the 1978 version and The Invasion from 2007 as well. Body Snatchers represents the only significant departure from the source material, and you'll find my discussion of that film intentionally vague. Significant spoilers for any of the narratives discussed will also be individually forewarned. 'The Body Snatchers' by Jack Finney For those in need, here's a quick plot synopsis of the source material: Medical doctor Miles Bennell lives in the small town of Santa Mira, California—the kind of town people live in their entire lives. A nice town full of nice folks who are all so gloriously nice to everyone. Except Miles begins to notice something is amiss with the nice people of Santa Mira: while they're still themselves, they're also not themselves. They are off in some fashion. Together with his maybe-girlfriend Becky Driscoll and old friends Jack and Teddy Belicec, Miles soon discovers an alien plot has invaded his nice little town, whereby citizens are copied via large vegetable pods and replaced with duplicates who look, sound, and more or less behave just like their predecessors, except that they display no discernible emotions—no fear, no hate, and no love. The four remaining humans set out to thwart the invasion before it spreads beyond the borders of their nice little town. They ultimately succeed through their sheer refusal to give in and let the pod people take them. They stand up against impossible odds, and the aliens collectively decide to abandon earth for a planet populated by less aggressive and stubborn beings. The repetitious use of "nice" in the above paragraph is intentional, as it reflects Finney's own language from the novel. Stephen King points out just how "nice" things are in Santa Mira in his book about the horror genre Danse Macabre. He also quotes Finney, who insists The Body Snatchers is an entertaining story, nothing more: I have read explanations of the 'meaning' of this story, which amuse me, because there is no meaning at all...The idea of writing a whole book in order to say that it's not really a good thing for us all to be alike, and that individuality is a good thing, makes me laugh. But as King points out, this is more or less what Finney did with The Body Snatchers, as well as his other novels and short stories: Nevertheless, Jack Finney has written a great deal of fiction about the idea that individuality is a good thing and that conformity can start to get pretty scary after it passes a certain point. In other words, we're dealing with the universal fear of loss of identity, which can materialize in all kinds of narratives, including ones that deal with insanity, or the inability to recognize thoughts and behaviors as your own. We as humans don't like the idea of losing (or having stripped away) the elements that make us who we are, the individual mind and consciousness that separates one person from another. Finney's narrative explores this notion without any sociological or political agenda, but as we'll see, the creative forces behind each successive film adaptation attach, intentionally or otherwise, some kind of criticism to the basic story. [amazon B00FNVSFIA inline] 'Invasion Of The Body Snatchers' (1956) For all intents and purposes, there isn't much of a difference between Invasion of the Body Snatchers (heretofore IOTBS 56) and Finney's novel, though from a tonal consideration, that depends mostly on which version of the original film you're watching. The initial cut was more or less faithful to its source material, minus a few surface changes, right up until the third act, when screenwriter Daniel Mainwaring and director Don Siegel change both Belicec and Becky's fates, letting them fall to the pod people's plot. The filmmakers also altered Finney's happy ending, creating the now iconic scene of protagonist Miles (Kevin McCarthy) stranded and harried on a highway in the dead of night, screaming at oncoming traffic (and right into the camera), "They're already here! You're next! YOU'RE NEXT!" The studio behind the film, Allied Artists, were wary of releasing IOTBS 56 with this bleak denouement, and coerced the filmmakers into tacking on a framing story at the beginning and the end of the movie, showing that Miles did indeed make it off that highway and into a hospital room, and that furthermore a crashed truck carrying pods had been discovered nearby, vilifying his wild tale of an alien invasion. The hospital doctors notify the FBI, and the audience is left with the impression that status quo will return shortly. To this day, official releases keep the framing story intact, but viewers and critics alike disapprove of this sugarcoated ending. The open and unsettling final scene of Miles yelling in vain at passing automobiles beautifully buttons this exploration into the fear surrounding loss of identity and autonomy. At the time of the film's release, some critics took this exploration of a universal, ageless fear for social commentary, interpreting the cold, emotionless pod people as representatives of either Communism or the squeaky-clean banality of Eisenhower and McCarthy-era America. Siegel denies any agenda whatsoever, insisting the narrative examines the loss of one's heart, soul, and individuality, regardless of any socio-political origins. According to the director in an interview with American Cinema in 1975 (reprinted at Exclamation Mark): I think that the world is populated by pods and I wanted to show them. I think so many people have no feeling about cultural things, no feeling of pain, of sorrow... The political reference to Senator McCarthy and totalitarianism was inescapable but I tried not to emphasize it because I feel that motion pictures are primarily to entertain and I did not want to preach. Despite protests from the creators, this interpretation of IOTBS 56 persists, and not without good reason: as a culture, we remember the 1950s for the Red Scare, threat of nuclear annihilation, and an emphasis on the perfect nuclear family, where smiles and home-cooked meals solve all our problems and conformity to social norms was the only price of entry. Viewed through this lens, we're hard-pressed not to see Invasion of the Body Snatchers as anything but a commentary on this society. [amazon B007Y1NPSM inline] 'Invasion Of The Body Snatchers' (1978) Twenty-two years after the original film, Allied Artists released a new version, starring Donald Sutherland as the protagonist, here a health inspector rather than a doctor, as well as Brooke Adams, Jeff Goldblum, Veronica Cartwright, and Leonard Nimoy (most definitely playing against type here). Screenwriter W.D. Richter moves the action from a small town in California to San Francisco, an immediate indication of the overall grandness of this update. Moreover, IOTBS 78 is not only a remake, but also a sequel (featuring Kevin McCarthy reprising his role in a cameo appearance), and rule number one in Hollywood concerning sequels is, GO BIGGER! Plot-wise, history repeats itself here, with no major differences between this narrative and both its cinematic and literary predecessors. Jack is the only character to retain his original given name, changing Miles to Matthew, Becky to Elizabeth, and Teddy to Nancy. Richter and director Philip Kaufman do however add an iconic (and unsettling) ingredient to the series: when a converted pod person discovers a human, they point and let out a piercing shriek, alerting any other pod people in the area to the "intruder." The filmmakers also up the bleakness factor (GO BIGGER!) by allowing not only Jack and Becky to transform into emotionless doubles, but also (SPOILER!—though I'm sure you've seen the image before) our protagonist Matthew, in one of the most haunting final scenes ever committed to film. All things considered, IOTBS 78 tops IOTBS 56, and it's still thoroughly watchable today. As Variety reported at the time of the film's release, This new version of Don Siegel's 1956 cult classic not only matches the original in horrific tone and effect, but exceeds it in both conception and execution... Aside from improved filmmaking and storytelling, part of the film's longevity is due to its near absence of political skewers (much like Finney's novel and IOTBS 56). However, look a little closer, and a critique of the "Me Generation" surfaces, primarily through Nimoy's role as celebrity pop-psychologist Kibner, who (much like in the book and previous film) convinces the other characters the suspicion their loved ones aren't their loved ones anymore is an aberration of the mind. According to Jack (Goldblum), he "pops off" a new self-help book every six months. He touches the faces of his "patients" and hugs them intimately, pushes people against walls to make a point. He puts people into predetermined molds regardless of their personal history, and he believes he can assess and "cure" people immediately upon meeting them, in a matter of minutes. But perhaps the best assessment of Kibner's method is summed up again by Jack: "He's trying to change people to fit the world." And yes, it turns out Kibner was a pod person the entire time. Remember, the good doctor is a best-selling author and wildly popular. His presence in this film echoes the pop-psychology boom in the 1970s, and Kibner's character reflects real-life self-help gurus Thomas Anthony Harris (who wrote the highly influential I'm OK, You're OK), Arthur Janov and his "primal scream" therapy (enthusiastically endorsed by John Lennon and Yoko Ono), and Werner H. Erhard, a former door-to-door salesman who popularized est training, just to name a few. In every instance, these therapies makes broad assumptions about people and their psychological motivations/actions, and thus they strip people of their individuality—just as the pod people do. For better or worse, this criticism of quick-fix psychology is still relevant today, with the continued popularity of people like Doctor Phil, Tony Robbins and Eckhart Tolle. [amazon B00O48Q1HK inline] 'Body Snatchers' (1993) This grossly underrated film is the first (and only) entry in the series to drop "The Invasion of" from its title, aligning itself with Finney's novel. Despite this, Body Snatchers is also the only film to deviate from the author's original plot. The basic premise remains intact—emotionless copies are replacing the citizens of a small town (here, a housing community within a military base in Alabama)—but beyond that, this film takes its own course. There are no Bennells or Belicecs here, and while the plot centers around a scientist from the Environmental Protection Agency moving his family to the base to test the grounds for contaminants (echoing Bennell's medical profession), the protagonist here is the scientist's teenage daughter Marti (Gabrielle Anwar). Conceived of and written by notable horror figures Stuart Gordon, Dennis Paoli, Nicholas St. John and Larry Cohen, and directed by twisted crime noir expert Abel Ferrara (Bad Lieutenant), the film is less a sci-fi thriller and more a straight slow-burn horror narrative. Body Snatchers is also an indirect sequel to IOTBS 78, and thus the look and overall function of the pods, as well as the piercing alarm shriek emitted by the pod people, appear here. Though never expressed outright, the idea is that the invasion has spread beyond San Francisco and infiltrated the U.S. Army. This setting provides the element of subtle social critique. Roger Ebert—who loved the film in a backhanded sort of way, saying it "deserved the highest praise you can give a horror film" [emphasis mine]—noted in his 1994 review: Ferrara's key scenes mostly take place at night, on the Army base, where most of the other people are already podlike in their similar uniforms, language and behavior. There is a crafty connection made between the Army's code of rigid conformity, and the behavior of the pod people, who seem like a logical extension of the same code. Remember, this film hit theaters in the early nineties, only two years after the end of the Gulf War and four years after the end of the 80s, when America saw an exponential rise in military spending and blind patriotism. This isn't a Clinton-era film, but a Reagan and Bush-era film, an exploration into the faceless quality of militarism and war. Beyond thematic elements, Body Snatchers is a damn good movie. The pod people are thoroughly terrifying here, their scream more crazed and shrill than in IOTBS 78, and the sense of mounting dread and claustrophobia (given the gated locale of a military base) creates for a thoroughly unnerving viewing experience. [amazon 0790742462 inline] 'The Invasion' (2007) (sigh)...Okay, let's do this. The most recent entry into the series, The Invasion, isn't tied to the previous films, but is rather a straight reboot/remake/reimagining/regurgitation/whatever. It's an unfortunate film because, while it features some really solid ideas, it is also insultingly moronic, void of logic, badly written, badly directed, badly edited, and so on. It's just bad. Really, really bad. We have a gender swap here, with Nicole Kidman playing Dr. Carol Bennell, a Washington DC psychiatrist who may or may not be from the South (her accent comes and goes from scene to scene). There's almost a cohesive feminist statement with this casting decision (combined with an intelligent dinner-table monologue by Kidman's character that somewhat jabs holes in the patriarchy) but it's sadly left underdeveloped, just another loose thread dangling in this mess of a film. Bennell begins to notice strange behavior in some of her patients, namely a distraught woman played by Nancy Cartwright (who played Nancy in IOTBS 78, a referential cameo by an accomplished actress, who sadly wastes her talents here with ludicrous dialogue). After discovering a strange, semen-like lifeform at her son's Halloween party (yeah), Carol begins to wonder if the widespread detachment she's noticed around the city is perhaps connected to reports of a flu epidemic and the mysterious space shuttle crash. Confused yet? Get used to it. Confusion is this movie's middle name. She enlists the help of her friend Ben Driscoll, played by Daniel Craig, who reportedly learned he'd be the next James Bond while filming this movie, and thus looks like he's ready to get the hell out of there and start making Casino Royale. He then enlists the help of another scientist played by Jeffrey Wright, whose actual character name I can't recall, but who may as well be called Doctor Exposition. The rest isn't anything new: Running from the pod people, trying to stay awake so the characters don't get podded out (or in this case, covered and suffocated by semen), the love interest becomes "one of them" and tries to convince the protagonist it's better being a pod, but the protag refuses, and eventually stops the invasion—in this case, with the assistance of Doctor Exposition, who has conveniently escaped his quarantined lab and is hovering over the city in a helicopter at the exact moment Bennell needs a lift outta there (also, the movie devolves from sci-fi thriller to A Good Day To Die Hard with the zombies from 28 Days Later thrown in for "good" measure). The Invasion underwent massive reshoots with a different director before its release, and this is no doubt one aspect of the film's slapdash nature. It's hard to say whether the movie would have been any better or (shudder) worse if left intact, but I personally suspect we would have at least had a better emphasis on the intended thematic elements. It's clear at some point the film was really about our modern-day fear of germs and spread of infectious disease in the wake of bird and swine flue epidemics that had us all scrambling to the nearest Walgreens for our shots. But if this element relates to the universal concept of losing one's identity, that connection isn't made. Sure, an alien invasion masking itself as a superflu is the cause of identity loss, but what is the ultimate message here? That fearing sickness makes us mindless sheep? Granted, some people overreact to the prospect of a widespread illness, but taking precautions against it doesn't require one give up their individuality, does it? Moreover, on top of the superflu aspect, we also have shoehorned references to ongoing violence in the Middle East, leaving us with the interesting but sloppily executed idea that maybe, just maybe, the emotionless world the pod (semen) people desire is better than humanity's preexisting and continuous path of destruction (an idea better conveyed in Body Snatchers). Again, confusion is king with The Invasion, and that extends to the film's underlying message. Perhaps the most wasted concept presented here, though, is the idea that certain humans could be immune to the pod people's plot. No previous narrative has ventured into this territory, and it's a shame it was employed within the sucky confines of The Invasion. [amazon B0010HOZS0 inline] Going Forward Not surprisingly, The Invasion was a critical and commercial failure, which means it might be a while before we see another adaptation of Finney's novel—maybe not until 2020 or thereabouts. Considering the narrative explores a fear of losing one's individuality, what societal ills could potentially find their way into a present-day version? What churning issues could boil over in the next five years that might spur filmmakers to revisit this story? Possibly something to do with an INVASION of privacy by the NSA, allowing the government to see anything and everything that comprises yourself, makes you who you are? What about the increase of personal technology that some people insist are turning us into mindless, screen-staring zombies? Global warming? There are numerous ideas to mine (and by the way, Hollywood, I'm in the book, so call me). What's your favorite Body Snatchers adaptation? What social issues do you foresee arising in future films? Let us know what you think in the comments section below.
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He additionally completed post-production on his short film Tom and Grant, which he wrote, directed and starred in opposite his “Flash” co-star Grant Gustin. In addition to his current series, Cavanagh has extensive television, film and theatre credits. He starred on and directed NBC’s “Ed” (for which he received a Golden Globe nomination for his performance). He was also nominated for a Daytime Emmy for Showtime’s critically acclaimed “Bang Bang You’re Dead.” Additional television credits include NBC’s “Scrubs,” CBS’ “Love Monkey,” ABC’s “Eli Stone” and TNT’s “Trust Me” opposite Eric McCormack. Recent film credits include the thriller 400 Days, the upcoming indie Offer & Compromise, Yogi Bear with T.J. Miller and Justin Timberlake, Two Weeks opposite Sally Field and the controversial Breakfast with Scot, which was dubbed the “gay hockey movie.” Theatre credits include Broadway turns in Shenandoah and more recently the Tony Award-winning Urinetown. Directing is a major focus for Cavanagh and his additional credits include various theatre productions, the New York-based “Money Game” and the feature film Faith. In his spare time, Cavanagh works closely with Nothing But Nets, a grassroots campaign of the United Nations Foundation to raise awareness and funding to fight malaria in Africa. Born in Ottawa, Canada, Cavanagh lived in Ghana himself as a child and contracted the disease.
205	dbpedia	3	25	https://indiefilmhustle.com/stanley-kubrick/	en	Stanley Kubrick: The Ultimate Guide to the Legendary Filmmaker	https://indiefilmhustle.…nley-kubrick.jpg	https://indiefilmhustle.…nley-kubrick.jpg	[ "https://www.facebook.com/tr?id=1647020462245144&ev=PageView&noscript=1", "https://indiefilmhustle.com/wp-content/uploads/2021/09/Header-Logo3.png", "https://indiefilmhustle.com/wp-content/uploads/2021/08/stanley-kubrick.jpg", "https://i1.wp.com/38.media.tumblr.com/352d346e5771dc5fa819b870a6cc975d/tumblr_inline_nablsxBZQY1qafciz.jpg", "https://i0.wp.com/38.media.tumblr.com/c5eee50083f382c22b4e6de72aab1aa1/tumblr_inline_nabltokl701qafciz.jpg", "https://i1.wp.com/33.media.tumblr.com/da619abf5d125103983957493ba7ce4f/tumblr_inline_naogzcobAn1qafciz.jpg", "https://i1.wp.com/38.media.tumblr.com/af3e9ccc22abe6376468d907a47b1717/tumblr_inline_nbal90jIgr1qafciz.jpg", "https://i2.wp.com/33.media.tumblr.com/90ca9e7cf82663c4b8c5bd9b1ef5b659/tumblr_inline_nbal9h1uMt1qafciz.jpg", "https://indiefilmhustle.com/wp-content/uploads/2021/10/FREE-LOWER-GIL.png", "https://indiefilmhustle.com/wp-content/uploads/2021/07/auther.jpg", "https://indiefilmhustle.com/wp-content/uploads/2021/09/Dogme-95.jpg", "https://indiefilmhustle.com/wp-content/uploads/2021/01/mumble1.jpg", "https://indiefilmhustle.com/wp-content/uploads/2021/04/Cinema-Verite.jpg", "https://indiefilmhustle.com/wp-content/uploads/2021/07/once-time-hollywood.jpg", "https://indiefilmhustle.com/wp-content/uploads/2021/05/french.jpg", "https://indiefilmhustle.com/wp-content/uploads/2021/09/Footer-Logo-3.png" ]	[ "https://open.spotify.com/embed/episode/3PfN2Bk4TQnh638CQp4T4V", "//www.youtube.com/embed/HTiai7nYnL4?iv_load_policy=3&modestbranding=1&playinline=1&showinfo=0&rel=0&enablejsapi=1", "//www.youtube.com/embed/B2zhNbX-ch8?iv_load_policy=3&modestbranding=1&playinline=1&showinfo=0&rel=0&enablejsapi=1", "//www.youtube.com/embed/AVAgytFZHNk?iv_load_policy=3&modestbranding=1&playinline=1&showinfo=0&rel=0&enablejsapi=1", "//www.youtube.com/embed/9JbcY2IIDZg?iv_load_policy=3&modestbranding=1&playinline=1&showinfo=0&rel=0&enablejsapi=1", "//www.youtube.com/embed/7jgpIe6vhts?iv_load_policy=3&modestbranding=1&playinline=1&showinfo=0&rel=0&enablejsapi=1", "//www.youtube.com/embed/aCDsB4bmDAE?iv_load_policy=3&modestbranding=1&playinline=1&showinfo=0&rel=0&enablejsapi=1", "//www.youtube.com/embed/cwXa1n8jcNQ?iv_load_policy=3&modestbranding=1&playinline=1&showinfo=0&rel=0&enablejsapi=1", "//www.youtube.com/embed/JEFzncY2M_Q?iv_load_policy=3&modestbranding=1&playinline=1&showinfo=0&rel=0&enablejsapi=1", "//www.youtube.com/embed/F3McAQsH5P4?iv_load_policy=3&modestbranding=1&playinline=1&showinfo=0&rel=0&enablejsapi=1", "//www.youtube.com/embed/z5wi3kEPrKw?iv_load_policy=3&modestbranding=1&playinline=1&showinfo=0&rel=0&enablejsapi=1", "//www.youtube.com/embed/ZiW_-8PHlXE?iv_load_policy=3&modestbranding=1&playinline=1&showinfo=0&rel=0&enablejsapi=1" ]	[]	[ "" ]	null	[ "Cameron Beyl" ]	2022-06-10T06:00:59+00:00	What can be said about the filmmaking master Stanley Kubrick? We go in-depth on his career and directing style. Get ready to take notes...	en	https://indiefilmhustle.…on-512-32x32.png	Indie Film Hustle®	https://indiefilmhustle.com/stanley-kubrick/	FIRST WORKS (1951) There’s not much more to write about director Stanley Kubrick than what’s already been written. His work has been analyzed, pored-over and dissected as long as it’s been around. He’s held up as the gold standard in filmmaking—the benchmark by which all other directors aspire to, and all critics compare against. Each of his major films, from 1956’s THE KILLING to 1999’s EYES WIDE SHUT, can be considered masterpieces in their own right, possessing lurid qualities that continue to draw us into Kubrick’s meticulously crafted worlds and beckon us to uncover their secrets. He was a calculating genius in every sense of the term, seemingly born as a fully formed artist— suited particularly to the moving image. Had film school existed when he was a young man, he probably wouldn’t have gone out of principle alone. Kubrick’s sterling legacy is somewhat ironic, considering that most of his films were misunderstood, controversial, and lukewarmly received upon their release. It wasn’t until many years later that his work achieved the kind of cultural value and respect it holds now. Considering that his career spanned five decades, Kubrick’s filmography is surprisingly small, consisting of just thirteen features. This can be attributed to his reputation as a demanding perfectionist and obsessive researcher. He was notorious, especially later in life, for taking several years between projects, which he spent amassing obscene amounts of research. For instance, in compiling information for his long-gestating (but never-made) passion project NAPOLEON, he constructed a card filing system that was so thorough that it had entry for every single day of Napoleon’s life. He wasn’t just a master dramaturge however—his storytelling prowess extended to the technical side of the craft, and many of his films are famous for their groundbreaking innovations in cinematography. 1968’s 2001: A SPACE ODYSSEY pioneered realistic space effects that are still unrivaled today. BARRY LYNDON (1975) broke new ground in low-light photography by using specialized NASA-designed lenses, often filming gorgeous tableaus by nothing more than candlelight.THE SHINING (1980) introduced the ethereal, floating specter of Steadicam to audiences around the world and freed the camera from its heavy constraints. The controversy over his work’s challenging subject matter would turn Kubrick into a recluse late in life, which projected a great air of mystery and myth about him—indeed, many of his fans didn’t even know what he looked like. While the details of his advanced are closely guarded family secrets, Kubrick’s early life is well documented in the public forum. He was born in New York City in 1928, to Jacob Leonard Kubrick, a prominent doctor, and his wife Sadie Gertrude Kubrick. The Kubricks were of Polish, Austrian, and Romanian descent, and they identified as ethnically Jewish, although they did not raise Stanley as religious. As a bookish lad growing up in the Bronx, Kubrick wasn’t interested in the normal, mischievous pursuits of boyhood. He was obsessed with chess, which his father taught him at the age of twelve—he appreciated the game’s emphasis on patience and discipline, traits that would mark his filmmaking style later on. His love of visual art began at age 13, when his father gave him a still camera and encouraged an interest in photography. The teenage Kubrick was more interested in jazz drumming and catching double features at the local cinema instead of attending school, where he wasn’t much of a model student. His poor grades, combined with the influx of returning World War 2 vets in 1945, pushed him out of the opportunity to attend college after graduation. To compensate, he took night classes at City College of New York while working as a freelance photographer by day. In 1946, he became an apprentice photographer for the prestigious Look Magazine, and it wasn’t long until he was promoted to full-time staff. He married his high school sweetheart Toba Metz in 1948, and they moved into the Greenwich Village neighborhood in Manhattan. It was around this time that Kubrick began frequenting film screenings at the Museum of Modern Art and became enamored by the work of directors like Max Ophuls and Elia Kazan. While most of his formative years were spent developing a love for image-making, it was only around the late 1940’s that his ambitions coalesced into a firm desire to make cinema. DAY OF THE FIGHT (1951) Kubrick’s first foray into the moving image is relatively nondescript and pedestrian— an independently financed newsreel intended for distribution by the MARCH OF TIME series. Essentially working on spec, Kubrick based DAY OF THE FIGHT off of an earlier photo feature he had done for Look Magazine in 1949 on Irish middleweight boxer Walter Cartier. The short film follows Cartier on the day of his big fight against fellow middleweight Bobby James on April 17th, 1950. Kubrick and his small crew shot DAY OF THE FIGHT using specialized, daylight-loading cameras that took 100 foot spools of black-and-white 35mm film. The camerawork is extremely conservative, confined to a static tripod except for a single shot that is executed with a subtle dolly. What Kubrick lacks in style and finesse, he makes up here in an excellent visual sensibility. His background in photography Kubrick gives him the capability to imbue a compelling depth in his compositions, as well as an inherent understanding of light and its importance in storytelling. Narrated by Douglas Edwards and scored by Kubrick’s childhood friend Gerald Fried, DAY OF THE FIGHT falls very much in line with newsreel shorts of the day, incorporating a musical sound that’s very civic and MATLOCK-sounding in its jaunty sense of self-seriousness. It would be ludicrous to suggest that Kubrick’s signature themes and storytelling fascinations are fully formed on his first time at bat, but Kubrick’s long exploration with man’s relationship to creation and religion sees modest roots in DAY OF THE FIGHT with a sequence that shows Cartier and his twin brother attending church and receiving communion before the match. Kubrick’s efforts turned out successful when he sold DAY OF THE FIGHT to RKO for four thousand dollars. He only made a profit of $100 after his out-of-pocket production expenses of $3900 were recouped, but he had managed to establish himself as a working director and start his career off on a strong note. FLYING PADRE (1951) Kubrick’s second newsreel short, FLYING PADRE, was also created in 1951 and features Father Fred Stadtmuller as its subject—a priest whose parish is so spread out (400 square miles to be exact), he must fly a small plane to get wherever he’s needed. Produced by Burton Benjamin and narrated by CBS announcer Bob Hite, FLYING PADRE is similar in style to DAY OF THE FIGHT and other newsreels of the day. Shooting again on black and white 35mm film, Kubrick makes use of the bright, even light of the prairie, evoking the earnest sensibilities of a western film (whereas DAY OF THE FIGHT’s treatment of light resembled film noir). The camera, locked to a tripod, is observational and unobtrusive save for one striking shot at the very end where it tracks backwards away from Father Stadtmuller and his plane. This is the earliest instance of a shot that Kubrick would employ (to striking effect) throughout his work, helping to define his style as a director. Aside from the religious aspect of his subject, Kubrick’s other defining signature—the exploration of man’s relationship to technology—begins here in FLYING PADRE with an in-depth look at how the modern miracle of flight enables Father Stadtmuller to overcome the intimidating challenges of tending to such a large parish. DAY OF THE FIGHT and FLYING PADRE are highly representative of Kubrick’s humble, journeyman beginnings. These newsreel shorts are devoid of style, feeling very much like a bland product of “the establishment”—a nebulous entity that Kubrick would very soon turn on and stake his career against. While not particularly notable in their own right, these two newsreel shorts would firmly establish the arrival of one of cinema’s most important and treasured auteurs and enable the opportunity for his first feature. FEAR & DESIRE (1953) Aspiring directors making their first features under scrappy, shoestring budgets and/or a shallow pool of production resources is a grand tradition within the art of cinema. Oftentimes, directors’ first films are their most electrifying—a shrill cry of independence and assertion of artistic existence wrought from a primal desire for expression. Scorsese, Coppola, Cassavettes, Lynch, Malick…. any major director born after World War 2 that you could think of, odds are they have a scrappy, rough-around-the-edges feature at the beginning of their filmographies (with Cassavettes in particular, that’s pretty much ALL you’d find). All of those films– and their maverick makers—owe a debt of gratitude to what could perhaps be considered the original indie debut, Stanley Kubrick’s FEAR AND DESIRE (1953). Kubrick’s body of work needs no introduction—indeed, he intentionally deprived us of one by writing off his debut feature as a “bumbling amateur exercise” and barring it from public exhibition. He was a director who valued total artistic control over all else, and he would rather have the film world’s first true taste of his talent be something much more polished, like 1955’sKILLER’S KISS. However, time has shown that Kubrick himself served as his own worst critic when it came to passing final judgment on FEAR AND DESIRE—the film certainly has its share of major flaws, make no mistake, but today’s critics regard it not as an albatross, but as an intellectual curiosity that exposes Kubrick’s vulnerabilities while establishing a platform for future greatness. FEAR AND DESIRE started out like any other new film project from a burgeoning young director—pregnant with optimistic hopes, excitement, and visions of greatness. Just twenty-five years old at the time, Kubrick quit his job as a photographer at Look Magazine to focus on the project full-time, acquiring the financing when his father cashed in his life insurance policy and his uncle chipped in some earnings from his pharmaceutical business. Kubrick recruited Howard Sackler, a high school classmate and aspiring poet, to write the screenplay (which probably accounts for the ham-fisted internal monologue voiceovers that pervade the film). Kubrick shot the film silently as a way to stretch his meager $13,000 budget, but he hadn’t planned on the expensive necessity of redubbing the actors’ lines in a studio. Kubrick was initially proud of his completed first feature, with critics at the time praising the young directors evident promise and talent if not the film itself.However, as Kubrick developed as an artist, he came to see FEAR AND DESIRE as an embarrassment, denouncing it as such in public interviews and burying any possibility of further public screenings by burning the negative. For decades, FEAR AND DESIRE was touted as Kubrick’s “lost” film, and the only way to see it was via the Kubrick estate or, more recently, a poor-quality VHS bootleg (with Italian subtitles) that was uploaded to Youtube. Thankfully for us—and unfortunately for Kubrick—a print was found recently in the George Eastman Kodak archives and restored to its original glory and released publicly through Kino Lorber and the Library of Congress. While the ethics of going against the wishes of a deceased filmmaker is another conversation unto itself, FEAR AND DESIRE is nonetheless an important document in the history of cinema that should be preserved. Set in an unnamed country during an unnamed conflict, Kubrick’s approach to FEAR AND DESIRE uses the generic idea of combat to better access the psychological underpinnings that fascinate him. The story begins when a combat plane crashes in the mountains, and a small squadron of four men must find their way back home safely. Complicating matters is the fact they’re miles behind enemy lines without any gear, food, or weapons. As they follow the riverbanks towards home, they encounter a lovely native girl, who they tie to a tree so she can’t escape and reveal their presence to the enemy (whose base they’d discovered during a scout). When one of the squad members loses his self-control and forces himself on the girl– only to kill her as she makes her escape– the squadron recognizes the sincere existential threat of their situation. With mounting desperation, the squadron comes up with a plan to make a last-ditch escape that involves stealing one of the enemy base’s airplanes while leaving behind one of their own to distract guards by firing on them from the river. As the squadron sets its plan into motion and storms the enemy base, they are confounded to find that the enemy general and his soldiers are their exact look-alikes, further deepening the existential mystery at the heart of FEAR AND DESIRE. Kubrick’s cast is comprised mainly of unknowns, headed up by Kenneth Harp as Lieutenant Korby and Frank Silvera as Sergeant Mac. Korby is styled in the vein of the traditional romantic hero archetype common in midcentury American cinema— confident and virtuous, but ultimately quite vanilla and devoid of any sort of edge. Silvera imbues Sergeant Mac with another archetype—the gruff and tough military man, disgruntled by his long experience in the armed forces. Paul Mazursky, who would later go on to become a film director in his own right, plays Private Sidney—a squirrely young recruit who is so affected by his transgressions against Virginia Leith’s Native Girl that he ultimately goes mad (think shades of the Renfield character in DRACULA). Finally Stephen Coit plays a small, rather unobtrusive role as Private Fletcher, the fourth member of the squadron. In a move befitting a shoestring-budget indie feature, Kubrick performed most of the duties of a film crew himself, with only his wife, Toba Metz, serving as script supervisor, Herbert Lebowitz working as the production designer, and a crew of Mexican day laborers acting as impromptu grips. In the beginning development of his penchant for total control, Kubrick served as his own cinematographer and editor, shooting the film in black and white mostly for budgetary reasons, but also because he could maximize his experience in lighting for black and white so as to achieve more of a “professional” look. Kubrick and company shot in southern California’s San Gabriel mountains, their shooting style severely limited by a lack of resources. Special effects were improvised with unconventional equipment, like a crop sprayer that was used for smoke and fog (which naturally made the cast and crew violently ill), or a baby carriage standing in for a dolly. Kubrick’s eye, for the most part, is quite competent and is able to recognize compelling framing. However, it’s evident that the young filmmaker hadn’t quite grasped the concept of eyelines and spatial geometry. This translates to a rather jarring and incoherent edit, where Kubrick routinely cuts away to close-ups that are framed in awkward angles or brazenly cross the 180 degree line. When combined with a thick layer of overwrought, existential voiceover that tries hard at sounding “profound” only to come off as hackneyed and trite, it’s easy to see why Kubrick would strive so hard to keep FEAR AND DESIRE from being seen by mass audiences. Childhood friend Gerald Fried, who provided the music for Kubrick’s first newsreel shorts DAY OF THE FIGHT and FLYING PADRE (1951), composed the score for FEAR AND DESIRE, utilizing a bombastic, orchestral sound headlined by an elegiac oboe as a recurring motif. Low, arrhythmic drums rumble like distant thunder, indicating far-off battles and keeping the tension on a simmer. Kubrick would later be well known for his musical taste, but his scrappy beginnings here don’t show any notable evidence in that regard. Despite being something of a crash-course in feature filmmaking for the young auteur, several of Kubrick’s long-running thematic explorations make their first appearance in FEAR AND DESIRE. Kubrick’s main fascination was the deconstruction of the human condition, rooting out and exploiting those primal forces that compel us to act for– or against– our fellow man. He was most interested, ultimately, in what makes us “human” and how fragile and tenuous those circumstances really are. Violence and sex, admittedly, are two polar extremes in the spectrum of human experience, and two of the most potent, uncontrollable forces we will experience in our own lifetimes. Kubrick would later go on to explore the psychological nature of warfare and combat to much greater degrees in films like PATHS OF GLORY (1957) or FULL METAL JACKET (1987), but FEAR AND DESIRE serves as our first true taste into Kubrick’s mentality towards violence. As it stands, the violence is FEAR AND DESIRE is rather surface-level, but Kubrick films it in a particularly expressionistic, impactful, way. One memorable instance occurs halfway through the film when the squadron storms a small guard outpost and kills the guards within. Instead of showing us the explicit act of a knife sliding into the belly of a hapless soldier, Kubrick shows us an extreme close-up of the orange the soldier had been eating prior to being unexpectedly ambushed. His fist squeezes the orange ever tighter until it bursts, spilling juice all over his hand and the floor. Frankly, it’s hard to think of a more graceful and fitting way to communicate the traumatic explosion of a soul as it’s extinguished against its will. The other thematic pole– sexuality—again better explored in later films like A CLOCKWORK ORANGE (1971) and EYES WIDE SHUT (1999), receives the most examination in FEAR AND DESIRE during the sequence with the Native Girl tied to a tree. Kubrick makes his audience complicit with Private Sidney’s most primitive instincts and desires by repeatedly cutting to close-ups of The Girl’s lips, eyes, hands, etc. Kubrick casts each body part in the harsh light of the male gaze, and it is this same sexuality that The Girl uses to free herself from her bonds and make her ill-fated escape. The consequences of this development cause Private Sidney to lose himself in the grips of madness, which is yet another big theme present throughout Kubrick’s work: dehumanization and mankind’s mental frailty against forces that are much larger than them, forces which are more often than not supernatural in origin. In FEAR AND DESIRE, for instance, the squadron encounters their look-alikes at the enemy base, which references the folklore of dopplegangers. The subsequent murder of their look-alikes at their own hands throws the surviving members of the squadron into an existential funk at the end of the film, where they ruminate on the true cost of warfare and whether they can ever truly bring themselves back from the brink they experienced behind enemy lines. Admittedly, the use of dopplegangers to convey this rather trite philosophical idea screams “film school”, but Kubrick’s sheer commitment to the idea makes it effective. The release of FEAR AND DESIRE came amid a tumultuous period of Kubrick’s life. He had divorced Toba Metz shortly after production wrapped, and by this point had remarried to an Austrian-born dancer and theatrical designer named Ruth Sobotka. The finished feature was well-received by critics of the day, who offered much more generous praise than the film probably deserved, but it fell far short in what the industry considers “true” success: box office. Shortly after its release, Kubrick would grow mortified of its shortcomings and suppressed any further release of the film by burning the negative and prohibiting the public exhibition of any bootleg copies or prints. Long considered all but lost, prints of the film began popping up in archival vaults—the most famous case of which was its discovery inside the George Eastman House vaults. These bootleg prints began to circulate among film circles, helped by the fact that FEAR AND DESIRE had entered into the public domain and couldn’t be recalled by its owner any further. After a long existence locked away in dark basements and vaults, FEAR AND DESIRE is now widely available to the filmgoing public and serves as the intriguing, long-denied introduction to one of the greatest filmographies to ever grace our screens. THE SEAFARERS (1953) Following the release of director Stanley Kubrick’s FEAR AND DESIRE (1953), the burgeoning auteur might have been dismayed to find that his first feature-length narrative effort didn’t generate a great deal of forward momentum for his career. While he gained a good deal of new friends in the critic’s circle, his phone wasn’t exactly ringing off the hook with calls from Hollywood. For Kubrick, there was no turning back– he was now committed as a full-time filmmaker, and until he found success in that line of work, he would have to put food on the table with commissioned work instead. Luckily, he found such work fairly quickly in the form of THE SEAFARERS (1953), an industrial film for the Seafarers International Union. Hosted by CBS newscaster Don Hollenbeck , THE SEAFARERS exists as a way to articulate SIU values and ideals while enticing prospective new members. Using an unnamed East Coast headquarters location as a reference point, the short film provides an in-depth look into the seafaring industry from a worker’s perspective. Kubrick’s treatment of the SIU headquarters makes it seem like something of a clubhouse, and considering the fact that the SIU’s members are transient by the nature of their work, the headquarters would essentially need to function as such—a home away from home. The seafaring union and industry as a whole is treated as a very noble entity, committed to the betterment of its members and their families. As an industry film, it’s fairly unremarkable, but it takes on a much more fascinating aura when viewed in the context of Kubrick’s canon. Shot by Kubrick himself, the film is the director’s first to be shot entirely on color 35mm film. Kubrick’s confidence in cinematography comes from his background in black and white photography, but that confidence wavers somewhat in the transition to color. Kubrick understands that the way subjects are lit will change in the switch from black and white to color, but his inexperience in the matter causes the image to suffer. Utilizing a broad, even lighting scheme, Kubrick creates an image that’s a little bit over-exposed, but that also could admittedly be due to the print transfer or the film stock itself. To my eyes, the way that the colors are rendered suggests THE SEAFARERS was shot on cheaper reversal stock instead of negative. Industry films are by their nature very dry and informational, and THE SEAFARERS is no different in its emphasis on the communication of helpful information at the expense of Kubrick’s personal artistic aesthetic. However, one of Kubrick’s favorite camera moves—the slow, long dolly shot—pops up during the cafeteria segment and gives us a clue as to the identity of the wizard behind the curtain. THE SEAFARERS is also short on Kubrick’s thematic fascinations as an artist, but there are glimpses into the young director’s developing psyche for those determined to wring meaning from insignificance. For instance, those wanting to see how Kubrick’s exploration of technology (and mankind’s relationship to it) is depicted in THE SEAFARERS could look to the brief section on how the SIU incorporates machines into their daily operation. Likewise, one could point to the close-up of a poster in the barbershop featuring a pin-up girl’s breasts as evidence of Kubrick’s fascination with complicated sexual mores. However, this is probably reading way too much into things. THE SEAFARERS is, ultimately, a minor curiosity in Kubrick’s body of work– notable mainly because of its color photography seven years prior to his first major color work, SPARTACUS (1960), as well as its status as the master filmmaker’s very last short-form work. In terms of the director’s development, THE SEAFARERS doesn’t give us much to go off of, but from a historical standpoint, the film serves as an interesting artifact of a bygone, romantic and idealized era. KISS (1955) The release of 1953’s FEAR AND DESIRE did not bring director Stanley Kubrick the kind of career momentum he might have hoped for. Instead of jumping on another feature straight away, Kubrick took a detour with a short industrial film called THE SEAFARERS (1953) as a way to pay the rent. He wouldn’t make another film for two years, but that didn’t mean he wasn’t busy. He was actively developing the story for his follow-up and scraping the resources together, all the while navigating a divorce from his first wife Toba Metz and taking a second—a prominent New York City ballerina named Ruth Sobotka. For his follow-up, Kubrick looked back to the world of boxing, which he had depicted in documentary newsreel form in 1951’s DAY OF THE FIGHT (his first filmed effort). Working with FEAR & DESIRE’s screenwriter and aspiring poet Howard Sackler, Kubrick spun a tough, gritty yarn he ultimately called KILLER’S KISS—at once both a noir thriller and a romance whose mainstream sensibilities he hoped would bring him the success that had so far eluded him. Despite his ambitions, Kubrick’s efforts were not on the most solid of foundations—the twenty-six year old director was on welfare during production, and most of the financing was borrowed once again from his wealthy uncle, the owner of a prominent drug-store in the city. This time, Kubrick’s gamble paid off with a remarkably accomplished low-budget feature that solidified his talent and applied the lessons he had learned on FEAR AND DESIRE, paving the way for further opportunities and giving the young director a decent platform to build from. KILLER’S KISS begins inside New York’s iconic, now-demolished Old Penn Station, with a man pacing and smoking as he waits for a train to arrive. His internal voiceover monologue (no doubt the work of Sackler, judging by a similar conceit used in FEAR AND DESIRE) introduces us to his predicament—he’s waiting for a girl that may or may not ever arrive, a girl he’s wrecked his entire life for. The bulk of the film is a flashback, with Kubrick showing us everything that leads to this point. The man is a boxer named Davey Gordon (Jamie Smith), living a spartan existence in a small, dumpy studio apartment within a dilapidated New York neighborhood. The one window in his place looks out onto the apartment of Gloria (Irene Kane), a beautiful young taxi dancer that he is pining after. One night, he witnesses her being attacked, so he dashes over to save her as her assailant makes his escape. Davey helps Gloria calm down and clean up, with their mutual attraction becoming quickly apparent. Before they know it, they’ve fallen in love and are making plans to run away together and escape their hardscrabble Gotham existence. But there’s just one problem—her boss, a slick cigar-chomping businessman named Vincent Rapallo (FEAR AND DESIRE’s Frank Silvera)—loves her too, and he’s not going to let her go without a fight. Davey finds himself drawn deeper into New York’s criminal underworld as he attempts to extricate Gloria from it, and this boxer will have to fight like hell for his happy ending. The performances in KILLER’S KISS are rough and unpolished, much like the film itself, but are leagues beyond the talent on display in FEAR AND DESIRE. Frank Silvera is the only holdover from Kubrick’s earlier effort, and he shows a decent amount of range as the seedy boss Vincent Rapallo. His worldly, weary cynicism serves as a decent foil to Jamie Smith’s idealistic, naïve boxer. As Davey Gordon, Smith plays well at looking like he’s in over his head, which adds some spice to a character with fairly uncomplicated values and ethics. As the love interest Gloria Price, Irene Kane fills a necessary void in the story with a soft-edged femme fatale archetype that leaves a lot to be desired. Kubrick’s wife, Ruth, makes a short cameo as Gloria’s deceased sister and accomplished ballerina in a flashback sequence. Much like FEAR AND DESIRE before it, the shoestring nature of KILLER’S KISS’s production meant that Kubrick himself had to serve as both the cinematographer and editor. Kubrick’s background in photography serves him well here, with the cinematography being one of the film’s strongest assets. The 1.37:1 black and white 35mm film image might be cheap by its nature, but Kubrick imbues it with dark, rich shadows and a fantastic sense of depth that suggest a budget three times its size. Kubrick lights KILLER’S KISS like a polished Hollywood noir film, creating evocative compositions whose deep focus draws us further into his world. The camerawork matches this approach, such as in a moment when Kubrick slowly dollies down the length of a dance hall to add grandeur and scale despite the relative cheapness of the technique. Indeed, many of these shots were achieved from the back of a pickup truck, which came in handy when Kubrick’s inability to secure location permits often necessitated a covert approach. KILLER’S KISS stands out amongst Kubrick’s filmography in that the polish is countered by a measure of spontaneity, a trait that Kubrick would abolish entirely in later works. The film cuts away to gritty street details quite frequently, giving us a sense of place and liveliness that one could see influencing a young John Cassavettes. Kubrick’s on-location depiction of New York stands as the most potent example of this dynamic—he makes great use of the dramatic skyline and looming architecture to add drama and grit, in the process capturing an authentic, lived-in cityscape. Contrast these images with Kubrick’s last work, EYES WIDE SHUT (1999), with New York streets being recreated on a soundstage so Kubrick could exert complete control over his shot. This approach extends to the boxing sequences, where Kubrick opts for a handheld documentary look and expressionistic point of view angles that predate Martin Scorsese’s dreamlike fight scenes in RAGING BULL by twenty-five years. The expressionism on display also extends to a short dream sequence in which the camera screams down a long urban corridor at breakneck speed, the black and white image flipped to its negative. Visually arresting on its own, the shot anticipates the famous space tunnel sequence in 1968’s 2001: A SPACE ODYSSEY, and is one of the earliest instances of Kubrick’s fondness for one-point perspective in his compositions. Much like FEAR AND DESIRE before it, Kubrick was forced to re-record the dialogue and sync it to picture in post-production due to the limitations of his production resources. As such, Kubrick relies heavily on the musical contributions of his FEAR AND DESIRE composer, Gerald Fried, to even out an otherwise-awkward sound mix. Fried’s score is not unlike his previous work with Kubrick, utilizing an orchestral, romantic, and brassy sound. Kubrick and Fried also incorporate a lively mix of jazz and samba music that provides an urban edge and must have felt very contemporary and daring when the film was released. KILLER’S KISS serves as a neat little distillation of Kubrick’s two main thematic fascinations, violence and sex. The boxing world is inherently violent, of course, but Kubrick’s story seems to merge the two acts—one an act of destruction and the other an act of creation—until their boundaries blur ambiguously. In the world of KILLER’S KISS, sex is violent and violence is intimate. Nowhere is this blur more apparent than in the film’s climax, where the hero and the villain savagely duke it out against a backdrop of mannequins. Their cold, statuesque beauty echoes Gloria, and on a literal level, we’re visually reminded that the two men are fighting over her as the ultimate prize. However, their presence underscores the intimate, feminine aspect of violence—the aspect that requires the two fighters to lose themselves in the moment and express their feelings up close with their bodies. The climactic chase sequence also serves as an exploration of dehumanization, with the characters framed in wide shots, dwarfed by monolithic structures and cold, unfeeling cityscapes. Endless brick walls tower over them in an almost abstract fashion, heightening the hero’s need to escape the city because his relative insignificance within it threatens to consume him entirely. For the longest time, KILLER’S KISS was Kubrick’s first “official” feature, having taken the print of FEAR AND DESIRE out of circulation and burning the negative. Despite it being shot very similarly, Kubrick did not seem as embarrassed aboutKILLER’S KISS’s roughness and lack of polish. The film itself was received modestly well, enough so that it generated significant momentum into the production of his third feature, THE KILLING (1956). It’s not hard to see that KILLER’S KISS is a marked improvement over his earlier work, with his evolution very apparent in every frame. We can see that Kubrick’s direction is much more confident, having grasped concepts like pacing and geography while coming up with creative, bold compositions. KILLER’S KISS shows us a gifted young man coming into his own and starting to find his aesthetic, solidifying tastes that would inform one of the richest and most compelling filmographies the art from would ever see. THE KILLING (1956) The release of 1955’s independently-produced KILLER’S KISS made a small splash in film circles, gaining its young director, Stanley Kubrick, a modest amount of attention in the process. An upcoming young television producer named James B. Harris found his own attention particularly captivated by this bold new voice in American cinema, and he felt compelled to help that voice grow louder. Working together as a producing team, Harris and Kubrick pored through mountains of material in search of their next story—eventually finding it in Lionel White’s crime novel “Clean Break”. After successfully licensing the film rights, Kubrick crafted the story into a script he called THE KILLING, which Harris then took to his contacts at United Artists. Only a year after the release of KILLER’S KISS, Kubrick found himself prepping his next big project with the support of a respectable studio— a development that Kubrick must have found was equal parts blessing and curse. While the budget was barely enough for Kubrick to successfully realize his vision, he had access to the studio’s expansive resource pool and was able to inflate the production value using better cameras, lenses, and production design. However, this also meant that Kubrick now had to deal with unions, permits, and all the other aggravating aspects of filmmaking that kill creativity. Despite these new challenges, Kubrick’s third feature proved the young auteur’s innate talent to a broader audience. THE KILLING may not be Kubrick’s most famous film, but it serves as a high quality genre exercise told in a challenging, unconventional way. More importantly, it marks Kubrick’s emergence as a mature filmmaker and unparalleled storyteller. Tied together with an omniscient narrator speaking in the third person, THE KILLING weaves a fractured narrative from multiple points of view. The centerpiece character is Johnny Clay (Sterling Hayden), a seasoned criminal on the verge of retirement. Before he settles down and marries his beloved Fay (Coleen Gray), there’s one last score to take down: a two million dollar payday at the horse track. He assembles a team of bent cops, ace shooters, musclebound bruisers, and compromised bookies to help him orchestrate and execute the elaborate heist. It’s the perfect crime, both in conception and execution, and Kubrick’s take on the story plays like something of a procedural, detailing the actions of each team member down to the minute. Unbeknownst to Clay and his crew, however, one of his team members, George Peatty (played by Elisha Cook Jr), has leaked word of the heist to his adulterous wife, Sherry (Marie Windsor). Thinking the promise of untold riches would finally make her love him, George doesn’t anticipate that Sherry will turn right around and inform her secret lover, Val Cannon (Vince Edwards), in a bid to intercept the crew’s big payday. Kubrick’s churning narrative builds to an explosive finale that’s capped by a twist of dark irony when Clay finds that all the meticulous planning in the world can’t account for the unpredictability of chance. THE KILLING marks the first time in which Kubrick’s cast is comprised mainly of well-known, professional actors and actresses. While this is ostensibly an ensemble film, the story belongs to Hayden, who ably portrays handsome crook Johnny Clay as cool and confident. As Johnny’s girl, Fay, Colleen Gray does a serviceable job but can’t rise above the limitations of her stereotypical “dependent, supportive love interest” archetype. Seasoned character actor Elisha Cook Jr proves just as captivating to watch as Hayden, injecting an anxious energy into his role as George Peatty, a beta male who lets his wife walk all over him. Jay C Flippen lends a warm, paternal presence as Marvin Unger, a kindly old bookkeeper and the heist’s financier. Contentious character actor Timothy Carey, in the first of multiple performances under Kubrick’s direction, plays Nikki Arcane – an expert marksman with a wild, unpredictable element to his personality. As George Peatty’s wife Sherry, Marie Windsor excels at taking advantage of her husband’s adoration and adopting a cynical, bored demeanor. The handsome, cocksure Vince Edwards rounds out the cast as Val Cannon—Sherry’s lover, a young hood, and the one development that Johnny Clay’s meticulous planning couldn’t anticipate. THE KILLING is notable in the context of Kubrick’s early filmography by virtue of having personally shot everything that came before it. His background in photography provided him with the competency to expose film properly and his eye for visuals allowed for compelling, artistic images— essentially, he had all the hallmarks of a good DP. With THE KILLING, however, its mere existence as a United Artists film meant that the production was a union job, which further meant that Kubrick had to hire an external director of photography for the first time in his career. His choice was Lucien Ballard, a veteran cinematographer whose work he greatly admired. Their collaboration, however, was anything but harmonious. Director and cinematographer reportedly did not get along at all, with Kubrick’s pursuit of visual perfection frequently ruffling Ballard’s feathers. Despite this contentious relationship, THE KILLING’s black and white 35mm film visuals are a thing of beauty. The first of Kubrick’s works to be shot in the widescreen format, THE KILLING’s 1.66:1 aspect ratio allows ample room for the young director’s striking, depth-filled compositions. A low-key, high contrast noir lighting approach gives the film a high-end pedigree, matched by elegantly complex camera moves. In his essay “The Killing: Kubrick’s Clockwork” (included on Criterion’s 2011 Blu Ray release of the film), writer Haden Guest makes a clever observation about the hidden meaning behind the film’s fluid dolly work: “Ballard’s gliding camera cuts a neat cross section through a series of connected rooms in its path, transforming the apartment interior into a type of controlled tunnel that exactly describes and limits the possibilities of movement—a striking illustration of entrapment that subtly parallels the camera’s and actor’s “tracks” with those of the horse race.” Indeed, the interior sets of THE KILLING, artfully designed by Kubrick’s wife Ruth Sobotka as production designer, are reminiscent of a labyrinth—an idea that Kubrick would continue to revisit throughout his career. The layout of the rooms seem to suggest a finite number of paths for the characters to take, dictating their movements and actions while assimilating them into a complex, cosmic machinery that ultimately renders these same characters insignificant to the grand sweep of fate (or just as potently: chance). Kubrick routinely takes what would otherwise be several shots and strings them together into one fluid take, and in the process discovers a proclivity towards complicated, yet understated, camerawork that reinforces a story’s themes and that would fundamentally inform his future work. A further innovation that THE KILLING makes potent use of is a fractured, nonlinear narrative. As assembled by editor Betty Steinberg under Kubrick’s supervision, we see the same scenes several times, but each revisit brings with it a new perspective from the vantage point of another character. As the drama and tension mount, we see conflicting details and snippets of crucial information that had previously (and strategically) been withheld. The narrator even gets in on the fun, becoming increasingly unreliable and contradictory. To their dismay, Kubrick and Steinberg were forced to go back and re-edit the film in chronological order after test audiences couldn’t follow their original edit. Thankfully for us, their “conventional” edit proved to be even more of a mess, and their nonlinear cut was reinstated and released to theatres. THE KILLING’s radical story structure proved to be highly influential in the decades since its release, with Quentin Tarantino’s RESERVOIR DOGS (1992) in particular owing a huge debt to Kubrick’s trailblazing. Kubrick’s career-long exploration into the psyche of violence and sex enjoys a brief respite in THE KILLING, with Kubrick toning down those fascinations to focus instead on delivering a taut genre picture. Kubrick’s film is most assuredly a crime thriller, but he frequently finds opportunities to color outside the lines and subvert our expectations. This undermining of genre while simultaneously upholding it would be a trademark of Kubrick’s for the rest of his career, a tangible method by which he could elevate the subject matter and make salient psychological points about the human condition. Additionally, Kubrick’s knack for regularly creating indelible, iconic imagery begins in earnest with THE KILLING—not so much in specific shots, but in visual ideas. One of the film’s most compelling images is the simple sight of the hauntingly-blank clown mask that Hayden wears during the heist, which one could easily see influencing Christopher Nolan’s bank heist introduction of The Joker in THE DARK KNIGHT (2008). There’s also the image of a vast fortune of cash sucked up by a vortex of air and billowing away into nothing—a poetic and elegant visual metaphor for the film’s central conceit that chaos and chance will always be there to ruin our best-laid plans. THE KILLING is revered as an indispensable classic today, but few remember that it was effectively dumped by United Artists when it made its original release on the second half of a double bill (the equivalent of today’s January/February release window). For most filmmakers, this would be death by poor box office—but Kubrick was not most filmmakers. The film didn’t make much money, but those who saw it were blown away by the 28 year-old director’s undeniable talent, and word of mouth spread through the upper echelons of Hollywood until it reached Kirk Douglas, the man who would take Kubrick’s career to the next level. Watching THE KILLING with the luxury of hindsight, it becomes immediately apparent that this is truly Kubrick’s first mature, fully realized film. More so than any other film in his canon, THE KILLING makes the case for Kubrick as the link between the old-school, consummate craftsmanship of Old Hollywood (a generation that influenced him immensely) and the radical innovation of New Hollywood (a generation that he would inspire directly). PATHS OF GLORY (1957) The war film has long been a staple of cinema, from 1930’s ALL QUIET ON THE WESTERN FRONT to 1998’s SAVING PRIVATE RYAN. Almost every major war in human history has been depicted in some form onscreen, yet the genre persists because the high-charged, ideological nature of warfare makes for compelling drama and action. While most mainstream works in the genre are romantic glorifications of combat, the most potent stories have taken a distinct anti-war tack, arguing against warfare as a means to solve conflict. The trend began in earnest during the widespread disillusionment that the Vietnam War engendered and gave us the likes of such classics as THE DEER HUNTER (1978), but one of the strongest anti-war films in cinematic history had already been made almost two decades prior by a rising wunderkind director named Stanley Kubrick. 1956’s THE KILLING put Kubrick on the radar of Hollywood movers and shakers. Kubrick and his producing partner, James B. Harris, needed to capitalize on their momentum and get another project into development, and in short order they acted on Kubrick’s desire to make another war film after the self-perceived failure of his last go at the genre (1953’s FEAR AND DESIRE). He remembered a book he had read when he was fourteen, Humphrey Cobb’s seminal World War 1 novel “Paths Of Glory”, and subsequently enlisted Harris to license the film rights. The resulting screenplay, written by Kubrick, Calder Willingham, and THE KILLING’s Jim Thompson, aroused the fervent interest of Hollywood superstar Kirk Douglas, whose participation afforded the filmmakers a budget of one million dollars. While it was the biggest budget Kubrick had worked with to date, it still wasn’t a huge amount of money (even by 1957 standards) with which to make a sweeping war film. Nevertheless, Kubrick and company found themselves in Germany shooting PATHS OF GLORY, a feature that performed modestly at the box office but would come to be heralded as an “important film” and solidify Kubrick’s reputation as a major new voice in the art form. PATHS OF GLORY takes place in France during World War I. The two warring factions—France and Germany—have dug themselves into sprawling networks of trenches while enduring an agonizingly long stalemate. A decorated French general, Paul Mireau (George Macready) is tasked by his superior general Broulard (Aldophe Menjou) to break the stalemate and organize a charge through No Man’s land to take The Anthill—a small, heavily fortified enemy encampment. The land gain is only a few acres at best, but Mireau agrees that it is a worthy endeavor. He selects a promising young colonel named Dax (Kirk Douglas) to plan the offensive. Despite his initial misgivings about the mission’s futility and the likelihood of a staggering casualty rate, Dax accepts the assignment and leads his men up and over the top of the trenches towards certain death. The charge fails spectacularly, the men falling back like a tidal wave—that is, if they even got out of the trench in the first place. In a bid to save himself from massive embarrassment, General Mireau orders the execution of three men from Dax’s battalion by firing squad for the crime of cowardice. Dax volunteers to defend these men—who were chosen by lottery—at the mandatory court martial, but he soon realizes that the trial is more akin to a kangaroo court, and these men’s death warrants were signed long before their names were ever chosen. As the prisoners languish in prison and await the final verdict, Dax races against the clock to exonerate them and deliver justice. When the story draws to a close, PATHS OF GLORY reveals itself as a hard-hitting examination into wartime ethics and the moral conundrums that arise when there is too much investment in an ideological struggle. Kubrick’s cast for PATHS OF GLORY represents an impressive collection of cinematic heavyweights delivering career-best performances. Douglas takes every opportunity to chew scenery as the idealistic and virtuous Colonel Dax. Principled and heroic, his former criminal defense lawyer is sharp as a tack and doesn’t let any injustice get past him without condemning it. His working relationship with Kubrick, while paying dividends for both men’s careers, was reportedly contentious at best. They challenged each other in a way that only two men who truly shared a mutual respect could. Unlike a great deal of directors, Kubrick rarely worked with the same actors over multiple films, and when he did it was only during the first half of his career. Yes, he collaborated with Sterling Hayden, Timothy Carey, Joe Turkel and Peter Sellers more than once, but their second efforts with the director were in supporting roles. Only Douglas has the distinction of headlining more than one Kubrick film, which speaks volumes as to the nature of their stormy, yet fruitful working relationship. Menjou and Macready form something of a two-faced antagonist, with Macready being the cold, pragmatic yin to Menjoy’s warm, grandfatherly yang. Macready’s performance as the scarred, ruthlessly vindictive General Mireau is particularly notable for its’ dark, Kubrick-ian irony—that of a man who will dress himself up in the colors of honor and patriotism to justify his twisted agenda. Kubrick’s supporting cast is well-assembled, with Ralph Meeker gaining the most screen time as Corporal Philippe Paris, a disgruntled idealist chosen for the firing squad. His uncompromising masculinity reminds me of a proto- Josh Brolin, and his is easily one of the most memorable performances in the film. As the second doomed man—Private Pierre Arnaud— Joe Turkel brings an unconventional physicality to the role, one which would help him greatly when Kubrick called on him to play the ghostly bartender in 1980’s THE SHINING. THE KILLING’s Timothy Carey plays the third man—Private Ferol—a self-described “social undesirable”. Something of an overgrown man-child, Ferol regresses to a simpering, childlike state when faced with the immediate prospect of death. Carey’s second performance for Kubrick would also be his last—his increasingly difficult behavior and bad habit of scene stealing and unpredictable performances led to Kubrick souring on him. A run-in with the law during the shoot was the last straw for Kubrick and Harris, and they subsequently fired him before he had shot all of his scenes, requiring the use of a body double to finish his performance. Finally, there’s Christiane Harlan, who plays the small role of the captive German girl singing a packed beer house of French soldiers during the film’s closing sequence. Her unsteady yet ethereal performance is captivating simply because she is the first female presence that we encounter in the film, and the story literally stops in its tracks to lose itself in her beauty. This part of the film might’ve been no more than a footnote in Kubrick’s filmography had it not been for the fact that he ended up falling in love with this woman, and would divorce his wife, Ruth Sobotka, a year later in order to marry her instead. This time, the marriage would stick, with Christiane and Stanley remaining together until his death in 1999. Kubrick’s filmography is littered with unforgettable images, but PATHS OF GLORY is the first instance in his canon where the cinematography is truly gorgeous. Shot by cinematographer George Krause, the black and white 35mm film image is artfully composed to fill the 1.66:1 widescreen frame. The film’s camera movement is notable in that it is where Kubrick’s signature aesthetic truly coalesces and emerges. His use of the dolly, for instance, is compelling and purposeful, often letting such moves go on for a long time in order to establish scope and mood. One instance is the Anthill charge, which unfolds almost entirely in one lateral-moving dolly that tracks parallel to the action. Another moment takes place shortly beforehand, with Douglas marching down the long trenches in an unbroken shot while a flank of soldiers look on and explosions rock the ground above him. This shot in particular also shows off Kubrick’s affinity for one-point perspective compositions, employed as a way to lure the audience deeper into his meticulously-crafted world. Furthermore, Kubrick makes subtle use of zoom lenses during the charge sequence, which introduces an element of documentary to the proceedings while linking Kubrick to the directors of the New Hollywood school—a generation of filmmakers who made frequent use of zoom lenses in a bid to inject reality and immediacy into their work while rejecting the polished techniques of their Golden Age forebears. In his fourth feature, Kubrick focuses quite acutely on music and its effect on storytelling, acting with a conviction and sense of purpose that was missing from his previous work. More than five decades removed from the film’s release, we know that Kubrick would become well known for his excellent ear for classical music and its placement in his work. More often than not, such moments have become some of cinema’s most enduring combinations of sound and image. Later works would increasingly do without an original score entirely, with Kubrick himself publicly stating that nothing new could compare to the masterworks of the great classical composers, so why use anything else? PATHS OF GLORY marks the earliest instance of this aspect of Kubrick’s aesthetic, with Kubrick opening the film with a rendition of the French national anthem, “Marseillaise”. He then goes on to include a small number of other classical cues, like Johann Strauss’ “Kunsterleben Op. 316” during an Officer’s Ball sequence. This image in particular—aristocratic men and women waltzing to classical music in large, opulent spaces—would itself become a recurring motif throughout Kubrick’s career. For the most part, however,PATHS OF GLORY relies on Gerald Fried’s original score. Having scored all of Kubrick’s films up to this point, Fried drastically departs from his usual swelling, orchestral sound for the film. Instead, he opts for a minimalistic and militaristic snare drum/trumpet combo that keeps the energy up and the tension roiling. PATHS OF GLORY ruminates quite heavily on the nature of war and violence, a topic that held Kubrick’s interest his entire life. The film looks at violence as an agent of discipline, as well as how conflict rooted in ideology causes us to dehumanize the opposition as “the other” and justify actions that would seem outright barbaric in the cold light of day (like sending three innocent men to their deaths so that a high-ranking officer can keep his reputation untarnished). Interestingly enough,PATHS OF GLORY is the rare instance in Kubrick’s filmography where the perspective sides with the moral and virtuous character—in other words, the traditional “hero”. His later works would examine similar ideas about dehumanization and madness, but from the perspective of the afflicted, ultimately giving into the darkness within. PATHS OF GLORY also sees the beginning of Kubrick’s on-screen fascination with baroque architecture, most notably in the choice of location for the French army’s chateau headquarters— eagle-eyed viewers might recognize the chateau location as the same one used for Alain Resnais’ fundamentally haunting LAST YEAR AT MARIENBAD (1961) . Kubrick often frames his subjects in a wide shot during these scenes, allowing the ornate, gilded interiors and echoing marble halls to overwhelm them with insignificance (while also providing an ironic visual counterpoint to the officers’ admittedly barbaric, uncivilized judgment of three innocent men). Kubrick also contrasts the spacious, royal nature of the chateau—home to the well-fed and well-dressed elite of the French leadership—with the gritty, mud-soaked trenches in which the rank and file grunts carry out their orders. The soldier vs. officer/pawn vs king metaphor at play here is quite deliberate—Kubrick’s love of chess profoundly influences his sense of dramaturgy. PATHS OF GLORY is the first of Kubrick’s films to use baroque imagery to convey salient points about class conflict, but it wouldn’t be last—from 2001: A SPACE ODYSSEY (1968), to BARRY LYNDON (1975), all the way to EYES WIDE SHUT (1999), Kubrick’s filmography is dominated by this distinct architectural style and the cultural attitudes it engenders. PATHS OF GLORY marks a huge step up in Kubrick’s development as an artist and a filmmaker. In terms of scale alone, Kubrick proves himself to be the real deal. The complex staging of the central charge sequence shows that Kubrick could handle a grand epic just as well as an intimate heist thriller—indeed his next movie gig came about precisely because he proved he could handle a large scale. While it performed as expected at the box office (read: not well), PATHS OF GLORYnonetheless holds up today as one of the best war films ever made—an assertion backed up by the Library of Congress when it was added to the National Film Registry in 1992. SPARTACUS (1960) A filmmaker’s development happens gradually, over the course of a lifetime. His or her aesthetic is informed by a series of experiences, experiments, and ideas that coalesce through repeated trial and error. Once in a while, however, a singular event or experience can have such an impact that it can alter the course of a filmmaker’s development almost instantaneously. In the case of Stanley Kubrick, the events of the year 1960 proved to be such an experience. Everything he had done up to that point had suggested an artist who ultimately aspired to large-scale, conventional Hollywood epics—each of his first four features had eclipsed the other in scope and ambition, and his successful rendering of World War I trench combat and collaboration with superstar Kirk Douglas in 1957’s PATHS OF GLORY suggested that he had the chops to successfully take on a big, old-fashioned Hollywood epic. For all intents and purposes, he proved his bonafides and delivered a successful, Oscar-winning picture in the form of 1960’s SPARTACUS. The success of the film undoubtedly boosted Kubrick’s reputation and invaluably helped in solidifying the course of his career—but not in the way we might expect. The seed of SPARTACUS was planted when screen icon Kirk Douglas lost the title role to Charlton Heston in William Wyler’s BEN-HUR (1959). The blow to his ego compelled Douglas to set up his own project to rival Wyler’s, one that would focus on the classic tale of a slave revolt led by slave-turned-gladiator Spartacus. He would produce the film through his own production company and take the title role for his own. His choice for screenwriter proved highly controversial—blacklisted writer Dalton Trumbo, who by this point had been living in exile from the studio system after his outing as a Communist sympathizer during Joe McCarthy’s Red Scare hearings, sustaining himself by writing under a series of pseudonyms. Douglas hoped to deal a fatal blow to the integrity of the anti-Communist movement by allowing Trumbo to use his real name, proving himself every bit as virtuous and idealistic as the screen heroes he regularly portrayed. Trumbo and Douglas envisioned the biblical-era story of SPARTACUS as an allegory for modern-day concerns like the Civil Rights Movement and the McCarthy hearings (best epitomized during the film’s iconic “I Am Spartacus!” sequence), a tactic that undoubtedly gave the film some much-needed relevancy and immediacy. Director Anthony Mann was originally hired to direct SPARTACUS, but after a week of clashing with Douglas and the film’s considerable scale, he was unceremoniously fired. Douglas remembered the fruitful, if contentious, working relationship that he had with Stanley Kubrick during the production of PATHS OF GLORY, and so he called on the young auteur to step in and save the film. Kubrick’s subsequent realization of SPARTACUS is a peculiar albatross in his filmography, mainly because it is the only one that doesn’t feel like it bears his stamp. Admittedly, it doesn’t—for the first—and only— time in his career, Kubrick’s contract under Douglas severely limited his creative freedom and mandated the toning down of his aesthetic in favor of an old-school, Hollywood epic style. While the film is absolutely stunning from a technical standpoint, the result of Kubrick’s muzzling is a film that lacks genuine heart and soul. SPARTACUS is set in ancient Rome during the year 70 B.C. A proud, stubborn slave named Spartacus is taken from the salt mines of Libya and sold to Batiatus (Peter Ustinov), a well-known gladiatorial trainer who runs a prominent school outside the Roman capital. Forced into Batiatus’ fleet of burgeoning gladiators, Spartacus is disgusted by the idea of killing another man for the mere entertainment of others, but his talent for fighting and bravery is undeniable. His conviction and sense of morality makes him an admired figure amongst the other gladiators, and when a revolt unexpectedly flares up inside Batiatus’ compound, Spartacus becomes the slaves’ de facto leader, tasked with delivering them to freedom. Spartacus and his charges ride toward the sea, freeing the slaves along every town and accumulating a devoted army of their own. Simultaneously, he finds love and happiness with Varinia (Jean Simmons), a slave girl from the gladiator school. They take each other as man and wife, and begin dreaming of a world where their child will be born free. As word of Spartacus’ exploits reach the marble halls of the Roman Senate, a ruthlessly pragmatic politician named Crassus (Laurence Olivier) draws up plans to suppress Spartacus’ slave uprising before it ever begins. With his back to the sea and the Roman armies closing in on him from all sides, Spartacus will have to fight for not only his freedom, but for the freedom of his family and his people. At first glance, Douglas and Kubrick’s second consecutive collaboration appears to be even more fruitful than their last— Douglas’ towering performance as the proud, virtuous Spartacus is one of the best of his career, after all. However, their collaboration in SPARTACUS quickly fell prey to a collision of egos and stubbornness. Kubrick allegedly had a fundamental issue with the fact that the Spartacus character had no compelling faults or quirks, his ire further stoked by his complete lack of creative input on the script. Douglas’ impression of Kubrick’s artistic integrity took a substantial hit when Kubrick was quick to volunteer his name to replace Trumbo’s if the script were to run into trouble with the blacklist gatekeepers. This war of opinions between the two men festered throughout the long, arduous shoot, ultimately ruining their working relationship, if not their friendship, for good. Kubrick had no fear of spurning his collaborators for what he perceived as the greater good of the project, but in the case of Douglas—the man who had almost single-handedly turned Kubrick from a nobody into a major Hollywood director—perhaps Kubrick went too far. It’s a miracle that the film turned out as cohesive and confident as it did. Kubrick’s collaboration with the rest of the cast was not as dramatic, thankfully. Master thespian Laurence Olivier plays the primary antagonist, Crassus, with a cool, smoldering demeanor. In the infamous “snails or oysters” deleted scene, Crassus is revealed to be a bisexual—perhaps one of the earliest instances of such a character in cinematic history. Jean Simmons plays Spartacus’ love interest, Varinia, with a maternal, feminine air that’s perhaps a little too glamorous for a slave (but effective all the same). Rounding out the cast is Charles Laughton as the portly senator Gracchus, John Gavin as a young Julius Caesar, and Tony Curtis as Spartacus’ best male friend and fellow slave, Antoninus. Last but not least, there’s Peter Ustinov as Batiatus— the slave trainer and unexpected benefactor in Spartacus’ quest— whose sweaty, breathy performance earned him the Oscar for Best Supporting Actor. As it stands, Ustinov would be the only actor to win the gold statue for performing in a Kubrick film—a fact that must have incensed Douglas to no end judging by the ambition that compelled him to make the film in the first place. As befitting a grand Hollywood epic, SPARTACUS’ cinematography is sweeping and colorful. One might even mistake it for a David Lean film, which is ironic considering that Lean was initially approached to direct and turned down the opportunity. The cinematographer, Russell Metty, was already in place when Kubrick came aboard, and the two men clashed almost instantly. Reportedly, Metty was infuriated by Kubrick’s demanding pursuit of visual perfection and lack of regard for the cinematographer’s creative input. As a result, Kubrick personally shot most of the film himself, his brilliance with light and composition earning SPARTACUS an Oscar for Best Cinematography—ironically, it was Metty who took home the gold statue on awards night instead of Kubrick. Shooting for the first time in the anamorphic 2.35:1 aspect ratio, Kubrick (and Metty) use every available grain of the Technicolor 35mm frame to render a lush, expensive-looking image. Kubrick’s first feature in color employs a copious amount of sweep crane and dolly shots to sell the film’s scale, but it doesn’t contain the same kind of alluring energy that similar shots have in his other, more personal work. Indeed, the film appears to be the work of another director entirely. Many of Kubrick’s thematic explorations that have made his other works so rich and creatively potent are mostly discarded here in favor of a straightforward, un-ironic and earnest narrative. Like the short THE SEAFARERS (1953) before it, SPARTACUS sees Kubrick working mainly as a director for hire, with little control over the script or the production. The film’s violent aspects allow Kubrick to indulge in his visual meditations of man’s inhumanity to man in the form of fighting to the death for sporting and entertainment’s sake. Working solidly within the “swords and sandals” epic genre, Kubrick nonetheless manages to subvert it in the film’s climax, which sees Spartacus and Antoninus fighting to kill each other—not for the entertainment of others, however, but so as to save the other from an even-worse fate on the cross. SPARTACUS was a monster success when it released, easily becoming Universal’s biggest moneymaker in history until it was dethroned by 1970’s AIRPORT. It received widespread critical praise and won four Oscars, but more importantly, it made history when Trumbo’s employment effectively ended the Blacklist and prominent politicians (including President John F. Kennedy) disregarded the cries of anti-Communist protesters as they stepped inside the theatre. Despite the film’s success, Kubrick personally disowned the film (obviously to not as far a degree as he did with his first feature, FEAR AND DESIRE (1953)). However, SPARTACUS marks a crucial turning point in Kubrick’s development as an artist—whether he acknowledged it or not. Had he been happy with the final product and his overall shooting experience, Kubrick quite easily could have made a career of making supersized epics and become a David Lean-type for a new generation of filmmakers. Instead, his need for directorial control—a need that trumped cooperation or compromise—would lead him down a very different path. SPARTACUS marked the end of Kubrick’s “Old Hollywood” phase of conventional filmmaking techniques, with his disappointing experience on the film causing his attention to gaze towards the wave of experimental art films trickling out of Europe—films that would revolutionize Hollywood and place Kubrick himself at the cutting edge of an evolving art form. LOLITA (1962) The exhausting production experience of 1960’s SPARTACUS left its young director, Stanley Kubrick, in a state of profound disenchantment. He found that he could not peacefully work within the rigid demands and expectations of the American studio system, which understandably poses a fundamental problem to an artist who simultaneously values complete control while aspiring to direct large-scale Hollywood films. After some deep reflection, Kubrick found that the answer to his malaise didn’t lie in his native United States whatsoever—it laid across the Atlantic in Europe, where a new wave of filmmakers were enjoying total artistic autonomy and creative freedom and, as a result, creating radical, groundbreaking films. In looking for his next project, Kubrick and his producing partner James B. Harris settled on Vladimir Nabokov’s controversial novel “Lolita”, about a man’s torrid relationship with a barely-teenage girl. They hired Nabokov himself to adapt the novel into a screenplay, and set up their production camp in England, far from the watchful eye of the American studio system. As Kubrick’s first outright stab at the comedy genre, LOLITA (1962) is laced with the kind of cheeky black humor that only a deviously mischievous man such as Kubrick could dream up. After the grandiosity of SPARTACUS’ production, Kubrick used LOLITA to scale down his aesthetic for a back-to-basics approach. In tackling such extremely sensitive subject matter, Kubrick must’ve known that he was making a controversial film, but what he couldn’t have anticipated was just how much he would have to compromise his vision to even get it released. Whereas other directors might falter or back down in the face of controversy, Kubrick doubled down in his adaption of lurid LOLITA, thus establishing his reputation as one of the boldest, most controversial voices in cinema. Though filmed entirely in England, LOLITA is set in the fictional town of Ramsdale, located somewhere within the state of New Hampshire. A sophisticated, well-read college professor named Humbert Humbert (James Mason) has just moved to town, having taken a teaching position at the local college. He rents a little room in the upstairs of a home owned by one Charlotte Haze (Shelly Winters), an eccentric middle-aged widow. Almost immediately, Humbert finds himself intensely attracted to Charlotte’s nubile teenage daughter, Lolita (Sue Lyon). As he settles into his new home, he dances around the line of appropriateness with Lolita, who’s aware enough of her effect on men to use it to her advantage and tease Humbert’s yearnings. To keep Charlotte’s suspicions at bay, Humbert marries her and takes Lolita as his stepdaughter—but it’s only a matter of time until Charlotte discovers Humbert’s true feelings about her daughter and, in her grief, throws herself headlong into the path of an oncoming car. Humbert, who is now perhaps the happiest widower there ever was, sets off with Lolita on a cross-country road trip to find a new town to settle in. However, even a change of scenery isn’t enough to obscure their torrid affair from the prying eyes of neighbors and friends, especially those of one man in particular—Claire Quilty (Peter Sellers), an eccentric playwright and television writer with designs of his own to secure the affections of alluring young Lolita. LOLITA is, admittedly, stuffed with truly reprehensible characters possessing significant moral shortcomings. It’s a credit to the cast’s talents and Kubrick’s eye for performance that they end up coming across as undeniably charismatic. James Mason confidently takes on the dangerous, potentially career-ending role of Professor Humbert Humbert. His urbane, sophisticated sensibilities appeal to the audience in a reassuring, paternal fashion, making it easier to forgive his monstrous qualities while simultaneously making us complicit in them. Shelly Winters is inspired casting as the widow Charlotte Haze, a vain aging beauty who is so desperate for love and companionship that she flaunts her insecurities in loud, tacky clothing. Sue Lyon imbues the titular role of Lolita with a bored, sultry affection and wisdom beyond her years. With her calculated manipulation of Humbert’s emotions, she’s every bit as deceitful and mischievous as her elders— if not more so. Legendary character actor Peter Sellers, who pioneered the idea of disguising oneself in multiple personas in a single project, plays avant-garde playwright Clare Quilty with a pretentious, anxious affection. An aristocratic hedonist, Quilty reflects the shifting mores and liberal attitudes that shaped the counterculture of the 1960’s. Sellers is easily the most entertaining member of the cast, indulging in his love of disguise by having Quilty orchestrate various personas (most notably the proto-Dr. Strangelove German psychologist, Dr. Zempf) in a bid to steal Lolita out from under Humbert’s nose. Sellers’ irreverent performance extends all the way to his peculiar dialect and manner of speech, which he reportedly modeled after Kubrick’s own. Shot by cinematographer Oswald Morris, LOLITA marks Kubrick’s return to the black and white 35mm film format. Oswald and Kubrick enrich the image with a high contrast, polished look that belies the film’s independent pedigree. While the visual presentation itself is relatively minimalist and sedate, Kubrick’s impeccable eye for composition graces his composition with compelling depth and meaning. The camerawork is low key and subtle, favoring graceful dolly and crane movements that don’t call attention to their inherent complexity. For instance, Kubrick built the Haze house set in such a way that he could dolly and crane through floors and walls to establish a sense of spatial continuity. This technique can be seen in many modern films, especially in those of Kubrick acolyte David Fincher, who used his 2002 feature PANIC ROOMto build upon Kubrick’s foundations with similar, yet highly stylized and exaggerated, movements. Funnily enough, this is not the only cue that Fincher took from LOLITA—the film’s poster tagline, “How did they ever make a movie of Lolita?” would be repurposed by Fincher for the 21st century in the advertising for THE SOCIAL NETWORK (2010). Kubrick completes the tone of his acerbic, pitch-black comedy by incorporating the music of Nelson Riddle, who trivializes (in a good way) the characters’ sordid actions with a lighthearted, bouncy jazz score that also incorporates a playful “cha-cha-cha” samba theme for Lolita—an apt musical reflection of Lolita’s dual nature as innocent and seductress. The film’s winking tone is absolutely a product of its time—a necessity of its making under the oppressively restrictive Hays Code and the stern, watchful eye of the Catholic Legion of Decency. Even if the film were to be made again today, freed from the constraints that Kubrick personally felt neutered his vision, it could be argued that LOLITA wouldn’t be nearly as effective. The playful skirting around of abject indecency with thinly-veiled double entendres and innuendo is directly responsible for LOLITA’s charm, and allows Kubrick to explore complicated sexual ideas from a space of relative social safety. By highlighting sexual deviancy and quirkiness within otherwise well-adjusted people, LOLITA predicts the sexual revolution of the late 1960’s, incorporating barely-disguised references to swingers and pornography (it’s revealed toward the end that Quilty wanted Lolita to shoot an “art film”). At other times, Kubrick doesn’t even bother to hide the innuendo—the name of the summer camp that Lolita attends is Camp Climax, for god’s sake. LOLITA affords ample opportunity for Kubrick to explore other thematic and aesthetic fascinations. His love for one-point-perspective images results in a recurring shot that follows Humbert’s car as it drives away from us en route to Quilty’s house, full of purposeful malice. The climactic murder of Quilty is staged in an artful manner that stays consistent with Kubrick’s artful depictions of violence. Instead of directly showing Humbert shoot Quilty to death, Kubrick stages their actions so that Quilty first crawls behind the meager cover of a painting depicting Victorian-era woman, with the image bullet tearing a hole in her cheek and presumably continuing along its trajectory into Quilty’s body. LOLITA’s baroque imagery, evident in both the Victorian portrait as well as the opulent mansion that surrounds it, calls to mind similar occurrences throughout Kubrick’s career—notably BARRY LYNDON (1975) and EYES WIDE SHUT (1999). Additionally, his usual depiction of the bourgeoisie—aristocrats waltzing in ballrooms to classical music—receives a modern American twist in LOLITA in the form of a high school dance. Kubrick only made two outright comedies in his career—LOLITA and its 1964 follow-up, DR STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB—and its worth noting that both films are decidedly dark in their comic sensibilities. As an artist, Kubrick valued pitch-black irony, and both LOLITA and DR. STRANGELOVE are absolutely dripping with them. Made close together, chronologically speaking, and under similar conditions, LOLITA and DR. STRANGELOVE exist as companion pieces, complementary to each other in surprising ways. Kubrick’s artistic explorations throughout his career can be charted according to the opposing poles of sex and violence. LOLITA is ostensibly a film about sex, the ultimate act of creation, whereas DR. STRANGELOVE is a film about war, the ultimate act of destruction. Their shared comic affections and visual style bind them together, giving us perhaps the most straightforward insight into Kubrick’s artistic profile before he would obscure it with the expressionistic, experimental works of his later career. LOLITA found commercial and critical success when it was released in 1962, but more importantly it marked the beginning of Kubrick’s reputation as an auteur provocateur and subverter of genre. His expatriation to England gave him an artistic freedom and expanded worldview that he never could have had on American shores. He was free to work as he saw fit, a development that allowed him to create one uncompromising masterpiece after the other. DR. STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964) The second half of the twentieth century was marked by a profound existential malaise brought about by the rise of the atomic bomb and its ability to throw the world into a nuclear holocaust at the drop of a hat. The Cold War transcended conventional notions of armed conflict and became a permanent state of tension and caution where the slightest miscommunication could set off the end of the world as we knew it. When faced with such a morbid, seemingly hopeless existence, what can one do but simply laugh at the absurdity of it all? Enter director Stanly Kubrick’s DR. STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB, released during the height of nuclear escalation in 1964 and arguably one of the most defining films of the twentieth century. After finishing 1962’s cheeky sex comedy, LOLITA, Kubrick grew fascinated with the idea of mankind’s demise by our own hands through nuclear warfare. Ever the dutiful researcher, Kubrick read everything he could find on the subject and found a story he wanted to tell in Peter George’s cautionary thriller novel, “Red Alert”. In securing the film rights, Kubrick and his producing partner James B. Harris initially planned to create a straight adaption in the thriller genre. However, Harris was at this time beginning to aspire to a directing career of his own, and he amicably ended his partnership with Kubrick during preproduction. Left to his own devices, Kubrick started toying with the idea of transforming the film into a black comedy, finding that the acknowledgement of the utter absurdity inherent in voluntary nuclear warfare actually enhanced the effectiveness of his message. Towards this end, Kubrick brought in noted playwright Terry Southern to fashion his script into satire— in the process, creating the eccentric titular character of Dr. Strangelove and giving the film its absurdly long name. Half a century after the film’s release, DR. STRANGELOVE still holds it own as a relevant and entertaining piece of pop culture and makes a case as Kubrick’s first true masterpiece. DR. STRANGELOVE details an utterly absurd—but no less plausible—scenario in which mankind might meet its end. At a nondescript Air Force base, General Jack Ripper (Sterling Hayden) has gone rogue and ordered a full-scale nuclear strike on Russia without authorization from his superiors or the President. A paranoid conspiracy theorist, Ripper’s motivation for the strike is crystal clear only to him— the Communists are out to steal our “precious bodily fluids” and will most certainly gain supremacy through them if they aren’t totally destroyed immediately. He barricades himself in his office with a British RAF Captain named Mandrake (Peter Sellers), who attempts to avert crisis by tricking the stubborn Ripper into telling him the recall codes. Meanwhile, President Merkin Muffley (Sellers again) tries to regain control and diffuse the situation in the War Room. His efforts are derailed by the over-aggressive warmongering of General “Buck” Turgidson (George C. Scott) as well as the wheelchair-bound nuclear scientist Dr. Strangelove (Sellers once more) who can’t quite shake his old Nazi convictions about genetic purity and welcomes the nuclear holocaust as an opportunity to create a new master race underground via prestigious breeding with sexually desirable and genetically perfect women. As the masters of the universe seek to avert Armageddon on the ground, a lone B-52 manned by Major “King” Kong (Slim Pickens) takes a direct hit from an incoming Russian missile, which damages their communications systems. Unable to receive the recall commands from the ground, Major Kong and his crew of bombardiers fly on into the heart of Russia to deliver their nuclear payload—a mission that Pickens will personally see to its completion. Kubrick’s message is clear—the slightest miscommunication can spell our doom, and in the case of DR. STRANGELOVE, that miscommunication results in a comedy of disastrous proportions. DR. STRANGELOVE boasts one of the most eclectic and talented casts to ever assemble under Kubrick’s supervision. Peter Sellers headlines the film in multiple roles, a development caused by studio mandate. Columbia Pictures—rightly or wrongly— attributed the success of LOLITA to Seller playing multiple roles, and decreed Sellers do the same in DR. STRANGELOVEas a contingent of their financing the film. Sellers arguably turns in the best work of his career here, giving Captain Mandrake the requisite fussy airs of a British serviceman while modeling his President Merkin Muffley off the self-serious affectations of Presidential aspirant Adlai Stevenson, and Dr. Strangelove off of the grand traditions of German Expressionist cinema (and in the process creating one of the most indelible and unique characters in film history). Sellers hits it out of the park with every character he plays in DR. STRANGELOVE, and while he would never collaborate again with Kubrick, his work in the film serves as a fitting sendoff to their fruitful partnership. To fill out the rest of his mostly-male ensemble, Kubrick turned to actors both old and new. After their successful collaboration in 1956’s THE KILLING, Kubrick was able to lead Sterling Hayden out of retirement to play General Jack Ripper, an all-around alpha male typical of the midcentury military-industrial complex. Venerated character actor George C. Scott plays the ornery, blustering role of General Buck Turgidson. Turgidson has such a personal axe to grind against the Russians that he’s practically eager to initiate a nuclear war, dismissing the massive American casualties such an act would create as a small price to pay for ensuring his beloved country’s dominance. The role of Major Kong was originally supposed to be also played by Sellers, but was ultimately filled by American actor Slim Pickens. Pickens essentially appears here as he was in real life—a flamboyant Texan and blindly loyal straight shooter. James Earl Jones also appears in the small role of Lt. Zogg, one of Kong’s bombardiers and the only man on the B-52 to question the validity of their command. Kubrick’s films are normally praised more for their technical proficiency than their acting, but DR. STRANGELOVE’s cast more than holds it own against Kubrick’s considerable visual flair, bringing it all home with a manic energy unparalleled in even most screwball comedies. The cinematography of DR. STRANGELOVE finds Kubrick in a transitory phase of his visual style. His aesthetic arguably serves as a bridge between the polished glamor of Old Hollywood filmmaking and the rough edges of the New Wave, withDR. STRANGELOVE in a sense becoming a bridge inside of that bridge. While Kubrick and cinematographer Gilbert Taylor shoot DR. STRANGELOVE on black and white 35mm film and give it a relatively straightforward, polished presentation, the maverick director peppers the film with experimental, cutting edge touches— like rack zooms that highlight information inside the B-52 plane, or the chaotic, handheld cinema verite rendering of the Air Force base battle (which predated the style popularized by Steven Spielberg’s SAVING PRIVATE RYAN by nearly thirty four years). When working inside a studio set environment, Kubrick favors high contrast, low-key lighting and compositions that favor depth and minimal camera movement. The striking visual presentation, however, owes less to the cinematography and more to the iconic set design by legendary production designer Ken Adam. Famous for his larger-than-life supervillain lair sets on the JAMES BOND series, Adam proves to be an inspired choice to realize Kubrick’s outsized vision of absurd grandiosity. He echoes Kubrick’s propensity for depth, designing hard, angular sets like The War Room and General Ripper’s office with strong lines that converge onto a singular point. The War Room in particular is an unassailable icon of set design, perfectly reinforcing the characters’ delusions of grandeur and in the process becoming one of the most recognizable sets in cinematic history. The idea of DR. STRANGELOVE as a transitory film in Kubrick’s filmography also extends to his treatment of music. While Laurie Johnson is credited as the film’s composer, the majority of the music stems from either pre-recorded material or adaptations of preexisting material. What original score appears does so mainly during the B-52 bomber sequences, but even then it is an appropriation of preexisting material—the military hymn “When Johnny Comes Marching Home”, rendered with snare drums, trumpets, and men humming in low unison that suggest the steady, unstoppable encroach of war. Kubrick’s mischievous nature also results in bookending DR. STRANGELOVE with a pair of cheeky and cheery pop songs that make ironic counterpoints to the images they accompany. An instrumental cover of “Try A Little Tenderness” opens the film under stock footage of jet fighters refueling in mid-air, further emphasizing the sexualized nature of the process while also foreshadowing one of the film’s key themes (sex as a fundamental motivator behind conflict). Kubrick then closes DR. STRANGELOVE with the mother of all showstoppers—a cataclysmic nuclear war (again realized using stock footage of nuclear tests) set to Vera Lynn’s romantic ballad “We’ll Meet Again”. Only a sense of humor as perverse as Kubrick’s could’ve thought of this juxtaposition of sound and image, and he found it so effective that he would continue to break new ground with this technique for decades to come. While Kubrick never really established a concrete visual style for himself like, say, David Fincher or Wes Anderson, he nonetheless managed to make his stamp on his work using recurring themes, camera techniques, and an overbearing sense of dark irony. In that regard, DR. STRANGELOVE is the first point in Kubrick’s filmography where everything coalesces into what is unmistakably “a Kubrick film”. Certain storytelling techniques—the omniscient narrator speaking in the third person, or favoring one-point perspectives in his compositions—are present throughout DR. STRANGELOVE and point to Kubrick’s decidedly unique worldview. However, it’s in the exploration of the duality of sex and violence that the director’s mark is made apparent. The film explores the idea of violence as a response that ultimately stems from sexual frustration. All the characters in DR. STRANGELOVE are sexually frustrated in one fashion or another—General Ripper equates the male orgasm in intercourse with losing his “essence” and denies his “precious bodily fluids” to those who seek it. General Buck Turgidson is caught in a distracting, schoolboy-esque affair with his secretary. Dr. Strangelove is obsessed with the morbid idea of playing a central role in repopulating the earth with a bevy of beautiful women in the aftermath of a nuclear war. Even the pilots in the B-52 are seen ogling Playboy centerfolds as they fly towards their target. The characters’ sexual dysfunction bleeds over into their professional lives as leaders of the free world, and the relatively easy access to nukes make for quick, convenient, and effective bluffs when their fragile egos are threatened. Kubrick was well known for his brilliance at playing chess, and he draws the story of DR. STRANGELOVE as a game of chess writ large where we are the pawns, beholden to the whims of our kings and knights who are too involved in their petty affairs to realize that they are actually court jesters instead. DR. STRANGELOVE was originally supposed to debut to test audiences on a very fateful day: November 22nd, 1963— the day that President John F. Kenney was assassinated in Dallas. Naturally, this had a profound effect on such a politically charged film. The biggest casualty was Kubrick’s original ending, which would’ve seen an epic pie fight break out in the War Room and George C. Scott exclaiming that “The President has been struck down in his prime!” after Seller’s President Muffley took a pie to the face. The film was also delayed until January of 1964, where it was released to critical and commercial acclaim, as well as a Best Picture nomination at the Oscars. As the last black and white film that Kubrick ever made, DR. STRANGELOVE’s importance—not just to cinema but to twentieth century history— cannot be overstated. The Library of Congress presumably felt the same way, selecting it as one of the first films to be inducted into the National Film Registry in 1989. No other film encapsulates the hopeless absurdity of the Cold War as perfectly as DR. STRANGELOVE, and as long as nuclear weapons continue to exist— squirreled away by the hundreds in hidden silos and ready to launch at the push of a button—Kubrick’s blackly comic, cautionary masterpiece will remain as relevant and important as ever. 2001: A SPACE ODYSSEY (1968) A few days ago we celebrated the forty-fifth anniversary of Apollo 11’s historic moon landing, an event that captured the imagination of the entire world and heralded the arrival of a Space Age that, regrettably, has yet to fully materialize. We haven’t been back to the moon since 1972, and our collective dream of becoming a spacefaring civilization living amongst the heavens has gone essentially unrealized—bogged down firmly by the mud of warfare, urgent domestic issues, shuttle disasters, and budgetary neglect. The dream of space is a dream delayed, a fact that was made painfully apparent at the dawning of the twenty first century. The year 2001 came and went, but we were nowhere near living on giant, spinning space stations and flying on commercialized commuter spaceships, let alone undertaking missions to Jupiter and beyond. All of these things were promised to us in a film released the year before we stepped foot on the moon for real and discovered that it was, in fact, not made of cheese. That film was director Stanley Kubrick’s 2001: A SPACE ODYSSEY (1968), and its matter-of-fact, realistic (yet no less romantic) depiction of our spacefaring future captivated the imagination of millions. It became one of the most influential films of all time, and even today it remains a benchmark of craft and design. It is a cultural touchstone, its enigmatic storyline and mysteries sparking an endless debate about our place among the cosmos in addition to smaller (but no less important) matters like the development of artificial intelligence. Kubrick himself was fascinated by these ideas as well as the possibility of intelligent extraterrestrial life, and began a series of discussions with noted science fiction author Arthur C. Clarke in the mid-1960’s. Their conversations gave way to serious collaboration, with Clarke offering up several of his novels and short stories as source material for Kubrick to adapt. Kubrick aspired to make, in his words, the “proverbial good science fiction film”, and fashioned his narrative from a combination of Clarke’s short stories, arranging them into an examination of mankind’s evolution as a process aided by extraterrestrial intelligence. In making 2001: A SPACE ODYSSEY, Kubrick acted as his own producer, and thus had no one that would object to his dropping of traditional story structures and dialogue conventions while rendering the film instead as an enigmatic audiovisual experience. The financial and critical success of Kubrick’s previous film, DR. STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964), gave the visionary director a significant amount of momentum and leeway in getting his follow-up off the ground, and by the following year he was in back in England (where he had since relocated with his family full-time), rolling camera on the film that would cement his legacy as one of the greatest filmmakers of all time. 2001: A SPACE ODYSSEY unfolds against the sprawling expanse of space, but at its core, tells a very concentrated story about mankind’s evolution and taking our rightful place amongst other intelligent civilizations in the stars. Kubrick begins his examination with The Dawn Of Man— the point in which humanity branched off from the line of apes to become the dominant species on earth. Their evolution is kickstarted by the discovery of a massive black obelisk, which bestows superior intellect upon them. Their rapid development is charted quickly and wordlessly— it’s not long until they are walking on their hind legs, and the first use of tools allows the apes to transcend their scavenging ways while empowering them with the means to create their own meals. When a rival group of apes tries to push in on their territory, the newly-evolved apes turn their tools into weapons, and ensure their dominance through violence and murder. Kubrick then cuts to the year 2001, where space travel is commonplace and a similar black obelisk has been found buried underneath the moon’s surface. After laying inert for millions of years, it emits a single piercing radio wave out towards Jupiter before falling silent once again. Excited by the first indisputable evidence of intelligent life outside the Earth, a research mission is organized and sent to Jupiter to see what might be waiting for us there. Dr. Dave Bowman (Keir Dullea) heads the five-man mission, assisted by his deputy Dr. Frank Poole (Gary Lockwood) while the remaining three men hibernate in cryosleep. The ship is guided by a state-of-the-art, artificially intelligent computer named HAL 9000. HAL 9000 is essentially self-aware, and is treated like a sixth member of the crew by the humans until the possibility of a flaw in its computations is suspected. The HAL 9000 series of computers were supposed to be perfect and utterly incapable of error, so the Jupiter mission’s HAL was given complete control of every single system on the ship. Naturally, even the smallest of computational errors on HAL’s part could mean that the entire mission might be compromised. When Bowman and Poole attempt to re-assert manual control of the ship and shut HAL down, the self-aware computer uses the ship itself as a weapon against the humans in a defensive bid to keep itself operational. What neither Bowman or the all-knowing HAL 9000 can predict is that they are on a crash course with the next stage of human evolution, a stage that lies outside the space-time continuum and within a different dimension entirely. Kubrick’s films have always been noted more for their craft and style than their cast, and 2001: A SPACE ODYSSEY reinforces that notion almost to an extreme, scaling back the characterization to the barest of minimums. Dialogue is almost nonexistent, with the first spoken line not occurring until we’re already twenty-five minutes in. What little dialogue there is serves either as exposition or as a means to move the story along in the simplest of strokes—anything else is banal and ordinary, emphasizing Kubrick’s thesis that space travel would be so commonplace by the year 2001 that any novelties would have worn off. This idea is personified in the character of Dr. Heywood Floyd (William Sylvester), who is introduced to us early in the film as a travelling businessman en route to the moon, his lack of wonder at the whole enterprise suggesting he’s made this trip several times before. He’s more attached to his life back home on earth, at one point even making a video call to his daughter on her birthday (played by Kubrick’s own daughter, Vivian). Keir Dullea plays the Jupiter mission commander Dr. Dave Bowman, who can be considered the film’s conventional protagonist. However, his personality is downplayed considerably, achieving a blank, emotionless slate that tells us absolutely nothing about who he is as a person. The same can be said for the Gary Lockwood’s slightly more-aggressive deputy, Dr. Frank Poole. Since this is a Kubrick film, we should know by know that his story choices will always skew towards what’s most poetically ironic. In that respect, 2001: A SPACE ODYSSEY is a stroke of genius in its depiction of the self-aware, artificially intelligent supercomputer HAL 9000. Voiced by Douglas Rain and represented only by a red light inside of a large glass lens, HAL 9000 is perhaps the most emotional, relatable character in the entire film, a strange claim considering that as a computer it can’t physically emote. HAL 9000’s omniscience gives way to something resembling neuroses, and its ability to acknowledge its own existence leads to it actively protecting said existence at any cost. One would be hard pressed to find a villain in cinematic history that’s more fundamentally chilling and iconic than HAL 9000. The sequence where HAL 9000 begs in its characteristic monotone for Dr. Bowman to not disconnect it is especially haunting, simply because its lack of a physical body renders it ultimately unable to defend itself against Dr. Bowman’s particularly monstrous determination. The visual style of 2001: A SPACE ODYSSEY marks a radical shift in Kubrick’s aesthetic, not the least notable aspect of which is the director’s return to glorious color after 1960’s SPARTACUS. Shot by cinematographer Geoffrey Unsworth in the staggeringly wide 2.20:1 Super Panavision aspect ratio, 2001: A SPACE ODYSSEY is a film that demands to be seen on the largest screen possible. My first experience with the film was on a regular consumer television, but shortly after I moved to Los Angeles, I caught a screening of a 70mm film print at the American Cinematheque’s Egyptian
205	dbpedia	3	72	http://www.dvdbeaver.com/film/Reviews/shining.htm	en	"The Shining" Review by Gary Tooze			[ "http://www.dvdbeaver.com/film/Reviews/shin/stan2.jpg", "http://www.dvdbeaver.com/film/Reviews/shin/shin2.jpg", "http://www.dvdbeaver.com/film/Reviews/shin/overlook%20hotel.jpg", "http://www.dvdbeaver.com/film/Reviews/shin/interview.gif", "http://www.dvdbeaver.com/film/Reviews/shin/long%20hallway1.gif", "http://www.dvdbeaver.com/film/Reviews/images/arrow.gif", "http://www.dvdbeaver.com/film/Reviews/shin/lookit%20maze.gif", "http://www.dvdbeaver.com/film/Reviews/shin/scatman%20shines.jpg", "http://www.dvdbeaver.com/film/Reviews/shin/red%20washroom.gif", "http://www.dvdbeaver.com/film/Reviews/images/arrow.gif", "http://www.dvdbeaver.com/film/Reviews/shin/pool-red.gif", "http://www.dvdbeaver.com/film/Reviews/shin/long%20hallway2.gif", "http://www.dvdbeaver.com/film/Reviews/shin/twins.gif", "http://www.dvdbeaver.com/film/Reviews/shin/arrow_up.gif", "http://www.dvdbeaver.com/film/Reviews/shin/dead%20twins.jpg", "http://www.dvdbeaver.com/film/Reviews/images/arrow.gif", "http://www.dvdbeaver.com/film/Reviews/shin/twin%20elevators.gif", "http://www.dvdbeaver.com/film/Reviews/shin/redrum.gif", "http://www.dvdbeaver.com/film/Reviews/shin/shelly%20reads.jpg", "http://www.dvdbeaver.com/film/Reviews/images/arrow.gif", "http://www.dvdbeaver.com/film/Reviews/shin/all%20work%20and%20no%20play%20makes%20jack%20a%20dull%20boy.jpg", "http://www.dvdbeaver.com/film/Reviews/shin/camera%20underneath.gif", "http://www.dvdbeaver.com/film/Reviews/shin/heres%20johnny.jpg", "http://www.dvdbeaver.com/film/Reviews/shin/boy%20run%20maze.gif", "http://www.dvdbeaver.com/film/Reviews/images/arrow.gif", "http://www.dvdbeaver.com/film/Reviews/shin/jack%20chases%20maze.gif", "http://www.dvdbeaver.com/film/Reviews/shin/frozen%20jack.jpg", "http://www.dvdbeaver.com/film/Reviews/shin/jack%20as%20host.jpg", "http://www.dvdbeaver.com/film/G/gtdvd.2.gif", "http://www.dvdbeaver.com/film/G/gtdvd.4.gif", "http://www.dvdbeaver.com/film/G/3.5.gif", "http://www.dvdbeaver.com/film/G/gtdvd.4.gif", "http://wms.assoc-amazon.com/20070822/US/img/noscript.gif?tag=dvdbeaver-20" ]	[]	[]	[ "" ]	null	[]	null					null	The Bottom Line I don't think its totally necessary to dredge up the dissatisfaction with "The Shining" by both the fans and author Stephen King. It's my contention that years later as we now reflect on this, that "The Shining" and Kubrick more than hold their own, in fact if it were a cat-fight between Stephen and Stanley... Stanley wins it hands down. Why? King produced his own TV version of "The Shining" afterward, which was by many people standards quite good, but extended beyond its necessity to suit the length of a "mini-series" ( final toll almost 5 hours ). In rating points it actually bombed and King states this was due to the popularity of the film. Kubrick had to cut corners somewhere from the book, and although I agree that the characterizations were weaker than they could have been ( and the addition of more of Dick Halloran would have been a benefit ), the film ran over 140 minutes ( and could easily have gone 3 hours ) but for logistics, the full story had to be trimmed. It should also be stated that Stephen King is an immensely talented writer, with the ability to have some of his novels, like "The Stand" and "The Dead Zone", called masterpieces. He takes his craft very seriously, but by no means is "The Shining" a perfect story. In Kings biography he does state that "The Shining" is one of his favorite films of all time. So what does that imply ? The general consensus of marketing Horror films is through the exploitive element. They bill the film as "better" in a more gory and gruesome sense than had ever been previously seen. Although Kubrick burned some rather disturbing images in the viewers head with "The Shining", it was going no where near the cheap thrill level of a teen-slasher ( Friday the 13th, Halloween etc. ) type film. On the contrary, Kubrick films are of a slow with deliberate pacing, setting the crux of the film extremely subtly. Stanley Kubrick is said to be an obsessive perfectionist in his field. This film holds the Guinness Book of World Records for requiring Shelley Duvall to do 127 takes for one scene. On another occasion he required Jack Nicholson to do over 100 takes, stating "the longer we do it, the better he gets". The score ( changed again by Kubrick ) was originally supposed to have been done by John Williams. It was replaced by Kubricks own collection with music by Béla Bartók (from "Music for Strings, Percussion, and Celesta") Hector Berlioz, György Ligeti and Krzysztof Penderecki. This is how Kubrick crafts his films... he must conquer/control the idea/project/novel completely to transmogrify them into his own masterpiece. He has done so again with startling brilliance. Like almost all Kubrick works, this is a film that one appreciates more the more one sees it. It's a shame more horror films are not all this good. REGARDING THE EDIT - NOTE: (sent in email by Francois) "To sum it up, Shelley Duvall mentioned the deleted scene in an interview to French movie magazine "Positif" (which had a strong Kubrick coverage due to Kubrick expert Michel Ciment). It took place in a hospital where hotel manager Stuart Ullman visited Wendy and Danny, recovering, a few days after the events. Ullman told Wendy that Jack's body hadn't been found so far. He spoke with her about her plans for the future and showed concern for Danny and her. Then, he moved to Danny and threw a rubber ball at him. The rubber ball bounced exactly like the one Danny had found earlier in the lobby, suggesting that Ullman had been an accomplice with all the things evil from the very beginning. Cut to the final scene in the hall with the picture. Duvall spoke of it as an "Hitchcockian ending", which was no surprise given Kubrick's love for Hitchcock. She had a clear recollection of the whole scene as it was a tracking shot requiring dozens of takes before getting one with the very same bounces. Peter didn't mention in his recollection the bouncing ball. Maybe this part of the shot was already cut in the theatrical version, maybe it wasn't very effective to the audiences, which would explain why Kubrick removed it. In the event, he made way for one of the most powerful edits in all his work, going in a few shots from Jack's frozen body to the group photograph of 1921." (Thanks Francois!) out of The DVD I found many of the complaints of this DVD to be unfounded, but also a few to be accurate. Firstly, complaints of it not being Widescreen; the major benefit to having a film be WS is that it is kept in the directors intended original aspect ratio. For Kubrick and "The Shining", this was the case. He intended to shoot the movie in "Full Frame" or "Academy Ratio" of 1.33:1 . Having had a distasteful experience with his masterpiece "2001: A Space Odyssey" being cropped by British television, Kubrick vowed never to let that happen again. His solution was to shoot ALL his films from that point onward in Full Frame. It would have been nice to have an improved picture with an anamorphic squeeze, but rest assured regardless of comments regarding the blank spaces in the upper and bottom portion of the screen, we are seeing the film the way Mr. Kubrick wanted us to. This also includes the sound, a Dolby Digital 2.0 track. Probably the best additional feature I have seen on any DVD yet is the inclusion on "The Shining" of a short film ( 35 minutes ) by Vivian Kubrick ( youngest daughter ) as an ad-hock documentary on "the making of". It is the only known film showing Kubrick at the actual task of directing. For Kubrick devotees, this is a must have, even if for first hand witnessing of his exasperation with Shelley Duvall and the frankness of Jack Nicholson as he gets into character. Unfortunately, the film has not been restored for DVD. A new version of this DVD is coming out in June, 2001, and it is restored Some of the colors may seen washed out at times, but nothing of an extravagant nature in this version. In the new DVD, the Vivian Kubrick short, will be there and they have actually upgraded the sound to Dolby Digital 5.1... so in essence, in the new DVD you are NOT hearing "The Shining" in the way that Mr. Kubrick intended. ??? The DVD gets out of
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205	dbpedia	1	92	https://neiloseman.com/category/classic-movie-retrospectives/	en	Classic Movie Retrospectives Archives	https://neiloseman.com/w…e-icon-32x32.jpg	https://neiloseman.com/w…e-icon-32x32.jpg	[ "https://neiloseman.com/wp-content/uploads/2022/07/AR-machine-660x477.jpg", "https://neiloseman.com/wp-content/uploads/2022/07/Heroes-660x472.jpg", "https://neiloseman.com/wp-content/uploads/2022/07/Simulants-660x472.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/Back-To-The-Future-Part-III-1-660x446.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/Young_Biff_and_Old_Biff-660x371.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/Jeffrey-Weissman.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/Back-to-the-Future-The-Ultimate-Visual-History-3-660x493.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/pizza-660x337.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/341179-660x358.png", "https://neiloseman.com/wp-content/uploads/2022/06/Behind-The-Scenes-back-to-the-future-30641371-700-475-660x445.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/Back_to_the_future-287x450.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/bob-gale-robert-zemeckis-back-to-the-future.jpg-660x440.webp", "https://neiloseman.com/wp-content/uploads/2022/06/back-to-the-future-1985-660x353.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/MakeMyDay_BackToTheFuture_03-1-1600x900-c-default-660x371.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/back-to-the-future-featured-660x358.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/Eric-Stoltz-in-Back-to-the-Future.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/back-to-the-future-johnny-b-goode-660x440.jpg", "https://neiloseman.com/wp-content/uploads/2022/06/lightning-delorean.jpg", "https://neiloseman.com/wp-content/uploads/2022/05/p08x8341-660x371.jpg", "https://neiloseman.com/wp-content/uploads/2022/05/Robin-Hood-10-660x371.png", "https://neiloseman.com/wp-content/uploads/2022/05/Robin-Hood-and-Azeem-e1652960442458-660x475.jpeg", "https://neiloseman.com/wp-content/uploads/2022/05/rDVGgKzGDMiZuafu5goMmvPiqxB-660x371.jpg", "https://neiloseman.com/wp-content/uploads/2022/05/Robin-Hood-Prince-of-Thieves-IMG009-660x373.png", "https://neiloseman.com/wp-content/uploads/2022/04/Citizen-Kane-660x330.jpeg", "https://neiloseman.com/wp-content/uploads/2022/04/citizen-kane-1941-framegrab-16-660x495.jpg", "https://neiloseman.com/wp-content/uploads/2022/04/citizen_kane_silhouette-660x495.jpg", "https://neiloseman.com/wp-content/uploads/2022/04/Citizen-Kane-1-660x512.jpg", "https://neiloseman.com/wp-content/uploads/2021/11/timebandits_primary-660x371.jpg", "https://neiloseman.com/wp-content/uploads/2021/11/time-bandits-poster-300x450.jpg", "https://neiloseman.com/wp-content/uploads/2021/11/time-bandits.jpg", "https://neiloseman.com/wp-content/uploads/2021/11/time-bandits-connery.jpg", "https://neiloseman.com/wp-content/uploads/2021/11/time-bandits-warner.jpg", "https://neiloseman.com/wp-content/uploads/2021/11/quantum-leap-scott-bakula-dean-stockwell-660x330.jpg", "https://neiloseman.com/wp-content/uploads/2021/11/Honeymoon-Express_052-660x493.jpg", "https://neiloseman.com/wp-content/uploads/2021/11/MIA.jpg", "https://neiloseman.com/wp-content/uploads/2021/11/LeapBack-660x494.jpg", "https://neiloseman.com/wp-content/uploads/2021/11/A-leap-for-lisa_Singen_Sam_at_Court_Martial-660x485.jpg", "https://neiloseman.com/wp-content/uploads/2021/11/DrRuth-660x495.jpg", "https://neiloseman.com/wp-content/uploads/2021/10/RogerRabbit1-1-660x371.jpeg", "https://neiloseman.com/wp-content/uploads/2021/10/RogerRabbit2-660x371.jpeg", "https://neiloseman.com/wp-content/uploads/2021/10/Rogerpoint.png", "https://neiloseman.com/wp-content/uploads/2021/10/RogerRabbit3-660x371.jpeg", "https://neiloseman.com/wp-content/uploads/2021/09/mission-impossible-1996-315x450.jpg", "https://neiloseman.com/wp-content/uploads/2021/09/Mission-Impossible-1996-tom-cruise-27898810-1200-800-660x440.jpg", "https://neiloseman.com/wp-content/uploads/2021/09/766497-e1631051082508-660x270.jpg", "https://neiloseman.com/wp-content/uploads/2021/07/Raiders-of-the-Lost-Ark-2-copy-660x264.jpg", "https://neiloseman.com/wp-content/uploads/2016/04/Douglas_Slocombe_BSCine.jpg", "https://neiloseman.com/wp-content/uploads/2021/07/1981-Raiders-of-the-Lost-Ark-07-660x287.jpg", "https://neiloseman.com/wp-content/uploads/2021/07/raiders_of_the_lost_ark_still11-660x371.jpeg", "https://neiloseman.com/wp-content/uploads/2021/07/1981-Raiders-of-the-Lost-Ark-08-660x285.jpeg", "https://neiloseman.com/wp-content/uploads/2021/07/Raiders-of-the-Lost-Ark-indiana-jones-3678727-1280-720-660x284.jpg" ]	[]	[]	[ "" ]	null	[]	2022-07-11T14:00:33+00:00		en	https://neiloseman.com/w…e-icon-32x32.jpg	Neil Oseman	https://neiloseman.com/category/classic-movie-retrospectives/	I have been a huge fan of the British sci-fi sitcom Red Dwarf since the age of 12 or 13. The show has undergone many changes over the years, and every fan has their own view about which era is the best, but for me seasons V and VI will always be my favourites. I discovered the show during season V and I remember the huge anticipation for the next season. During this time the show’s production values were very high but it was still extremely funny, with the main characters all well established and well rounded. So I was delighted to come across Joe Nazzaro’s book The Making of Red Dwarf in a charity shop recently. It focuses on the production of the series’ most lauded episode, the International Emmy-winning “Gunmen of the Apocalypse” from 1993. The episode sees mechanoid Kryten deliberately contract a computer virus in order to save the Red Dwarf posse, and their efforts to help him battle the infection within the framework of a Wild West VR game representing his consciousness. What I find fascinating is that the series, at that time at least, was made in such a different way to modern high-end TV or film, following instead the multi-camera sitcom pattern of rehearsing all week and recording in the evening on Saturday. The cycle began on a Sunday, with production designer Mel Bibby removing the previous episode’s sets from Stage G at Shepperton and installing the new ones. On Monday the director, writers and cast rehearsed on the set while certain crew members travelled to location – the Laredo Western Club in Kent – to pre-rig. A British sitcom at this time had no director of photography; instead the camera angles were chosen purely by the director and technically executed under the purview of the camera supervisor, while illumination was provided by the lighting director, in this case John Pomphrey. His work at Laredo included putting warm lights inside the buildings to match the look of the interiors which he planned for the studio. Pomphrey lit a lot of rock and pop shows, and was inspired by concert lighting for such bands as Iron Maiden: “If you look at them they’re into the same colours I am: oranges, deep blues; powerful colours. I don’t believe in understating something, because you’re generally watching it on a small screen in a well-lit room, so you’ve got to overstate the colours. In the cinema, you can get away with subtle tones, but I don’t think you can on this show… I’m a frustrated cinematographer: I want to make ‘Aliens’.” Tuesday was the location shoot, conducted with multiple cameras (though not for every set-up) as director Andy DeEmmony worked through his storyboards. At this time all UK TV was 4:3 standard definition. While a high-end drama would have used 16mm film, most shows, including Red Dwarf, were captured on a tape format like Betacam SP. “Gunmen of the Apocalypse” saw the series make rare use of a crane, and behind-the-scenes photos also show at least one HMI shining through a diffusion frame. It was common practice at this time to use large HMIs to fill in shadows on sunny day exteriors. On Wednesday rehearsals continued on stage, culminating in a tech run during which camera supervisor Rocket previewed shots using the classic hand-framing method. In the evening the production team convened to discuss the next episode, “Polymorph II: Emohawk”. Thursday was known as the Pre-VT day: the day when all scenes too complex to shoot in front of the live audience must be recorded. With “Gunmen” this meant scenes inside the Last Chance Saloon which required such camera tricks as pulling knives out of antagonist Jimmy’s jacket on nylon wires so that in reverse it looked like the knives were pinning him to the wall, Rimmer’s bar fight with four cowboys, and a scene aboard the Simulant ship which is the source of Kryten’s infection. Pomphrey would communicate by radio with Dai Thomas, who spent studio days in a darkened cabin operating a lighting desk while watching the action on two monitors. Friday saw more rehearsals, while Tuesday and Thursday’s footage was edited to show to the live audience tomorrow. Saturday began with blocking and camera rehearsals, before the doors opened to the public at 7pm and recording commenced at 7:30. It seems that Shepperton Stage G was not equipped with a gallery like a dedicated TV studio; instead, vision mixing was done from the scanner – an outside broadcast truck. For those who don’t know, vision mixing is live editing, cutting from one camera to another in real time as a production assistant calls the shots from the director’s camera script. Elsewhere in the scanner, an engineer monitored the images, doing something akin to the job of a modern DIT, adjusting colours, sharpness and even remotely controlling the cameras’ irises. (Zoom and focus were controlled by the camera operators.) It’s a testament to all concerned that the show looked so cinematic despite being made this way. Later seasons became even more cinematic, doing away with the live audience for a little while, then bringing it back and later kick-starting Ed Moore BSC’s career when he shot seasons XI and XII beautifully. By this time the show was produced by Dave (a channel named, appropriately enough, after Red Dwarf‘s slobbish hero Dave Lister). It was now captured in HD, on Red cameras of some flavour if I remember rightly, with a focus puller for each one and a more film-like crew structure . It’s unclear at present if any more seasons will follow 2020’s “The Promised Land”, but if they do I’m sure the series will continue to evolve and embrace new technologies and working practices. Which is a very dull way to end a post about a very funny show, so instead I’ll leave you with one of my favourite jokes from the series, which will make no sense whatsoever unless you remember the set-up. Kryten, no kitchen appliance should give a human being a double polaroid. With the runaway success of the first instalment, there was no way that Universal Pictures weren’t going to make another Back to the Future, with or without creators Bob Gale and Robert Zemeckis. So after confirming that Michael J. Fox and Christopher Lloyd were willing to reprise their roles as Marty McFly and Doc Emmett Brown, the producer and director got together to thrash out story ideas. They knew from the fan mail which had been pouring in that they had to pick up the saga where they had left off: with Doc, Marty and his girlfriend Jennifer zooming into the future to do “something about your kids!” They soon hit upon the idea of an almanac of sport results being taken from 2015 into the past by Marty’s nemesis Biff Tannen (Thomas F. Wilson), resulting in a “Biff-horrific” alternate 1985 which Marty and Doc must undo by journeying into the past themselves. Gale’s first draft of the sequel, written up while Zemeckis was away in England shooting Who Framed Roger Rabbit?, had Biff giving the almanac to his younger self in 1967. Marty would don bell-bottom trousers and love beads to blend into the hippy culture, meet his older siblings as very young children and his mother Lorraine as an anti-war protestor, and endanger his own existence again by preventing his parents going on the second honeymoon during which he was conceived. Upon returning from England and reading the draft, Zemeckis had two main notes: add a fourth act set in the Wild West, and how about 1955 again instead of 1967? “We could actually do what the audience really, really wants, which is to go back and revisit the movie they just saw,” Zemeckis later explained. “That is the thing that excited me most, this idea of seeing the same movie from a different angle.” Adding the Wild West act ballooned the script to over two-and-a-half hours with an estimated budget of $60 million, far more than Universal wanted to spend. So Gale revised the screenplay, expanding it further with a neat point in the middle where it could be split in half. As two films, each budgeted at $35 million but shot back-to-back over 11 months, the project was much more appealing to the studio. However, it was still a bold and unusual move for Universal to green-light two sequels simultaneously, something that it’s easy to forget in these days of long-form movie franchises planned out years in advance. A sticking point was Crispin Glover. As Marty’s father George McFly he had been a difficult actor to work with on the first film, and now he was demanding more than a ten-fold pay increase to appear in the sequels. “Crispin… asked for the same money that Michael J. Fox was receiving, as well as script approval and director approval,” according to Gale. He gave Glover’s agent two weeks to come back with a more realistic offer, but it didn’t come. Glover would not be reprising his role. Gale accordingly made George dead in the Biff-horrific 1985, and Zemeckis employed several tricks to accomplish his other scenes. These included the reuse of footage from Part I, and hanging cheap replacement actor Jeffrey Weissman upside-down in a futuristic back brace throughout the 2015 scenes. Life casts of Glover’s face taken for the ageing effects in Part I were even used to produce prosthetic make-up appliances for Weissman so that he would resemble Glover more closely. “Oh, Crispin ain’t going to like this,” Fox reportedly remarked, and he was right. Glover would go on to successfully sue the production for using his likeness without permission, with the case triggering new Screen Actors Guild rules about likeness rights. Make-up was a huge part of the second film, since all the main actors had to portray their characters at at least two different ages, and some played other members of the family too. A 3am start in the make-up chair was not unusual, the prosthetics became hot and uncomfortable during the long working days, and the chemicals used in their application and removal burnt the actors’ skin. “It was a true psychological challenge to retain enough concentration to approach the character correctly and maintain the performance,” said Wilson at the time. Filming began in February 1989 with the ’55 scenes. To save time and money, only one side of the Hill Valley set – still standing on the Universal backlot – was dressed for this period. The company then shot on stage for a few weeks before returning to the backlot in March, by which time production designer Rick Carter and his team had transformed the set into a gangland nightmare to represent Biff-horrific 1985. In May the company revisited the Hill Valley set once more to record the 2015 scenes. When the real 2015 rolled around, many were quick to compare the film’s vision of the future to reality, but Gale always knew that he would fail if he tried to make genuine predictions. “We decided that the only way to deal with it was to make it optimistic, and have a good time with it.” Microwave meals had begun to compete with home cooking in the ‘80s, so Gale invented a leap forward with the pizza-inflating food hydrator. Kids watched too much TV, so he envisaged a future in which this was taken to a ridiculous extreme, with Marty Jr. watching six channels simultaneously – not a million miles from today’s device-filled reality. While the opening instalment of the trilogy had been relatively light on visual effects, Part II required everything from groundbreaking split-screens to flying cars and hoverboards. This last employed a range of techniques mostly involving Fox, Wilson and three other actors, plus five operators, hanging from cranes by wires. While every effort was made to hide these wires from camera – even to the extent of designing the set with a lot of camouflaging vertical lines – the film went down in VFX history as one of the first uses of digital wire removal. But perhaps the most complex effect in the film was a seemingly innocuous dinner scene in which Marty, Marty Jr. and Marlene McFly all share a pizza. The complication was that all three roles were played by Michael J. Fox. To photograph the scene and numerous others in which cast members portrayed old and young versions of themselves, visual effects wizards Industrial Light & Magic developed a system called VistaGlide. Based on the motion control rigs that had been used to shoot spaceships for Star Wars, the VistaGlide camera was mounted on a computer-controlled dolly. For the dinner scene, Fox was first filmed as old Marty by a human camera operator, with the VistaGlide recording its movements. Once Fox had switched to his Marty Jr. or Marlene costume and make-up, the rig could automatically repeat the camerawork while piping Fox’s earlier dialogue to a hidden earpiece so that he could speak to himself. Later the three elements were painstakingly and seamlessly assembled using hand-drawn masks and an analogue device called an optical printer. The technically challenging Part II shoot came to an end on August 1st, 1989, as the team captured the last pieces of the rain-drenched scene in which Marty receives a 70-year-old letter telling him that Doc is living in the Old West. Four weeks later, the whole cast and crew were following Doc’s example as they began filming Part III. In order to have open country visible beyond the edges of 1885’s Hill Valley, the filmmakers opted to leave the Universal backlot and build a set 350 miles north in Sonora, California. The town – which had appeared in classic westerns like High Noon and Pale Rider – was chosen for its extant railway line and its genuine 19th century steam locomotive which would form a pivotal part of the plot. Joining the cast was Mary Steenburgen as Doc’s love interest Clara. Initially unsure about the role, she was persuaded to take it by her children who were fans of the original film. “I confess to having been infatuated with her, and I think it was mutual,” LLoyd later admitted of his co-star. Though the pair never got involved, Part III’s romantic subplot did provide the veteran of over 30 films with his first on-screen kiss. By all accounts, an enjoyable time was had by the whole cast and crew in the fresh air and open spaces of Sonora. Fox, who had simultaneously been working on Family Ties during the first two films, finally had the time to relax between scenes, even leading fishing trips to a nearby lake. The set acquired the nickname “Club Hill Valley” as a volleyball court, mini golf and shooting range were constructed. “We had a great caterer,” recalled director of photography Dean Cundey, “but everybody would rush their meal so that they could get off to spend the rest of their lunch hour in their favourite activity.” There was one person who was not relaxed, however: Robert Zemeckis. Part II was due for release on November 20th, about halfway through the shoot for Part III. While filming the action-packed climax in which the steam train propels the DeLorean to 88mph, the director was simultaneously supervising the sound mix for the previous instalment. After wrapping at the railway line, Zemeckis would fly to Burbank and eat his dinner on the dubbing stage while giving the sound team notes. He’d then sleep at the Sheraton Universal and get up at 4:30am to fly back to Sonora. The train sequence had plenty of other challenges. Multiple DeLoreans had been employed in the making of the trilogy so far, including a lightweight fibreglass version that was lifted on cables or hoisted on a forklift for Part II’s flying scenes, and two off-road versions housing Volkswagen racing engines for Part III’s desert work. Another was now outfitted with railway wheels by physical effects designer Michael Lantieri. “One of the scariest things to do was the DeLorean doing the wheelie in front of the train,” he noted in 2015. “We had cables and had it hooked to the front of the train… A big cylinder would raise the front of the car.” The film’s insurance company was unhappy about the risks of putting Michael J. Fox inside a car that could potentially derail and be crushed by the train, so whenever it was not possible to use a stunt double the action was played out in reverse; the locomotive would pull the DeLorean, and the footage would subsequently be run backwards. The makers of Mission: Impossible 7 recently drove a full-scale mock-up of a steam locomotive off an unfinished bridge, but Back to the Future’s team opted to accomplish a very similar stunt in miniature. A quarter-scale locomotive was constructed along with a matching DeLorean, and propelled to its doom at 20mph with six cameras covering the action. Marty, of course, has returned safely to 1985 moments earlier. Part III wrapped on January 12th, 1990 and was released on May 25th, just six months after Part II. Although each instalment made less money than its predecessor, the trilogy as a whole grossed almost $1 billion around the world, about ten times its total production cost. The franchise spawned a theme park ride, an animated series, comics and most recently a West End musical. But what about Part IV? Thomas F. Wilson is a stand-up comedian as well as an actor, and on YouTube you can find a track of his called “Biff’s Questions Song” which humorously answers the most common queries he gets from fans. The penultimate chorus reveals all: “Do you all hang out together? No we don’t / How’s Crispin Glover? Never talk to him / Back to the Future IV? Not happening / Stop asking me the question!” Spaceman from Pluto is a 1985 sci-fi comedy starring Eric Stoltz and Christopher Lloyd. Lloyd plays Professor Brown, an eccentric scientist with a pet chimp, who builds a time machine out of an old fridge. Stoltz portrays a teenage video pirate, Marty McFly, who is accidentally sent back to the 1950s in the machine. After almost wiping himself from existence by endangering his parents’ first meeting, Marty returns to his own time using the power generated by an atomic bomb test in the Nevada desert. Fortunately this movie was released in some alternate version of history. In our timeline it went through a number of changes in writing and production to become the blockbuster classic Back to the Future. For co-writer and producer Bob Gale it all started when he came across his father’s highschool yearbook and realised that, had he and his father been peers, they would never have been friends. Spotting the comedy potential in the concept of a teenager going to school with his parents, Gale sat down with co-writer and director Robert Zemeckis to develop a script. The pair knew they needed a time machine and decided that it would be created by a backyard inventor rather than some government organisation. “I can’t really put my finger on when I stumbled on the idea of time travel,” said Gale in 2002, “whether it was from watching The Twilight Zone, reading Superman comics, or when the H.G. Wells Time Machine – the George Pal movie – came out, but I do remember being totally fascinated by that film.” Getting Back to the Future made proved challenging. Most of the studios that Gale and Zemeckis approached found the script too sweet and innocent compared with the typical R-rated teen movies of the time. Disney, on the other hand, felt that the mother-falls-for-son plot was too taboo. Making matters worse was the duo’s less than spectacular track record. Their first two feature films, I Wanna Hold Your Hand and Used Cars, were both box office flops. They even had the dubious honour of writing the least successful film of Steven Spielberg’s directorial career so far, 1941. Everything changed when Michael Douglas hired Zemeckis to direct 1984’s Romancing the Stone. The adventure romp was a hit and suddenly everyone in the notoriously fickle Hollywood wanted Back to the Future. Spielberg, who had always loved the script, signed on as executive producer and – after a false start at Columbia – the movie was green-lit by Universal Pictures. Studio president Sid Sheinberg requested a number of script changes. Professor Brown became “Doc” and his chimp became a dog. Marty’s video piracy (which would have explained his possession of the camcorder with which he films the time machine’s test run) was written out, as the studio were understandably unwilling to promote the revenue-slashing crime. Sheinberg also hated the title Back to the Future and wanted it changed to Spaceman from Pluto, a reference to the comic clutched by the Peabody children after the DeLorean crashes into their barn on arriving in 1955. Zemeckis and Gale turned to Spielberg to help them dodge this title without offending Sheinberg; his solution was to send a memo saying what a big laugh they all got out of Sheinberg’s joke. The studio president never mentioned it again. The title Back to the Future was retained, but the barn scene did prompt another change. By this point the writers had realised that an immobile fridge was not dramatic or practical as a time machine, and were searching for a suitable vehicle for Doc to build it into. They chose the slick, stainless steel DeLorean with its futuristic gull-wing doors so that the Peabody family could mistake it for a UFO. Budget concerns drove the elimination of the A-bomb scene. Shooting on location and building the miniatures of the bomb and its test tower were estimated to cost $1 million. Switching the power source to a lightning bolt not only saved this money by keeping all the action in Hill Valley, it enhanced the time metaphor represented by the clock tower as well as giving Doc an active part in the climax rather than being stuck in a blast bunker with a walkie-talkie. The filmmakers’ first choice for the role of Marty McFly was Michael J. Fox, the 23-year-old star of sitcom Family Ties. But that show’s creator, Gary David Goldberg, refused to even let Fox see the Back to the Future script, fearing the actor would love it and resent Goldberg for not releasing him from his Family Ties commitment. A disappointed Zemeckis accordingly began screen-testing other actors, eventually narrowing the choice down to C. Thomas Howell (best known for the coming-of-age drama The Outsiders) and Eric Stoltz (who had appeared in Fast Times at Ridgemont High and The Wild Life). It seems that Sid Sheinberg was Stoltz’s most vocal advocate. Gale recalled the studio president declaring: “I’m so convinced that Eric is going to be great in this part, if it doesn’t work out you can recast it and start all over again.” No-one expected that to actually happen. Filming began on November 26th, 1984. The logistics of transforming a real town into Hill Valley in both 1955 and 1985 were daunting, so instead production designer Lawrence G. Paull adapted the town square set on Universal Studios’ backlot, which had originally been built for the 1948 film noir An Act of Murder. Special effects supervisor Kevin Pike had taken three DeLoreans and, working to concept art by the legendary Ron Cobb amongst others, fitted them with a variety of aircraft surplus parts and other junk to create the iconic time machine. The “Mr. Fusion” generator added to the vehicle in the final scene started life as a coffee grinder. Cast in the role of Doc Brown was Christopher Lloyd, whose prior roles included a Klingon commander in Star Trek III: The Search for Spock, a psychiatric patient in One Flew Over the Cuckoo’s Nest and five years in the sitcom Taxi. In another alternate timeline he wasn’t involved in Back to the Future either, having binned the script in favour of a stage role in New York; it was his wife who made him reconsider. Basing the character on the conductor Leopold Stokowski, Lloyd made the Doc larger than life. Eric Stoltz had a very different approach, a method approach, focusing on the serious aspect of Marty’s out-of-time predicament and apparently ignoring the fact that he was starring in a comedy. “Eric didn’t get it,” camera assistant Clyde E. Bryan remembered in 2015. “Eric didn’t understand the physical, pratfall type of humour that Bob [Zemeckis] was looking for.” By the sixth week of filming, almost halfway through the schedule, Zemeckis knew he had a huge problem. After conferring with Gale and his fellow producer Neil Canton, the director asked Spielberg to come to the editing suite and watch the 45-minute rough cut of everything that had been shot so far. All the filmmakers agreed that Stoltz had to go. Unwilling to have Universal shut down the film and suffer the attendant negative press, Zemeckis kept filming with Stoltz for another week, with most of the cast and crew unaware of the situation. Meanwhile, behind the scenes, Canton worked out exactly how much reshoots would cost ($4 million) while Zemeckis and Gale went back to Goldberg at Family Ties, begging him to let Michael J. Fox take the role. Goldberg agreed on condition that the TV show would take priority. Fox himself claims to have merely weighed the script in his hand before agreeing to do it. During the lunch break on Thursday, January 10th, 1985, halfway through filming the DeLorean’s test run in the car park of the Twin Pines Mall, Zemeckis called Stoltz into his trailer and broke the bad news. By the following Monday, Michael J. Fox was Marty McFly. The young actor’s schedule was exhausting. He would wake at 9am, work on Family Ties from 10am to 6:30pm, get driven to Universal and shoot Back to the Future until 2:30am. Any scenes that required Marty in daylight had to be filmed at weekends. Nonetheless, Fox somehow managed to squeeze in guitar lessons in preparation for Marty’s performance at the Enchantment Under the Sea Dance. He already had some experience with the instrument, but was determined to learn to play “Johnny B. Goode” note for note so that he could finger-sync perfectly to the pre-recorded track. Marty’s singing voice was provided by Mark Campbell, while the energetic choreography of his performance incorporated the signature moves of Pete Townshend, Jimi Hendrix and Eric Clapton as well as Chuck Berry. The scene is one of the most memorable in the movie, but Zemeckis and Gale were very worried about it during editing. “It’s the only scene that doesn’t advance story or character, and we didn’t know how that was going to play,” said Gale. A preview screening in San Jose removed any doubts; the audience loved “Johnny B. Goode” and everything else about the movie. After a second preview, this time with Sid Sheinberg in attendance, Universal realised they were onto a winner and moved the film’s release date up to the July 4th weekend, paying through the nose to accelerate post-production. “I want it to be violent,” Zemeckis told the animators creating the effect of the DeLorean breaking the time barrier, “something akin to a Neanderthal sitting on the hood of the car, chipping away at the fabric of time in front of him.” The hand-drawn cell animation combined with built-in lighting on the car and actual fire trails that had been captured on location, plus additional pyrotechnics overlaid after the fact, created the signature effect. Meanwhile, Alan Silvestri assembled the largest orchestra in Universal’s history to record Back to the Future’s iconic score, and a tie-in single was provided by Huey Lewis and the News. The latter took a couple of attempts to get right; Lewis’ first submission was a minor-key track that didn’t work at all, according to Zemeckis. It was only after the filmmaker showed Lewis the skateboarding scene that he understood the upbeat mood required and composed “The Power of Love”. Fox was away filming a Family Ties special in England when Back to the Future was released. He was surprised to get a call from his agent telling him that it was the biggest film in America. It spent 12 weeks at the top of the US box office charts and quickly became part of popular culture, with even Presidents Reagan and Bush Senior giving speeches about taking the country “back to the future”. To date it has grossed almost $400 million. Summing up the film’s appeal in 2002, Gale offered: “There’s something very special about this story that everyone can identify with, the idea of trying to imagine what your parents were like when they were kids – that just touches everybody.” When Back to the Future was released on VHS in May 1986, fans noticed a small change from the theatrical version. There as expected was the DeLorean’s lift-off and departure to the future – originally intended by Zemeckis and Gale simply as a joke on which to end the story. But now, sandwiched between that final scene and the end credits, was a caption. The caption read: “To be continued…” “I’m going to carve your heart out with a spoon!” “Why a spoon, cousin? Why not an ax or a…?” “Because it’s dull, you twit! It’ll hurt more!” Alan Rickman’s scenery-chomping Sheriff of Nottingham may be widely considered the best thing in Robin Hood: Prince of Thieves, but there is plenty more to enjoy in this classic action romp even now, 31 years on from its release. “There was gold on the page,” claimed executive producer David Nicksay of the screenplay by Pen Densham and John Watson, which he read in early 1990. Both Fox and Tri-Star were working on their own Robin Hood movies, so Nicksay’s comparatively small company, Morgan Creek Productions, had to move fast to avoid being buried at the box office. Director Kevin Reynolds was hired for his previous collaborations with Kevin Costner, having given the star his big break on 1988’s Fandango as well as directing part of Dances With Wolves. Following a scant ten weeks of prep, Reynolds launched into shooting Prince of Thieves against the ticking clock of the approaching winter. The English weather was as cooperative as you might imagine, but no-one could have predicted that unusual winds would cause Heathrow to divert all its flights over the Buckinghamshire forest standing in for Sherwood, playing havoc with the sound. Kevin Costner – who had coincidentally been offered and turned down Fox’s Robin Hood – arrived from the Dances With Wolves editing room just three days before filming began. His very first scene required him to jump out of a rowboat on the Sussex coast and wade to shore, even as his woollen cloak soaked up half his bodyweight in water. Later he spent four days immersed in the freezing waters of Aysgarth Falls, North Yorkshire, for the sequence in which his character battles Little John. The crew also shot in Wiltshire, Northumberland and even Carcassonne in France, but never set foot in Nottinghamshire. The film’s most derided geographical anomaly is the stop-off at Hadrian’s Wall, which somehow falls on Robin’s route from Dover to Nottingham. The character’s accent is also geographically challenged, partly due to a disagreement between the two Kevins about whether an English Costner would be distracting for audiences. The result is best summed up by the man himself on the DVD commentary: “Well, there’s my dumb-ass accent. It was something I wanted to do, and I wasn’t very good at it.” Test screenings were positive but showed that Rickman’s sheriff – whose part had been beefed up by Reynolds in last-minute rewrites – was more popular than Costner’s hero. The producers insisted on redressing the balance in the edit, leading to Reynolds storming out and a 2009 director’s cut that reinstated Rickman’s extra material. (The two Kevins got over their differences in time for 1995’s Waterworld… and I’m sure they’re both very glad about that.) Legendary cinematographer Doug Milsome ensured that Prince of Thieves’ visuals were beyond reproach. To capture sweeping views of the forest hideout he mounted a Wescam – a camera stabiliser typically used for helicopter shots – to a truss erected between the trees. The famous arrow POV shot, hurtling through the woods, took a week to plan and execute. A static arrow was blue-screened over a travelling forest plate photographed at a stately one frame per second. Originally intended just for the trailer, the shot caused such a buzz amongst the public that it was written into the film itself. Another highlight is the score by Michael Kamen, who based his love theme on an actual medieval tune. For the tie-in single, Bryan Adams and his keyboardist Mutt Lange took that same theme and added lyrics, turning it into the power ballad “(Everything I Do) I Do It For You”. The track garnered an Oscar nomination and won a Grammy, and spent 16 weeks at the top of the UK charts, a run still unbeaten today. The achievements of the film itself were more mixed. Alan Rickman bagged a Bafta for his spirited turn as the Sheriff of Nottingham, while Kevin Costner won a Golden Raspberry for Worst Actor, and Christian Slater was nominated for Worst Supporting Actor. The lacklustre reviews did no harm to the box office though; Robin Hood: Prince of Thieves was the second-highest grossing film of 1991, surpassed only by Terminator 2: Judgment Day. And what about the other Robin Hood films that Reynolds and co had raced to beat? Tri-star’s project never left the starting blocks, while Fox’s effort, starring Patrick Bergin and Uma Thurman and exec-produced by Die Hard’s John McTiernan, went straight to television. In fact the only film to challenge Prince of Thieves for many years was the Mel Brooks comedy, Robin Hood: Men in Tights. This parody is surely the ultimate evidence of Prince of Thieves’ cultural impact. For five decades in a row, Citizen Kane was voted the greatest film of all time in Sight & Sound’s International Critic’s Choice poll. Although pipped to the top spot by Vertigo in the latest poll, there are still plenty of filmmakers, academics and fans who consider actor-director Orson Welles’ 1941 debut the very pinnacle of cinematic accomplishment. The spoilt son of a hotelier and a concert pianist, Orson Welles found fame in 1938 when he directed and starred in a radio adaptation of The War of the Worlds which was so convincing that thousands thought it was real and fled their homes. Not long afterwards, RKO, one of the five big studios of Hollywood’s Golden Age, offered a generous two-picture deal to the 24-year-old who had never made a film before and didn’t much want to. 12 months and two abandoned concepts later, Welles teamed with screenplay-fixer Herman J. Mankiewicz, whose past projects included The Wizard of Oz, to script the rise and fall of a powerful newspaper magnate based on William Randolph Hearst. The pair went through five drafts, making changes for creative, financial and legal reasons (hoping to avoid a lawsuit from Hearst). The story’s fictionalised press baron, Charles Foster Kane, dies in the opening scene, but his mysterious last word – “Rosebud” – spurs a journalist to investigate his life. The journalist’s interviews with Kane’s friends and associates lead the viewer into extended flashbacks, an innovative structure for the time. Welles himself took the title role, spending many hours in the make-up chair to portray Kane from youth to old age. Inventive, non-union make-up artist Maurice Seiderman developed new techniques to create convincing wrinkles that would not restrict the actor’s facial expressions. Sometimes Welles would be called as early as 2:30am, holding production meetings while Seiderman worked on him. “I was just as made-up as a young man as an old man,” Welles said later, noting that he wore a prosthetic nose, face-lifting tape and a corset to satisfy both his own vanity and the demands of the studio for a handsome leading man. The young auteur – who directed part of the film from a wheelchair after fracturing his ankle – was not easy to work with. Editor Robert Wise said: “He could one moment be guilty of a piece of behaviour that was so outrageous it would make you want to tell him to go to Hell and walk off the picture. Before you could do it he’d come up with some idea that was so brilliant that it would literally have your mouth gaping open, so you never walked. You stayed.” Welles was keen for his film to look different from others, drawing on his experience of directing theatre. The leading DP of the time, Gregg Toland, jumped at the chance to break the rules. Influenced by German Expressionism, he was not afraid of silhouettes and bright shafts of light. Welles cast many of his Mercury Players – a theatre repertory company he had set up himself – who he knew could handle long takes. He insisted on a large depth of field and often shot from low angles to mimic the experience of a theatre-goer, specifically someone in the front row looking up at the cast. This required many of the sets to have ceilings, unconventionally, and these were made of fabric in some cases so that the boom mic could record through them. Special effects were used extensively to reduce set-building costs and avoid location shooting wherever possible. One example is a crane-up from a theatre’s stage to a pair of technicians watching from the flies above; the middle part of the shot is a matte painting, bridging the two live-action set pieces. In another scene, the camera travels through a neon sign on the roof of a building and down through the skylight; the rooftop is a miniature, the sign is rigged to split apart as the camera moves through it, and a flash of lightning eases the transition into the live-action set. “We were under schedule and under budget,” Welles proudly stated in a 1982 interview. He cheated though, because he asked the studio for ten days of camera tests, citing his inexperience behind the lens, and used those ten days to start shooting the movie! When Citizen Kane was premiered in May 1941, William Randolph Hearst was not fooled by the script tweaks and took the title character as an unflattering portrayal of himself. While he was unable to suppress the film’s release – though not for the want of trying – a smear campaign in his publications ensured it only enjoyed moderate success and that Welles would never have the filmmaking career that such a startling debut should have sparked. It wasn’t until the 1950s that Citizen Kane received the critical acclaim which it still holds today, 81 years on. Released 40 years ago, Terry Gilliam’s surreal sci-fi adventure Time Bandits remains a supremely imaginative film, defying conventions of plot and never talking down to its target audience of children. Let’s take a time portal back to 1981 and find out how it was made. “I was broke. I had to write something fast,” Gilliam once said of the film’s origins. By other accounts he conceived Time Bandits when Brazil’s development stalled due to financier Denis O’Brien “not getting it”. (O’Brien was George Harrison’s partner at Handmade Films, which had originally been set up to fund the Monty Python feature Life of Brian.) After dreaming up the idea of a knight on horseback bursting out of a child’s wardrobe, Gilliam jotted down a mere two sides of notes under the characteristically whimsical heading, “The film that dares not speak its name: a treatment… not a cure”. After describing the opening sequence, in which ten-year-old Kevin is whisked through a time portal by a rabble of robber dwarves while pursued by God, the treatment brazenly states: “And so starts this terrific attempt to get the movie moneybags to part with a few million bucks.” The moneybags were not convinced, however. O’Brien took Gilliam’s script, co-written with Michael Palin, around LA and returned empty-handed. It was then that O’Brien and Harrison decided to put up the film’s $5 million budget themselves, with the ex-Beatle even mortgaging his office building to do so. The script was ambitious, featuring as it did a tour of historical settings from the Napoleonic Wars, through Sherwood Forest and ancient Greece, to the deck of the Titanic, and from there into the “Time of Legends”. This last sequence finds the protagonists aboard a boat which turns out to be a hat worn by a giant. Although this might seem a classic product of a Python’s imagination, Gilliam in fact admits to stealing the idea from a book by fantasy artist Brian Froud, who would go on to be a conceptual designer on Time Bandits’ nearest thematic neighbour, the Terry Jones-scripted Labyrinth (1986). Palin wrote the part of Robin Hood for himself, but O’Brien insisted on casting John Cleese to improve the film’s box office prospects. Palin instead took the role of Vincent, hapless lover of Shelley Duvall’s Pansy. It was Duvall who was hapless, however, when Gilliam climbed some scaffolding to demonstrate to his cast how to fall correctly and ended up landing on her. Amongst the actors playing the eponymous Time Bandits were Kenny Baker, best known as R2-D2 in the first six Star Wars films, Jack Purvis, who played a number of Jawas and Ewoks in the same franchise, and David Rappaport, whose extensive credits include episodes of The Young Ones, The Goodies and Not the Nine O’Clock News. A seventh bandit, Horseflesh, was cut over fears that Disney might perceive a Snow White rip-off and sue. “I always thought of it like the mini Pythons,” said Gilliam of the bandit gang. “There was the leader, then there was the second one who really thought he could do it better…” Meanwhile, the screenplay specifically called for the Greek king Agamemnon to be “none other than Sean Connery, or an actor of equal but cheaper stature”. O’Brien, who played golf with Connery, simply offered the part to the man himself. The cheeky Pythons accordingly updated the stage direction to read: “none other than Sean Connery, who it turns out we can afford”. Nonetheless, creativity was in much greater supply than money, and Gilliam employed clever editing, reverse shots and miniatures to capture his vision within the budget. “I don’t think that there was anyone in America who believed that film cost less than 15 if not 20 million dollars,” O’Brien opined in a 1989 documentary. O’Brien was not always supportive, however. He wanted to cut certain controversial moments like Vermin (Tiny Ross) eating rats, but Gilliam fought him. “There was a point where I threatened to burn the negative,” the director admitted in the same documentary. O’Brien particularly hated the famously downbeat ending. Kevin wakes up in his own bed during a house fire, and is rescued by none other than Sean Connery. Connery himself suggested this second role after he proved unavailable to film Agamemnon’s scripted reappearance (and death) in the showdown at the Fortress of Ultimate Darkness. The controversial moment comes after Connery’s firefighter departs; Kevin’s parents touch a piece of concentrated evil and immediately explode. O’Brien was forced to withdraw his objections to this shocking twist, however, when a test-screening audience chose the ending as their favourite part of the movie. While many fans of Time Bandits might agree, Gilliam believed that the test audience were simply trying to say that they were glad the movie was over! It was with great sadness last week that I read the news of Dean Stockwell’s passing. The actor had a long and varied career, but to me he will always be Admiral Al Calavicci, the holographic observer from the cult 80s/90s sci-fi show Quantum Leap. Only the other week I wrote about how I was such a big fan of this series as a teenager that my friend David Abbott and I made our own version of it. With Scott Bakula’s time-travelling Doctor Sam Beckett very much the protagonist of the show, the intangible Al was often relegated to exposition and comic relief, both of which Stockwell handled expertly. But every now and then Al would come to the fore and really demonstrate the actor’s range and talent. In tribute to him, here are ten of Al’s best episodes across Quantum Leap‘s five seasons. 1. “Pilot” When you’re familiar with Quantum Leap you know that Sam and Al’s friendship is one of the series’ few constants. No matter how “Swiss-cheesed” Sam’s memory gets, he always remembers his best buddy Al. So it’s quite strange when you go back and watch the pilot and Sam’s first leap has scrambled his memory so much that he doesn’t even recognise Al, let alone realise that he’s a holographic projection from the future. The uninitiated viewer is similarly in the dark to begin with, watching Al shouting at an unseen character named Gooshie (Project Quantum Leap’s head programmer) and then disappearing through an invisible door. Al would never be an enigma like this again, and it’s a fun way to start a classic buddy relationship. 2. “HoneyMoon Express” Al and the team at Project Quantum Leap constantly monitor Sam’s time-travelling adventures from their top-secret Stallion Springs, New Mexico base in the future. For the most part this all happens off screen, but the Season Two opener “Honeymoon Express” is one of the few occasions when we get a glimpse behind the curtain. The US Senate is threatening to withdraw the Project’s funding, so Al must attend a hearing to justify the continued expense of staying in touch with Sam. Resplendent in his dress uniform, Admiral Calavicci argues passionately on behalf of his friend, though the funding is ultimately secured when Sam changes history and a new senator is suddenly in charge. 3. “Jimmy” Prejudice versus tolerance is a recurring theme in Quantum Leap, appropriately enough for a show about walking a mile in another man’s shoes. The classic episode “Jimmy” tackles this theme head-on as Sam leaps into the body of a man with learning difficulties. Al pressures Sam not to screw up his mission, which is to ensure that Jimmy holds down a job so that he doesn’t die in a state home. Eventually it comes out that Al’s beloved younger sister Trudy had Down’s Syndrome and died in an institution at the age of 16, hence the hologram’s desperation to stop the same happening to Jimmy. 4. “M.I.A.” Al’s most heart-wrenching episode is the Season Two finale. His first wife, Beth, remarried while Al was a missing, presumed dead POW in Vietnam. Al never got over losing the love of his life, and a string of failed marriages followed. In “M.I.A.” Sam meets Beth during the Vietnam War and has the chance to tell her that her husband is still alive – a chance he refuses to take, on the grounds that time travel should not be used for personal gain. Al is understandably upset with Sam, a rare case of serious friction between the two friends. The episode ends with an incredibly moving scene – very reminiscent of the movie Ghost, although Quantum Leap did it first – as the holographic Al dances to Ray Charles’ “Georgia” with the unknowing Beth. 5. “The Leap Home, Part II: Vietnam” The hypocritical Sam spends the opening two-parter of Season Three trying to change his own family’s past for the better, first at his childhood home in Indiana, then in the jungles of Vietnam alongside his older brother Tom. Out of respect for his fellow soldiers, Al spends the episode in his dress uniform again, spotlessly white amidst the mud and greenery. At one point in the story, a war photographer snaps a band of American POWs being led away by the Viet Cong. The episode’s final scene shows us that photo, revealing that one of the prisoners is none other than a young Al. Stockwell was nominated for an Emmy for this episode (having won a Golden Globe for the series the previous year). 6. “The Leap Back” This is my all-time favourite episode of Quantum Leap, because after three years we finally got to visit the Project in the future and meet Al’s colleagues who have been helping Sam behind the scenes all this time, including the supercomputer Ziggy. The reason is that Sam has been catapulted into the holographic imaging chamber in place of Al, who has quantum-leaped. The story is really about Sam and how he deals with being reunited with his wife Donna (whose existence Al has been keeping from his Swiss-cheesed friend), but that’s intercut with hilarious scenes in which Al gets to experience for himself how difficult it is to walk a mile in someone else’s shoes – including having his own memory Swiss-cheesed. Perhaps a little cruelly, Sam revels in being a hologram and giving unhelpful advice while his buddy is floundering, but Dr Beckett soon sees the serious side of the Observer’s job when he must helplessly watch his friend in danger. 7. “Running for Honor” Another episode that confronts prejudice, “Running for Honnor” was extremely controversial for American television at the time (1992) as it portrayed homosexuality in the military. In fact, some advertisers threatened to pull out when they learnt of the content. Their narrow-mindedness was shared by Al, who is openly homophobic until the ever-tolerant Sam teaches him the error of his ways. Quantum Leap‘s regulars rarely got to have their own character arcs, so it’s nice to see Al go through a process of change in this episode. 8. “A Leap for Lisa” After dancing close to Al’s past life in both “M.I.A.” and “The Leap Home, Part II”, the Season Four finale goes all out and has Sam actually leap into his buddy in 1957. At this time, Al is a young ensign falsely accused of murder by a naval court, an accusation Al easily refuted before Sam accidentally changes history. Now the odds of Al being executed for the crime are rising, finally reaching 100%, at which point old Al is spontaneously replaced by a different hologram. Stuffy and English, Edward St John V couldn’t be more different from his cigar-chomping, womanising, wise-cracking counterpart. Needless to say, Sam saves the day and Al is restored. Elsewhere in the episode, Admiral Calavicci is forced to emotionally relive the death of his girlfriend Lisa Sherman. 9. “Killin’ Time” By Season Five, scenes taking place in the future at Project Quantum Leap were more common, and this episode has them in spades. Sam has leapt into a serial killer, and like all of Sam’s “leapees”, the criminal is temporarily displaced into the Project’s Waiting Room. When he get holds of a gun and escapes to a nearby city, Al must track him down and bring him back. Apart from his brief experience as a leaper in “The Leap Back”, this is the only time we get to see Al in the role of action hero. 10. “Dr. Ruth” The Waiting Room again plays a key role as it hosts Sam’s latest leapee, celebrity sex therapist Dr Ruth Westheimer. While Sam works to fix the tumultuous relationship of two of Ruth’s colleagues, Al takes advantage of the therapist’s presence in the future to get some advice on his own romantic woes. In fact, this turns out to be the real purpose of Sam’s leap. A highlight of Al’s therapy is when Ruth gets him to use the word “breasts”, but only after he’s hilariously avoided it with every euphemism under the sun. With the recent releases of Tom and Jerry and Space Jam: A New Legacy, it’s clear that there’s an appetite for traditional cartoon characters in live-action movies. While this mash-up of techniques goes back at least as far as 1964’s Mary Poppins, perhaps no film has done it quite as well as Who Framed Roger Rabbit. The 1988 movie was loosely based on a Gary K. Wolf novel published seven years earlier, Who Censored Roger Rabbit? However, most of the plot was jettisoned, keeping only the central characters: Eddie Valiant, a private detective; his client, the titular Roger Rabbit; Roger’s wife and femme fatale Jessica; and Roger’s colleague, the libidinous, cigar-smoking Baby Herman. The original villain, a genie of the lamp, was replaced in early script drafts by the hunter who killed Bambi’s mother in the 1942 Disney classic, and finally by Christopher Lloyd’s pop-eyed Judge Doom. Ditching the contemporary setting of its source material, Who Framed Roger Rabbit? takes place in Hollywood, 1947, where cartoon characters (“toons”) co-exist with humans. Bob Hoskins plays the toon-hating Valiant, who reluctantly teams up with Roger after the latter is implicated in the murder of Marvin Acme. The unlikely pair’s investigations lead them to Toontown, where they uncover a conspiracy to demolish this animated region and build a freeway in its place. Screenwriters Jeffrey Price and Peter S. Seaman found inspiration for this plot in Roman Polanski’s 1974 thriller Chinatown. Several film noirs of the 1940s were also referenced, with Hoskins modelling his character on Humphrey Bogart. Numerous famous cartoon characters make cameos, including Mickey Mouse, Daffy Duck, Donald Duck, Tweetie Pie and Betty Boop, with executive producer Steven Spielberg pulling his weight behind the scenes to accomplish the historic meeting of competing studios’ properties. Robert Zemeckis pitched to direct Roger Rabbit in 1982, but his films’ poor box office up to that point put him out of the running. Terry Gilliam was in the frame for a time, while the likes of Harrison Ford, Chevvy Chase and Bill Murray were considered for the lead. Spielberg’s Amblin Entertainment joined the project in 1985, but the projected budget of $50 million was deemed too big to green-light. Meanwhile, Zemeckis’s Back to the Future made him far more bankable with the result that he signed on to direct Roger Rabbit that same year, albeit with a reduced budget of $30 million. Ironically, the film would go over schedule and wind up costing just over its original price tag. The animation was directed by Richard Williams, otherwise best known for his title sequences for the Pink Panther films. Williams refused to work in LA, forcing the production to shoot primarily in England. While Williams and his 326-strong team set up in Camden Town, Zemeckis and company filmed the interiors at Elstree, with warehouses and bus depots in Shepherd’s Bush standing in for exteriors of Hollywood studios and backlots. Some of the sets, including the Ink & Paint Club where Jessica is memorably introduced, were raised 10ft off the floor to accommodate puppeteers. Although no puppets are seen in the finished film, whenever a toon had to hold a real object it was either mounted on a rod coming up through the floor, marionetted on wires from above, or manipulated by a robotic arm. Rehearsals were conducted using a dummy of Roger, or with voice artist Charles Fleischer – bedecked in a rabbit suit – standing in. Hoskins even studied his three-year-old daughter’s antics with an imaginary friend to prepare for the challenge of acting to nothing. Creating the film’s 55 minutes of animation took two years. The live-action footage was printed as a series of enlarged black-and-white frames over which a cel (sheet of transparent acetate) could be placed for the animator to draw on. 82,080 frames were generated in this way, every single one by hand. To better blend the animated characters with the live backgrounds, Industrial Light and Magic composited layers of shading and shadows. The sparkling sequins on Jessica’s dress were achieved by shining a light through a plastic bag which had holes scratched in it. The finished film attracted a degree of controversy, not least from the top brass at Disney. It’s easy to see why the family-friendly company would object to the over-sexualisation of Jessica, or to Valiant’s constant drinking and even bumming a cigarette off children at one point. But Zemeckis’s deal gave him final cut, so the compromise was to release the unaltered film under Disney’s Touchstone label. The result was the second highest grossing film of 1988 and critical acclaim, with an impressive 97% on Rotten Tomatoes and four Academy Awards. Like many articles on my blog, this one first appeared on RedShark News. The seventh instalment in the Mission: Impossible franchise was originally scheduled for release this July. It’s since been pushed back to next September, which is a minor shame because it means there will be no release in 2021 to mark the quarter of a century since Tom Cruise first chose to accept the mission of bringing super-spy Ethan Hunt to the big screen. Today, 1996’s Mission: Impossible is best remembered for two stand-out sequences. The first, fairly simple but incredibly tense, sees Cruise descend on a cable into a high-security vault where even a single bead of sweat will trigger pressure sensors in the floor. The second, developing from the unlikely to the downright ludicrous, finds Cruise battling Jon Voight atop a speeding Channel Tunnel train, a fight which continues on the skids of a helicopter dragged along behind the Eurostar, ending in an explosion which propels Cruise (somehow unscathed) onto the rear of the train. It is the second of those sequences which is a landmark in visual effects, described by Cinefex magazine at the time as “the dawn of virtual sets”. “In Mission: Impossible, we took blue-screen elements of actors and put them into believable CG backgrounds,” said VFX supervisor John Knoll of Industrial Light and Magic. Building on his work on The Abyss and Terminator 2, Knoll’s virtual tunnel sets would one day lead to the likes of The Mandalorian – films and TV shows shot against LED screens displaying CG environments. Which is ironic, given that if Tom Cruise was remaking that first film today, he would probably insist on less trickery, not more, and demand to be strapped to the top of a genuine speeding Eurostar. The Channel Tunnel had only been open for two years when Mission: Impossible came out, and the filmmakers clearly felt that audiences – or at least American audiences – were so unfamiliar with the service that they could take a number of liberties in portraying it. The film’s tunnel has only a single bore for both directions of travel, and the approaching railway line was shot near Glasgow. That Scottish countryside is one of the few real elements in the sequence. Another is the 100ft of full-size train that was constructed against a blue-screen to capture the lead actors on the roof. To portray extreme speed, the crew buffeted the stars with 140mph wind from a parachute-training fan. Many of the Glasgow plates were shot at 12fps to double the apparent speed of the camera helicopter, which generally flew at 80mph. But when the plate crew tried to incorporate the picture helicopter with which Jean Reno’s character chases the train, the under-cranking just looked fake, so the decision was taken to computer-generate the aircraft in the vast majority of the shots. The train is also CGI, as are the tunnel entrance and some of its surroundings, and of course the English Channel is composited into the Glaswegian landscape. Once the action moves inside the tunnel, nothing is real except the actors and the set-pieces they’re clinging to. “We cheated the scale to keep it tight and claustrophobic,” said VFX artist George Hull, admitting that the helicopter could not have fitted in such a tunnel in reality. “The size still didn’t feel right, so we went back and added recognisable, human-scale things such as service utility sheds and ladders.” Overhead lights spaced at regular intervals were simulated for the blue-screen work. “When compositing the scenes into the CG tunnel months later, we could marry the environment by timing those interactive lights to the live-action plates,” explained Hull. Employing Alias for modelling, Softimage for animation, RenderMan for rendering, plus custom software like ishade and icomp, ILM produced a sequence which, although it wasn’t completely convincing even in 1996, is still exciting. Perhaps the best-looking part is the climactic explosion, which was achieved with a 1/8th scale miniature propelled at 55mph through a 120ft tunnel model. (The runaway CGI which followed Jurassic Park’s 1993 success wisely stayed away from explosions for many years, as their dynamics and randomness made them extremely hard to simulate on computers of the time.) Knoll went on to supervise the Star Wars prequels’ virtual sets (actually miniatures populated with CG aliens), and later Avatar and The Mandalorian. Meanwhile, Cruise pushed for more and more reality in his stunt sequences as the franchise went on, climbing the Burj Khalifa for Ghost Protocol, hanging off the side of a plane for Rogue Nation, skydiving and flying a helicopter for Fallout, and yelling at the crew for Mission: Impossible 7. At least, I think that last one was real. Raiders of the Lost Ark, the first instalment in the blockbusting Indiana Jones franchise, burst onto our screens a scarcely-believable 40 years ago. But of course, it’s not the years, it’s the mileage… The origin story of this legendary character is itself the stuff of Hollywood legend. Fleeing LA to escape the dreaded box office results of Star Wars (spoiler: he needn’t have worried), George Lucas and his friend Steven Spielberg were building a sandcastle on a Hawaiian beach when Lucas first floated the idea. Like Star Wars, the tale of adventuring archaeologist Indiana Smith was inspired by adventure serials of the 1950s. Although Spielberg liked the first name (which came from Lucas’s dog, a reference that the third film would twist back on itself), he wasn’t so keen on Smith, and so Indiana Jones was born. Rather than auditions, actors under consideration were invited to join Spielberg in baking bread. Tom Selleck was famously the first choice for the lead, but his contract with the TV series Magnum, P.I. precluded his involvement, and Spielberg instead suggested to a reluctant Lucas that they cast his regular collaborator Harrison Ford. Raiders was shot at a breakneck pace, with Spielberg determined to reverse his reputation for going over schedule and over budget. Beginning in summer 1980, the animated red line of the film crew travelled across a map of the world from La Rochelle, France to England’s Elstree Studios (where Lucas had shot Star Wars) to Tunisia (ditto) to Hawaii, where it had all begun. The film, and indeed the whole of the original trilogy, was photographed in glorious Panavision anamorphic by the late, great Douglas Slocombe, OBE, BSC, ASC. “Dougie is one of the few cinematographers I’ve worked with who lights with hard and soft light,” Spielberg commented. “Just the contrast between those styles within the framework of also using warm light and cool light and mixing the two can be exquisite.” Location challenges included the removal of 350 TV aerials in the Tunisian town of Kairouan, so that views from Sallah’s balcony would look period-accurate, this being before the days of digital tinkering. Digital tinkering was applied to the DVD release many years later, however, to remove a tell-tale reflection in a glass screen protecting Harrison Ford from a real cobra. Besides this featured reptile – which proved the value of the screen by spitting venom all over it – the production team initially sourced 2,000 snakes for the scene in which Indy and friends locate the Ark of the Covenant. But Spielberg found that “they hardly covered the set, so I couldn’t get wide shots.” 7,000 more snakes were shipped in to complete the sequence. While the classic truck chase was largely captured by second unit director Michael Moore working to pre-agreed storyboards, Spielberg liked to improvise in the first unit. The fight on the Flying Wing, during which Ford tore a ligament after the plane’s wheel rolled over his leg, was made up as the filmmakers went along. When Indy uses the plane to gun down a troop of bad guys, the director requested a last-minute change from graphic blood sprays to more of a dusty look. Mechanical effects supervisor Kit West resorted to putting cayenne pepper in the squibs, which had the entire crew in sneezing fits. “I would hear complaints,” said Kathleen Kennedy, who worked her way up the producer ranks during the trilogy, beginning as “associate to Mr. Spielberg”. “‘Well, Steven’s not shooting the sketches.’ But once you get into a scene and it’s suddenly right there in front of you, I only think that it can be better if changes are made then.” Spielberg’s most famous improvisation, when a four-day sword-fight was thrown out and replaced with Indy simply shooting the swordsman dead, was prompted by the uncomfortable Tunisian heat and the waves of sickness that were sapping morale. “We couldn’t understand why the crew was getting ill, because we were all drinking bottled Evian water,” recalled Ford’s stunt double Vic Armstrong. “Until one day somebody followed the guy that collected the empties and saw him filling these Evian bottles straight out of the water truck.” Production wrapped in early October, and effects house ILM, sound designer Ben Burtt and composer John Williams worked their world-class magic on the film. For the opening of the Ark, ILM shot ghost puppets underwater, while the demise of the Nazi Toht was accomplished with a likeness of actor Ronald Lacey sculpted out of dental alginate, which melted gorily when heated. Amongst the sounds Burtt recorded were a free-wheeling Honda station wagon (the giant boulder), hands squelching in a cheese casserole (slithering snakes) and the cistern cover of his own toilet (the lid of the Ark). Williams initially composed two potential themes, both of which Spielberg loved, so one became the main theme and the other the bridge. Although still great fun, and delivering a verisimilitude which only practical effects and real stunts can, some aspects of Raiders are problematic to the modern eye. The Welsh John Rhys Davies playing the Egyptian Sallah, and a female lead who is continually shoved around by both villains and heroes alike, make the film a little less of a harmless romp today than it was intended at the time. Raiders was a box office hit, spawning two excellent sequels (and a third of which we shall not speak) plus a spin-off TV series, The Young Indiana Jones Chronicles, and even a shot-for-shot amateur remake filmed by a group of Mississippi teenagers over many years. It also won five Oscars in technical categories, and firmly established Steven Spielberg as the biggest filmmaker in Hollywood. A fifth Indiana Jones film recently entered production, helmed by Logan director James Mangold with Spielberg producing. It is scheduled for release in July 2022. See also: “Learning from the Masters: Raiders of the Lost Ark“
205	dbpedia	2	74	https://jonathanrosenbaum.net/2023/11/body-of-evidence/	en	Jonathan Rosenbaum	https://jonathanrosenbau…2/images/jr3.jpg		[ "https://jonathanrosenbaum.net/wp-content/themes/jr2/images/jr3.jpg", "https://jonathanrosenbaum.net/wp-content/themes/jr2/images/search@2x.png", "http://www.jonathanrosenbaum.net/wp-content/uploads/1993/01/BodyofEvidence-300x199.jpg", "http://www.jonathanrosenbaum.net/wp-content/uploads/1993/01/body_of_evidence-300x191.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	/favicon.ico		https://jonathanrosenbaum.net/2023/11/body-of-evidence/	From the Chicago Reader (January 1, 1993). — J.R. Although I have no facts to support my impression, this erotic courtroom thriller looks as if it grew out of Madonna seeing Basic Instinct and saying, I wanna do one of those. Unfortunately, whatever the limitations of the earlier film, you can’t really do one of those without narrative punch and sweep, which director Uli Edel (Last Exit to Brooklyn) doesn’t manage to muster. While he may be marginally better at directing kinky sex scenes than Instinct‘s Paul Verhoeven, he’s stuck with a fairly ho-hum script by Brad Mirman — millionaire dies of heart failure after sex with his dominatrix girlfriend, who’s charged with murder after inheriting most of his fortune — as well as a performance by Madonna herself that tends to be awkward and unactorly whenever she has to deliver more than a couple of lines at a time. One’s attention is held but not exactly galvanized, even with the combined efforts of Willem Dafoe (the dominatrix’s defense lawyer), Joe Mantegna (the DA), Lillian Lehman (a black woman judge), Anne Archer, and Julianne Moore, not to mention Jurgen Prochnow and Frank Langella in smaller and slimier parts. (JR)
205	dbpedia	2	23	https://madonnaunderground.com/body-of-evidence-blu-ray-new-release/	en	Body of Evidence Blu-ray (new release)	https://madonnaundergrou…MU_FB_Avatar.jpg	https://madonnaundergrou…MU_FB_Avatar.jpg	[ "https://madonnaunderground.com/wordpress/wp-content/uploads/2021/01/HeaderLogo_Default-Trans78_Pink.png", "https://madonnaunderground.com/wordpress/wp-content/uploads/2021/09/madonnaunderground-logo-shadow-mobiel.png", "https://madonnaunderground.com/wordpress/wp-content/uploads/2022/11/body-of-evidence-blu-ray-682x1024.jpg", "https://madonnaunderground.com/wordpress/wp-content/uploads/2024/07/Madonna_LikePrayer_1LP_Silver_ProductShot_Poster_720x.webp", "https://madonnaunderground.com/wordpress/wp-content/uploads/2024/08/The-Official-madonna-Store.png", "https://madonnaunderground.com/wordpress/wp-content/uploads/2023/02/Madonna-A-Rebel-Life-book-ad.png", "https://madonnaunderground.com/wordpress/wp-content/uploads/2021/04/Concertologo2016_rondkopie.png", "https://madonnaunderground.com/wordpress/wp-content/uploads/2023/03/Revin-Records.png", "https://madonnaunderground.com/wordpress/wp-content/uploads/2021/01/BottomLogo_Default-Trans27_Pink.png", "https://madonnaunderground.com/wordpress/wp-content/uploads/2021/09/madonnaunderground-logo-shadow-mobiel.png", "https://madonnaunderground.com/wordpress/wp-content/plugins/cookie-law-info/legacy/public/images/logo-cookieyes.svg" ]	[]	[]	[ "" ]	null	[ "Kimberly" ]	2022-11-11T15:29:49+02:00	British label Final Cut Entertainment will celebrate the 30th anniversary of Uli Edel's thriller Body of Evidence (1993) with a brand new Blu-ray release of the film, which will be available for purchase on January 30th. When an elderly millionaire is found dead with cocaine in his system, his will leaves $8 million to Rebecca Carlson (Madonna),	en	https://madonnaundergrou…d-small-icon.png	madonnaunderground \| The Madonna Archives	https://madonnaunderground.com/body-of-evidence-blu-ray-new-release/	British label Final Cut Entertainment will celebrate the 30th anniversary of Uli Edel’s thriller Body of Evidence (1993) with a brand new Blu-ray release of the film, which will be available for purchase on January 30th. When an elderly millionaire is found dead with cocaine in his system, his will leaves $8 million to Rebecca Carlson (Madonna), who was having an affair with him. District attorney Robert Garrett (Joe Mantegna) decides to prosecute Rebecca, arguing that she deliberately engaged in wild sex with the old man to overexcite him and lead to his premature death. Defense attorney Frank Dulaney (Willem Dafoe) defends Rebecca in court while getting sucked into a dangerous affair with her. Special Features and Technical Specs:
205	dbpedia	3	80	https://www.reelviews.net/reelviews/full-metal-jacket	en	Reelviews Movie Reviews	https://www.reelviews.ne…metal_poster.jpg	https://www.reelviews.ne…metal_poster.jpg	[ "https://www.reelviews.net/resources/img/settings/reelviews-logo.png", "https://www.reelviews.net/resources/img/posters/thumbs/full_metal_poster.jpg", "https://www.reelviews.net/resources/img/movies/full-metal-jacket-1.jpeg", "https://www.reelviews.net/resources/img/movies/full-metal-jacket-2.jpeg", "https://www.reelviews.net/resources/img/movies/full-metal-jacket-3.jpeg", "https://www.reelviews.net/resources/img/movies/full-metal-jacket-4.jpeg", "https://www.reelviews.net/images/amazon-logo.gif", "https://www.reelviews.net/resources/img/partners/bfca-logo.gif", "https://www.reelviews.net/resources/img/partners/partner2.jpg", "https://www.reelviews.net/resources/img/partners/partner4.jpg" ]	[ "https://www.youtube.com/embed/y0elJD3d-9Y?rel=0" ]	[]	[ "Movie", "Movie Reviews", "Entertainment" ]	null	[ "James Berardinelli" ]	1987-07-10T00:00:00	There be Spoilers! here.Over the space of a decade beginning with Francis FordCoppola’s 1979 Apocalypse Now, nofewer than five influential directors made films about the Vietnam War. Four ofthose were clustered during the late 1980s: Oliver Stone...	en	https://www.reelviews.net/favicon.png	Reelviews Movie Reviews	//www.reelviews.net/reelviews/full-metal-jacket	There be Spoilers! here. Over the space of a decade beginning with Francis Ford Coppola’s 1979 Apocalypse Now, no fewer than five influential directors made films about the Vietnam War. Four of those were clustered during the late 1980s: Oliver Stone’s Platoon, John Irvin’s Hamburger Hill, Brian De Palma’s Casualties of War, and Stanley Kubrick’s Full Metal Jacket. Of that quartet, Platoon and Full Metal Jacket have best stood the test of time. Although Full Metal Jacket is not generally regarded as being among Kubrick’s “A-list” films, it represents his fourth anti-war outing as a director (following 1953’s Fear and Desire, 1957’s Paths of Glory, and 1964’s Dr. Strangelove). Like many films looking back on the Vietnam War era from a “distance”, Full Metal Jacket examines the dehumanizing impact of military training and combat on the human mindset. In adapting from Gustav Hasford’s novel, Kubrick cherry-picked (as he was wont to do) scenes and ideas that he thought worked while discarding those that didn’t meet his vision. The resulting screenplay has a two-act structure with the first part of the book expanded and the second and third segments conflated. In typical Kubrickian fashion, although the movie resembles the source material in a general sort of way, the specifics had been reshaped to suit the filmmaker’s intentions. Full Metal Jacket is oddly structured. It’s a two-episode story where the only connection between the segments is the recurrence of some of the characters. The second act is less a continuation of the first than a completely different story. The first part, which functions as a Stateside extended prologue, consumes about 45 minutes of the 116-minute running time. The remaining hour-plus transports us to Vietnam at the time of the Tet Offensive. Full Metal Jacket opens with the arrival of a group of new Marine trainees at Parris Island, South Carolina. They include three principals: James Davis, who goes by “Joker” (Matthew Modine); Robert “Cowboy” Evans (Arliss Howard); and Leonard Lawrence (Vince D’Onofrio), who earns the derisive nickname of “Gomer Pyle” from Drill Instructor Gunnery Sergeant Hartman (R. Lee Ermey). Hartman’s style is uncompromisingly harsh. He sees it as his job to transform undisciplined boys into cold killers. He is ruthless, using profanity-laced tirades and physical abuse to achieve his methods. Some recruits thrive under him but others, like Pyle, become unbalanced. The results are tragic but not entirely unpredictable. Act Two skips ahead an unspecified number of months to early 1968. Joker is a war correspondent stationed in South Vietnam. Along with photographer Rafterman (Kevyn Major Howard), he is sent to Phu Bai to rendezvous with the Lusthog Squad, of which Cowboy is a member. Joker and Rafterman are with the squad during the Battle of Hue. Shortly thereafter, the squad leader is killed by a booby trap and Cowboy is forced to take command. They come under sniper fire and dissention about how to handle casualties results in a breakdown of order. The squad’s machine gunner, Animal Mother (Adam Baldwin), acts rashly and, although his actions locate the sniper, they result in the death of a “friendly.” If there’s an obvious criticism of Full Metal Jacket, it relates to the imbalance between acts. The first, shorter episode is the more compelling and powerful segment. It features a tour de force performance by R. Lee Ermey and an introspective portrayal by Vincent D’Onofrio. Neither of those characters is around for the rest of the film (their stories having been concluded before the 45-minute mark) and the movie suffers as a result. There’s nothing wrong with the second episode – in fact, it offers a gut-wrenching portrait of the chaos of the Vietnam War – but it feels anti-climactic. At times, it’s difficult to shake the feeling that something is missing, and that “something” is the energy and passion that Ermey brings to the early scenes. Ermey, a real Marine drill instructor before leaving the corps and starting work as an actor, had been hired by Kubrick to serve as a technical advisor. He so impressed the director during an audition that Kubrick not only hired him to play Hartman but allowed him to improvise up to 50% of his dialogue. It’s mystifying that Ermey, who should have been a contender for the Best Supporting Actor Oscar in 1988, wasn’t even nominated, although he was at least acknowledged by the Golden Globes. (Note: Sean Connery won the Oscar for The Untouchables and, since that was in the nature of a “career achievement”, no one was going to beat him. However, Ermey’s being denied a nomination remains one of the Oscars’ all-time most egregious snubs.) The lead, originally intended to be played by Anthony Michael Hall and then by Bruce Willis, was eventually given to Matthew Modine. Modine’s low-key style works in this context. Joker, as a journalist, was more of an observer than a man of action and so his ability to fade into the background and allow other actors to take center stage in various scenes is effective in that context. Unfortunately, it limits the power of the climactic moment because we don’t identify strongly enough with the main character for it to deliver the intended gut-punch. One memorable post-Ermey sequence has nothing to do with war but with establishing the culture into which American G.I.s found themselves during the war. The first thing we see after the final shot of the bloody bathroom tableau is a street corner in Vietnam. Cue Nancy Sinatra’s “These Boots Are Made for Walking” as actress/model Papillon Soo Soo sashays across the street, approaches Modine and speaks words that have since become iconic (thanks in part to 2 Live Crew): “Me so horny. Me love you long time.” It’s played for laughs, and isn’t the only scene with an undercurrent of humor. Some of the basic training scenes also have a comedic edge. Full Metal Jacket features Kubrick’s legendary obsession about detail. The movie looks impeccable and the photography emphasizes the claustrophobia of the barracks during the early scenes and the dangers of wide-open spaces later in the film. The way Kubrick frames Ermey as he prowls around the barracks is unsettling. These are mostly long takes that capture the cavernous room, with the camera sometimes following Ermey as he strides between the rows of men. The discordant score, provided by “Abigail Mead” (actually Kubrick’s daughter, Vivian), is the perfect accompaniment. Of all the ‘80s-era Vietnam War films, Full Metal Jacket is arguably the least overtly critical about the conflict. The movie isn’t political. This was by intent; Kubrick didn’t want to regurgitate Apocalypse Now, The Deer Hunter, or Platoon. He believed that it was enough to show war, unglamorized, for what it was, and that people would understand. At the time, some critics perceived this as another Kubrick masterpiece while others (notably Roger Ebert) felt it was too scattershot to achieve its aims. I think those in the former camp rated the movie too highly. Perhaps the name “Kubrick” skewed their impressions. Although the astonishing first 45 minutes are on par with anything the director had previously accomplished, the second half of the film falls short of greatness. Platoon remains the most searing of all the Vietnam War films. After that, I’d argue that Full Metal Jacket is as worthy as any of the other contenders (including the overrated Apocalypse Now) for second place. It has effectively stood the test of time. It’s as credible and effective today as it was on its release 20 years ago and its depictions of war and how men are molded by war have lost none of their power. Full Metal Jacket (United Kingdom/United States, 1987)
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205	dbpedia	3	79	https://www.avforums.com/reviews/the-last-of-the-mohicans-movie-review.8418/	en	The Last of the Mohicans Movie Review	https://www.avforums.com/image.php?imageparameters=editorial/block/eb9ea33ee9f59205f73b01e0cb4b836d_3x3.jpg	https://www.avforums.com/image.php?imageparameters=editorial/block/eb9ea33ee9f59205f73b01e0cb4b836d_3x3.jpg	[ "https://www.avforums.com/styles/avf/AVForums-Logo-Header.svg", "https://www.avforums.com/styles/avf/AVForums-Logo-Header.svg", "https://www.avforums.com/styles/mobilesidebar/sidebar-open.svg", "https://www.avforums.com/styles/mobilesidebar/sidebar-close.svg", "https://www.avforums.com/styles/avf/editorial/block//eb9ea33ee9f59205f73b01e0cb4b836d_3x3.jpg", "https://www.avforums.com/styles/avf/AVForumsIcon.svg", "https://www.avforums.com/data/avatars/s/54/54180.jpg?1522694156", "https://www.avforums.com/data/avatars/s/54/54180.jpg?1522694156", "https://www.avforums.com/data/avatars/s/61/61992.jpg?1383223762", "https://www.avforums.com/data/avatars/s/61/61992.jpg?1383223762", "https://www.avforums.com/data/avatars/s/61/61992.jpg?1383223762", "https://www.avforums.com/data/avatars/s/832/832320.jpg?1586185272", "https://www.avforums.com/data/avatars/s/160/160503.jpg?1468447255", "https://www.avforums.com/data/avatars/s/160/160503.jpg?1468447255", "https://www.avforums.com/data/avatars/s/832/832320.jpg?1586185272", "https://www.avforums.com/data/avatars/s/6/6724.jpg?1638470094", "https://www.avforums.com/data/attachments/1985/1985130-6c67367da8ce8173052a42aa6c17a8b1_thumb.jpg?d=1717161756", "https://www.avforums.com/data/attachments/2008/2008877-b5aa4595725da61105a6444bd3cbaedc_thumb.jpg?d=1721665378", "https://www.avforums.com/data/attachments/2005/2005050-0976bd5dfc0d6425dc2893d41c72bb4b_thumb.jpg?d=1720809526", "https://www.avforums.com/data/attachments/2003/2003909-a2d6868f87845aa7972f70717a7b263d_thumb.jpg?d=1720595538", "https://www.avforums.com/data/attachments/2008/2008495-750d4a2a16701190d102d57f2282031f_thumb.jpg?d=1721593306", "https://www.avforums.com/data/attachments/2009/2009450-fb71bb4821a7305146b316e1da6c03c3_thumb.jpg?d=1721815900", "https://www.avforums.com/data/attachments/2005/2005181-ae61c3f00a12a4b28cbebba78a8dab6f_thumb.jpg?d=1720859491", "https://www.avforums.com/data/attachments/2009/2009092-3091e7fb8143a450e112ec848a4e5f95_thumb.jpg?d=1721722210", "https://www.avforums.com/styles/avf/fa-youtube.svg", "https://www.avforums.com/styles/avf/fa-facebook.svg", "https://www.avforums.com/styles/avf/fa-x-twitter.svg", "https://www.avforums.com/styles/avf/fa-instagram.svg", "https://www.avforums.com/styles/avf/fa-patreon.svg", "https://www.avforums.com/styles/avf/google-news-icon-monochrome.svg", "https://assets.avforums.com/images/logos/tmdb-logo.svg" ]	[]	[]	[ "" ]	null	[ "Chris McEneany" ]	1992-08-12T00:00:00		en	/styles/avf/AVForums-icon-192.svg	AVForums	https://www.avforums.com/reviews/the-last-of-the-mohicans-movie-review.8418/	1757. It is the 3rd year of the war between England and France for possession of the Continent. Three men, the last of a vanishing people, are on the frontier, west of the Hudson River. Visual style over substance and a strong 80's penchant for mood in tone and colour-palette have been hallmarks of cult director Michael Mann. But when the Mann behind the trendsetting TV show Miami Vice found himself drawn towards a lavish, big budget adaptation of the classic James Fenimore Cooper “Longstocking” novel The Last Of The Mohicans (the most famous of five wilderness tales that feature the fabled hero of the multi-monikered Hawkeye, here played by Daniel Day-Lewis), he revealed a remarkable grasp of historical detail, enough to completely transport audiences back to the turbulent and ferocious Anglo-French War for the American Colonies, circa 1757. With a terrific cast, sumptuous locations in the Blue Ridge Mountains, and in North Carolina and elsewhere, and a fabulous, soul-stirring score he took the kind of old fashioned romantic adventure that had so captured his own imagination as a child (the 1936 version of the story starring Randolph Scott in particular) and added in kinetic, modern action set-pieces that contained the sort of realism that made grown men wince. Thus it was that after the cult Manhunter, the virtually lost but still cult The Keep, and Violent Streets, Mann bolted character and emotional truth to all that trademark ambience to create what is, in my opinion, the best action/adventure film of the nineties and, without a doubt, one of the most credible, moving and engrossing historical epics that has ever rampaged across the screen. With a screenplay by Christopher Crowe and a budget that allowed him to not simply recreate the 18th Century, but to positively build it afresh from scratch (and no CG here, folks), Mann found enormous critical and box office success as a reward for such meticulous toil, but this has not stopped him from tinkering with, re-tuning and altering his epic over the years since its initial theatrical release. So now, for its Blu-ray debut, we have The Last Of The Mohicans presented in its “Definitive Director’s Cut”. The film is essentially the same, of course, although it now runs around three minutes shorter than the Extended Version that came out in 2000, tightening up the pace and returning the balance between action, romance, history and character. I’ll discuss the differences between the various versions in more detail later on, though. For now, let’s just remind ourselves of when Daniel Day-Lewis went native and we all trembled in terror from a dark-hearted Huron avenger called Magua. “When the White Man came, night entered our lives.” Set against a complex backdrop of war, with ever-changing alliances and undying hostilities and prejudices surrounding them, Hawkeye (Daniel Day-Lewis) falls for Miss Cora Munro (Madeleine Stowe), the daughter of an English Colonel. After saving Cora and her sister, Alice (Jodhi May), along with Cora's potential suitor, Major Duncan Heywood (Steven Waddington), from a terrifying Indian attack, Hawkeye and his companions escort them to the Colonel at Fort William Henry. All the while evading the French army and the pursuing Indians, led by the vengeful Magua (Wes Studi), who has an insatiable blood-feud against the Munro family, they must overcome betrayals, military wrath and horrifying butchery. Worlds and customs are colliding, the Frontier is being destroyed and a new nation is being irrevocably carved out from the soul of the old. It is a time of adventure and romance, the passing of cultures and the ever-present threat of annihilation, and in Michael Mann's hands The Last Of The Mohicans represents the most emotionally charged and mythically resonant historical epic that isn't Gladiator. Acclaimed cinematographer Douglas Milsome (Robin Hood: Prince Of Thieves, The Shining) was initial DOP on Mohicans, but found himself replaced by Dante Spinotti after Mann was dissatisfied with his work. Milsome asserts that the swaparound was less than courteous, but Mann and others on the production team claim otherwise, with the age-old chestnut of “creative differences” being the excuse. But be this as it may, the results of Spinotti's photography are ravishing to behold, the wilderness coming alive with beauty, danger and lyricism. Endless forests roll over mist enshrouded valleys. Mountain passes so precarious that they resemble rocky paths leading all the way up to Heaven have us teetering on the brink of a picturesque abyss. Tumultuous waterfalls become coruscating barriers between live and death. A mesmerising distant firework display seen illuminating the night above the tree-line is revealed to be the incessant canon-fire bombardment of the French laying siege to a stricken English fort. The achingly gorgeous meadow-valley between two climbing sides of wooded glen becomes the scene of a horrific massacre. Spinotti, who had impressed Mann with his camerawork on Manhunter and would work with him again on The Insider and Public Enemies, makes all of this so breathtaking that you feel you are actually there – racing through the trees alongside frontier scout and woodsman Hawkeye, his adoptive Mohican father Chingachgook (Russell Means) and his blood-brother Uncas (Eric Schwieg), Chingachgook's son. He and Mann use the landscape not in the trademark sense of it becoming a “character” in its own right, but simply, and majestically as the geographical backdrop to the story – it continually fills the expansive screen from edge to edge with the very reason why all these disparate factions are fighting. And our prolonged exposure to these wild mountain ranges, exquisite and enchanting forests, luxurious rivers, lakes and waterfalls means that we, too, come to understand the value of the sacrifices being made, and just why everybody will ultimately lose. In spite of and because of such natural grandeur. “You've done everything you can do. Save yourself! If the worst happens, and only one of us survives, something of the other does, too.” But if the setting is a living, breathing environment that we can totally associate and empathise with, then the characters who strive to survive amongst it have to be at least as believable. And, here, the casting by Mann and Bonnie Timmerman is truly exemplary. The son of the Poet Laureate, Daniel Day-Lewis, then thirty-five, had received global and Academy recognition for his outstanding portrayal of the crippled artist Christie Brown in My Left Foot, and had delivered sterling work in My Beautiful Launderette and A Room With A View, not to mention The Unbearable Lightness Of Being, and his customary deep obsession with finding his character for each role was fast becoming legendary. But a critically drubbed performance of Hamlet on stage found the intense actor taking off in what would turn out to be a regular cycle of inner-purging and soul-redemption into a world of self-contained seclusion. When Michael Mann and the part of Hawkeye came calling, every instinct warned Day-Lewis that it wasn't for him, yet he found himself accepting it almost without hesitation. Six weeks of gruelling survival training in the Special Operations Centre in Alabama – a privately run camp for counter-terrorism techniques – honed him, body and soul, into the 18th Century frontiersman of yore, his body whittled down into lean, hard muscle, his marksmanship reaching the point where he could, in reality, hit the target dead centre with an old powder-and-shot, muzzle-loading rifle every single time, trap animals and construct bivouacs instinctively and cover large distances of rough terrain at a trot and in any type of weather. It is customary nowadays to hear of actors undergoing rigorous fight-training and going through bootcamp (the extras playing soldiers, here, suffered under the iron grip of US Marine Drill Instructor extraordinaire-and-film actor, Dale Dye, no less), but Day-Lewis went beyond what was required of him by the studio and the production. And if his leading man was going to go the extra mile, then the director would have been ashamed of himself if he hadn't gone along with him. Thus, both Mann and Day-Lewis famously took themselves off into the wilds of Alabama to live off the land and compete in bygone skills with tomahawk, traps and tracking. “There is a war on, how is it that you are headed west?” “Well, we kinda face to the north and, real sudden-like, turn left.” Hawkeye reveals the extent of all his years of experience learning wilderness skills. A rangy mane of raven locks, his arms pin-pricked with tribal tattoos, the bygone-times equivalent of Predator’s Ol’ Painless slung across his back, Day-Lewis naturally looks the part of Hawkeye. But for an actor who was not then known for playing action heroes – and he hasn’t played any since, come to think of it – and a performer who finds putting on muscle and training his body an incredibly difficult thing to do, he makes for one of the most authentic and downright believable characters to go running up and down mountains, leaping through the curtains of a waterfall, and indulging in manner of nasty close-quarter skirmishing with knife and tomahawk. The shy, unassuming performer, as we have seen so often – with Gangs Of New York and There Will Be Blood only cementing the fact - is truly able to come right out of his shell and inhabit the body and the mindset of another human being entirely. Aye, it is called “acting”, but to take it to this sort of level – animal magnetism, intelligence, hyper-sensory alacrity, pride and sheer strength of character – there has to be a special kind of magic thrown into the mix as well. “A warrior comes to you as swift and straight as an arrow shot into the sun ...” Native Indian activist and staunch hater of Dances Of Wolves, Russell Means, a bonafide Oglala/Lakota Souix who believes that his people have never had their story told properly despite such allegedly revisionist productions as Costner’s sweeping epic, is a man of few words in this version (that rather protracted and completely unnecessary speech that he gives at the Top of the World in the end of the previous Extended Cut has been jibbed), but he carries such dignity and charisma … as well as a bloody big tribal axe. Not a professional actor – merely an “Indian who can act”, as he terms it – Means is a wonderfully reassuring presence throughout the film, and it is strange that having less dialogue actually makes him a more memorable character. Look at the genuine affection for his son that Chingachgook has on his face when they sit around the table in the Camerons' cabin. Means doesn't need to say anything as good natured jokes about Uncas' family prospects are bandied-about, he merely has to smile in warm adoration for a son he dearly loves. Chingachgook knows that Uncas is the only one capable of carrying on the blood-line of the Mohicans, and even if the times they are living in are hard and dangerous, he has no fears for, or doubts about, his son. There is a marvellously heartfelt quality to this hearth-and-fire spell of mutual comradeship and frontier harmony. It is, of course, the tentative lull before an extremely grim and tragic storm that is about to come howling down the valley. Roger Donaldson effected a very similar scene in his big adaptation of The Bounty, starring Mel Gibson and Anthony Hopkins, as Fletcher Christian and Captain Bligh respectively, along with Day-Lewis, in an early role as the harsh authoritarian Officer Fry, enjoy a parting-meal in the Bligh household before setting off on their tormented voyage. Mann captures just the same feeling of dangerous optimism and apprehensive good cheer. With such beautifully harnessed subtlety, though, it is Means who makes the situation so touching. “Greyhair, before you die … know that I will put under the knife your children … so that I will wipe your seed from the earth.” The villainous Magua has always been one of literature's most bloodcurdling creations. Totally driven by a blood-vengeance that seemingly no amount of savagery is able to quell, he is the scowl-faced nightmare that stalks out of Cooper's florid prose to become a truly impressive bogeyman. But, in the writing of Christopher Crowe and the inspired handling of Studi, Magua also becomes something much more than a mere monster. Imbued with a tragic backstory that is only teased out of him along the way by Montcalm, and genuine notions of how he and his people must change if they, as a race, are to survive the unstoppable arrival of the white man, the Huron warrior is the most forward-thinking character in the film, and very possibly the deepest. I find it amusing that when I first saw the film at the flicks back in 1992, I positively dreaded his next appearance on-screen, such was the frightening power of his intimidatory countenance. But now I relish each and every scene that Magua inhabits, although it is fair to say that his dark presence looms over the entire film like the fingers of blackest night infiltrating the forest. Now he doesn't seem anywhere near the savage beast that he once came across as. Still a terrifying force of nature, yes, but you cannot help but feel for his thwarted and heartbroken warrior. Having suffered as much as he did with the loss of his own family, would you not feel exactly the same unquenchable thirst for unholy retribution, yourself? The story could so easily have been told from his entire point of view, with Magua thus fulfilling the role of hero. And in spite of his character's utterly remorseless contempt for the colonists and for anyone, for that matter, who gets in his way, there are one or two moments when something a little less sinister flickers behind those otherwise impenetrably dark eyes. The first comes when Hawkeye, during a sequence of incredibly selfless courage, confronts him before the great Huron Chief Sachem to bargain for the lives of his hostages and challenges his “assimilation policy” for his people in the face of the foreign mass-invasion. Magua's ideas are brought to bear and his defence of them, in French, Huron and, emphatically, English (or “Yeng-eese”) is brilliantly telling. He is not ashamed of his politics, but it is clear that he would rather they had not been divulged under such incontrovertible circumstances. The second and more emotional example is high up on the promontory as Alice deliberately takes a couple of steps too close to the edge after witnessing the Huron commit another unspeakable deed. We are already in the midst of one of the greatest and most haunting set-piece climaxes ever committed to celluloid, and now Studi, with just a gesture of his blood-stained hand, a hard swallow in that lean throat of his and a wonderful melange of emotions churning against one another in those ebony eyes, conjures up the “true” noble savage of Cooper's historical spirit. Magua, perhaps only now, comes to understand something of a love stronger than life, of a wretched disbelief in fighting any more for a wilderness that will soon be gone. He exhibits confusion, coiled anger and ultimately a fateful comprehension as he resigns himself to the enormity of the bigger picture that surrounds him. It is a spellbinding moment of the purest cinema. Hawkeye is the classic hero that we all admire, but it is Studi's indelible Magua who comes to mind first when we reflect upon Mann's masterpiece. “A breed apart … we make no sense!” With her turns in this, the urban thriller Unlawful Entry (with Kurt Russell) and a stocking-clad spell of doomed noir in The Two Jakes, Madeleine Stowe became one of the hottest women brandished by Hollywood during the early nineties. That she is a great actress, as well as a stunner, can only boost her rebel-spirited English rose caught between two worlds, as Miss Cora Munro, the eldest and most outspoken daughter of the admirably starched Colonel doggedly fighting the Imperial fight. Cooper’s original story attested to her strong character and the changing of her outlook and worldview once she has confronted the untameable nature of the frontier, and whilst Mann’s movie adaptation strives to do the same thing, it is unavoidable that Cora, and her younger and more fragile sister still become the damsels in distress that have to be rescued continually from hordes of painted devils. Yet Stowe is able to elevate her character above the necessary mechanics of the plot, just the same. Cora’s polite decline of Duncan is mannered and heartfelt, but her one-shot transformation from aristocratic reserve to full-on temptress as Hawkeye simply stares at her, no doubt assessing how he will pioneer her fertile land, is a joy to behold. Stowe is no bubblehead, and even though she ends up fulfilling precisely the doting heroine that the genre genuinely prefers, she does so with more vigour and soul than you would have expected. It is, however, something of a shame that poor Jodhi May gets less lines than a captured scout with his tongue cut out, whichever version of the film you watch. But as well as being the centrepiece of one of the most haunting sequences, she makes the tiniest moment all the more effective even only in-passing. Look at the scene when Duncan, after he has betrayed Hawkeye to the Colonel about the raid on Cameron’s Cabin, comes to see Cora to offer his final proposal and Alice, upon waking, resignedly and diligently exits the room with a soft and plaintiff “Talk to Duncan.” Weirdly, we feel as much for her in this moment as we do for the two stronger characters. And then there is Uncas, played by Eric Schweig. Handsome, proud and totally as at-home cutting and smashing his way through legions of bloodthirsty Hurons as he is pursuing elk through the forest, Uncas finds his own world turned upside-down when he falls for Cora's quiet and retiring sister, Alice. But embarking on the Shakespearean path of star-crossed lovers, the two don't find much time for comfort or intimacy and yet, whether it be a stolen glance or a snatched hug behind the veil of a waterfall, you totally understand the fateful decisions that the pair make as the film goes on. Schweig almost has an Errol Flynn look about him, but he would totally turn this heroic angle on its head when he appeared as the unbelievably nasty and thoroughly intimidating witch-doctor-cum-white slaver in the savage Western The Missing, opposite Cate Blanchett and Tommy Lee Jones. “What are you looking at, sir?” “I'm looking at you, miss.” With his highly impressive cast of Iroquois Indians playing the assorted Mohawks, Abenaki and Hurons, Mann perfectly captures those old paintings that so fired up his imagination. It has always been something of a cinematic cliché to depict the Redskin as a stoic, cold and seemingly emotionless, his face rigid and inscrutable. Well, Mann conforms to this to a degree. Chingachgook, Uncas and various other natives all clearly exhibit emotions and are keen to have various expressions flicker across their faces, and a definite warmth to their eyes, but the Huron are not permitted much in the way of basic humanity. They stand en masse around Magua during many scenes, silent and utterly bereft of the tiniest of advertised emotion, even during some of the most thunderous and memorable of occasions. This is not a fault, however, and nor is it simple pandering to genre convention. These men are passengers in the telling of their own story, totally absorbed in their part in the grand scheme. To reveal any emotion in the face of circumstance, even those circumstances that could prove their undoing and potential demise, would be to lose control, pride and spirit. Nevertheless, it can be amusing to see them all with their faces utterly locked into a form of semi-indifference during some crucial moments of fateful intervention. “I thought British policies were make the world England.” It should also be said that Steven Waddington (Sleepy Hollow, The One That Got Away) is terrific as the love-lost Major Duncan Heywood. He plays his part in all the battles, he cuts an imperious and arrogant dash through the saga, resplendent in his red tunic, and he takes on a fascinating dimension in the broader scale of the events that affect our main cluster of protagonists. Waddington is one of those familiar faces from screens both big and small, yet rarely gets much accolade. Here in Mohicans he has possibly his best and most comprehensive role and despite his rivalry with Hawkeye and his foolishly staunch complicity in Col. Munro's treachery, we like the guy and we certainly sympathise with his plight – especially as Cora throws him over with such apparent ease for the wild-haired scout. Later scenes find Waddington thrust into some dire situations, and it would be a hard heart indeed that didn't pray for Hawkeye's “parting shot” to find its mark a little quicker. The finely gruff Scottish actor Maurice Roëves is perfect as the desperate Col. Munro, elated to be reunited with his daughters, but distraught at the circumstances in which they now find themselves. Roëves actually has quite a difficult job to do. His patriotic and determined old war-dog has to thank Hawkeye and the Mohicans for safely transporting his children through a battle-zone, listen patiently to their concerns about the innocent folks left defenceless along the frontier and then, biting hard on the bullet that is “duty”, have to reprimand, imprison and then order the execution of the very saviour he is indebted to … and Roëves has to make all of this convincing without coming across as a stuffy, one-dimensional curmudgeon. His counterpart, the French General Montcalm (Patrice Chéreau) is equally as good. Where it may have been something of a tedious momentum-stopper to see either of these two indulging in their respective military scheming, both bring a certain gravitas to the table that enables nuance and pride shine through their respective austerity – a dark and regal fatalism for Munro and a sense of beguiling camaraderie that gleams through Montcalm's warm deception. “You be strong. You survive! You stay alive … no matter what occurs I will find you. No matter how long it takes, no matter how far. I will find you!” Come on, be honest, your heart is in your mouth when Hawkeye makes this rousing pledge to Cora, isn't it? Mann lifts the raw aggression of Cooper's intense battle scenes right from the page, but refuses to coat the action with any of the glamour that many a director before this may have dressed it up with. There is no frame-jumping snap-edits from the duo of editors Dov Hoenig and Arthur Schmidt because the film relies on full-bore, in-yer-face naturalism and free-flowing, continuous lensing. Some scenes play out with sinew-straining, tension-heightening slow-motion – Hawkeye's hell-for-leather run through the chaos of the redcoat massacre to rescue Cora – whilst others play out in furious real-time, Spinotti's camera tracking each muzzle-flash and every grim hack and slice of a tomahawk with super surety and pulverisingly smooth finesse. The whirling and tumbling of bodies – Hawkeye is adept at flipping an opponent over - and the intimate detail of one-on-one carnage combining with the larger images of mass-struggle paint a shocking depiction of colonial warfare that is anything but quaint. In fact, so terrible is the first battle, in which Heywood's command is mercilessly decimated by howling renegades considerably tougher and meaner than they - one poor Redcoat receives flurry of vicious body-blows before having his scalp sliced off all in one heartstoppingly grisly take – that when we next hear Huron and Mohawk war-whoops, our own blood runs cold at the thought of what may follow. Look at the way that an unsuspecting English soldier actually smiles at Magua the second before he gets a tomahawk thwacked into him! The smartly efficient way that Heywood ducks beneath a swinging club before deftly pistol-whipping his attacker in the painted mush. And then there is the simply blood-curdling way that a couple of stray warriors, too impatient to wait for Magua's command break cover, and just wade into the British column with courageous but frenzied brutality during the later battle-scene. All of this builds up to the mighty and practically wordless confrontation on the high promontory, when our main characters all come into their own with adrenalised heroism and Zen-like stamina. Hawkeye's on-the-hoof pick 'n' mix of rifles and that fabulous two-gun double-assassination would be the film's most celebrated glory shot if old Chingachgook didn't then steal his thunder with a climactic act of justified retribution so ragingly cathartic that it should have you on your feet and cheering. Like the most protracted and operatic show-downs in a Leone Western, this intoxicating climax gets inside you like a drug, the beauty and violence of it all driven on by such relentlessly churning and cyclic music from Trevor Jones that you find yourself humming it as you run for the bus or the train days afterwards. With all this good stuff on offer and my typically ripe and slavish praise for it, it seems only fair that I pick up on one of the film's few, but glaring shortcomings. For one of the most pivotal scenes – that of Hawkeye and Cora first getting intimate – the use of music is absolutely essential. As much I admire Mann's work elsewhere, and positively adore most of what he has done with Mohicans, I have to say that I detest this utterly unconvincing “kissing” sequence when played beneath Jones' softer and more lyrical rendition of the very same piece of music as mentioned for the action scene above. Day-Lewis makes for a tremendous and indeed peerless romantic hero, and the loin-stirring allure of Stowe was practically without equal during this period, but shoving the two of them together for this camera-swirling, lip-rubbing tryst just doesn't work, I'm afraid. Well, not for me, anyway. I don't care how “in character” Mann and Day-Lewis think this comes across as being, but this is snogging done very, very badly. For me, this sticks out a mile from a film that has, otherwise, been painstakingly authentic in every conceivable way. The music – Jones' simply mesmerising adaptation of Dougie MacLean's The Gael – is wonderful and heart-soaringly romantic, but the bogus facial nuzzling and complete lack of true (real-life or cinematic) passion just leaves the visual side of things a little unsatisfying and, quite frankly, absurd. But then Michael Mann is not a director who immediately springs to mind when a scene of such, ahem, far less violent physical contact is required. He is infinitely better when dealing with the manners of the times and the restraint of those pent-up inner feeling than with the eventual release of such passion. But this is the only real caveat in the film, unless you count those ghastly fake rocks during the finale. Once you've spotted them – and they are surprisingly poor, folks – you will always see them. So, rest assured, I'm not going to point them out. “You do what you want with your own scalps, and don't be telling us what we ought to do with ours.” I've made a couple of references to the highly acclaimed score from Trevor Jones and Randy Edelman already but, as regular readers will know (and probably be expecting), we simply have to discuss this truly awesome contribution to the film a lot further. With a main title theme that Bill Clinton famously used as his election campaign anthem and extensively heralded sports events from the Vegas Jousting Tournaments to the Winter Olympics, you simply couldn’t ask for a more rousing, more emotional, more downright heroic piece of music. I’ve heard it at the Edinburgh Tattoo and at Crufts and even though it chimes right on in with any endeavour that demands strength of body, of mind and of spirit, it shall always conjure up images and impressions of charging headlong through a primal forest with a tomahawk in hand and bloodshed on your mind. Michael Mann had initially commissioned Jones to compose an electronic score, the type of ambient mood fugue that had cushioned Thief, The Keep and Manhunter. But as the story and the flavour of the period evolved, it became clear that only a full-on symphonic orchestral score would do. With MacLean’s addictive The Gael fuelling the passion and the fury of the film’s two most emotive set-pieces - The Kiss as Hawkeye and Cora get to know one another a little bit more intimately, and Promontory, when all the trials and tribulations of the main characters, both good and bad, come to a fierce head above the very land they are all fighting for. Mann and Jones provide one of Cinema’s most sumptuous and everlasting themes with their cyclic, rhythmic and yearning rendition of MacLean’s celebrated Celtic folk tune. I wanted it played at my wedding-do, but the wife stubbornly clung to Spandau Ballet! The heaviest and more large-scale action scenes are bolstered by extremely strong and percussive passages that build, and build, and build some more … reaching an almost unbearable frenzy of musical violence that only finds release when the main theme segues into the fray. With the Ambush, when Heywood’s escort marches into Magua’s trap, and then the Massacre of the English refugees, Jones and his orchestra create a maelstrom of death and cruelty, yet on both occasions, the end result is spine-tingling and rousing at the same time. The more lyrical and folky, or peaceful, sections were composed by Randy Edelman, both tunesmiths approached separately by Mann. The ratio between the two is roughly seventy-twenty in Jones’ favour, with a few additional period source cues coming from Daniel Lanois and Phil Cunningham, and the pop-folk group Clannad, famous for creating the score for the 80's TV series Robin Of Sherwood It has become strangely common, these days, to knock this score for its overbearing dominance over the action, but I still reckon that this is one of the all-time greats and that it totally gets in-tune with the emotions of the characters and the situations and embellishes the bravura sense of danger and derring-do with tremendous gusto. “I am Le Long Carabine! My death is a great honor to the Huron, take me!” This new version of Mohicans is a different take again on what audiences first saw back in 1992, and then discovered in the Expanded Edition. Mann has only slightly relented on the toughening-up of Hawkeye that he did last time around, with only a couple of his one-liners returning. We still lose the line from the canoe - “Got nothing better to do on the lake today, Major?” - as he spies Heywood pointing a pistol at him from another canoe. But we regain his great line - “Someday, Major, I think you and I are going to have a serious disagreement” - that was shorn from the last edition. The longer scene of John Cameron and Jack Winthrop readying their weapons when they hear a noise outside the cabin, not realising that it is Hawkeye and his chums, has been removed again. Hayward's diversionary sortie outside the fort to cover the flight of the message-courier is still gone – which I feel is a shame as this skirmish with hostiles serves to remind us that the threat to the English outpost doesn't just come from the more dignified French. Cora's ironic rebuttal to Hawkeye about she and her kin “being a breed apart” returns to this cut, as does Clannad's song “I Will Find You “, although now the ditty is more appropriately performed in Gaelic. This replaces the Expanded re-use of The Gael, which to my mind was just overkill of the best theme in the film. Perhaps most obviously of all, we lose the rather unnecessary speech from Chingachgook at the end as the “new trio” stand at the top of the world and survey the next frontier. This, reinstated in the last edition but not heard in the original theatrical cut, was simply appalling. As wonderful as Russell Means is, the dialogue simply wasn't required as it merely stated the obvious to us. Thankfully its removal adds poignancy to the film, making his lingering and heartbroken look at Hawkeye all the more moving. Plus, this cut restores the full axe-killing at the end that was shortened last time around! I don't know if this version of the film is the best or not, to be honest. All three have things going for them, and this “Definitive Director's Cut” wants to be something of a happy middle-ground. Fans can enjoy debating the merits of each cut, but this take is almost certainly more of a crowd-pleaser than the often-dismissed (and even despised) Expanded Cut. I cannot recommend this film enough, folks. The story is tremendous and vividly told by actors who are unmistakably entombed within their characters. The action is punishing and often frightening to witness. Our emotions are twisted and stirred continually and, come the end, there is a genuine feeling of breathless euphoria. For me, Michael Mann has never attained the same level of intensity – no, not even Heat – and The Last Of The Mohicans stands as his greatest achievement. Simply awesome.
205	dbpedia	2	62	https://www.facebook.com/goodoldmovies/videos/oscars-2022madonna-in-body-of-evidence-1993madonna-90s-1990s-oscars-bodyofeviden/2950249625219570/	en	Oscars 2022… Madonna in “Body of Evidence”, 1993 #madonna #90s #1990s #oscars #bodyofevidence #goodoldmovies #oscars2022 #oscar	https://scontent.xx.fbcd…OYlg&oe=66BC7314	https://scontent.xx.fbcd…OYlg&oe=66BC7314	[]	[]	[]	[ "" ]	null	[]	null	Oscars 2022… Madonna in “Body of Evidence”, 1993 #madonna #90s #1990s #oscars #bodyofevidence #goodoldmovies #oscars2022 #oscar	de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		https://www.facebook.com/goodoldmovies/videos/oscars-2022madonna-in-body-of-evidence-1993madonna-90s-1990s-oscars-bodyofeviden/2950249625219570/
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OF RENA KAPLOWITZESTATE OF RICHARD M O'ROURKEESTES, COLLEEN AESTES, DEBRA KESTES, JAMES AESTES, KERSTIN HESTHER'S, PLACEESTRADA, BRIAN DESTRADA, DANIEL AESTRADA, NANCYETHRIDGE, DAVIDEUMONT, HARRY WJREURICH, PATRICIA DEVANS, BILLEVANS, DANIEL LEVANS, ERMAEVANS, LISA EEVANS, LOYD SREVANS, ROBERT CEVANS, THOMAS HEVE, DYLANEVEN, EVERETT EEVEN, NATHAN EEVEN, WILLIAM CEVENSEN, MARGARETEVERHEART, BARBARA AEVERS, EDWARD JEVERSON, JAMES FEVERT, MARK SEWALD, MICHAEL HEWALD, PAMELA LEWART, HELENEWING, LONE KEWING, PRESTONEXBY, ROBERTEZELL, RONALDEZYK, STEVENF A R M INCF B ROOKE & SONSF H & W INCFABER, JASON AFADENRECHT, DARREN SFAHMIE, PATRICKFAITH CHRISTIAN FELLOWSHIP OFFALAGRADY, BARNEYFALAGRADY, FRED RFALCONER, ROYFALCONER, WM WFALK, BROCK JFALK, JAMES LFALKENSTEIN, ELIZABETHFALL, GARYFALLETTA, PETE VFALSETTO, JOEFAMILY EYE CENTERFAMILY FOOTWEARFANCHER, LARRYFANCY, PANTS VARIETYFANDRICH, LARRYFANSLER, J RFAR, WEST CATTLE COFARACE, PAUL JFARBER-SHROUT, KAREN KFARICY, TERESA MFARIES, SIMONFARIS, DANA BFARIS, J RFARIS, SUMMERFARLEY, FRED MFARLEY, THOMAS TFARM CREDIT SERVICESFARMER, THOMASFARMERS INSURANCE GROUPFARNEY, RYAN CFARNHAM, FLOYD RFARNSWORTH, LINDA DFARR, GERTRUDEFARRAR, CAROLYNFARRAR, CARROLL DFARRELL, R GFARREN, JAMES WFARRIN, MARGEFARRINGTON, JOHN TFARRINGTON, TERESAFASONE, VINCENTFASS, LOUIS AFAULK, GARYFAULKNER, ELEESA KFAULKNER, JEFFREY BFAUROT, RAYFAUST, LEONARDFAWKES, GARY LFAWKES, SUSANFEDERAL DEPOSIT INS CORPFEHRING, STEVE JFEISTER, DENNIS JFELLER, MERLEFELTHAGER, AMANDA LFELTHAGER, JACKFELTHAGER, SANTIAGO EFELTON, DAIMION MFELTS, JOHN DFELTS, ROBERT EFERGUS, STEVENFERGUSON, CLINTON DFERGUSON, JAMES HFERGUSON, JESSICA BFERGUSON, JO EFERGUSON, JOHN SFERGUSON, SARA JFERN, MARY EFERNANDEZ, ABNERFERNANDEZ, ALYSSA MFERNANDEZ, JACLYNN NFERNANDEZ, RUBENFERNANDEZ, SHERRY LFERRARI, FALLON FFERRARI, FRED IJRFERRARI, NICHOLAS IFERRARO, ARCHILLO LFERRARO, EDDIEFERRELL, DONALDFERRENDELLI, LEAHFERRERO DOZER SERVICE/LUCKY SERFERRERO, MIKE AFERRERO, TERESAFERRI, FRANK SRFETTY, KRISFIELD, MARILEEFIELDS, ARTHUR MFIELDS, FRANCES CFIELDS, JOSHUA DFIGAL, BARBARAFIGAL, MARY AFIKE, ETHEL LFILANGI, JACQUELINAFILER, D LFILIPPO, JEFF EFILLMORE, ANNA MFILLMORE, EMILY SFIMPLE, F BFIN, & FEATHER CLUBFINDLEY, WALTER EFINE, CLIFF DFINGERS, NANCYFINK, HAROLD WFINK, JACKFINK, JOSHUAFINLEY, DONALD DFINLEY, MATTHEWFINN, JAMES WFINNEGAN, SEAN DFIORENZI, MARGIEFIREBAUGH, TYLERFIRKINS, JULIA LFIRM, DAVID JFIRST BAPTIST CHURCH OF COLORADFIRST SOUTHERN BAPTIST CHURCHFIRST STATE BANKFISCHER, STUART JFISH, HERBERTFISHER, CHARLES HFISHER, E CFISHER, JOHN RFISHER, LA QUETAFISHER, MICHAEL JFISHER, THOMAS AFITZGERALD, MARK HFITZGERALD, TAMMY LFITZSIMMONS, CLAIR KFJARE, PAUL SFLANDERMEYER, WILLIAM DFLANIGAN, JAMES DFLASCHER, CYNTHIA LFLECK, CHERYL KFLEMING, MARY AFLEMMER, HARLANDFLERRY, CARLOTTAFLETCHER, TABITHA LFLICK, GERALDINEFLICK, NANCYFLINN, RICHARD EFLINT, ALEXANDER HFLINT, BETTY JFLINT, CLARENCEFLISAK, MARYFLOOD, JACQUELINEFLORES, ARTHUR DFLORES, CHRISTIAN BFLORES, JUAN CFLORES, ROYFLOREZ, IRENE VFLORI, REBECCAFLOROM, PEGGY AFLORY, THERESA MFLOT, ANNFLOWERS, WESTONFLYNN, CARROLLFLYNN, LEANNFOECHTERLE, KATIFOGG, WILLIAM KFOGLE, JACK EFOLEY, DAN HFOLEY, KENNY LFOLSE, JANET CFOOTE, CHARLENEFORBES, DOUGLAS WFORBES, LEE EFORBES, MARGARETFORBIDUSSI, VERAFORD, ADAM JFORD, HULEN LFORD, JULIE AFORD, MARK AFORD, ROBERT WFORD, STEVEN RFORD, VICKI AFORD, WM DFOREMAN, BYRON LFOREMAN, WILSONFORGY, ROY DFORNOF, MICHAEL DFORSYTHE, DAKOTA GFORSYTHE, DAWN MFORTE, FREDERICKFORTINE, DAVID EFORTINO, CAROLFOSE, BEN FFOSS, MILDRED FFOSSIER, DONNA JFOSTER, GEORGE WFOSTER, JAMES RFOSTER, M BFOSTER, RICHARD JFOSTER, SANDRAFOSTER, TRAVIS MFOSTER, VIRGINIA KFOUNDATIONS FOR THE FUTUREFOUNTAIN, GEORGE JFOUR A RESTAURANTFOWLER, DYANN LFOWLER, GORDON NFOWLER, PIERCEFOX, COLLIS CHARLES LFOX, JASON RFOX, JOYCEFOX THEATRE WALSENBURGFOX-FERGUSON, PATRICIA YFOX-RAGUINDIN, BRYCE JFRABETH, INDUSTRIES INCFRANCE, ELIZABETH DFRANCISCOTTI, BENFRANCO, ANDRES AFRANCO, GEORGEFRANK, KARYL LFRANK, PHILLIPFRANK, POLANCO FAMILY LTDFRANKLIN, DARREL KFRANKLIN, DELLA TFRANKLIN, KATHYFRANKLIN, MALYNDA MFRANSUA, MARKFRANSUA, ROBERTFRANTZ, FRANKFRATTERELLI, ELIZABETHFRAZEE, FRANCISFRAZER, CLARENCE AFRAZIER, BEAFRAZIER, DONALD JFRAZIER, SUZIEFRAZIER, TAYLOR JFRAZZINI, RAYFREDERIKSEN, JON LFREDERIKSEN, KATHLEEN KFREDRICKSON, DIRK DFREDRICKSON, ERIC NFREDRICKSON, KENNETH LFRED'S, QUICK LUBEFREDSELL, HAROLD FFREEBORN, DAVIDFREEL, PAMELA JFREEMAN, E WFREEMAN, GREGFREEMAN, HOWARD WFREEMAN, ROBERT SFREEMAN, RUDEE AFREEMAN, WAYNE DFREIER, LAWRENCE DFREILINO, DAVID PFRENCH, THOMASFRENCHMORE, SALLYFRERICHS, MENNO GFRESH AND CLEAN LAUNDROMATFRESQUEZ, PENNYFREY, LESLIEFRIEDRICH, KAREN AFRIEL, JAMESFRIEND, LINDAFRIEND, RAYFRIGGERI, ROBERTFRINK, ANNFRISBIE, CYNTHIAFRITZSCHING, MICHAELFRONEK, ELIZABETH SFRONEK, JAMES LFRONTIER MOTEL OF TRINIFROST, EDWIN JFROST, ROBERT HFRS ENTERPRISES LLCFRY, BILLFRYE, JOSEPH SFUENTES, ALYSSA JFUENTES, DARLENEFUENTES, JEANNEFUENTES, SERGIOFUJITA, Y JFULBRIGHT, SCOTT 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HORACEGARCIA, ADAMGARCIA, ALBERT EGARCIA, ANTHONY NSRGARCIA, ARTGARCIA, BETTYGARCIA, BRIANNAGARCIA, CARLOSGARCIA, CARMELLA JGARCIA, CHARLESGARCIA, CHARLIE LGARCIA, CLARENCE AGARCIA, CONNIEGARCIA, CORINEGARCIA, DEBBIE JGARCIA, DEBORAH AGARCIA, DONNIE RGARCIA, EDGARGARCIA, EVAGARCIA, EVANGELINE VGARCIA, FELIXGARCIA, GENE AGARCIA, GILBERTGARCIA, GILBERT JRGARCIA, IRENEGARCIA, JAKE FGARCIA, JEFF WGARCIA, JESSE DGARCIA, JOHN AGARCIA, JOHN EGARCIA, JOHN RGARCIA, JOSEPH SGARCIA, JOYCE EGARCIA, KENNETHGARCIA, KIMBERLY EGARCIA, LYDIA EGARCIA, MANUELGARCIA, MICHELLEGARCIA, MIKE AGARCIA, PATRICKGARCIA, PEGGYGARCIA, PHILIP JGARCIA, PRESGARCIA, RAQUEL MGARCIA, RAYMONDGARCIA, RICK MGARCIA, ROBERT TGARCIA, SALLY MGARCIA, SANCHEZ STELLAGARCIA, SUSIEGARCIA, SWIFT GERALD MGARCIA, TED EGARCIA, TERESE LGARCIA, URBANOGARCIA, VERONICAGARCIA, VINCEGARCIA, YVETTEGARDNER, CHARLES LGARDNER, CHRISTINA RGARDNER, DEBORAHGARDNER, EL DEPOTGARDNER, JAMES GGARDNER, JAMES WGARDNER, L CGARDNER, ROBERTGARDNER, 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WILLARDPEARSON, MARTINPEAT, DONALD PPEAT, RICHARD CPECARARO, JOEPECHEK, TIMOTHYPEDERSEN, JANET DPEDRI, CATHERINE RPELLEY, JEFF LPENDLETON, JONPENE, TIMPENN, KENNETHPENNINGTON, LORI APENNINGTON, RALPHPENNY, JACK EPENNY'S, PLACEPENROD, ALBERT CPEN
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Ha ha, aujourd’hui je vais revué le film À bout de souffle, par le grand réalisateur Suisse-Français, Jean-Luc Godard! But no, this whole review won’t be in French! I would make too many mistakes in my grammar, I think, and would thereby annoy my French readership, if I even have a French readership! À bout de souffle is of course known as Breathless in English, and was Jean-Luc Godard’s first feature! I’ve been a big Godard fan for a long time, and until I watched this picture again the other night, I hadn’t seen it in years! Ha ha, it’s a great picture! I knew that of course, but I had a fine time reacquainting myself with this Gallic classic and realizing just how much it managed to change the motion picture arts as we know them! Of course this wasn’t the very first movie to take the camera off the tripod and ignore the established rules of editing and mise en scéne, but it was among the first, and certainly was among the most popular! On top of that it’s a lustily entertaining picture, a movie about movies that’s a more effective tribute to the medium than a thousand of those stultifying “Aren’t Movies Great” Oscar night montages could ever hope to be! Maybe you’ve heard of the movie but haven’t seen it, thinking to yourself “Ha ha, it’s just another boring, impenetrable avant-garde art picture!” No way! It’s a racy and thrilling crime romance that’s of much more than historical interest to anyone who appreciates a good genre exercise! The hero, Michel Poiccard, is played by the incomparable Belmondo, and is a Bogart-worshiping small-time Parisian crook who steals a car and then, cornered, commits a casual copicide! All the flics of France are after him then, but before he can flee the country, Michel needs to do two important things: get his hands on the money that’s owed him for past thieveries, and woo his tentative, impossibly cute American girlfriend Patricia into a dedicated, Bonnie-and-Clyde state of love! Then the two of them can run to Italy, and to freedom! I won’t repeat the encomiums so many others have lavished on this picture! Ha ha, you’ll just have to see it for yourself and invent some of your own! You’ll be captivated by Belmondo and his habit of running his thumb over his upper lip in imitation of Bogie; with Jean Seberg and her fantastic pixie cut and New York Herald-Tribune t-shirt; and with Paris itself, just for being Paris! One last note: I’ve often wondered if there was any connection between the character Laszlo Kovacs who is so often mentioned in the film, and the real-life Hungarian cinematographer Laszlo Kovacs, who shot Easy Rider, Ghostbusters and of course Butch and Sundance: The Early Days! Ha ha! I give Breathless four enthusiastic Gauloises, and encourage you to check it out with all haste! Out of the corner of your eye, a flash of movement – and then suddenly by your side it’s Burl! Ha ha, I’m here to review another slasher picture for you, Hospital Massacre! Back in 1981 there were a couple of hospital slasher movies released, Visiting Hours and Halloween II, and also a notable Valentine’s Day slasher, the renowned My Bloody Valentine! And then, as though trying to trump them all in a single stroke, along came a hospital slasher on a Valentine’s Day theme, Hospital Massacre! I’ll give you a quick sketch of where this one sits in the classification system: it’s a semi-mystery maniac picture with a touch of the Past History bit and a few splashes of actual Makeup Effects here and there! (There isn’t a credit for Special Makeup Effects per se, it should be noted, but a quick eye may spot a credit for “Makeup Master” in the closing crawl! The name beside it is Allan Apone, who also did some of the trick effects for Silent Madness and The Sword and the Sorcerer!) Ha ha, the mayhem in this one starts on Valentine’s Day 1961 at Susan’s house! Harold, an awkward boy, loves Susan and leaves a card stating as much! But she and her little buddy laugh and stomp on the card, and this makes Harold so mad he goes instantly and untreatably insane, and hangs the little buddy from a coat hook! Ha ha, that’s the motive? Class Reunion had a more reality-based kickoff to murder than this one! Well, almost twenty years later, Susan is going to the hospital to get the results of her tests! Wouldn’t you know it, Harold is there, wearing a surgical mask and breathing heavily! He does a little subterfuge with Susan’s X-rays, making it seem like she’s got a bellyful of worms! You’d think worms would be pretty easy to test for by simple use of the stethoscope or maybe a poo sample, but this hospital is not exactly the Mayo Clinic! So for the whole middle part of the picture, the horror comes not from Harold’s slicing and dicing, but from Susan’s tribulations with the hospital staff! She’s also cursed with the dumbest, most ineffectual boyfriend ever! If two lady nurses, even tall ones, tried to bundle my girlfriend off down the hall as she screamed “Let go of me!,” I like to think I’d help her out! Ha ha, this guy sort of deserved to get his head cut off with a bone saw, I think, and that’s exactly what happens to him! This is not a particularly gory picture, just to let you know! There are Special Makeup Effects, as I’ve mentioned, but they’re fairly minimal! A guy gets an acid facewash and ends up with a visage of foam! A snooty doctor gets a chop to the head and another is poked through the throat! There’s a hypodermic needle murder, which I suppose has to happen in every medical horror movie, although they always manage to simultaneously disgust and bore me somehow! Most of the killings are pretty dry, it has to be said! More notable are the touches of weirdness with which the movie is graced, and I suppose that since this comes from the director of Hot Bubblegum and The Last American Virgin, bizarre flourishes such as the room full of squirmy bandage patients, the troika of witchy old ladies, or the scene with Harold holding up a bedsheet as he runs down the hall, are to be expected! Well, it’s a little dry, a little boring in spots, a little sleazy here and there with the breast exams and so forth, a bit silly and a bit stupid, but Harold gets as good as he gives in the end (stabbed, splashed with flammable liquid, bopped several times with a metal pipe, lit on fire and sent over the edge of a building to plummet screaming ten stories to his death), so I give Hospital Massacre one and a half weirdo fumigators, half as many as are in the film itself! Ha ha! Hi, Burl stumbling at you from out of the darkness! Today I thought I’d review a comedy from that exciter of the French funnybone, Jerry Lewis! This one, The Errand Boy, has particular significance to me because it bears an uncanny resemblance to a script idea titled The Clapper-Loader which I myself had thought up almost twenty years ago! Of course, Jerry still gets the credit, but I swear to biscuits that I’d not seen The Errand Boy prior to thinking up The Clapper-Loader! Like The Clapper-Loader, The Errand Boy is about a clumsy nebbish who comes to work at a Hollywood movie studio and causes chaos! Unlike The Clapper-Loader however, The Errand Boy lacks a compelling narrative and witty, sparkling dialogue to go with the physical comedy! But not every movie can be The Clapper-Loader, and in fact not even The Clapper-Loader can be The Clapper-Loader, since I have yet to even finish the script! But let’s concentrate on The Errand Boy! Jerry plays Morty S. Tashman (so named in tribute to Frank Tashlin I’m sure), a hapless goof who gets recruited by the Paramutual Studios to find out where money is being wasted on the lot and then report back to the Paramutual executives! The executives are all named Paramutual – it’s a family business, and I guess this is a jab at the Brothers Warner – and are led by blustery Brian Donlevy in the role of T.P. Paramutual! This is the plot, and the spy business is forgotten about as quickly as the film can manage it! It becomes a series of self-contained gag sequences set on the film lot and often pointing out the artifice involved in filmmaking, which perhaps was novel at the time! Morty’s base is the mail room, which is presided over by a master of the slow burn, Stanley Baker! His performance was great, ha ha, and the scene where he lays down the law to Morty and the rest of the peons has a classic climax involving Morty’s jump onto the desk! The skits are pretty hit and miss! The best ones don’t end up as you assume they will, and often take a turn into surreality! The worst ones tend to rely on verbal rather than physical or metaphysical comedy, and aren’t much better than something you’d see on a third-rate variety show or cornpone Vaudeville circuit! The presence of the character Mr. Sneak, a man literally driven insane by his own sycophancy, is a warning sign that the scene will be a little less than stellar! Of course, Morty himself is a bit frustrating! You wonder how someone so incompetent, so dimwitted, so blissfully un-self-aware, could even get dressed in the morning much less make his way down to the studio without getting killed! But that’s always the point with these Jerry Lewis guys, who aren’t really supposed to be human beings at all; until the inevitable sensitive ending in which Jerry tries to convince you, by the sudden appearance of strings on the soundtrack and the liberal spreading of saccharine, that indeed yes, contrary to all heretofore provided evidence, this clown prince of goofballs is meant to be someone with whom we the audience are meant to empathize and even identify! Ha ha! Well, it never really worked with me! But that aside, as a joke delivery system The Errand Boy does pretty well, and if The Clapper-Loader never gets made Jerry’s picture will stand as a pretty fair replacement! I award it two and a half enormous jars of jellybeans! Burl’s here again! Ha ha, it’ll make you HAPPY! So says the copy on the video box of Summer Night Fever, and that kind of come-on is well nigh irresistible to a fellow like ol’ Burl! So I made no attempt whatever to resist it, and the result is the review you’re reading right now! Here’s a grand teen sex romp in the great European tradition! Like The Wild Life, this one has never made the leap from VHS to DVD, at least not in North America, and the reason is probably the presence of the dreadful and expensive hit song “Baker Street” on the soundtrack, and also the fact that one of the leads wears a Mickey Mouse shirt for the first few scenes of the movie! Ha ha, those copyright issues will get you every time, particularly where irritating softrock saxophone riffs or good old Uncle Walt’s animation corporation are concerned! Summer Night Fever begins in Munich with two buddies, Peter and Freddy, hanging out at a groovy Teutonic disco and the next morning hopping into Freddy’s yellow convertible VW Bug to begin a summer road trip to Ibiza! Ha ha, I’m already happy! But Freddy has a sister named Vicky, a glasses nerd, whom he is being forced to take along! This bums Peter out, and for the first time but not the last he declares that “This trip is ruined!” But Vicky, while nerdly, is pleasant enough, and the film sets to documenting their misadventures as they drive through late-70s Europe with the same five or so songs recurring in alternating scenes! Their car, every bit the lemon its appearance would suggest, gives them nothing but trouble! Peter, a goodtime ladies’ man, can’t score to save his life because all the freuleins, femmes, señioritas and niña bonitas assume that Vicky is his girlfriend! In the meanwhile, shy, myopic Freddy is going to bed with every one of the more elderly ladies in the cast! And along the way, plenty of ladies take off all their clothes! Well, if you thought driving across the continent was fun, wait till this little group reaches the Mediterranean coast! Yes, they hit hotspots like Monte Carlo, where they tangle with an incredibly louche Eurotrash yachtsman, and St. Tropez, where Freddy has a quick affair with his math teacher! Eventually their car is stolen by a melonman and his cohorts, but that doesn’t concern our heroes overmuch since it was always breaking down and stranding them anyway! A romantic misunderstanding separates Peter and Vicky, who were becoming closer along the way, and the whole thing wraps up on the legendary partyisland of Ibiza! Ha ha, I have to say that, despite some irritating characters and the brain-melting repetition of some very strange quasi-disco songs, some of which sound like children’s music and bear titles like “You’re A Person Of Importance,” Summer Night Fever is a terrific treasure of yesteryear! I personally would have loved to go on a trip like this at that time in history, and since I was much too young and not European, this is truly the next best thing! I have to admit that the picture lived up to the letter of its video-box boast! It’s well-paced, nicely photographed and it delivers the goods! And of course it makes you HAPPY! Ha ha! And as a bonus, I was lucky enough to find the soundtrack album on vinyl, so now I have all those crazy songs to play at top volume in my home! I give Summer Night Fever three narrowly (and thankfully) avoided date rapes! Ha ha! Ha HA! It’s Burl! I’m here to review another movie for you! This is one of those pictures that for some reason seems not to have ever been released on DVD, which perhaps means it’ll never make it to any future format either! I’m sure you can find it to watch somewhere on the Internet, but me, I’ll stick with my VHS copy, which is what I watched the other night! I’d never actually seen this picture before, which is odd considering that I’m something of an 80s movie scholar, and am fond of Fast Times at Ridgemont High, with which this movie shares a few key elements! Both The Wild Life and Fast Times were written by Cameron Crowe before he got a little too interested in making bland pictures ol’ Burl has no interest in seeing! That happened pretty much right after Say Anything, to tell you the truth! As well, both pictures feature at least one member of the Penn family! Fast Times has Sean as the notorious, pizza-loving stoner Spicoli, and The Wild Life has Chris as a dreadful bozo named Tommy Drake, and also a brief appearance by their dad Leo Penn in the role of Tommy’s dad! Both movies also have California locales, a general shambolic quality, and a bunch of characters who know one another but have separate stories and problems of their own! But there’s no actual narrative crossover or shared characters, so if you ever were under the impression this is some sort of Fast Times II, think again, young cowpoke! Our characters include Eric Stoltz as Bill, a straight arrow of a fellow who has recently broken up with his girlfriend Lea Thompson and taken his first apartment at a high-life rental complex in his quest to become a single successful guy! Lea Thompson meanwhile is having a donut-shop affair with a bootblack handlebar mustache attached to a cop! Her pal Jenny Wright works at a crazy clothing store managed by Rick Moranis, whose hair and outfits here are crazier even than they were in Streets of Fire! She’s fending off both his advances and those of her sometime boyfriend, the odious wrestler Tommy! And Tommy decides to move in with Bill so that he can start a non-stop party parade! And of course we can’t forget Bill’s little brother, who is obsessed with Vietnam and practices nun-chuk-as in his room like the killer from Fear City! Ha ha! The character of Tommy has got to be one of the more loathsome would-be charmers in movie history! I don’t know why, but I really hated him! He’s meant to be oafish but charming, clueless but big-hearted, and with his Made In California catch phrase, “It’s casual,” I suppose he’s meant to be cool and hip also! Ha ha, well, “It’s casual” made its way to the Great Dumping Ground Of Failed Catch Phrases pretty quickly, to lay beside gems like “Bau bau bau” from Surf II and “Be Scottitfitous, buddy” from Hardbodies! Tommy is just one of the most objectionable characters I’ve ever encountered in my long movie watching career! I don’t know why he rubbed me so very wrongly, but there was just something about him! But I enjoyed the movie on the whole, since I do tend to like these laid-back, directionless teen comedies of yesteryear! I liked its loose ends, its supporting cast (Randy Quaid appears as a depressed, smack-addict Vietnam vet, and of course a Moranis appearance always brings a picture up a notch or two) and the random rock stars that showed up throughout! It’s not in the same class as Fast Times, but I rate The Wild Life a respectable two Ron Wood cameos nevertheless! The door opens to reveal… Burl! Yes, I’m here to review another Stanley Kubrick movie, this time not a late-period movie like Full Metal Jacket, but one of his earliest productions, Killer’s Kiss! He made this one for a pittance way back when, after he’d only done a few other pictures, mostly short documentaries! But he’d already had lots of experience behind the camera – the still camera that is, as a photographer for Look magazine! That’s probably why Killer’s Kiss looks so darn good! The fellow was just born with a good eye, I guess! The tale is a pretty basic one! It seems there’s a boxer, Davy, who is cursed with an eternal glass chin! He fights Kid Rodriguez for the title and loses, falling to the canvas like a stumblebum! No matter how many times he shakes his head to clear it, he can never quite get his mojo back! Ha ha, in the world of the sweet science, he’s naught but a clumsy lab assistant! But he lives in a dingy apartment with a view of the other dingy apartment across the courtyard, the tenant of which is a beautiful lady named Gloria who turns out to be a taxi dancer at a hall owned by a greasy mustachioed gangster-ish fellow, Rapallo! Well, Rapallo, who has feelings, is in love with his employee and visits her one night anxious to make l*ve! But Davy hears her screams, rushes to the rescue, and though Rapallo has gone, he manages to provide some comfort for the weepy Gloria! The next morning they put on the day, exchange tales of woe (Gloria’s involves a lot of ballet dancing) and begin very tentatively to fall in love! Of course love never runs smoothly in a noir caper like this, and when Gloria tries to quit her dime-a-dance career to join Davy on a trip to Oregon, Rapallo’s thugs are waiting! In a case of mistaken identity they put a fatal punching on Davey’s fight manager, and then they kidnap Gloria! Davy tracks her down and then there are some ferocious fights – brittle-chinned Davy is of course knocked out easily in the course of one of them – and a nifty rooftop chase! The grand finale is famous for taking place in a mannequin warehouse, and it ends with a gruesome transfixion and a pitiful dying scream! Ha ha, this is a great little movie, if probably not the one Kubrick was most proud of! It would certainly make a terrific double bill with Blast of Silence, which is just as good and even grittier and rougher, but unlike Killer’s Kiss was not the start of a legendary directing career! Kubrick’s picture has got some flaws, sure, like the weak story, the narrated flashbacks that are obvious narrative bandages, the rushed and improbable denouement and the fairly obvious techniques used to cover the fact that there is no audience and no auditorium in the boxing scene; but on the other hand almost every shot has some visual treat in it! On balance, and though I admit my opinion is coloured somewhat by the film’s pedigree and the fact that I just like looking at shots of New York in the 50s, I’m going to give this little noir three soon-to-be-neglected fish! Hi, Burl here to review a very short movie! Ha ha, it runs barely more than an hour! I’m talking of course about Terror of Tiny Town, a Western made with an all-little people cast! As you can see from the poster, it is “rated comedy,” but in fact it’s a fairly straight-ahead Western action-drama! Of course the movie is notorious in the exploitation field, more so even than the Werner Herzog movie Even Dwarves Started Small, in which I believe the cast was not only small-sized but hypnotized! But the movie doesn’t do much with the height-deficiencies of its actors, and in fact it’s easy to forget, or at least not fixate on, the shortness of the cowpokes and just get caught up in the wainscoting-high drama! Ha ha, it seems that there’s a goodly amount of rustlin’ going on around Tiny Town, and two ranching families are each convinced the other is behind it! Buck Lawson, who wears a brilliantly white hat and a dust-repellant ice cream suit, is the good guy, and his dad owns the ranch; Nancy Preston is the young lady newcomer to town whose uncle Tex runs another big ranch! Well, that nasty Bat Haines is behind it all, rustling the cattle and setting the two families against one another! Buck and Nancy carry on a Romeo/Juliet relationship for a while before Bat opts to raise the stakes by shooting Tex and pinning the crime on Buck! Ha ha! But of course everything eventually gets sorted with the help of a few well-placed sticks of dynamite! Sure, there are a few midget gags in this movie, like the comedy relief cook who is terrorized by a cunning duck, and who walks in and out of his cupboards like they were closets! And there’s a fellow who guzzles down snifters of beer as big as his head! And the midget who sings basso profundo! (There’s a lot of singing in this movie – the whole town gets to warbling at the drop of a ten-gallon hat!) And, yes, one guy does walk into a saloon by trundling under the swinging doors! But the movie isn’t really a comedy unless you’re one of those people who simply point and laugh whenever you see a little person, and if so, ha ha, you’re a jerk! The wee folks ride and shoot and fight just fine, though they’re not very good actors! A few of the action scenes are surprisingly exciting, and at one point a penguin shows up! On the whole, this is not much different than the typical Monogram-type Westerns of the period, and if you like those, you should enjoy this one too! And if the look of the film is familiar to you, it’s because it was shot by the same cinematographer as Cosmo Jones: Crime Smasher! Ha ha, I give Terror of Tiny Town two bricks and a short refrigerator! Burl! It’s Burl! Ha ha, another slasher movie to review for you today! I know that many of my readers enjoy these pictures above all! And this one, Silent Madness, appears to be especially loved by a small but dedicated contingent of motion picture admirers! Some of you may recollect that one of my ongoing projects on this blog is to create a proper, if loosely organized, taxonomy of these slasher pictures! Mystery killers, faceless killers, deformed killers and motive-driven killers all ought to have their own comfortable categories in which to loll and plot their mayhem; movies which use the science and art of gore should be segregated from those which for some reason refuse to do so; and good movies must be separated from bad! Where does Silent Madness sit in all this? Ha ha, well, let’s have a closer look! The plot in its broadest outlines is fairly scrupulously recycled from Halloween, actually: we have an escaped lunatic, a dedicated mind-doctor on his trail and a group of unwary goodtime gals directly in his path! There are a few victims along the way and a sheriff who refuses to believe the threat is real! From there, however, the two movies diverge pretty completely! It seems that a pasty-faced individual named Howard Johns is released by mistake from a New York bughouse! He makes his way without delay to the small college town where, almost twenty years before, he’d been driven haywire by a brutal spanking inflicted on him by some sorority sisters! He’s never forgotten that bum paddling, nosirree, and he’s back to inflict revenge on all the current-day sisters of Delta Pi or whatever! (Ha ha, it’s all Greek to me!) Feisty Dr. Lady is on his trail, and she in turn is pursued by a couple of incredibly sleazy and horrible orderlies from the hospital, who have been mandated by bughouse officials to kill Howard Johns and turn the doctor into a mental vegetable! Other characters mixed up in the action include the aforementioned sheriff played by skeevy Sidney Lassick from Carrie, Alligator and The Unseen; a soap-star type newspaper editor whose heroics consist of getting bonked on the head, tied up and locked in the back of a van; and the house mother played by the great Viveca Lindfors from Creepshow! Ha ha, it’s a pretty good cast actually! Meanwhile Howard Johns has gone murder-happy, using a variety of relatively imaginative methods for his killing! He does a head-crushing in a vice, steams someone to death, tosses an animated hatchet and inventively uses a barbell, a rope and a window at one point as well! Some of the killings are fairly (almost uncomfortably) gruesome, and there’s a bit of actual gore here and there as well, and that treat for any slasher viewer, a credit for Special Makeup Effects! Ha ha, there’s also a special appearance by that great video game of days gone by, Dragon’s Lair! Well, I won’t say too much more about this picture, except that it was made in 3D, so there are some things tossed, pointed and otherwise aimed at the camera lens! (The light-hungry 3D process also ensures that this is the rare slasher movie which takes place entirely in the daytime!) Also worth noting is the East Coast atmosphere, so different to the discerning viewer from the California or Midwest ambiances so often found in these things! And I must say it again: Viveca Lindfors! This is far from her greatest role, but I’ve always liked her, and her presence put me in mind of a picture called Last Summer in the Hamptons which I remember enjoying at a film festival once! Maybe I’ll watch it again and review it here sometime! Silent Madness more or less delivers what anyone watching it deliberately might hope for, and though there’s an excess of plot and it gets a little chatty here and there, I’ll still give it two sudden nailgunnings! Hey and hah-trayah, it’s Burl! Yes, I’m here with another review of a motion picture, once again plucked almost at random from my basement VHS collection! This one is an Abel Ferrara movie I’ve never seen before, and it’s called Fear City! It maybe should have been called Sleazeball City, but I guess Fear City works pretty well too! It's part of that micro-genre of movies that are partially about psycho killers but are also part of some other genre too, just like Delirium! It’s also part of that category of movies whose raison d’etre seems to be making New York look like the most horrible, gritty, dangerous and generally unsavoury place ever! There are mainstream movies that work on this theme, like Cruising, and there are low-budget pictures that do it even more persuasively precisely because of their low budgets (Maniac and Basket Case would be good examples of these); but Fear City, with its cast of recognizable faces and reasonable budget, fits somewhere in the middle! It seems that Tom Berenger, whom we know from such Hollywood bumkins as Someone To Watch Over Me and Last Rites, is an ex-boxer who once boxed his opponent into the grave, and so he quit pugilizing – though his flashbacks won’t let him forget the incident – and started up a stripper management business with his pal Jack Scalia! Well, wouldn’t you know it, as our story proper begins, one of those self-righteous maniacs on a morality crusade decides to clean up the streets by practicing his various martial arts techniques on random exotic dancers, at first just mutilating them with scissors and knives, but soon working his way up to brutal murders! Since the first two victims work for the Berenger/Scalia Agency, an incredibly angry cop played by Billy Dee Williams from Number One with a Bullet decides these fellows must know something about the tragedies! Soon a mobster played by Rossano Brazzi from South Pacific gets involved for some reason; and there are lots of ladies about too, like Melanie Griffith as the exotic dancer Tom Berenger loves, and Rae Dawn Chong as the exotic dancer Melanie Griffith loves, and Janet Julian from Humongous as the exotic dancer everyone loves! Of course we all know that even with all these characters and plot strands and flashbacks, it’s all going to come down to the killer boxer vs. the chopsocky maniac, and indeed that’s what occurs! Ha ha, the fight is pretty good, and it’s always satisfying to see one of these extreme social conservatives – and he’s a brutal murderer too, don’t forget – receive the harsh and painful pummeling they deserve! Ha ha, Abel Ferrara is a pretty interesting director! I guess he’s best known for Bad Lieutenant and King of New York, but he’s done lots of other weird pictures as well, like his own (pretty good!) version of Invasion of the Body Snatchers, just called Body Snatchers; a movie about Madonna and Harvey Kietel making love; and a movie adaptation of William Gibson’s New Rose Hotel! Fear City is one of his earlier productions, and despite running off madly in all directions plotwise, and presenting maybe too many scenes of exotic dancing, and featuring a lot more harsh, brutal violence against women than ol’ Burl is all that comfortable with, and losing its narrative thread like you would a worm in a bowl of rancid spaghetti, it’s not that bad a movie! I give it two long, wordless nun-chuck-a practices! Well, it’s that time again! Time for ol’ Burl to grab the cinematic bull by the horns and wrestle it into the dirt – the dirt of critical evaluation! Ha ha, over my many years of movie watching, I’ve identified more than a few micro-genres, and have built up a pretty extensive taxonomy! One category of movies I like is the Expensive Arty Horror Picture, which consists of uniquely oddball, almost experimental genre movies that break some new ground in the field! Matango is a good example, and so are movies like Horrors of Malformed Men or Lisa and the Devil or The House with the Laughing Windows or Zeder! I guess you might toss Videodrome in there as well! Today’s movie is another picture in the great artsy horror tradition! It’s Malpertuis, which was adapted from a weird surrealistic horror book by the pseudonymous Belgian writer Jean Ray! Ha ha, the movie was made by Harry Kümel, who also made a movie about nude vampire ladies called Daughters of Darkness, and in fact has made several other pictures that you never hear about! Or maybe you do if you’re of the Benelux nations, but not so much outside of that particular socioeconomic region! Malpertuis is also part of another micro-genre, the House Movie! These are pictures which take place mostly or entirely within the walls of a single house, and the house itself is more or less a character in the film! There are lots of haunted house movies in this micro-genre of course, like The Haunting, House, The Legend of Hell House, This House Possessed, The Evil and The Nesting, just to name a few, but there are also left-field weirdpics like Sunset Boulevard, Demon Seed, Guy Maddin’s Keyhole, and of course the Japanese insanity pepper simply called House! Well, I guess I ought to tell you a little about Malpertuis, but I’ll keep it sketchy, because it’s one of those movies you might prefer to go in knowing only a little bit about! It seems that a pretty-boy sailor-man is on shore leave and looking for the house in which he grew up! It seems to be missing! He chases his sister and ends up in a nightclub free-for-all where he gets bopped on the head! He wakes up in Malpertuis, the house of his uncle Cassavius, who is played without even getting out of bed by Orson Welles himself! The house is filled with all sorts of other people, mostly petit bourgeoisie or resentful servants or weird hangers-on, who all seem to be waiting around for the bedridden Cassavius to croak! There’s a strange atmosphere in the house, and an odd reluctance or inability on the part of its denizens to leave! All sorts of things happen, including gruesome murders and illicit sexual acts, and later on some much, much stranger events and revelations, some of these involving the gods of ancient Greece! By the time the young sailor discovers the secret of Malpertuis and those who dwell within its mildewed walls, the movie has mustered up an otherworldly feeling that stays with you well after the credits have rolled and the last strains of the Georges Delerue score have faded! Many of the movie’s pleasures are visual! It was shot by Gerry Fisher, a British cinematographer whose eclectic credits include lots of Joseph Losey and Tony Richardson pictures, a bunch of late-period John Frankenheimer and Michael Ritchie works, and crazy movies like Billy Wilder’s Fedora, William Peter Blatty’s The Ninth Configuration, John Huston’s Wise Blood, and of course Wolfen and Highlander! Truly an interesting career! And, in concert with the production designer and Kümel he does a great job with Malpertuis, giving the house enough varied life and colour and flaming gas lamps to make it an expansive and multifaceted environment with personality to spare! This is a picture well worth seeking out! There are a few different versions, and I watched the 119 minute director’s cut, which is what I recommend to you! I give it three and a half swooping eagles! Hi, Burl here with some early Roger Corman to chat about for you all! Ha ha, old Roger certainly has made his share of movies over the years, and for a producer he was an awfully prolific director too! I guess when you make a movie in three or four days, you can pack quite a few of them into a year! This particular one has a pretty bland title, so it’s better known around my house as No! Don’t Touch Me! But though Carnival Rock isn’t one of Corman’s better-known pictures, it’s one of his more serious-minded efforts of those early days! Ha ha, it wasn’t all monsters and dragsters for that fellow! This movie was certainly intended as a drama above all else, but it was still ultimately a drive-in picture, so Corman salted it generously with the shakinest tunes of the day in an effort to keep the kids on the Southern ozoner circuit intrigued! There are numbers from David Houston, Bob Luman, The Shadows, and a groovy theme tune from The Blockbusters! The best musical interlude comes from The Platters – it’s a truly excellent slice of goodtime vocal pop, and a highlight of the movie! But most of the movie is the story, and the story is as follows! It seems that on “the pier” – it’s never specified which pier, or where the pier is, and we never even see any remotely pier-like details, since Corman wasn’t shelling out for any location photography on this one – there is a nightclub establishment known as Christy’s! Christy, the owner, is a potato-faced Greek who, we are repeatedly told, is fifty years old! He’s desperately, passionately, completely in love with his star attraction, a lady singer named Natalie, played by Susan Cabot! He’s so be-smitten, in fact, that he’s completely neglecting his failing business, despite constant reminders from his stylish factotum Benny, a role essayed by the great, great Dick Miller, my very favourite actor! As the business pressures on Christy get heavier, his demented refusal to face reality becomes only more determined! Benny’s complete and unexplained devotion to him (perhaps Christy saved his life in the war?) is severely tested as Christy’s hard-headedness calcifies into looniness! And Natalie, a decent lady with no attraction to the Greek, is driven further and further away! Her fiancé Stanley wins the club from Christy in a simple game of high card/low card, and in a desperate attempt to stay near his beloved, Christy takes a job as the club’s baggy-pants comic! Ha ha, saddest clown ever! Well, when Christy finally goes over the edge and starts the club on fire (it’s the lowest-budget conflagration ever committed to film!), matters come to a head, and it’s up to the decent Stanley to save both his lady love and the cracked Christy! There’s a very bittersweet conclusion after that, tinged only ever so slightly with hopefulness! Ha ha, it’s hard to say what the drive-in crowd would have made of this one! It’s very talky, so they would have had plenty of time to make out between the musical numbers! The romantic and business travails of a homely pentagenarian would not likely have interested them overmuch! But what do I know, maybe they were riveted! In any case, I say the movie is well worth a look! The performances and script are both strong, and the moody photography by Floyd Crosby (he shot F.W. Murnau’s Tabu and such prestigious pictures as High Noon and The Old Man and the Sea, and later on all the American-International beach movies) gives it some carnival atmosphere! And you know how much ol’ Burl loves a carnival picture! And what a cast! You’ve got the excellent Dick Miller of course, and then in the role of Stanley there’s Brian G. Hutton, better known from his later action-movie directing career! He made Where Eagles Dare and Kelly’s Heroes and The First Deadly Sin, and then the 80s moustache picture High Road to China, before apparently chucking it all to become a plumber! Ha ha, weird! And there’s Susan Cabot, whom I’ve liked in all her roles, but she had a troubled life and came to a sticky end when her dwarf son clubbed her to death with a barbell while she was sleeping one night in 1986! That’s very sad, she was talented! And you also get Bruno VeSota from Attack of the Giant Leeches, and Jonathan Haze, Seymour Krelboyne himself, in supporting roles! Maybe I’m just a sucker for a little good music, or for a Corman stock-company cast, or for a movie that tries hard! I know I’m a sucker for any Dick Miller performance I happen to run across! At any rate, all of this means that despite its cheap talkiness, I’m going to give Carnival Rock three skinny neckties! Hi, it’s Burl here, standing tall before the man! Today I want to talk about Stanley Kubrick’s Vietnam movie Full Metal Jacket, which is a dilly of a picture! Kubrick had made war pictures before this, most notably Paths of Glory, and when you factor in films like Spartacus and Dr. Strangelove you get a pretty good idea of how the man felt about armed, organized human conflict! He thought it was ridiculous, ha ha! Full Metal Jacket almost plays as a comedy at times! The bandy-legged, leather-bound drill instructor, Sgt. Hartmann, is so outrageously over the top that I think if I was one of the maggots under his tutelage, I’d have reacted to his rants like Private Pyle does, with a hard-to-conceal smirk! Ha ha, I’d have certainly received a punching or two from that beef-jerky of a DI! Allow me to digress for a moment! Ha ha, I saw a special advance preview screening of this movie back when it was released in 1987, and I was so excited to see the movie that I got there early so I could catch the regular feature that had been double-billed with this one! This was in the days before the Internet, remember, so most everyday people had no idea the movie was coming, or what it was about, or anything! And maybe that’s why the theatre people decided that Full Metal Jacket should be paired up with none other than Ernest Goes to Camp! Ha ha, the theatre was full of families who were there to see the big-screen debut of Ernest, and who liked the idea of seeing a second mystery film for free! You could sense the confusion from the audience as the seemingly endless shots of the recruits getting their heads shaved went on and on! They’d been primed to laugh by Ernest’s antics, so there was plenty of tittering, and more once Sgt. Hartmann started his profane bellowing! Ha ha, he was always threatening to poop on people’s necks, that crazy Sgt.! But one by one, as his threats and insults became more graphic, and the atmosphere chillier and less recognizably human, the families began to drift away! All except one devoted dad and his two eight-to-ten year olds! They stayed for the whole show, and I often wonder how he and the kids described their evening at the pictures to Mom later on! This movie was a part of the great Vietnam Surge of the late 1980s, and initially I thought Platoon was the better movie! Platoon is hardly a bad picture, but, for me anyway, it’s become apparent that it’s more just an exercise in surface impact, and has less thematic follow-through than the Kubrick picture! There’s a generic feel to all the jungle creeping and yelling of Platoon, whereas Full Metal Jacket is and always will be its own unique thing! A few random thoughts: The whole cast is great, but Dorian Harewood is especially good in the picture! He plays Eightball, and I thought he did a standout job! Also, that Colonel who shows up, the one who asks of his soldiers only that they obey his every command as they would the word of God, is Bruce Boa, the Waldorf Salad guy from Fawlty Towers! And whatever happened to Douglas Milsome, the cinematographer? He did a great job, and you’d think he’d have been set for a career shooting prestige pictures after this one! But the next thing you know he’s photographing killer Rumplestiltskin movies and Jean-Claude Van Damme direct-to-video cheapies! Weird! Anyway, this is a singular picture and an extremely entertaining one! It’s brutal and funny, and even though you’re always conscious that it was shot on a backlot in England and they never went anywhere near either Parris Island or Vietnam, it has a thematic and emotional effect that bonks most other Vietnam pictures over the head! I give it four reach-arounds! Burl here to review a documentary feature! This one details the machinations of the Utah Mor-mons who made it their business to interfere in the California proposition to ban gay marriage, which appeared on the ballot in November of 2008! I remember following this story and, frankly, making the assumption that the proposition wouldn’t come within a mile of passing; but I was wrong, and the lesson, I guess – and the lesson in this documentary – is not to underestimate how much organized socially conservative religious people are determined to interfere in other peoples’ lives! So there’s an interesting and relevant story here, and with the recent judicial declaration that this proposition is unconstitutional, it’s timely once again also! So it’s pretty unfortunate that this tale is told in such a cheap, unimaginative and out-of-whack movie as this one! Let me give you an example of the movie’s approach! One of the interviewees is enumerating the elements necessary to influence a vote in a place as large as California! One, he says, is money! Cut to a shot of hands counting fake-looking bills! Two: volunteers willing to go door-to-door! Cut to a shot of someone knocking on a door! Three is something less tangible, like influence, and the filmmakers’ limited imaginations were unable to come up with a crashingly on-the-nose visual to go along with it, so they just show a shot of a building and leave it at that! Ha ha, nice try! But I’m far from the ideal audience for this picture! It may shock you to learn this, but ol’ Burl is a fairly cosmopolitan guy! I live in a place where gay marriage has been legal for years, so I can tell you with cheerful certainty that it presents no danger to so-called “traditional” marriage or to the fabric of society! I don’t require documentaries such as this to endorse marriage for whatever consenting adults want it! I have friends who are in gay marriages and who are raising happy, well-adjusted kids, so I don’t need to be persuaded that these families are perfectly normal! The idea that anyone could think otherwise is what tends to surprise me! And I’m not in the least surprised to learn that Mor-mons were behind the big money push to influence the California vote! I thought it was common knowledge, but this movie presents it as though they’re unveiling a shocking and little-known revelation! A gay couple whose marriage was rent asunder by these meddling Mor-mons are the default main characters, and most of their screen time is them telling us that they truly love one another and that they deserve to be allowed to marry the same as anyone else, and that it’s all about love! Since I take those things for granted, I was pretty much looking at my watch, waiting for the movie to go deeper! It could have presented all those things with some choice visuals, showing these guys at home or something, instead of having them repeat it over and over! But like I said, not much imagination at work here! Still, I learned a few things! I’d never heard of this loathsome Senator Buttars guy before, and I could have gone through life quite happy never to have heard of him I guess, but now at least I can picture his horrible face as the proposition he so unctuously championed is undone by the very constitution he presumably would have had to swear allegiance to at some point! So maybe that made watching this thudding and ponderous doc somewhat worthwhile! I certainly wish this had turned out better, because as I say, it’s an interesting story! Perhaps, as the story is ongoing, there is a more ferocious, more stylish and more dynamic effort yet to come! I give 8: The Mor-mon Proposition one single easily-pressured Mor-mon! Ha ha, it’s Burl here to review a comedy! Or at least a movie that supposes it’s a comedy! I’m talking about the slasher movie parody National Lampoon’s Class Reunion! I guess that’s the official title, but if I was Mr. National Lampoon, I’d maybe keep my name off the poster of this particular effort! Ha ha, stick with possessiveifying Animal House and Vacation, Mr. Lampoon, that’s my advice! Let me tell you right up front: this movie stanks! It stanks so hard! There were a number of slasher movie parodies made around the same time as this, pictures like Student Bodies, Wacko and Pandemonium! Now I haven’t seen all those movies, but I feel pretty sure that they must certainly be better than Class Reunion! They could hardly be worse! The movie starts out a lot like that old favourite Terror Train! At a graduation party, a hapless class dweeb is tricked into an unpleasant assignation with a supposed sure thing! But instead of a dismembered corpse as in the railroad picture, the bagheaded certainty with whom the dweeb is coupled turns out to be… well, that’s the twist! Wouldn’t want to give it away, ha ha! Well, okay, I will: the dweeb turns out to be making sweet love to his own twin sister! By garr! No wonder that ten years later at the class reunion he shows up with a bag on his head and a mission to kill! And here is a group worth killing: you’ve got Gerrit Graham as the BMOC who masterminded the cruel prank; Stephen Furst, the flounder from Animal House, playing the gross-out king Hubert and applying whatever he learned from John Belushi to his part; Art Evans from Fright Night as a mind-stoner, which is funny because he usually seems to play a cop; and many more! The great Michael Lerner shows up as a mystery doctor, and he provides a special surprise later on! Now, these are not untalented people! And the script for this movie was written by John Hughes, and whatever you think of his teen angst pictures, he’s usually good for a few bon mots! On top of this, behind the megaphone was the portly director Michael Miller, who, the very same year he made this bumkin of a movie, made the enjoyable Chuck Norris-vs.-Frankenpsycho picture Silent Rage! (Ha ha, I’ll try to review that one pretty soon!) So why did Class Reunion end up as such a feeble cruickshank of a movie? Things just fall that way sometimes, I guess! There are some okay bits – Anne Ramsey, well known from Deadly Friend, plays the lunch lady, and she has a fairly hilarious kung-fu battle with the killer! And Chuck Berry provides some fine musical entertainment, but he’s apparently finished and gone before the killer begins his violence work! But the rest of it is almost aggressively unfunny, and not in a Neil Hamburger way! The filmmakers probably didn’t think that, for example, a blind crippled lady crashing into things was inherently funny, but they sure fooled themselves into thinking other people would find it funny! I liked the idea that one of the students was a vampire for some reason, but he never did anything particularly vampiric, and he had the worst attempt at a Bela Lugosi accent ever! Ha ha, I thought anyone could do Bela! Even Martin Landau from Without Warning did a pretty good Bela! Well, this movie is the worst kind of daffodil, and I can in good conscience give it no more than one half of a girls’ convenience! Ha ha! You know who it is? Burl! Yes, I’m here to review another picture for you, this one straight from the foggy shores of Blighty: one of those early-70s British pictures I was talking about in the review of Scream… and Die! It’s Tower of Evil, also known as Horror on Snape Island, and I think it’s got some other titles too! But let’s keep things simple and call it Tower of Evil! This movie doesn’t get the recognition that it—well, I don’t want to say deserves, but that I’d expect it to have! I suppose it’s an older movie, and the mayhem and nudity are all wrapped up together in one crazy few moments of motion picture rather than being spread out to make a more memorable moviegoing experience overall! Some fishermen arrive on foggy Snape Island, a bleak and inhospitable promontory, honeycombed with caves, upon which perches a decrepit lighthouse and be-rubbled house! Well, they start finding corpses, and the next thing you know a naked lady runs screaming at them, managing to give one of them a pretty thorough poking before catching a bop on the head from the other! Because one of the murder weapons was an ancient Phonecian spear, some artifact historians become involved and head to the island to see what’s up! In the meantime, the naked lady has been given some clothes and is being hypnotized by a nine-light covered with multicoloured gels! The idea is to lift her out of her funk so she can explain what happened on the island! Flashbacks to these events, which involve a bunch of British youths trying to sound American, are salted in as we follow the relic hunters to the baneful islet! The surviving fisherman, a mysterious detective and a dimwitted treasure-hunting tightpants are along for the ride! Altogether they make up as petty and nasty a bunch as you could ever hope to find, and all of them dumber than a box of dead crabs in the bargain! It quickly becomes clear even to this unleavened group that they’re not alone on old Snape Island, and soon there are corpses a-plenty littering the rocky ground! Heads and hands are cut off, faces chopped and torsos poked, and screaming victims plummet from the top of the lighthouse! The thing about this particular group of people, and the real downside to this picture, is that they’re ready-made victims who may as well have been groomed in some behavioralist’s operant chamber to act in just exactly the way that would best guarantee a domino-like mass demise! They’ll wander off alone for no reason at all, ignore obvious danger signs, and disrobe for sexual intercourse in the middle of a desperate fight for survival! Ha ha, they’re a bunch of dim quilvontics, and no mistake! There’s one scene that stands out for sheer stupid behaviour! Someone hears a scary noise, and the men of the group go out to investigate! “Ha ha, stay right here,” one guy tells the ladies! Of course while the fellows are out, one of the ladies gets the chop! Instead of offering abject apologies, the guy is all like, well, nothing we could have done to prevent that! And later, when another scary noise is heard, the remaining lady says “Ha ha, you’re not going to leave me alone again!” The guy responds in a tone suggesting she’s a child who’s just asked the stupidest question in the world: “Of course not! Get your coat!” Sorry buddy, but you’re the idiot here! It’s pretty enervating! But the rest of the movie is fairly enjoyable! You might be wondering who’s doing all the killing? Well, usually in movies like this – Raw Meat, for example – the killer turns out to be a disheveled, giggling madman with a big shaggy beard, and that’s the case here! He’s got some pretty spooky scenes, I can tell you! I give Tower of Evil two and a half model lighthouses! Well, again, it’s Burl reviewing at you! And how fun it is to do it! Yes, another comedy about the hormones of young people for you today! This one is a pretty mainstream example of that marvelous genre, and what it might lack in go-for-broke teen raunchiness it makes up for with its fine cast and reasonably strong script! This one is called Secret Admirer, and it’s got a fairly gimmicky plotline that might sort of remind you or The Earrings of Madame de… or something along that line! It seems that C. Thomas Howell is one of those young high schoolers who’s got a good female friend who is also gorgeous and has an obvious crush on him, but whom he doesn’t consider romantically attractive for some reason! Instead C. Thomas has the hup-hups for a blonde girl played by Mrs. John Travolta! It’s similar to the dynamic we see in the same year’s Teen Wolf, where “Boof” is the neglected but loving pal! Ha ha, I guess 1985 was a big year for this sort of confusion! Well, a love letter is written and passed anonymously to C. Thomas, and when his gaggle of pals find it tucked inside his arithmetic book, they convince him that it certainly must have been written by Mrs. Travolta! Well, confusion sets in all around the neighbourhood after that, spreading to anyone – kids, parents, other parents – who accidentally discover the letter or one of its follow-ups and immediately jump to a faulty conclusion! I won’t detail these confusions, but the movie is pretty much divided equally between the confusions of the kids and the confusions of the adults, all of whom come to believe that their partners are up to some adulterous no good! If these adults hadn’t been cast properly – Fred Ward and Dee Wallace are among them, just to give you an idea – then these parts of the movie would have been a complete waste of time! So thank goodness for lively actors! As for the young people sections of the picture, they’re more naturally successful because that’s where the movie’s heart lies, after all, and that is the crowd the picture-makers were presumably catering to! Here again, the performances help out! C. Thomas is okay I guess, with a few good moments here and there, and his gal-pal is really good, I thought! Mrs. Travolta is fine too, and doesn’t hesitate to disrobe when the narrative arc calls for it! C. Thomas’s gang of pals are okay as well, and one of them wears businessman clothes and carries around a briefcase, which I thought was a nice touch since I seem to recall a guy in my own high school who did the same thing! My favourite scene in the picture, actually, involves all these pals – it’s in a treehouse or something, and they’re in there drinking beer and hanging out because they’ve just finished school for the year! Ha ha, always an exciting day! There’s nothing special about the scene – it’s where they discover the letter, blah blah blah – but it’s just a pleasant bit of hanging out, and I liked it! Ha ha! The movie looks slick and professional, which isn’t always the case with this sort of picture, and it has a score by Jan Hammer, the guy who did the Miami Vice music! There are clever bits in the script, a few likeable characters (the ostensible “bad guys,” like the apeish boyfriend of Mrs. Travolta’s character, are given little empathy-inducing soliloquies) and a highly unlikely final scene! All this equals a reasonably enjoyable, if instantly forgettable picture! I give it two and a half tumbling grandfather clocks! It's Burl talking! I’m sure you all know and are fascinated with Stephen Geoffreys, the fellow who played Evil Ed in the original Fright Night! Ha ha, if you’ve ever seen this delightful individual, you can hardly have forgotten him! And did you know that along with his supporting part in Fright Night and his role as the handsmith in Heaven Help Us, he had a few starring roles in other pictures? Yes, it’s true, and although many of his roles were in movies not likely to get discussed here, Fraternity Vacation seems like a pretty good candidate for a review from ol’ Burl! There’s a black and white prologue, which is pretty unusual for a movie like this! It’s a Wizard of Oz thing I guess, because it starts out in Iowa during the winter and then the bulk of the movie is in Palm Springs, and that part of course is in colour! It seems the very nerdly Wendell Tvedt, played by Stephen Geoffreys of course, is a rich pig farmer’s son, and his father, played by ALF’s dad I think, is paying not just for his trip to Palm Springs but for his prospective frat-mates Mother and Joe also! Mother and Joe are willing to tolerate Wendell because of this, but only barely! And Mother is played by none other than Tim Robbins! Well, there are some rich guys from a rival frat in Palm Springs also, and they’re pretty rotten fellows, as rich blond frat guys always are in these pictures! Quickly a rivalry develops between Wendell’s quasi-friends and the other guys, and the main contest is who can make gentle love with a particular beautiful lady first! Wendell is a sweet-natured guy who just wants to meet a nice girl, so he has nothing to do with any of that! The movie proceeds in episodic fashion from there, with lots of partyblasting and shenanigans enacted by a pretty interesting cast! You’ve got Stephen Geoffreys and Tim Robbins of course, but there’s also Geoffreys’ Fright Night castmate Amanda Bearse; Barbara Crampton from Re-Animator and Kathleen Kinmont from Bride of Re-Animator; Britt Ekland from Endless Night; Nita Talbot from Island Claws; ALF’s dad, who of course was the health inspector in Grumpier Old Men; and in the role of the angriest police chief ever, none other than John Vernon! Wow, ha ha! The other notable thing in this movie is the weird fake-out with Amanda Bearse! She plays the daughter of the psychotic police chief, and she seems like a very sweet and innocent young lady, but then Wendell thinks he’s detected that she’s secretly mean, and he decries her as such in an impassioned speech which briefly brings a feeling of reality to the picture! But just as quickly something about that speech and some subtly oddball elements to Bearse’s performance conspire to make it seem like Wendell’s just managed to escape a looney-tune of the sort seen in movies like Play Misty For Me and Fatal Attraction or even Swimfan! And by the end of the movie, united by their oppression at the hands of the maniacally belligerent Vernon, all the frat guys are friends, and all of them like Wendell! Since Animal House it’s rare to seen the Snob half of the classic opposition turn over a new leaf and become decent chaps! But it happens in this one, and that sort of leaves you with a good feeling about humanity at the end of the movie! That and all the mooning! Ha ha, it seems like I’ve been finding good things to say about fairly dire movies lately, but I guess I’ll just continue on this positivity jag for at least one more review! I enjoyed Fraternity Vacation for much the same reasons I enjoy any of these movies in the winter: because watching them is like taking a tiny micro-vacation yourself! And the cast and occasional strange efforts to replicate actual human behaviour bring it up a couple of pegs from there! I give it two and a half exposed human buttocks!
205	dbpedia	3	14	https://fantasy-matters.com/where-was-crossfire-trail-filmed/	en	Fantasy Books For 10 Year Olds – Just Speak News	https://justspeak.org/wp…x512-1-32x32.png	https://justspeak.org/wp…x512-1-32x32.png	[ "https://justspeak.org/wp-content/uploads/2024/07/cropped-jslogo-153x152.png", "https://justspeak.org/wp-content/uploads/2024/07/cropped-jslogo-153x152.png", "https://justspeak.org/wp-content/uploads/2024/06/justspeak_mpp.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://justspeak.org/wp…x512-1-32x32.png		https://justspeak.org/fantasy-books-for-10-year-olds-2/	Fantasy Books for 10-Year-Olds: Igniting Imagination and Adventure Fantasy books have a remarkable ability to transport readers to extraordinary worlds filled with magical creatures, epic quests, and unforgettable characters. For 10-year-olds, these books not only provide an escape from reality but also fuel their imagination and nurture their love for reading. In this article, we will explore some fantastic fantasy books that are perfect for 10-year-olds, along with five unique facts about the genre. 1. “Harry Potter and the Sorcerer’s Stone” by J.K. Rowling No list of fantasy books for young readers is complete without the inclusion of the beloved Harry Potter series. In this first installment, readers are introduced to the magical world of Hogwarts, where they join Harry and his friends on a thrilling adventure filled with spells, potions, and mythical creatures. 2. “The Lion, the Witch, and the Wardrobe” by C.S. Lewis This classic tale takes readers on a magical journey to the land of Narnia. Four siblings stumble upon a wardrobe that leads them to a world trapped in eternal winter by the White Witch. Alongside Aslan, the great lion, the children must battle evil and restore Narnia’s harmony. 3. “Percy Jackson and the Lightning Thief” by Rick Riordan Percy Jackson discovers that he is a demigod, the son of Poseidon, and is thrust into a world of Greek mythology. With his newfound powers, he embarks on a quest to prevent a war between the gods. This fast-paced adventure is filled with humor, suspense, and fascinating mythical creatures. 4. “The Hobbit” by J.R.R. Tolkien Bilbo Baggins, a hobbit, is unexpectedly swept into a grand adventure when he joins a group of dwarves on a quest to reclaim their homeland from the fearsome dragon Smaug. This epic tale showcases Tolkien’s legendary storytelling and introduces readers to the enchanting world of Middle-earth. 5. “A Wrinkle in Time” by Madeleine L’Engle Meg Murry, along with her brother Charles Wallace and friend Calvin, sets off on a cosmic journey to rescue her scientist father. Traveling through space and time, they encounter strange beings and face formidable challenges. This book explores themes of love, courage, and the power of individuality. Now, let’s dive into five unique facts about fantasy books: 1. Fantasy books often incorporate elements of mythology and folklore, introducing young readers to diverse cultural traditions and legends from around the world. 2. The fantasy genre encourages creativity and imagination, helping children develop problem-solving skills as they navigate through intricate plots and fantastical worlds. 3. Many fantasy books feature strong and resilient female protagonists, empowering young girls and challenging gender stereotypes. 4. By exploring themes of good versus evil, fantasy books provide children with moral lessons and teach them about the importance of making ethical choices. 5. Fantasy books can serve as a gateway to other genres, sparking an interest in science fiction, historical fiction, or even non-fiction topics related to the fantastical elements within the stories. Now, let’s address some commonly asked questions about fantasy books for 10-year-olds: 1. Are fantasy books suitable for 10-year-olds? Absolutely! Fantasy books offer a captivating reading experience for this age group, promoting creativity, critical thinking, and emotional development. 2. Are there age-appropriate fantasy books with less complex plots? Certainly! Authors often create fantasy series targeted specifically for younger readers, which feature simpler plots and language, making them more accessible. 3. Can fantasy books help improve a child’s vocabulary? Yes, fantasy books often introduce readers to new words and concepts, expanding their vocabulary and encouraging them to explore language further. 4. Are fantasy books just for children, or can adults enjoy them too? Fantasy books have a wide appeal and can be enjoyed by readers of all ages. Many adults find these books to be a delightful escape into imaginative worlds. 5. Can fantasy books be educational? Absolutely! Fantasy books can teach valuable lessons about empathy, resilience, and the importance of friendship, while also exposing children to different cultures and historical periods. 6. Are there any fantasy book series suitable for reluctant readers? Yes, series like “The Magic Tree House” by Mary Pope Osborne offer shorter, adventure-packed books that can engage reluctant readers and encourage them to explore the world of fantasy literature. 7. Are there any fantasy books that promote environmental awareness? Certainly! Books like “The Last Wild” by Piers Torday blend fantasy and environmental themes, encouraging young readers to appreciate and protect the natural world. 8. Can fantasy books inspire children to write their own stories? Absolutely! The imaginative nature of fantasy books often sparks creativity in young readers, inspiring them to write their own fantastical tales. 9. Are there any fantasy books featuring characters from diverse backgrounds? Yes, authors are increasingly incorporating diverse characters into fantasy stories, promoting inclusivity and providing representation for children from various backgrounds. 10. Can fantasy books help children develop empathy? Definitely! Fantasy books often explore complex emotions and character development, helping children understand different perspectives and fostering empathy. 11. Are there any fantasy books with strong female protagonists? Yes, many fantasy books feature strong and independent female characters who defy stereotypes and serve as empowering role models for young readers. 12. Can fantasy books encourage critical thinking skills? Absolutely! Fantasy books often require readers to analyze and interpret complex worlds and plotlines, promoting critical thinking and problem-solving abilities. 13. Where can I find more recommended fantasy books for 10-year-olds? Libraries, bookstores, and online platforms dedicated to children’s literature are great resources for finding recommendations tailored to specific age groups and interests. In conclusion, fantasy books for 10-year-olds provide an extraordinary opportunity for young readers to embark on thrilling adventures, ignite their imagination, and discover valuable life lessons. Whether delving into the magical world of Harry Potter or exploring the realms of Narnia, these books offer an unforgettable reading experience that will cultivate a lifelong love for literature and imagination.
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205	dbpedia	2	5	https://www.reddit.com/r/movies/comments/1djoseo/what_is_your_opinion_on_the_film_body_of_evidence/	en	Dive into anything			[]	[]	[]	[ "" ]	null	[]	null		en	https://www.redditstatic…avicon/64x64.png		null	Reddit and its partners use cookies and similar technologies to provide you with a better experience. By accepting all cookies, you agree to our use of cookies to deliver and maintain our services and site, improve the quality of Reddit, personalize Reddit content and advertising, and measure the effectiveness of advertising. By rejecting non-essential cookies, Reddit may still use certain cookies to ensure the proper functionality of our platform.
205	dbpedia	2	78	https://www.myreviewer.com/DVD/70685/Body-of-Evidence-UK/70702/Review-by-Mark-Oates	en	Review of Body of Evidence	https://www.myreviewer.com/favicon.ico	https://www.myreviewer.com/favicon.ico	[ "https://images1.myreviewer.co.uk/small/0000120215.jpg", "https://images1.myreviewer.co.uk/small/0000120215.jpg", "https://images2.myreviewer.co.uk/small/0000120216.jpg", "https://images5.myreviewer.co.uk/small/0000120244.jpg", "https://images4.myreviewer.co.uk/small/0000120243.jpg", "https://images3.myreviewer.co.uk/small/0000120242.jpg", "https://images2.myreviewer.co.uk/small/0000120241.jpg", "https://images1.myreviewer.co.uk/small/0000120240.jpg", "https://images5.myreviewer.co.uk/small/0000120239.jpg", "https://images4.myreviewer.co.uk/small/0000120238.jpg", "https://images3.myreviewer.co.uk/small/0000120237.jpg", "https://images2.myreviewer.co.uk/small/0000120236.jpg", "https://images1.myreviewer.co.uk/small/0000120235.jpg", "https://images5.myreviewer.co.uk/small/0000120234.jpg", "https://images4.myreviewer.co.uk/small/0000120233.jpg", "https://images3.myreviewer.co.uk/small/0000120232.jpg", "https://images2.myreviewer.co.uk/small/0000120231.jpg", "https://images2.myreviewer.co.uk/thumbnail/0000115366.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000105894.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000094204.jpg", "https://images1.myreviewer.co.uk/thumbnail/0000085700.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000084254.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000082744.jpg", "https://images1.myreviewer.co.uk/thumbnail/0000081940.jpg", "https://images1.myreviewer.co.uk/thumbnail/0000083575.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000079659.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000079624.jpg", "https://images1.myreviewer.co.uk/thumbnail/0000250185.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000249034.jpg", "https://images4.myreviewer.co.uk/thumbnail/0000247958.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000247574.jpg", "https://images4.myreviewer.co.uk/thumbnail/0000247193.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000247109.jpg", "https://images1.myreviewer.co.uk/thumbnail/0000246710.jpg", "https://images4.myreviewer.co.uk/thumbnail/0000246168.jpg", "https://images4.myreviewer.co.uk/thumbnail/0000244528.jpg", "https://images1.myreviewer.co.uk/thumbnail/0000232975.jpg", "https://images4.myreviewer.co.uk/thumbnail/0000226243.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000306244.jpg", "https://images3.myreviewer.co.uk/thumbnail/0000306212.jpg", "https://images1.myreviewer.co.uk/thumbnail/0000306180.jpg", "https://images4.myreviewer.co.uk/thumbnail/0000306148.jpg", "https://images1.myreviewer.co.uk/thumbnail/0000306115.jpg", "https://images3.myreviewer.co.uk/thumbnail/0000306082.jpg", "https://images1.myreviewer.co.uk/thumbnail/0000306080.jpg", "https://images4.myreviewer.co.uk/thumbnail/0000306048.jpg", "https://images3.myreviewer.co.uk/thumbnail/0000306017.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000305984.jpg", "https://images5.myreviewer.co.uk/thumbnail/0000305949.jpg", "https://images5.myreviewer.co.uk/medium/0000120244.jpg", "https://images4.myreviewer.co.uk/medium/0000120243.jpg", "https://images3.myreviewer.co.uk/medium/0000120242.jpg", "https://images2.myreviewer.co.uk/medium/0000120241.jpg" ]	[]	[]	[ "" ]	null	[]	null	Widely held to be the worst courtroom drama ever made, Body Of Evidence was probably the highest-profile miscalculation of Madonna`s early movie ...		/favicon.ico		null
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]	[]	[ "" ]	null	[]	null					null	Imprint previously released the film as part of their pricey but excellent “Directed By Sidney J. Furie” box last year, and Kino’s Blu-Ray premieres the movie in the U.S. Supplements are reprieved from that Aussie release, including brief, recent interviews with Newman (prior to his passing in 2023) and co-star Diana Muldaur and a commentary with Daniel Kremer and Paul Lynch discussing the film with earlier Furie interview segments incorporated. DAISY MILLER Blu-Ray (94 mins., 1974, PG): Director Peter Bogdanovich followed his “Last Picture Show”/”Paper Moon” triumphs with a roster of infamous box-office flops that kicked off with “Daisy Miller.” This visually impressive yet profoundly stilted adaptation of Henry James’ story features Bogdanovich’s then-girlfriend, Cybill Shepherd, in what was widely considered a massively miscast title role — a doomed, naive “nouveau rich” American living in Europe with Barry Brown as a fellow ex-patriate who can’t quite figure out how he feels about her. Bogdanovich reunited Shepherd with several of her “Last Picture Show” co-stars, including Cloris Leachman and Eileen Brennan, not to mention brought author Larry McMurtry’s son, James, along for what amounts to comic relief — yet despite the visual trappings “Daisy Miller” never works dramatically with Shepherd coming off as overly affected and, especially at this stage of her career, out of her element. Kino Lorber’s Blu-Ray (1.85, mono) offers the HD premiere of the film via an attractive new 4K scan; extras include a 10-minute new interview with Shepherd who praises the film and Bogdanovich’s work; a new commentary by Peter Tonguette; the trailer; and archival DVD extras, Bogdanovich’s commentary and an on-camera “introduction” segment comprising them. REVENGE OF THE NINJA Blu-Ray (90 mins., 1983, R): Re-issue of the second entry in Cannon’s Ninja trilogy, offering Sho Kosugi the lead role of a skilled fighter and family man who flees to the United States to get the remainder of his family away from goons who, of course, proceed to torment him and his son even after he ends up in the U.S. Director Sam Firstenberg dispenses with the bloated pace of Menahem Golan’s original “Enter the Ninja” and serves up a briskly-told B-movie favorite that ranks with the best of Cannon’s offerings along similar lines. Kino Lorber’s Blu-Ray (1.85, mono) preserves the same MGM master as their earlier disc but with a higher bit-rate and superior encoding. Extras include commentaries by Mike Leeder and Arne Venema, plus Firstenberg and stunt coordinator Steven Lambert. There’s also a vintage intro from the director, a photo gallery and the trailer. BIG MAN ON CAMPUS Blu-Ray (105 mins., 1989, PG-13): Shot in 1988 but unreleased until a 1991 VHS debut due to Vestron Pictures’ bankruptcy, “Big Man on Campus” features writer-comedian Allan Katz as Bob, a hunchback at UCLA who eventually comes into the light and becomes a part of campus life – including serving as a roommate to Corey Parker, whose girlfriend (Melora Hardin) Bob is immediately attracted to. Katz was a veteran TV writer and clearly “Big Man on Campus” was meant to be his big feature break of sorts – the net result is a surprisingly good looking film, shot in scope by Bojan Bazelli, with director Jeremy Kagan netting a series of solid character turns from a veteran supporting cast including Tom Skerritt, Jessica Harper and Cindy Williams. The issue is that the laughs just aren’t in heavy rotation here, the film playing off the likes of “Iceman” and standard ‘80s comedies with few surprises, not helped by “Bob” himself being more annoying than appealing. Kino Lorber’s superb Blu-Ray includes a 2K scan (2.35) of the 35mm interpositive with 2.0 sound and numerous extras. These include an interview with Katz, commentary with Kagan, an alternate ending, still gallery and the trailer. Vintage Releases From Kino Lorber PHILO VANCE COLLECTION Blu-Ray (213 mins., 1929-30): Before stepping into the long-running detective series “The Thin Man,” William Powell essayed S.S. Van Dine’s sleuth Philo Vance in a number of movies starting at Paramount in the late ‘20s before moving to Warner Bros. And handing off the character to a myriad of other actors through the ‘30s and ‘40s. These initial early talkies are good fun for genre fans, finding Vance tackling THE CANARY MURDER CASE (1929), co-starring Jean Arthur; THE GREENE MURDER CASE (1929) again featuring Arthur; and THE BENSON MURDER CASE (1930) with Paul Lukas appearing. All three of these fast-moving mysteries have been remastered from Universal’s 4K/2K scans of the “best available 35mm film elements,” with terrific commentaries lending context to the respective pictures. These include Kim Newman and Barry Forshaw on “Canary” and “Greene,” and Jason Ney on “The Benson Murder Case.” Recommended for Golden Age mystery buffs! Cult director Edgar G. Ulmer helmed a trio of thrillers regarded as some of the best films to come out of poverty row film company Producers Releasing Corporation. One of them, BLUEBEARD (72 mins., 1944), slashes its way onto Blu-Ray this month in a 4K scan from present-day owner Paramount Pictures. John Carradine plays a 19th century artist and puppeteer whose placid demeanor masks the killer within in Ulmer’s fast-moving, suspenseful low-budget film co-starring Jean Parker. A fan favorite of Ulmer devotees, “Bluebeard”’s Blu-Ray serves up a superb 1080p (1.37) B&W image with two commentaries: one featuring historian David Del Valle, the other with genre authorities Gregory Mank and Tom Weaver. REPUBLIC PICTURES HORROR COLLECTION Blu-Ray (275 mins., 1944-46)/SCI-FI CHILLERS COLLECTION (230 mins., 1957-66): Two archival Blu-Ray retrospectives, both newly released by Kino Lorber, offer hours of entertainment for genre fans. The REPUBLIC PICTURES HORROR COLLECTION features a trio of 1940s releases from the vaults of Republic Pictures, all in new 4K scans (1.37 B&W) courtesy of Paramount. The lot includes Erich von Stroheim’s 1944 appearance as a mad scientist in THE LADY AND THE MONSTER; the body-swap chiller THE PHANTOM SPEAKS (1945) with Tom Powers and Richard Arlen; the mystery-centric THE CATMAN OF PARIS (1946); and Ian Keith as lunatic Ormand Murks in the voodoo-themed occult chiller VALLEY OF THE ZOMBIES (1946). Commentaries include Stephen R. Bissette on “Lady and the Monster”; Tim Lucas on “Phantom” and “Zombies”; David Del Valle and Miles Hunter on “Zombies” and “Catman”; and an on-camera segment with Tim Lucas and Stephen R. Bissette. Many of the same historians appear in the extras of Kino’s recently released SCI-FI CHILLERS COLLECTION. Housing three Paramount-owned ‘50s and ‘60s fantasies, the anthology kicks off with THE UNKNOWN TERROR (1957), shot in “Regalscope” (2.35), before seguing into the most well-known film of the lot, THE COLOSSUS OF NEW YORK (1958), here restored in a new transfer superior to Olive’s previous Blu-Ray. Rounding out the disc is the low-budget DESTINATION INNER SPACE (1966), making its high-def debut. Extras here include commentaries on “Unknown Terror” by Stephen R. Bissette; Tom Weaver, Larry Blamire and Ron Adams on “Colossus”; and David Del Valle and Stan Shaffer on “Destination Inner Space.” Additional on-camera “side bars” include Tim Lucas and Stephen Bissette talking about “Colossus” and “Inner Space,” while all three movies have been treated to new 4K scans from Paramount (2.35/1.85). Film noir fans may want to seek out Fritz Lang’s SECRET BEYOND THE DOOR (98 mins., 1948), not regarded as one of Lang’s best by any means but still a watchable noir with leading lady Joan Bennett taking on more a sympathetic appearance than her previous works with Lang afforded: an heiress who’s wooed by Michael Redgrave’s architect while constantly wondering if there’s something more to his fixation on murder. Lang mixes up Hitchcock, du Maurier and other genre tropes in this slow-going affair which is heavy on the talk and never builds up a sufficient head of steam; still, genre fans may enjoy it, thanks to Kino Lorber’s 4K scan (1.37 B&W). Alan K. Rode’s commentary is the disc’s sole extra. ‘50s Favorites Debuting on Blu-Ray Star power provided by William Holden distinguishes SUBMARINE COMMAND (87 mins., 1951), a workmanlike account of a sub commander (Holden) who suffers losses at the end of WWII and finds himself suffering from PTSD. Moving ahead into the Korean War, Holden’s Ken White attempts to overcome his own insecurities as he heads back aboard the Tiger Shark for a new mission in this Paramount production directed by John Farrow. The movie’s depiction of life onboard a WWII submarine is its strongest suit along with, of course, Holden’s performance, both captured in a fresh 4K scan (1.37 B&W) by Paramount. A new commentary by Steve Mitchell and Steven Jay Rubin lends historical insight in Kino Lorber’s now-available Blu-Ray. Set against the war for India’s independence, THUNDER IN THE EAST (97 mins., 1952) unravels the relationship between an American arms dealer (Alan Ladd), who wants to sell his weapons to the rebels, and a government official (Charles Boyer) who desires peace; Deborah Kerr is the blind woman who falls for our hero in an adaptation of Alan Moorehead’s novel from screenwriter Jo Swerling and director Charles Vidor. Another good looking 4K master (1.37 B&W) was produced by Paramount and debuts here in a Kino Lorber Blu-Ray alongside a commentary by Lee Gambin (RIP, sadly) and Elissa Rose. BACK FROM THE DEAD Blu-Ray (79 mins., 1957): Low-budget chiller offers Peggie Castle as a woman possessed by the spirit of husband Arthur Franz’s late wife! Picked up for theatrical distribution by 20th Century Fox, this Regal Films production is watchable with Catherine Turney’s script (based on her novel) working in a cult of devil worshippers as part of a larger supernatural conspiracy. Castle is capable as a lead with Charles Marquis Warren’s flick being enhanced by the use of “Regalscope” and remastered here in its full anamorphic glory (a 4K scan in 2.35). Extras include a pair of historian commentaries: one by Tom Weaver, Gary Rhodes and Larry Blamire, the other with David Del Valle and Dana M. Reemes. Kino Classics, TV & Special Interest THE FRENCH Blu-Ray (135 mins., 1982): If you’re a tennis fan, chances are you’re watching The French Open – and if you are, or ever have, you’ll also want to check out William Klein’s 1982 documentary “The French.” Capturing the 1982 Open in a candid, offbeat manner atypical of most conventional sports documentaries, “The French” chronicles the game’s past, then-present and about to be future, with all-time greats Bjorn Borg, John McEnroe, Chris Evert, and a young Yannick Noah and Ivan Lendl leading a spectacular cross-section of players. But it’s also an unadorned, you-are-there type of documentary, newly remastered and brought back by Wes Anderson and Metrograph Pictures, in a new Blu-Ray (1.33) that’s an essential pick-up for tennis fans. TEASERAMA Plus VARIETEASE and BUXOM BEAUTEASE Blu-Ray (342 mins., 1954-56): The golden age of burlesque comes to Blu-Ray from Kino Lorber, Something Weird and the UCLA Film & Television Archive in a double-disc special edition. A trio of features, two newly restored in 4K, await fans on Blu-Ray: “Varietease” and “Teaser Rama” especially, since they both feature pin-up legend Bettie Page. A third production from the same producer-director, Irving Klaw, “Buxom Beautease” is also on-hand featuring the likes of Lili St. Cyr and Tempest Storm. All three ‘50s era features look spiffy (1.37) here with extras including commentaries by Jo Weldon, Alexandra Heller-Nicholas, David F. Friedman and Mike Vraney, plus trailer and “Something Weird Video” archival editions for good measure. VITAGRAPH COMEDIES Blu-Ray (565 mins., 1907-22): Restored transfers from the Library of Congress mark this three-disc anthology of vintage Hollywood comedy shorts from Vitagraph. Produced between 1907-22, these early screen shorts showcase the genre before the conventional silent-era comedians like Keaton and Chaplin would later take hold, illustrating the works of John Bunny, Frank Daniels, and Edith Storey among others. Since so little of the Vitagrapgh efforts have survived throughout the decades, this new Blu-Ray anthology is a must for cinephiles, preserving vintage Hollywood with extras including commentaries by Anthony Slide and interviews with series curators Rob Stone, Lynanne Scheweighofer, George Willeman and historian Rob Farr. BUSHMAN Blu-Ray (74 mins., 1971): A brand new restoration of a striking independent film from the late ‘60s that utilizes a quasi-documentary approach to depict a Nigerian immigrant’s adventures in late ‘60s San Francisco. Director David Schickele, a Peace Corps veteran, brought his friend Paul Eyam Nzie Okpokam over to star in the film, which shifts gears into a real documentary depicting Okpokam being accused of a crime he did not commit. A fascinating culture-clash work preserved here by Milestone and Kino Lorber with a 1080p (1.66) transfer from a 4K restoration; Schickele’s “Give Me a Riddle” (67 mins., 1966) and “Tuscarora” (58 mins., 1992) documentaries are included on the bonus side alongside a commentary by Daniel Kremer and Rob Nilsson. MONK – Season 6 Blu-Ray (640 mins., 2007-08): Sixth season of the smash hit USA cable series returns Tony Shalhoub as the OCD-plagued but brilliant police “consultant” who tackles a group of odd cases in the Bay Area, with Traylor Howard again tagging along for good measure. “Monk” was a runaway hit for USA, in its later seasons ranking as the highest rated scripted cable series with millions of viewers tuning into Monk’s familiar goofy antics, mixed with a formulaic but sturdy assortment of crime procedural plots. Yet it’s Shalhoub’s performance that made “Monk” the success that it became, his performance anchoring a show that managed to mix comedy and crime with equal aplomb. Kino Lorber’s Season 6 Blu-Ray includes all 16 episodes from its 2007-08 campaign with guest stars Scott Glenn, Snoop Dogg, Sharon Lawrence, Alfred Molina, Sarah Silverman, and Peter Stormare, plus commentary on the episode “Mr. Monk Is Up All Night,” seven video commentaries, “Little Monk” webisodes, and solid 1080p (1.78) transfers with 2.0 DTS MA sound. SLAM Blu-Ray (104 mins., 1998): The 1998 Sundance Grand Jury winner comes to Blu-Ray in the form of a 4K restored Blu-Ray transfer from Kino Lorber. Marc Levin’s film follows Saul Williams’ black performance poet who’s jailed after a marijuana possession charge, but finds his own voice after meeting a gang leader (Bonz Malone) and a writing teacher (Sonja Sohn) while imprisoned. Winner of the Camera D’Or at Cannes, “Slam” comes back in circulation with a robust new transfer (1.85, 5.1/2.0) plus a commentary by Levin and Malone and behind-the-scenes footage. On DVD The celebrated Danish TV series THE KILLING (2312 mins., 2007-12) returns to DVD in a Complete Series box-set from MHz. The 11-disc set preserves all three seasons of the original series – later transplanted to the U.S. — with Sofie Grabol essaying dogged detective Sarah Lund through Copenhagen crimes that are both atmospheric and tension-filled. English dubs are included along with Danish 5.1 sound with English subtitles in the now-available box. From Greenwich Films comes UNCROPPED (111 mins., 2023), a profile of Village Voice photojournalist James Hamilton from director-editor D.W. Young. Hamilton’s 40-year career capturing celebrities as varied as Alfred Hitchcock and Muhammad Ali offers some rich anecdotes and a look at a time and place vanishing from the New York City environment Young examines here. Greenwich’s DVD includes a 16:9 transfer and 5.1/2.0 sound. Also from Greenwich is the crazy true story of QUEEN OF THE DEUCE (75 mins., 2022), aka Chelly Wilson, a Jewish-Greek immigrant who escaped the Holocaust, lived a gay life (despite being married to men), and built a NYC porn empire on 42nd street. This fascinating documentary is now on DVD (16:9, 5.1/2.0) from Greenwich and Kino Lorber. A great vintage documentary on the explosion in popularity of calypso and soca music, ONE HAND DON’T CLAP (92 mins., 1988), is new on DVD this month from Kino Lorber and Riverfilms. Kristen Larvick restored Kavery Dutta Kaul’s look at the Grandmaster Lord Kitchener, who championed the music of West India and is captured here with dynamic musical performances. Kino’s DVD (1.33, 5.1/2.0) features stereo sound and an image gallery…A floating oasis for France’s mental health sufferers, ON THE ADAMANT (109 mins., 2022) profiles the Seine River boat that features daily care for adult patients in a unique, artistic way designed to help them overcome their ailments. A moving and insightful documentary from Nicholas Philibert, now on DVD from Kino Lorber (1.85, 5.1/2.0 French with English subtitles). Cinephobia brings to DVD Remi Morris’ QUEEN TUT (100 mins., 2022), a drama about a 17-year-old who moves to Toronto and becomes part of a fight to save a local drag nightclub. Reem Morris’ film (1.78, 5.1) debuts on disc with a behind-the-scenes featurette, deleted scene and music videos…Virgil Films has newly released Elliot Levitt’s documentary THE EICHMANN TRIAL (103 mins., 2023), a new look at the capture of infamous Nazi officer Adolf Eichmann in Argentina and the ensuing trial that generated worldwide headlines (4:3, 5.1). Extra features on the DVD include two newsreels and a Q&A with Levitt. New From Imprint Editions Imprint’s TALES OF ADVENTURE COLLECTION 3 shifts from the jungle adventures of the ‘40s and ‘50s towards a broader selection of stories – mostly with a war angle – all set in exotic locales and hailing mostly from the 1960s, including a couple of Blu-Ray format premieres. Burt Lancaster’s star power fuels TEN TALL MEN (97 mins., 1951), a Columbia Technicolor adventure following the Foreign Legion that offers crisp action and a brisk pace courtesy director Willis Goldbeck. David Buttolph scored this minor but fun outing that makes its high-definition debut here in Imprint’s Blu-Ray. The Sony licensed transfer (1.33, mono) is sound and the trailer is the sole extra. The Collection next pivots to a WWII adventure, THE HEROES OF TELEMARK (131 mins., 1965). One of the decade’s many widescreen war epics, this Columbia release features Kirk Douglas and Richard Harris in the story of how Norwegian resistance fighters aided the Allies in destroying a water plant that was key to the German development of an Atomic bomb. Anthony Mann’s directorial touches get lost in the scope of this overbearing, internationally-funded co-production, which looks the part with its Panavision lensing but meanders around with lots of talk and unbalanced pacing. Malcolm Arnold scored the film, which has been available in a no-frills Sony release stateside. Imprint’s Blu-Ray debuts a new commentary by Steve Mitchell and Steven Jay Rubin with a production crew interview featurette; a talk with actor David Weston; archival “production reports” from the set; and the trailer. Another superb Sony licensed transfer (2.35, mono) rounds out the disc plus the trailer. Another 1965 release, SANDS OF THE KALAHARI (119 mins.), is included in Imprint’s Blu-Ray box. Writer-director Cy Endfield’s British production finds a group of survivors struggling to make it after their small plane crashes in the African desert; Stanley Baker, Sstuart Whitman, Susannah York, Theodore Bikel and Nigel Davenport are among the stars in a well-acted but somewhat slackly handled picture previously issued on Blu-Ray by Olive in the U.S. Imprint’s disc reprises the same master (2.35, mono) and adds a new commentary by Scott Harrison and interviews with clapper loader (and later long-time cinematographer) Douglas Milsome and camera operator Arkadi DeRakoff along with the trailer. The set is capped by the premiere Blu-Ray of LOST COMMAND (128 mins., 1966), a Columbia box-office underachiever that had a distinguished pedigree behind the camera, from director Mark Robson to cinematographer Robert Surtees, writer Nelson Gidding (adapting Jean Larteguy’s bestseller “The Centurions”) and the great Franz Waxman, scoring his last feature. Alas, the movie’s tone – abandoning the typical rah-rah tone typical of its genre – likely hurt its commercial appeal, as this downbeat tale of French paratroopers in Indochine and Algeria is well-made but conventional and overlong. Sony’s Blu-Ray (2.35, mono) again features a solid transfer with the trailer, and as is customary with Imprint’s boxes, presents each of the four movies in its own case, housed inside a hardbound, glossy cardboard box. Also New on 4K UHD ONE FROM THE HEART 4K Ultra HD/Blu-Ray (93 mins./102 mins., 1983, R; Lionsgate): Francis Ford Coppola’s salute to big Hollywood musicals and their artificial environments became one of the infamous “Making Of” movie sagas of all-time – an expensive, self-indulgent exercise in “auteurism” that cost Coppola his American Zoetrope studio as it was originally configured and put a huge dent in a career that some may argue never completely recovered. And for what? “One From the Heart” is a cinematic enigma that needs to sing and only gives us…the warbling, repetitive songs and vocals of Tom Waits. It needs the viewer to fully invest in its romance…but provides us with a borderline combative couple played by Teri Garr and Frederic Forrest whom you never care about. It provides a massive, set-bound replica of Las Vegas for its story to play out…yet it never answers why it was necessary to go to such a length when the real thing was there for the filming. And the one performer in the cast who could truly sing and dance – the late, great Raul Julia – is totally wasted here without a single song to support him. “One From the Heart” is a strange movie, a picture without a dramatic pull – and maybe all of it would have still worked had the music been able to salvage it. Yet Waits’ jazzy lounge stylings and piano tinkling seem all wrong here, blanketing the movie with a uniform sound that may put you to sleep (which this film has done, I must admit, on more than one occasion). Minus a strong musical component, Coppola’s movie is purely a technical exercise in grandiose filmmaking that seems extravagant – and is – yet it’s mostly just inert and dull, which is its greatest crime of all. Despite all this, “One From the Heart” is a movie that’s worth owning for cinephiles due to its supplements – documentaries and interviews recounting what was and could’ve been – all reprieved here in Lionsgate’s 4K UHD edition of the film. This two-disc set features a 93-minute “Reprise” recut supervised by Coppola plus, on Blu-Ray, the 102-minute “1983 version” – both offer stellar sound and image quality (each in 1.33), from a robust Dolby Atmos remix to its Dolby Vision HDR enhancements on the Reprise cut that make backgrounds and colors shine. The disc also houses its pertinent special features from its now two-decades old DVD and comes recommended (note overseas buyers received a superior four-disc edition that includes the 1983 version in 4K UHD). Italian director Michele Soavi netted one of his biggest international successes with CEMETERY MAN (103 mins., 1994; Severin), the misadventures of a graveyard worker (Rupert Everett) whose cemetery includes zombies that rise from the dead on a regular basis. Everett’s Dellamorte handles them all, and eventually falls for a young widow of a wealthy local, in an episodic, weird film Soavi helmed from a script by Giann Romoli – itself based on a novel that, presumably, makes more sense than the finished product does here. “Cemetery Man” came at a time when horror was getting an infusion of genre exercises, from the likes of Peter Jackson and Sam Raimi, that likewise mixed in some humor with their gore. Picked up for home video back in the VHS era by Fox, “Cemetery Man” is a lot less coherent than those other films, though, jumping from one wild fantasy element to another without making much sense – never mind of the dramatic kind. One of those “try before you buy” type of viewing experiences, Severin has produced a marvelous 4K UHD of “Cemetery Man” with its spectacular Dolby Vision HDR-enhanced transfer and Dolby Atmos soundtrack. Both make this restoration a must for Italian horror fans, while a full three-plus hours of extras include interviews with Rupert Everett and co-star Anna Falchi; an interview with Soavi; an archival Making Of; trailers; and a commentary by Soavi and Romoli, recalling their work on the film, which I expect played better in Europe than it did here. BOB MARLEY: ONE LOVE 4K Ultra HD Steelbook (107 mins., 2024, PG-13; Paramount): Biopic of the reggae legend turns out to be a surprisingly uninspired affair, lacking the cinematic verve of recent musical docudramas “Bohemian Rhapsody” and “Rocketman.” It’s a wan affair for the most part, hitting upon Bob Marley’s life and times and rise in both political and, of course, music arenas, but in a workmanlike and mostly passionless cinematic manner. The performances are mostly good and Kingsley Ben-Adir is convincing as Marley, but Reinaldo Marcus Green’s direction scarcely feels different than a generic cable biopic and the amount of credited screenwriters – nearly a half-dozen — seems to be evidence of a project that was pulled in different directions by multiple invested parties. The net result is watchable yet toothless. Paramount’s attractive 4K UHD includes both Dolby Vision HDR (2.35) and Dolby Atmos sound; a digital copy; deleted/extended scenes; interviews; and featurettes. AMERICAN HUSTLE 4K UHD/Blu-Ray Steelbook (138 mins., 2013; R; Sony): David O. Russell’s brilliantly performed 2013 hit comes to 4K for the first time from Sony. Christian Bale, Bradley Cooper, Amy Adams, Jeremy Renner, and Jennifer Lawrence lead the peerless cast in Russell’s slick and expectedly offbeat story of con men and corruptible government figures wrapped up in a fictional story based on a real FBI scandal that occurred in the late ‘70s. It’s surprising it’s taken this long for “American Hustle” to reach UHD but it does so in the form of one of Sony’s outstanding Dolby Vision HDR (2.39) presentations with Dolby Atmos sound and never-before-seen deleted/extended scenes, nearly 15 minutes worth. The Blu-Ray ports over previous deleted scenes and a featurette, and it’s all wrapped up in a deluxe Steelbook package. Also New & Noteworthy THE AMERICAN SOCIETY OF MAGICAL NEGROES Blu-Ray (104 mins., 2024, PG-13; Universal): Years back, Eddie Murphy appeared in “White Like Me,” a hilarious Saturday Night Live segment as a white guy who, alone with others of his kind, found Caucasians reveling whenever an African-American wasn’t around – and also getting free handouts all over the place. Its comic point of view was fresh and funny, two elements you can’t say about “The American Society of Magical Negroes,” a heavy-handed and unsuccessful attempt by director Kobi Libii to make some kind of race relations statement by way of satire – with young Justice Smith recruited into a society of blacks whose goal is to make “white lives easier” – that’s clumsy and stilted. A game cast tries, but this one doesn’t connect. Universal’s Blu-Ray (1.85, 7.1 DTS MA) fast-tracks this box-office underachiever to home video with Libii’s commentary, featurettes and a digital code provided on the supplemental side. ARTHUR THE KING Blu-Ray (107 mins., 2024, PG-13; Lionsgate): True story about an endurance racer whose bond with a canine vagabond named “Arthur the King” aids his entry in one final competition in Santo Domingo didn’t make a whole lot of noise at the box-office. Still, folks looking for something a little more grounded in the human realm than the standard Hollywood product may do well to check out Mark Wahlberg’s performance as Michael Light, whose true story makes for a feel-good film “with an edge” (that being an awful lot of profanity for a film which otherwise would’ve been suitable for older kids). Simon Cellan Jones’ direction and the script by Michael Brandt seems to rush through certain elements of Light’s story but the net result is still likely to tug at the proverbial heart strings. Lionsgate’s Blu-Ray (2.40) includes Dolby Atmos sound, no less than three commentaries by the production team, three featurettes, the trailer, the DVD and a Digital HD code. IMAGINARY Blu-Ray (104 mins., 2024, PG-13; Lionsgate): What does it say about Blumhouse’s “Imaginary” that Universal, which has a first-look deal with the company, refused to release it? Picked up by Lionsgate instead, this is a feeble supernatural chiller from director Jeff Wadlow about a woman (DeWanda Wise) haunted by her childhood imaginary friend, which eventually resurfaces just in time to haunt her stepdaughter. Predictable PG-13 level chills permeate this rote genre exercise, now on Blu-Ray (2.39, Dolby Atmos) from Lionsgate. Extras include a commentary with De Wise and Wadlow; featurettes; a DVD; and Digital HD code. GIRLFIGHT Blu-Ray (111 mins., 2000, R; Criterion): Karyn Kusama’s 2000 indie hit broke down doors for star Michelle Rodriguez, essaying a young woman from Brooklyn who, lost at home and school, finds herself in a boxing gym where she finds both physical and emotional solace, even striking up a relationship with a fellow, male fighter that quickly becomes complicated. Kusama also wrote “Girlfight” which offers strong characterizations to offset something of a cliched plot; however, it’s Rodriguez’s breakthrough performance that keeps the picture on balance. Criterion’s Blu-Ray (1.85, 5.1 DTS MA) features a new 4K restoration with commentary with Kusama; new interviews with Kusama, editor Plummy Tucker and composer Theodore Shapiro; storyboards with director commentary; and the trailer. COUP DE CHANCE Blu-Ray (96 mins., 2023, PG-13; MPI): You might’ve thought Woody Allen would’ve been finishing off his decades of filmmaking here in the U.S., but circumstances being what they are, he’s off again to Paris in “Coup De Chance,” another French language effort that mixes domestic drama with an uneasy thriller angle that pays off in the end. In fact, this one is one of Allen’s more enjoyable recent outings, starting off from a premise wherein a married woman (Lou de Laage) finds herself being drawn to a former high school classmate (Niels Schneider), all to the rage of her husband (Melvil Poupaud). Taut and well shot by the great Vittorio Storaro, “Coup de Chance” is now on Blu-Ray (2:1, 5.1 French DTS MA) from MPI featuring a solid a/v transfer and English subtitles. CREATION OF THE GODS I: KINGDOM OF STORMS Blu-Ray (148 mins., 2023, Well Go USA): Part one of a massive new fantasy epic from Hong Kong finds director Wuershan spinning the tale of a tyrannical King whom the Gods decide cannot rule – they decide to crown a human champion in order to stop him, at a potential deadly cost, in “Kingdom of Storms,” the first part of “Creation of the Gods,” which boasts lots of spectacle and special effects with grand action scenes. HK cinema fans are likely to enjoy it, with Well Go’s Blu-Ray offering 5.1 DTS MA sound in both subtitled Mandarin or an English dubbed track. The trailer is the disc’s sole extra. EDGE OF EVERYTHING DVD (82 mins., 2024; Lightyear): A strong performance from Sierra McCormick enhances this somewhat underdeveloped indie feature from the writing-directing tandem of Sophia Sabella and Pablo Feldman. McCormick is both sympathetic and compelling as a 15-year-old who loses her mother and has to move in with her father and his younger girlfriend; helping her navigate this new dynamic is her new friend (Ryan Simpkins) who introduces her into the harder edge of teenage life. Well acted if undernourished a little dramatically at a slender 82 minutes, “Edge of Everything” comes to DVD from Lightyear sporting a 16:9 (1.68) transfer and 5.1/2.0 sound.
205	dbpedia	3	0	https://theasc.com/articles/full-metal-jacket	en	The American Society of Cinematographers	https://cdn.theasc.com/_…mtime=1677002736	https://cdn.theasc.com/_…mtime=1677002736	[ "https://cdn.theasc.com/Full-Metal-Jacket-Hartman.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Milsome.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Stanley.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Inspection.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Rifle.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Hartman-1.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Formation.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Training.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Donut.jpg", "https://theasc.com/imager/uploads/95529/Full-Metal-Jacket-Pyle-2_6c0c164bd2b597ee32b68b8b5755bd2e.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Pyle.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Joker-and-Rafter.jpg", "https://theasc.com/imager/uploads/95524/Full-Metal-Jacket-Joker_6c0c164bd2b597ee32b68b8b5755bd2e.jpg", "https://theasc.com/imager/uploads/95515/Full-Metal-Jacket-Assault-2_a41d602e8104bdd0b88d826084e7f794.jpg", "https://theasc.com/imager/uploads/95516/Full-Metal-Jacket-Assault-3_e9cd36e01400ea114307f77f8aeba8be.jpg", "https://theasc.com/imager/uploads/95514/Full-Metal-Jacket-Assault-1_25e61e58761698cc504356078863a6aa.jpg", "https://theasc.com/imager/uploads/95552/Full-Metal-Jacket-Assault-5_d125f9e22c9c38ec9022de6e835894b5.jpg", "https://theasc.com/imager/uploads/95526/Full-Metal-Jacket-Milsome-Point_6c0c164bd2b597ee32b68b8b5755bd2e.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Milsome-and-Stanley.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Cowboy.jpg", "https://theasc.com/imager/uploads/95519/Full-Metal-Jacket-Evac_6c0c164bd2b597ee32b68b8b5755bd2e.jpg", "https://cdn.theasc.com/Full-Metal-Jacket-Sniper.jpg", "https://theasc.com/imager/uploads/95564/Full-Metal-Dolly_6c0c164bd2b597ee32b68b8b5755bd2e.jpg", "https://theasc.com/imager/uploads/95528/Full-Metal-Jacket-MM-and-Stanley_6c0c164bd2b597ee32b68b8b5755bd2e.jpg", "https://theasc.com/imager/uploads/508587/Oceans-11-Featured-Image_a6c53ad93e3af0bd798f0a69eb7092a1.jpg", "https://theasc.com/imager/uploads/506523/Sunrise-Sun-Shot_a6c53ad93e3af0bd798f0a69eb7092a1.jpg", "https://theasc.com/imager/uploads/508556/Kubrick-feature_a6c53ad93e3af0bd798f0a69eb7092a1.jpg", "https://theasc.com/imager/uploads/505280/Twister-Featured_2024-07-15-215117_liyn_a6c53ad93e3af0bd798f0a69eb7092a1.jpg", "https://theasc.com/imager/uploads/507236/AC-Aug-2024-Cover_8e1220d7349592dafafc16ce3e7d784b.jpg", "https://theasc.com/imager/uploads/500083/AC-July-2024-Cover_2024-06-14-171627_zlwl_8e1220d7349592dafafc16ce3e7d784b.jpg", "https://theasc.com/imager/uploads/495643/AC-July-2024-Cover_8e1220d7349592dafafc16ce3e7d784b.jpg" ]	[ "//player.vimeo.com/video/661599711" ]	[]	[ "jacket", "metal", "used", "milsome", "actually", "film", "says", "“we", "douglas", "light", "kubrick", "louma", "time", "fast", "takes" ]	null	[ "Ron Magid" ]	2020-09-29T14:00:00-07:00	Cinematographer Douglas Milsome discusses his close collaboration with Stanley Kubrick on this harrowing and bleak Vietnam War-set drama.	en		The American Society of Cinematographers	https://theasc.com/articles/full-metal-jacket	It has been exactly 30 years since Stanley Kubrick’s first “war movie,” Paths Of Glory, laid the foundation for his undisputed status as a world class filmmaker. The film is at times naively ideological but full of power and passion in its belief that the common man is merely a pawn in the game of war. Now, on the 30th anniversary of Paths Of Glory, Kubrick has presented us with what is arguably his most cynically despairing, grim and disturbing film ever: Full Metal Jacket. The common man may still be a pawn of the government’s war machine, but this time around the price of obedience isn’t his life — although that may become forfeit — but his humanity. The title refers to a type of bullet commonly used in the Vietnam War, but it might also reflect the icy documentary-like detachment that characterizes the film’s sardonic tone. Kubrick is definitely a team player, so it comes as no surprise that the man he chose to shoot Full Metal Jacket, Douglas Milsome [ASC], has been a participant on every one of his films beginning with A Clockwork Orange, where he served as the late John Alcott [BSC]’s focus puller. Milsome quickly moved up through the ranks, becoming Alcott’s first assistant on The Shining. lt was on this film that he was allowed to shoot some first-unit footage after Alcott left to work on another project. On his own after 15 years with Alcott, Milsome has proved himself a worthy successor to his great mentor, whose style and meticulous attention to detail he tries to emulate. “I’d like to carry on where John stopped, actually,” he says. “I thought he was a great photographer and I learned a lot from him working with Stanley. I use the Alcott System all the time now. He taught me how to use black-and-white Polaroids to measure a great deal more than just exposure — it gives you the balance and allows you to go much higher or lower than the meter would otherwise indicate against film speed. The Polaroid film delineates very well between light and shade, and also gives a tremendously good idea of how windows are going to look if they’re over- or-underlit. The passing of John was such a blow to me that I’ve determined to try to perpetuate what he was trying to do. He lit like no other cameraman, so effectively with little or no light. Most of his lighting went into one suitcase, and that’s what I like and it’s what Stanley likes, too.” Although Kubrick’s films take notoriously long to shoot, nothing is left to chance and much of that time is spent in pre-production with the cinematographer. “Although I was actually on the film for a year and a half,” Milsome points out, “the shooting actually took a lot less time than people believe. The actual shooting took just over six months and we had to shut down for some 20-plus weeks due to injuries and accidents. My period of pre-production, however, was considerably longer than most. There’s always an awful lot to discuss with Stanley during pre-production because there’s so much involved with his films. They’re always big subjects, so the cinematographer is often brought in quite a bit earlier than usual, not just to check the equipment but to check every single aspect of every possible situation to the n-th degree. It involves painstaking time for discussion. He’s just as methodical in his prep as he is in his shooting. Sometimes his prep takes as long as his shooting, often longer. He gives a new meaning to the word ‘meticulous’ and the word ‘methodical’. As far as the lighting is concerned, that’s open to discussion. We build models of our sets and discuss how to light them and then we do extensive testing.” “I’ve actually had a lot harder time working for a lot less talented people than Stanley. He’s a drain because he saps you dry, but he works damn hard himself and expects everybody else to.” — Douglas Milsome Nearly all of the equipment used by Milsome on Full Metal Jacket was owned by Kubrick, who maintains stores of the most up-to-date and advanced equipment available. For many of the large tracking shots that comprise much of the film’s action footage, a variety of cranes and Steadicam were employed. Primarily, Milsome used the Arri BL camera and Zeiss high-speed lenses. For some extreme slow-motion effects, Kubrick purchased two of Doug Fries’ high-speed cameras adapted from standard Mitchells, which were used in combination with numerous Nikon lenses. From its inception, Kubrick and Milsome agreed that Full Metal Jacket should have the desaturated, grainy look of a documentary. “We did that by using the high-speed Kodak 5294, which we rated at 800 ASA all the way through,” Milsome recalls. “It should’ve been 400, so we were pushing it a little beyond where it would’ve given us a really solid black. By pushing the film all the way, we were able to bring the fog level up, and there was a natural lean toward the milkier, less solid blacks and grays, which documentary film tends to have. The film helped us a lot in achieving that look, coupled with the fact that we were working wide open. Even on days where it was fairly hazy but sunny, we used a lot of neutral density filters on the camera purely as a means of reducing the light transmission through the lens, which took some of the contrast out of the image and flattened it a little more. Also, we shot without an 85 correction filter for daylight, which gave us an extra percent of a stop in hand. We pulled the blue out to make it look less cold, but we were able to correct for this color shift on the set. It just enabled us to get that little extra half hour or hour’s shooting at the end of the day.” That extra bit of time can be crucial. Though Kubrick’s films have lengthy schedules, it isn’t because he tends to work at a leisurely pace. Kubrick’s demanding perfectionism is both a strain and an extremely rewarding attitude for those used to working with directors who expect less, Milsome explains: “I’ve actually had a lot harder time working for a lot less talented people than Stanley. He’s a drain because he saps you dry, but he works damn hard himself and expects everybody else to. Sometimes it becomes a plod because it’s so slow and intricate, but he loves to do things quite differently than what has ever been done before. You can’t really do that sort of thing off the top of your head, so you work very hard to get it together and make something different which bears his mark. That can be a little overbearing and it tends to zap you and take up nearly all of your time. Sometimes the relationship can get a little strained because you’ve got to be devoted to him. You eat, drink and sleep the movie, and you’re under contract to Stanley body and soul. But he allows you the time to get everything absolutely right, which is what I find so rewarding.” “There were occasions on Full Metal Jacket where we went a few more than 25 or 30 takes, but we usually didn’t average more than 10 to 15 takes, although sometimes we’d go back and reshoot certain scenes later.” It is this insistence on achieving perfection regardless of how many takes are necessary for which Kubrick is most infamous. “Stanley always has done many, many takes” Milsome says, “but in fact, the many takes are not just repetitions of the same thing, they are often building upon a theme or idea that can mature and develop into something quite extraordinary. The whole structure of the scene can actually change during the operation of filming it. Also, Stanley gets a lot more out of his actors after he works with them a lot longer. It’s especially valuable in bringing out something in actors who may not be exactly up to the part, but Stanley works on them jolly hard until they produce the goods. That’s why he’s so good with actors: in the end, he’ll rehearse and rehearse them until they’re word perfect, and when they’ve got the words perfect then the rest has to happen — they then have to act. The large number of takes are used mainly to get something out of the actors that they’re not willing to provide right away. Of course, it’s demanding on the crew as well, but it’s a lot harder for the actors than it is for us. Once you’ve done an eight- or ten-minute scene a number of times, after take 30 or 35, you’re really into it!” Milsome laughs. “Actually, it doesn’t always go that many takes. There were occasions on Full Metal Jacket where we went a few more than 25 or 30 takes, but we usually didn’t average more than 10 to 15 takes, although sometimes we’d go back and reshoot certain scenes later.” Full Metal Jacket was shot entirely in England on sets ranging from a meticulously reconstructed Marine Corps barracks to a blasted building that served as the background to the Tet Offensive at the end of the film. The two-part structure of the film necessitated recreating the Marine training camp at Parris Island in great detail for the basic training of the “grunts” that comprises the film’s grueling first half, while the second half of the film had to look like Vietnam location footage. Surprisingly, Kubrick found the ideal location for both sets in three different locations in the Northeast London area, not more than 30 miles apart. Parris Island’s training camp was a real military base in Bassingbourne, the barracks were built at Enfield, and the vast rubble and blasted buildings of the Tet Offensive were to be found in an East London gasworks. The film opens inside the practical barracks set Kubrick had constructed at Enfield, as Milsome’s camera dollies along with Gunnery Sgt. Hartman, played by R. Lee Ermey, as he indoctrinates the new recruits into the harsh, contradictory realities of Marine life. Ermey, who is not an actor — he was actually the film’s technical advisor and a real-life drill instructor — went through the sequence again and again, as Kubrick coached him on the precise inflections and mannerisms he wanted. All told, there were 25 takes or so the first time around. Ermey suffered injury in a car accident during shooting, after which “he’d improved no end as an actor,” Milsome relates. “I think he polished up his part quite well, so we did that particular scene all again. It was well worth it because he was so much better.” In order to accommodate Kubrick’s proposed 360-degree shooting approach. Milsome had to place all of his lighting outside the set, where it streamed in like cold sunlight through the large windows on either side of the barracks. Milsome had become accustomed to the director’s need for total freedom on the set, and so emulated Alcott’s daytime interior look for the palaces of Barry Lyndon and the lobby of The Shining’s Overlook Hotel. “You can’t restrict anything Stanley wants to do by having a light source which shouldn’t be in the shot in the way,” Milsome confirms. “Stanley likes the total freedom of being able to go anywhere at any time, so we reproduced the look of sunlight streaming through the windows. The lighting was all totally outside — there were no lamps inside anywhere except for the warm-white deluxe daylight flourescent tubes in the overhead strips which were featured as a source light anyhow. So we just let the sunlight bleed in through the windows, which gave us a very natural single-source light with a very soft fill, roughly about 3:1 on the shadow side. For this effect, we used the Par 600-watt lamps — each light has six 100-watt bulbs on it. We put four of these lamps outside each of the seven window’s in the set, so we had 24,000 watts burning outside each window. We had them filtered through the Rosco plastic 216 fibre, which gave us a very nice, soft, warm look. “We used a very old Moviola dolly with pneumatic tires which we let down so they had only a minimal amount of air in them. Although the floor of the barracks set wasn’t that smooth, we were able to wheel the dolly about the floor because the fairly flat tires actually made the shot very smooth. “The Louma crane was a great tool to us,” Milsome says. “We did a lot of low-angle tracking shots that ended with the camera soaring up into the sky as the troops were drilled. We had a remote hot head rig we could operate from below so we didn’t have to actually sit on the crane. We also mounted our camera on a Tulip crane with a Skycam extension, so we could get our lens over 30 feet up. We were able to use both types of crane rigs to create some really interesting camera moves that enhanced the training sequences. With this equipment, when they went over the obstacle course, we could go up with them, so there were quite a lot of shots of them climbing ropes and over barriers and things where we just followed them up. “Because we were using the Louma crane quite often, we decided to have the crane ready assembled on a track always,” Milsome continues. “Although the crane itself is not that heavy — about 1,000 pounds — it does take some hours to put together. We got a 60-seat coach, left the cab as it was, sawed the coachwork off and made the rear end into a 30-foot-long tracking platform on which we laid our rails. Our crane was always completely assembled on this tracking coach, so we could drive it into any position within minutes, secure it with hydraulic jacks and be ready to do our shot very quickly” The climax of the film’s boot camp segment is carefully orchestrated in two powerful and disturbing nighttime scenes in the barracks, where the harsh blue moonlight filtering in through the windows is in sharp contrast to Milsome’s warm pink daylight look. The first sequence consists of the ritual beating of Gomer Pyle — played by Vincent D’Onofrio — by his fellow recruits after they are forced to do push-ups when Hartman discovers a donut in the overweight private’s trunk. The sequence is eerie and frightening, and Pyle’s pain and horror are well served by Milsome’s objective photography and stylized lighting. “We wanted to introduce a strong moonlight effect, which I think worked and gave a weird feeling to it all. It’s similar to the blue light we used in the maze in The Shining. For this scene, we used an open Fresnel Brute, which gave us very sharp shadows, and four 10K HMIs, white flame, without condensers, so they also cast very long and definite shadows. The Brute was placed at one end, giving a much wider, brighter beam, and the other four windows were each lit by one of the 10K HMIs. We then put half blues over them to give us a kind of Hollywood moonlight glow. Again, all of our light came from outside, and we used polystyrene to bounce the light or we bounced light from a 1000-watt snooted Lowell off the ceiling just to reflect a little bit of white light into the shadow side. We had a key of F.2, so we probably had about .70 on the shadow side, which meant we were working at roughly a 4:1 ratio.” That same combination of naturalism and stylization pays off handsomely in the gruesome climax of the film’s first half, wherein Pyle goes quietly mad after becoming a full-fledged Marine killing machine. Eyes rolled back into his skull and glowing with a strange inner light, he turns his M14 rifle — with its full-metal-jacket shells — first on an outraged Hartman and then on himself. “D’Onofrio flashes what people are now referring to as the ‘Kubrick crazy stare.’ Stanley has a stare like that which is very penetrating and frightens the hell out of you sometimes — I gather he’s able to inject that into his actors as well.”
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"https://vhsrevival.com/wp-content/uploads/2020/11/home-alone-2-1992.jpg?w=1200&h=900&crop=1", "https://vhsrevival.com/wp-content/uploads/2020/06/raiders-of-the-lost-ark-e1591356197798.jpg?w=800&h=600&crop=1", "https://vhsrevival.com/wp-content/uploads/2019/02/rocky-iv-featured.jpg?w=800&h=600&crop=1", "https://2.gravatar.com/avatar/5d21f44aa35298d7951ea642efe4d66a761399f3ff1a3cf982bb82fb950651d2?s=196&d=&r=G", "https://vhsrevival.com/wp-content/uploads/2021/04/cropped-cropped-cropped-twitter-collage-final.jpg?w=50", "https://vhsrevival.com/wp-content/uploads/2021/04/cropped-cropped-cropped-twitter-collage-final.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Richard Brownell", "chris chaka" ]	2020-01-16T00:00:00	It was several years after the conclusion of the Vietnam War before Hollywood started making serious films dealing with the conflict. The big studios didn’t have too much to say about the war while it was taking place. They wanted to make movies, and make a lot of money in the process, but taking on…	en	https://vhsrevival.com/w…e-final.jpg?w=32		https://vhsrevival.com/2020/01/16/let-me-see-your-war-face-stanley-kubricks-full-metal-jacket/	A case of conscience and crisis in Kubrick’s late to the party Vietnam epic It was several years after the conclusion of the Vietnam War before Hollywood started making serious films dealing with the conflict. The big studios didn’t have too much to say about the war while it was taking place. They wanted to make movies, and make a lot of money in the process, but taking on divisive, passionate topics is not a traditional gateway to big box office returns. And there were few things in the late 1960s and early 1970s as divisive as the Vietnam War. Massive demonstrations with thousands of people, college campus takeovers, riots breaking out in the streets, young men burning draft cards; it was the most chaotic time in American history since the Civil War. The last thing a Hollywood studio chief wanted was to make a big budget movie about Vietnam and bring that chaos onto the studio lot. Hardly any films released during the war addressed it directly. The one notable exception was John Wayne’s The Green Berets, released on July 4, 1968. With an Independence Day release date, you can guess where the Duke’s picture stood on Vietnam. In the film, Wayne’s Green Beret colonel teaches some lessons in patriotism to a cynical American reporter covering the war in Southeast Asia. And of course, along the way they win local hearts and minds while taking out Vietcong baddies by the bushel. The film was savaged by the press and the anti-war movement, but it found a loyal audience among those who believed whole-heartedly in the fight against communism. Such was the divide in America at the time. American audiences had to wait a whole decade for another Vietnam film. Director Sydney J. Furie made The Boys in Company C in 1978, a film that was in the vein of MAS*H in that it revealed the absurdity of war and the madness of how we have come to bureaucratize mass slaughter, but Company C wasn’t playing for laughs. The film was well-received, but not a runaway hit. It was notable in hindsight, however, for featuring a retired Marine staff sergeant named R. Lee Ermey as the tough-as-nails drill instructor who seemed to specialize in torturing his cadets. Later that same year came Michael Cimino’s epic The Deer Hunter. This film took the topic of the Vietnam War head-on. The tragic tale of a group of friends who are forever changed by their horrific experiences in Vietnam won the Oscar for Best Picture and was a critical and box office hit. The stigma of Vietnam in Hollywood had been lifted, and more films about Vietnam followed. Next came Francis Coppola’s phantasmagorical Apocalypse Now (1979), which was really more of an examination of the madness of war that just happened to take place in Vietnam. A few years later came Oliver Stone’s Platoon (1986), an Oscar-winning classic loosely based on the director’s own experiences as a soldier during the war. Tonight, you pukes will sleep with your rifles. You will give your rifle a girl’s name because this is the only pussy you people are going to get. Your days of finger-banging ol’ Mary-Jane Rottencrotch through her pretty pink panties are over! You’re married to this piece. This weapon of iron and wood. And you will be faithful. Port, hut! Gunnery Sergeant Hartman While all this was going on, director Stanley Kubrick was quietly mulling a Vietnam film project of his own. He had met writer and Vietnam veteran Michael Herr in 1980 and the two men tossed around some ideas, but nothing stuck. Herr wrote a best-selling memoir of the war titled Dispatches and the narration for Coppola’s Apocalypse Now, but he was reluctant to relive his own experiences for a film. Kubrick came across a novel called The Short Timers by Gustav Hasford, another war veteran. The book had received rave reviews and, like many readers, Kubrick was hooked by its dialogue and stark realism. Kubrick, Herr, and Hasford set about adapting the novel into a screenplay in 1985 while Kubrick began diving deep into research, studying hundreds of photographs, documentaries, books, and newspapers. Along the way, he decided to change the title of the project, fearing that the term short-timer would be confused by audiences to mean that his film was about part-time workers. It actually refers to soldiers in the field who are close to the end of their term of service. Kubrick came across the term “full metal jacket” in a gun catalogue, which describes a type of small arms ammunition that uses a metallic shell for greater muzzle velocity and smoother loading in automatic weapons. Why non-military viewers would not be equally confused by the term full metal jacket seemed to escape Kubrick, but it’s a cool-sounding title for a movie. Kubrick’s famously keen attention to detail and his legendary drive for perfection pay off in a big way with Full Metal Jacket. The film is, for all intents and purposes, flawless. The look is vintage Kubrick. There are long, studious shots that make the viewer feel like a voyeur, and the set design and the skillful use of primary colors make everything seem otherworldly yet familiar, like a fever dream. The score, written by Kubrick’s daughter Vivian under the pseudonym Abigail Mead, is an eerie synthesized melodic mix that deeply enhances the film’s moodier moments. The script lays out an array of intense and colorful characters and the dialogue crackles, thanks to Hasford’s novel, from which many of the lines were lifted directly. Over the course of its tight two hours, Full Metal Jacket takes the viewer through the entire spectrum of human emotions. We even find ourselves laughing out loud at several points, and then getting embarrassed for having laughed. The structure of the film makes it unique among war movies, particularly those about Vietnam. The first 45 minutes of the movie are devoted to basic training. We get a detailed look at just where the killers we will see in “the shit” later came from, and like watching sausage getting made, it’s not pretty. From the film’s opening moments, the recruits at the Marine Corps Recruit Depot at Parris Island, North Carolina, are given the hardest time they’ve ever had in their lives. For the first ten minutes of the film, Gunnery Sgt. Hartman lays into them nonstop with insults, racial slurs, taunts, and even some physical abuse to get his point across. It’s all about weeding out “all non-hackers who do not pack the gear to serve in my beloved Corps.” R. Lee Ermey’s portrayal of Hartman is a legendary piece of cinema, one of the most memorable film characterizations in recent film history. It made the former Marine a star, and he remained solidly at work in film and television until the day he died in 2018. Ermey was originally hired to be a technical advisor for the film, but when Kubrick saw an instructional tape that Ermey made for actor Tim Colceri, who was in line to play Hartman, he hired Ermey on the spot. Colceri remained in the film in a brief role as an insane helicopter gunner who gets his kicks taking aim at Vietnamese farmers from the air. Hartman quickly zeroes in on Leonard Lawrence, a schlubby, dim-witted fellow who from then on is referred to as Gomer Pyle. Pyle, played to perfection by Vincent D’Onofrio, probably wouldn’t have amounted to much in the real world, but in the wartime Marine Corps, he doesn’t stand a chance. It’s hard not to feel sorry for the poor fool, whom Hartman mercilessly lays into without end in every scene. Pyle is made to sit sucking his thumb while the rest of his platoon perform calisthenics, march with his pants around his ankles and his thumb in his mouth, and he is also slapped, punched, and ridiculed repeatedly. At first it’s funny, but it gets sad after a while, because though Hartman seems cruel, we know that if Pyle doesn’t shape up, he is sure to get killed in combat, and maybe get his fellow soldiers killed with him. Private Joker, the film’s main character and narrator played by Matthew Modine, is enlisted to help Pyle get his act together. It’s a losing proposition. Pyle doesn’t come around until after his fed-up platoon mates throw him a blanket party—in which Pyle is held down under a blanket while everyone takes turns whacking him with bars of soap wrapped up in towels. Pyle becomes a crack marksman, but he is also cracking up. He talks to his rifle and starts to take on a glazed, psychotic look. The night after graduation from basic training, Joker comes across Pyle in the head, sitting on a toilet loading a rifle magazine. Hartman shows up and, without taking in the fact that perhaps he has pushed Pyle a little too far, starts shouting at the crazed private, for which he takes a bullet in the heart. Pyle then promptly shoots himself. We switch from this grim moment to Da Nang, Vietnam several months later where Joker is now a correspondent for Stars and Stripes with his photographer Rafterman. Joker’s sharp wit and cynical viewpoint serve as Kubrick’s vehicle to communicate the insanity of Vietnam. Along with his mouth, which gets him into trouble more than once, he wears a peace button on his uniform and has “Born to Kill” written on his helmet. He is later called out for it by a Marine colonel played by Bruce Boa (General Rieekan from The Empire Strikes Back for all you Star Wars fans). You write ‘Born to Kill’ on your helmet and you wear a peace button. What’s that supposed to be? Some kind of sick joke? Colonel Joker, his fellow soldiers in Da Nang, and pretty much the entire country of South Vietnam are caught unawares when the Vietcong launch the Tet Offensive. In real life, the January 1968 surprise attack by 80,000 Vietcong guerillas, backed up by 35 divisions of North Vietnamese Army soldiers, hit every major U.S. military installation in South Vietnam and stormed the U.S. embassy in Saigon. Contrary to popular belief, the offensive was a military failure for the North Vietnamese. They suffered massive casualties, and all their units were either wiped out or beaten back. The psychological blow to American forces and civilian support at home, however, left the U.S. rattled. Many Americans came to believe the war was unwinnable, and Lyndon Johnson’s presidency ended in failure as a result. In the film, after helping stop the attack at Da Nang, Joker and Rafterman head to Hue City to report on the enemy siege. They link up with Joker’s friend Cowboy from Parris Island. Through a series of attacks and mishaps that take out his senior officers, Cowboy ends up leading his platoon, and Joker and Rafterman join the outfit. This sequence of the film is also unique in Vietnam War movies, in that the combat scenes take place in an urban setting. Much of the fighting in Vietnam took place in the countryside, where the Vietcong guerillas could make raids and easily disappear into the jungle. Consequently, virtually every Vietnam War movie takes place in the jungle as well. Kubrick, following the lead from Hasford’s book, takes us into an urban war zone, filled with burned out buildings and total devastation. The location that doubled for Hue was the old Beckton Gas Works outside London. In fact, all of Full Metal Jacket was filmed in England. Kubrick, who had lived in the UK since 1965, was not much of a traveler. Thanks to his status by the late 1980s as a master filmmaker, he had the power to bring the whole production to his backyard. The platoon tries to cut through the city to link up with the rest of the American forces, but they get lost. A sniper lies in wait, taking out three soldiers, including Cowboy. Animal Mother, a hardened soldier with no love for Joker, or anyone for that matter, assumes command of the platoon. He leads Joker, Rafterman, and two members of the platoon into a building where they believe the sniper is located. Joker finds the sniper, a teenage Vietnamese girl, but his gun jams at the moment of truth. Rafterman shoots her down and saves Joker’s life. Lying on the floor and bleeding, the girl begs to be killed. Animal Mother demands they leave her to rot, but if she is to be put out of her misery, then he will only let Joker perform the deed. After a painful moment of hesitation, Joker kills the sniper. He is now hardcore. Joker, through narration, admits that he is in a world of shit, but he is glad to be alive and he is no longer afraid. In the film’s final moments, the members of the platoon make their way through the burning rubble of Hue City at twilight, singing the Mickey Mouse Club theme song. It is a darkly humorous moment, and after everything that has taken place on screen for the last two hours, it allows the viewer to walk away with the ghost of a smile. In looking back on the film, it’s a bit of a surprise to see that Full Metal Jacket is a remarkably simple story. Basic training, witnessing the opening salvo of the Tet Offensive, dealing with a sniper, roll end credits. But within those few simple segments, an epic tale unfolds that gives the viewer a powerful lesson about the devastating toll war takes on the human soul. It’s a lesson no viewer of this film will easily forget, and it is one of the main reasons that Stanley Kubrick’s Full Metal Jacket is quite simply one of the best war movies ever made.
205	dbpedia	3	22	https://ultimatepopculture.fandom.com/wiki/Full_Metal_Jacket	en	Full Metal Jacket	https://static.wikia.nocookie.net/ultimatepopculture/images/9/99/Full_Metal_Jacket_poster.jpg/revision/latest?cb=20210531164300	https://static.wikia.nocookie.net/ultimatepopculture/images/9/99/Full_Metal_Jacket_poster.jpg/revision/latest?cb=20210531164300	[ "https://static.wikia.nocookie.net/ultimatepopculture/images/9/99/Full_Metal_Jacket_poster.jpg/revision/latest/scale-to-width-down/180?cb=20210531164300", "https://static.wikia.nocookie.net/ultimatepopculture/images/5/52/Commons-logo.svg.png/revision/latest/scale-to-width-down/30?cb=20211108053428", "https://static.wikia.nocookie.net/ultimatepopculture/images/1/1c/Wikiquote-logo.svg.png/revision/latest/scale-to-width-down/34?cb=20211108060631", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Ultimate Pop Culture Wiki" ]	2024-07-29T22:27:06+00:00	{#if:Script error: The function "findpagetext" does not exist. \| \| }} Full Metal Jacket is a 1987 war drama film directed and produced by Stanley Kubrick, who also co-wrote the screenplay with Michael Herr and Gustav Hasford. The film is based on Hasford's 1979 novel The Short-Timers. The film...	en	/skins-ucp/mw139/common/favicon.ico	Ultimate Pop Culture Wiki	https://ultimatepopculture.fandom.com/wiki/Full_Metal_Jacket	For the type of bullet, see Full metal jacket (ammunition). {#if:Script error: The function "findpagetext" does not exist. \| \| 1987 Template:Country2nationality film{{SHORTDESC:1987 Template:Country2nationality film\|}} }} Full Metal Jacket Theatrical release poster Directed byStanley KubrickScreenplay byPage Template:Plainlist/styles.css must have content model "Sanitized CSS" for TemplateStyles (current model is "wikitext"). Stanley Kubrick Michael Herr Gustav Hasford Based onThe Short-Timers by Gustav HasfordProduced byStanley KubrickStarringPage Template:Plainlist/styles.css must have content model "Sanitized CSS" for TemplateStyles (current model is "wikitext").CinematographyDouglas MilsomeEdited byMartin HunterMusic byAbigail Mead Production companies Page Template:Plainlist/styles.css must have content model "Sanitized CSS" for TemplateStyles (current model is "wikitext"). Natant Harrier Films Distributed byPage Template:Plainlist/styles.css must have content model "Sanitized CSS" for TemplateStyles (current model is "wikitext"). Warner Bros. (United States) Columbia-Cannon-Warner Distributors (United Kingdom) Release dates Page Template:Plainlist/styles.css must have content model "Sanitized CSS" for TemplateStyles (current model is "wikitext"). June 17, 1987 ( ) (Beverly Hills) June 26, 1987 ( ) (United States) September 11, 1987 ( ) (United Kingdom) Running time 116 minutes[2]CountriesPage Template:Plainlist/styles.css must have content model "Sanitized CSS" for TemplateStyles (current model is "wikitext"). United Kingdom United States[1] LanguageEnglishBudget$16.5–30 million[3][4]Box office$120 million[5] (46.4 million U.S.[5]) Full Metal Jacket is a 1987 war drama film directed and produced by Stanley Kubrick, who also co-wrote the screenplay with Michael Herr and Gustav Hasford. The film is based on Hasford's 1979 novel The Short-Timers. The film stars Matthew Modine, Lee Ermey, Vincent D'Onofrio and Adam Baldwin. The storyline follows a platoon of U.S. Marines through their boot camp training in Marine Corps Recruit Depot Parris Island, South Carolina, primarily focusing on two privates, Joker and Pyle, who struggle under their abusive drill instructor, Gunnery Sergeant Hartman; the second half of the film portrays the experiences of two of the platoon's Marines in Vietnamese cities of Da Nang and Huế during the Tet Offensive of the Vietnam War.[6] The film's title refers to the full metal jacket bullet used by military servicemen. Full Metal Jacket was theatrically released in the United States on June 26, 1987, by Warner Bros., and in the United Kingdom on September 11, 1987, by Columbia Pictures through Columbia-Cannon-Warner Distributors. The film received critical acclaim, grossed $46.4 million against a budget of $16 million, and earned an Oscar nomination for Best Adapted Screenplay for Kubrick, Herr, and Hasford.[7] In 2001, the American Film Institute placed it at number 95 in their "AFI's 100 Years...100 Thrills" poll.[8] Plot[] During the United States' involvement in the Vietnam War, a group of recruits arrive at Parris Island. The ruthless drill instructor, Gunnery Sergeant Hartman, employs harsh methods to turn the recruits into combat-ready Marines. Among the recruits is the overweight and dim-witted Leonard Lawrence, whom Hartman nicknames "Gomer Pyle", as well as the wisecracking J.T. Davis, who receives the name "Joker" after interrupting Hartman's speech with an impression of John Wayne. When Pyle shows ineptitude in basic training, Hartman pairs him with Joker. Under Joker's supervision, Pyle starts to improve, but one day Hartman discovers a jelly doughnut taken from the mess hall in Pyle's footlocker. Blaming the platoon for Pyle's infractions, Hartman adopts a collective punishment policy: he will punish the entire platoon, except for Pyle, for every mistake he makes. One night, the recruits haze Pyle with a blanket party, in which Joker reluctantly participates. Following this, Pyle seems to reinvent himself as a model recruit, showing particular expertise in marksmanship. This pleases Hartman but worries Joker, who believes Pyle may be suffering a mental breakdown after catching Pyle talking to his rifle. The recruits graduate and receive their Military Occupational Specialty assignments. Joker is assigned to military journalism, while most of the others—including Pyle—are assigned to Infantry. During the platoon's final night on Parris Island, Joker discovers Pyle in the toilets,[lower-alpha 1] loading his rifle and executing drill commands as he loudly recites the Rifleman's Creed. This awakens the platoon and Hartman, who confronts Pyle and orders him to surrender the rifle. Pyle shoots Hartman dead and appears to be ready to turn on Joker. Joker then calls Pyle by his real name, Leonard, upon which Pyle sits down and commits suicide, while Joker watches in horror. In January 1968, Joker—now a sergeant—is a war correspondent in Da Nang for Stars and Stripes alongside Private First Class Rafterman, a combat photographer. Rafterman wants to go into combat, as Joker claims he has. At the Marine base, Joker is mocked for his lack of the thousand-yard stare, indicating his lack of war experience. They are interrupted by the start of the Tet Offensive as the North Vietnamese Army unsuccessfully attempts to overrun the base. The following day, the journalism staff is briefed about enemy attacks throughout South Vietnam. Joker is sent to Phu Bai, accompanied by Rafterman. They meet the Lusthog Squad, where Joker is reunited with Sergeant "Cowboy", with whom he had gone through boot camp. Joker accompanies the squad during the Battle of Huế,[9] where platoon commander "Touchdown" is killed by the enemy. After the Marines declare the area secure, a team of American news journalists and reporters enters Huế to interview various Marines about their experiences in Vietnam and their opinions about the war. While patrolling Huế, Crazy Earl, the squad leader, is killed by a booby trap, leaving Cowboy in command. The squad becomes lost, and Cowboy orders Eightball to scout the area. A Viet Cong sniper wounds Eightball and Doc Jay, the squad Corpsman. Believing that the sniper is drawing the squad into an ambush, Cowboy attempts to radio in tank support to no avail. The squad's machine gunner, Animal Mother, disobeys Cowboy's orders to retreat and attempts to save his comrades. He discovers there is only one sniper, but Doc Jay and Eightball are killed when Doc Jay attempts to indicate the sniper's location. Cowboy then moves the rest of the squad up to an abandoned building for cover. While radioing for support, Cowboy is shot and killed by the sniper. Animal Mother assumes command of the squad and leads an attack on the sniper. Joker discovers the sniper, a teenage girl, and attempts to shoot her, but his rifle jams. Rafterman shoots the sniper, mortally wounding her. As the squad converges, the sniper begs the squad to shoot her, prompting an argument about whether to kill her or leave her to suffer. Animal Mother decides to allow a mercy killing only if Joker performs it. After some hesitation, Joker executes her. The Marines congratulate him on his kill as Joker displays the thousand-yard stare. The Marines march toward their camp, singing the "Mickey Mouse March". Joker states via narration that despite being "in a world of shit", he is glad to be alive and is no longer afraid. Cast[] Matthew Modine as Private/Sergeant J. T. "Joker" Davis, a wise-cracking young recruit. Modine kept a diary on set, which was later adapted into a book in 2005 and eventually an interactive app in 2013.[10] Vincent D'Onofrio as Private Leonard "Gomer Pyle" Lawrence, an overweight and slow-minded recruit, who is the subject of Hartman's mockery. D'Onofrio heard of the auditions for the film from Modine. Using a rented video camera and dressed in army fatigues, D'Onofrio recorded his audition. Despite Kubrick saying that Pyle was "the hardest part to cast in the whole movie", he quickly responded to D'Onofrio, telling the actor that he had won the part.[11] D'Onofrio was required to gain 70 pounds (32 kg).[12][13] Lee Ermey as Gunnery Sergeant Hartman, the senior drill instructor. Ermey served as a U.S. Marine drill instructor during the Vietnam War and used this experience to ad lib much of his dialogue.[14][15] Adam Baldwin as Animal Mother, a combat-hungry machine gunner who takes pride in killing enemy soldiers. Arnold Schwarzenegger was first considered for the role, but he turned it down in favor of The Running Man.[16] Arliss Howard as Private/Sergeant "Cowboy" Evans, member of the Lusthog Squad and friend of Joker. Kevyn Major Howard as Rafterman, combat photographer. Dorian Harewood as Eightball, a member of the squad. Tim Colceri as Doorgunner, a ruthless helicopter door gunner, who suggests that Joker and Rafterman write a story about him.[17] Colceri, a former Marine, was originally slated to play Hartman, a role which ultimately went to Ermey. Kubrick instead gave Colceri this smaller part as a consolation.[18] Additional characters include Ed O'Ross as Lieutenant Walter J. "Touchdown" Schinoski, the first platoon leader of the Lusthog Squad; John Terry as Lieutenant Lockhart, the editor of Stars and Stripes; Bruce Boa as POG Colonel, who dresses Joker down for wearing a peace symbol on his lapel. Director Stanley Kubrick and his daughter Vivian make uncredited appearances as two photographers at a Vietnam massacre site. Production[] Development[] Kubrick contacted Michael Herr, author of the Vietnam War memoir Dispatches (1977), in the spring of 1980 to discuss working on a film about the Holocaust, but he eventually discarded that in favor of a film about the Vietnam War.[19] They met in England, and the director told Herr that he wanted to do a war film but had yet to find a story to adapt.[11] Kubrick discovered Gustav Hasford's novel The Short-Timers (1979) while reading the Virginia Kirkus Review.[20] Herr received it in bound galleys and thought that it was a masterpiece.[11] In 1982, Kubrick read the novel twice, concluding that it "was a unique, absolutely wonderful book", and decided to adapt it for his next film.[20] According to Kubrick, he was drawn to the book's dialogue, finding it "almost poetic in its carved-out, stark quality".[20] In 1983, Kubrick began conducting research for the film, watching archival footage and documentaries, reading Vietnamese newspapers on microfilm from the Library of Congress, and studying hundreds of photographs from the era.[21] Initially, Herr was not interested in revisiting his Vietnam War experiences, and Kubrick spent three years persuading him to participate in what the author describes as "a single phone call lasting three years, with interruptions".[19] In 1985, Kubrick contacted Hasford and invited him to join the team;[11] he would talk to Hasford on the phone three to four times a week, for hours at a time.[22] Kubrick had already written a detailed treatment,[11] and Kubrick and Herr got together at Kubrick's home every day, breaking down the treatment into scenes. From that, Herr wrote the first draft.[11] The filmmaker was worried that the book's title might be misread by audiences as referring to people who only did half a day's work and changed it to Full Metal Jacket after coming across the phrase in a gun catalogue.[11] After the first draft was completed, Kubrick phoned his orders to Hasford and Herr, and Hasford and Herr mailed their submissions to him.[23] Kubrick read and edited them, and then the team repeated the process. Neither Hasford nor Herr knew how much each had contributed to the screenplay, which ultimately led to a dispute over the final credits.[23] Hasford remembers, "We were like guys on an assembly line in the car factory. I was putting on one widget and Michael was putting on another widget and Stanley was the only one who knew that this was going to end up being a car."[23] Herr says the director was not interested in making an anti-war film, but "he wanted to show what war is like".[19] At some point, Kubrick wanted to meet Hasford in person, but Herr advised against this, describing The Short-Timers author as a "scary man" and believing he and Kubrick would not "get on".[19] Nonetheless, Kubrick insisted, and they all met at Kubrick's house in England for dinner. It did not go well, and Hasford did not meet with Kubrick again.[19] Casting[] Through Warner Bros., Kubrick advertised a national casting search in the United States and Canada. The director used videotape to audition actors and received over 3,000 submissions. His staff screened all of the tapes, leaving 800 of them for Kubrick to review personally.[11]:461 Former U.S. Marine drill instructor Ermey, originally hired as a technical advisor, asked Kubrick if he could audition for the role of Hartman. Kubrick had seen Ermey's portrayal of drill instructor Staff Sergeant Loyce in The Boys in Company C (1978) and told the Marine that he was not vicious enough to play the character. Ermey improvised insulting dialogue against a group of Royal Marines who were being considered for the part of background Marines, to demonstrate his ability to play the character, as well as to show how a drill instructor goes about breaking down the individuality of new recruits.[11]:462 Upon viewing the videotape of these sessions, Kubrick gave Ermey the role, realizing he "was a genius for this part".[21] Kubrick also incorporated the 250-page transcript of Ermey's rants into the script.[11]:462–463 Ermey's experience as a drill instructor during the Vietnam era proved invaluable. Kubrick estimated that Ermey wrote 50% of his own dialogue, especially the insults.[24] While Ermey practiced his lines in a rehearsal room, Kubrick's assistant Leon Vitali would throw tennis balls and oranges at him, which Ermey had to catch and throw back as quickly as possible while saying his lines as fast as he could. Any hesitation, slip, or missed line would necessitate starting over. Twenty error-free runs were required. "[He] was my drill instructor", Ermey said of Vitali.[11]:463 After eight months of negotiations to cast Anthony Michael Hall as Private Joker, a deal between Kubrick and Hall fell through.[25] Kubrick offered Bruce Willis a role which the actor turned down due to filming commitments to his TV series Moonlighting.[26] Filming[] Kubrick shot the film in England from 1985 to 1986: In Cambridgeshire, on the Norfolk Broads, and at the former Millennium Mills, Beckton Gas Works, Newham (east London) and the Isle of Dogs.[27] A former Royal Air Force station and then British Army base, Bassingbourn Barracks, doubled as the Parris Island Marine boot camp.[21] A British Army rifle range near Barton, outside Cambridge, was used in the scene where Hartman congratulates Private Pyle for his shooting skills. Kubrick worked from still photographs of Huế taken in 1968, and found an area owned by British Gas that closely resembled it and was scheduled to be demolished. The disused Beckton Gas Works, a few miles from central London, were filmed to represent Huế after attacks.[24] Kubrick had buildings blown up, and the film's art director used a wrecking ball to knock specific holes in certain buildings over the course of two months.[24] Originally, Kubrick had a plastic replica jungle flown in from California, but once he looked at it he reportedly said, "I don't like it. Get rid of it".[28] The open country was filmed in the Cliffe marshes,[29] and along the River Thames, supplemented with 200 imported Spanish palm trees[20] and 100,000 plastic tropical plants from Hong Kong.[24] Kubrick acquired four M41 tanks from a Belgian army colonel, who was an admirer of the director's work,[30] and Westland Wessex helicopters painted Marine green to represent Marine Corps Sikorsky H-34 Choctaw helicopters. Although the Wessex was a licensed derivative of the Sikorsky H-34, the Wessex substituted two gas turbine engines for the H-34's radial (piston) engine. This resulted in a much longer and less rounded nose than that of the Vietnam era H-34. Kubrick obtained a selection of rifles, M79 grenade launchers, and M60 machine guns from a licensed weapons dealer.[21] Modine described the shoot as difficult: Beckton Gas Works was a toxic and environmental nightmare for the entire film crew. Asbestos and hundreds of other chemicals poisoned the ground and air. Modine documents details of shooting at Beckton in his book, Full Metal Jacket Diary (2005). During the boot camp sequence of the film, Modine and the other recruits had to endure the rigors of Marine Corps training, including having Ermey yell at them for 10 hours a day during the shooting of the Parris Island scenes. To ensure the actors' reactions to Ermey' lines were as authentic and fresh as possible, Ermey and the recruits did not rehearse together.[11]:468 For film continuity, each recruit had to have his head shaved once a week.[31] At one point during filming, Ermey had a car accident, in which he broke all of his ribs on one side, and was out for four and a half months.[24] Cowboy's death scene shows a building in the background that resembles the famous alien monolith in Kubrick's 2001: A Space Odyssey (1968). Kubrick described the resemblance as an "extraordinary accident".[24] During filming, Hasford contemplated taking legal action over the writing credits. Originally, the filmmakers intended for Hasford to receive an "additional dialogue" credit, but he fought for and eventually received full credit.[23] The writer took two friends and visited the set dressed as extras, only to be mistaken by a crew member for Herr, when Hasford identified himself as the writer whose work the film was based on.[22] Kubrick's daughter Vivian—who appears uncredited as a news-camera operator at the mass grave—shadowed the filming of Full Metal Jacket. She shot 18 hours of behind-the-scenes footage for a potential "making-of" documentary similar to her earlier film documentary on Kubrick's The Shining (1980), but in this case did not make the film. Snippets of her work can be seen in the documentary Stanley Kubrick's Boxes (2008). Themes[] Compared to Kubrick's other works, the themes of Full Metal Jacket have received little attention from critics and reviewers.[citation needed] Michael Pursell's essay "Full Metal Jacket: The Unravelling of Patriarchy" (1988) was an early, in-depth consideration of the film's two-part structure and its criticism of masculinity, arguing that the film shows "war and pornography as facets of the same system".[32] Most reviews have focused on military brainwashing themes in the boot camp section of the film, while seeing the latter half of the film as more confusing and disjointed in content. Rita Kempley of The Washington Post wrote, "it's as if they borrowed bits of every war movie to make this eclectic finale."[33] Roger Ebert saw in the film an attempt to tell a story of individual characters and how the war affected them, but the result was a shapeless film, which feels "more like a book of short stories than a novel".[34] Julian Rice, in his book Kubrick's Hope (2008), saw the second part of the film as continuing the psychic journey of Joker in trying to come to grips with human evil.[35] Tony Lucia, in his 1987 review of Full Metal Jacket for the Reading Eagle, looked at the themes of Kubrick's career, suggesting "the unifying element may be the ordinary man dwarfed by situations too vast and imposing to handle". Lucia specifically refers to the "military mentality" in this film. He said further that the theme covered "a man testing himself against his own limitations", and concluded: "Full Metal Jacket is the latest chapter in an ongoing movie which is not merely a comment on our time or a time past, but on something that reaches beyond."[36] British critic Gilbert Adair wrote: "Kubrick's approach to language has always been reductive and uncompromisingly deterministic in nature. He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all the whims, shades and modulations of personal expression". Michael Herr wrote of his work on the screenplay: "The substance was single-minded, the old and always serious problem of how you put into a film or a book the living, behaving presence of what Jung called The Shadow, the most accessible of archetypes, and the easiest to experience ... War is the ultimate field of Shadow-activity, where all of its other activities lead you. As they expressed it in Vietnam, 'Yea, though I walk through the Valley of the Shadow of Death, I will fear no Evil, for I am the Evil'." Music[] Kubrick's daughter Vivian Kubrick, under the alias "Abigail Mead", wrote the film's score. According to an interview in the January 1988 issue of Keyboard, the film was scored mostly with a Fairlight CMI synthesizer (the then-current Series III edition) and a Synclavier. For the period music, Kubrick went through Billboard's list of Top 100 Hits for each year from 1962 to 1968 and tried many songs, but "sometimes the dynamic range of the music was too great, and we couldn't work in dialogue".[24] Johnnie Wright – "Hello Vietnam" The Dixie Cups – "Chapel of Love" Sam the Sham & The Pharaohs – "Wooly Bully" Chris Kenner – "I Like It Like That" Nancy Sinatra – "These Boots Are Made for Walkin'" The Trashmen – "Surfin' Bird" Goldman Band – "Marines' Hymn" The Rolling Stones – "Paint It Black" A single "Full Metal Jacket (I Wanna Be Your Drill Instructor)", credited to Mead and Nigel Goulding, was released to promote the film. It incorporates Ermey's drill cadences from the film. The single reached number two in the UK singles chart.[39] Release[] Box office[] Full Metal Jacket received a limited release on June 26, 1987, in 215 theaters.[4] Its opening weekend saw it accrue $2,217,307, an average of $10,313 per theater, ranking it the number 10 film for the June 26–28 weekend.[4] It took a further $2,002,890 for a total of $5,655,225 before entering wide release on July 10, 1987, at 881 theaters—an increase of 666.[4] The July 10–12 weekend saw the film gross $6,079,963, an average of $6,901 per theater, and rank as the number 2 grossing film. Over the next four weeks the film opened in a further 194 theaters to its widest release of 1,075 theaters before closing two weeks later with a total gross of $46,357,676, making it the number 23 highest-grossing film of 1987.[4][40] As of 1998 , the film had grossed $120 million worldwide.[5] Home media[] The film was released on Blu-ray on October 23, 2007.[41] Warner Home Video released the 25th anniversary edition on Blu-ray on August 7, 2012.[42] Warners released the film on 4K Ultra HD on September 21, 2020 in the UK, and September 22 in the US.[43] Other regions are slated for an October release. The 4K UHD release uses a new HDR remastered native 2160p transfer from the original 35mm negative, which was supervised by Kubrick's personal assistant Leon Vitali. It contains the remixed audio and, for the first time since the original DVD release, the theatrical mono mix. It was a critical success with publications praising image and audio quality, calling the former exceptionally good and faithful to the original theatrical release and Kubrick's vision, while noting the lack of new extras and bonus content.[44][45][46] A special collector's edition box set of this 4K UHD version was released with different cover art, a replica theatrical poster of the film, a letter from director Stanley Kubrick, and a booklet about the film's production among other extras.[47] Critical reception[] Review aggregator website Rotten Tomatoes retrospectively collected reviews to give the film a score of 92% based on reviews from 83 critics and an average rating of 8.30/10. The summary states, "Intense, tightly constructed, and darkly comic at times, Stanley Kubrick's Full Metal Jacket may not boast the most original of themes, but it is exceedingly effective at communicating them."[48][49] Another aggregator Metacritic gave it a score of 76 out of 100, which indicates a "generally favorable" response, based on 19 reviews.[50] Reviewers generally reacted favorably to the cast, Ermey in particular,[51][52] and the film's first act in recruit training,[53][54] but several reviews were critical of the latter part of the film set in Vietnam and what was considered a "muddled" moral message in the finale.[55][34] Richard Corliss of Time called the film a "technical knockout", praising "the dialogue's wild, desperate wit; the daring in choosing a desultory skirmish to make a point about war's pointlessness", and "the fine, large performances of almost every actor", believing, at the time, that Ermey and D'Onofrio would receive Oscar nominations. Corliss appreciated "the Olympian elegance and precision of Kubrick's filmmaking".[51] Empire's Ian Nathan awarded the film 3 out of 5 stars, saying it is "inconsistent" and describing it as "both powerful and frustratingly unengaged". Nathan felt that after the opening act, which focuses on the recruit training, the film becomes "bereft of purpose"; nevertheless, he summarized his review by calling it a "hardy Kubrickian effort that warms on you with repeated viewings" and praised Ermey's "staggering performance".[54] Vincent Canby of The New York Times called the film "harrowing, beautiful and characteristically eccentric". Canby echoed praise for Ermey, calling him "the film's stunning surprise ... he's so good—so obsessed—that you might think he wrote his own lines". Canby said D'Onofrio's performance should be admired and described Modine as "one of the best, most adaptable young film actors of his generation". Canby concluded that Full Metal Jacket was "a film of immense and very rare imagination".[56] Jim Hall, writing for Film4 in 2010, awarded the film 5 out of 5 stars and added to the praise for Ermey, saying his "performance as the foul-mouthed Hartman is justly celebrated and it's difficult to imagine the film working anything like as effectively without him". The review preferred the opening training to the later Vietnam sequence, calling it "far more striking than the second and longer section". Film4 commented that the film ends abruptly but felt "it demonstrates just how clear and precise the director's vision could be when he resisted a fatal tendency for indulgence". Film4 concluded: "Full Metal Jacket ranks with Dr. Strangelove as one of Kubrick's very best."[53] Jonathan Rosenbaum of the Chicago Reader called it "Elliptical, full of subtle inner rhymes … and profoundly moving, this is the most tightly crafted Kubrick film since Dr. Strangelove, as well as the most horrific."[57] Variety called the film an "intense, schematic, superbly made" drama "loaded with vivid, outrageously vulgar military vernacular that contributes heavily to the film's power", but felt that it never develops "a particularly strong narrative." The cast performances were all labeled "exceptional" with Modine being singled out as "embodying both what it takes to survive in the war and a certain omniscience."[52] Gilbert Adair, writing in a review for Full Metal Jacket, commented that "Kubrick's approach to language has always been of a reductive and uncompromisingly deterministic nature. He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all whims, shades and modulations of personal expression". Not all reviews were positive. Chicago Sun-Times critic Roger Ebert held a dissenting view, calling the film "strangely shapeless" and awarding it 2.5 stars out of 4. Ebert called it "one of the best-looking war movies ever made on sets and stage", but felt this was not enough to compete with the "awesome reality of Platoon, Apocalypse Now and The Deer Hunter." Ebert criticized the film's second act set in Vietnam, saying the "movie disintegrates into a series of self-contained set pieces, none of them quite satisfying" and concluded that the film's message was "too little and too late", having been done by other Vietnam War films. Ebert gave praise to Ermey and D'Onofrio, saying "these are the two best performances in the movie, which never recovers after they leave the scene."[34] This review angered Gene Siskel on their television show At The Movies; he criticized Ebert for liking Benji the Hunted (which came out the same week) more than Full Metal Jacket.[59] Their difference in opinion was parodied on the television show The Critic, where Siskel taunts Ebert with "coming from the guy who liked Benji the Hunted!"[60] Time Out London disliked the film saying "Kubrick's direction is as steely cold and manipulative as the régime it depicts", and felt that the characters were underdeveloped, adding "we never really get to know, let alone care about, the hapless recruits on view."[55] British television channel Channel 4 voted Full Metal Jacket number 5 on its list of the greatest war films ever made.[61] In 2008, Empire placed the film at number 457 on its list of The 500 Greatest Movies of All Time.[62] The film ranked 95 on the American Film Institute's 100 Years... 100 Thrills list, published in 2001.[63] Accolades[] Full Metal Jacket was nominated for 11 awards worldwide between 1987 and 1989 including an Academy Award for Best Adapted Screenplay,[64][65] two BAFTA Awards for Best Sound and Best Special Effects,[66] and a Golden Globe for Best Supporting Actor for Ermey.[67] It won five awards, three of which were from outside of the United States (Italy, Japan, and the United Kingdom): Best Foreign Language Film from the Japanese Academy, Best Producer from the Academy of Italian Cinema,[68] Director of the Year at the London Critics Circle Film Awards, and Best Director and Best Supporting Actor at the Boston Society of Film Critics Awards, for Kubrick and Ermey respectively.[69] Of the five awards won, four were awarded to Kubrick. Year Award Category Recipient Result Ref. 1987 BAFTA Awards Best Sound Nigel Galt, Edward Tise and Andy Nelson Nominated [66] Best Special Effects John Evans Nominated [66] 1988 60th Academy Awards Best Adapted Screenplay Stanley Kubrick, Michael Herr and Gustav Hasford Nominated [64][65] Boston Society of Film Critics Awards Best Director Stanley Kubrick Won [69] Best Supporting Actor R. Lee Ermey Won David di Donatello Awards Best Producer – Foreign film Stanley Kubrick Won [68] Golden Globes Best Performance by an Actor in a Supporting Role in a Motion Picture R. Lee Ermey Nominated [67] London Critics Circle Film Awards Director of the Year Stanley Kubrick Won Writers Guild of America Best Adapted Screenplay Stanley Kubrick, Michael Herr, Gustav Hasford Nominated 1989 Kinema Junpo Awards Best Foreign Language Film Director Stanley Kubrick Won Awards of the Japanese Academy Best Foreign Language Film Stanley Kubrick Nominated Differences between novel and screenplay[] See also: The Short-Timers § Film adaptation Film scholar Greg Jenkins has done a detailed analysis of the adaptation of the novel as a screenplay. The novel is in three parts. The film greatly expands the relatively brief section in Part I, about the boot camp on Parris Island, and essentially discards Part III. This gives the film a twofold structure, telling two largely independent stories connected by the same characters acting in each. Jenkins believes this structure is a development of concepts that Kubrick originally discussed back in the 1960s. At that time, Kubrick talked about wanting to explode the usual conventions of narrative structure. Sergeant Hartman (renamed from the book's Gerheim) has an expanded role in the film. Private Pyle's incompetence is presented as weighing negatively on the rest of the platoon and, unlike the novel, he is the only under-performing recruit. The film omits "Hartman's" disclosure to other troops that he thinks Pyle might be mentally unstable, a "Section 8"; instead it is Joker who questions Pyle's mental state in the scene where he mops the latrines with Cowboy. In contrast, Hartman praises Pyle, saying that he is "born again hard". Jenkins says that the character of Hartman could not have been portrayed as having a warmer social relationship with the troops, as that would have upset the balance of the film, which depends on the spectacle of ordinary soldiers coming to grips with Hartman as a force of nature embodying a killer culture. Various episodes in the book have been cut from the screenplay or conflated with others. For example, Cowboy's introduction of the "Lusthog Squad" has been both markedly shortened and supplemented by material from other sections of the book. Although the book's final, third section was largely dropped, elements from this section were inserted into other episodes of the film. For instance, the climactic episode with the sniper is a conflation of two episodes in the book, from Parts II and III. Jenkins thinks the film presents this passage more dramatically but in less gruesome detail than in the novel. The film often has a more tragic tone than the book, which relies on callous humor. Joker in the film remains a model of humane thinking, as evidenced by his moral struggle in the sniper episode and elsewhere. He works to overcome his own meekness, rather than compete with other Marines. The film omits the Joker's eventual domination over Animal Mother shown in the book. The film also omits the death of the character Rafterman. Jenkins believed this allowed viewers to reflect on Rafterman's personal growth in the film and speculate on his future growth after the war. In popular culture[] The line of dialogue "Me so horny. Me love you long time," uttered by the Da Nang street prostitute (played by Papillon Soo Soo) to Joker (Modine) became a catchphrase in popular culture[75][76] after it was sampled by rap artists 2 Live Crew in their 1990 hit "Me So Horny" and by Sir Mix-A-Lot in "Baby Got Back" (1992).[77][78] See also[] Paths of Glory Project 100,000 Vietnam War in film Battle of Huế References[] Bibliography[] Jenkins, Greg (1997). Stanley Kubrick and the Art of Adaptation: Three Novels, Three Films. McFarland. ISBN 978-0-7864-3097-0. https://books.google.com/books?id=LdtgrdX3VMsC. Baxter, John (1997). Stanley Kubrick: A Biography. HarperCollins. ISBN 978-0-00-638445-8. Further reading[] Duncan, Paul (2003). Stanley Kubrick: The Complete Films. Taschen GmbH. ISBN 978-3836527750. Kubrick, Stanley (1987). Full Metal Jacket. Knopf. ISBN 978-0394758237. https://archive.org/details/fullmetaljackets0000kubr. Modine, Matthew (2005). Full Metal Jacket Diary. Rugged Land. ISBN 978-1590710470. [] Page Module:Side box/styles.css has no content. Page Module:Side box/styles.css has no content. Full Metal Jacket at the Internet Movie Database Full Metal Jacket at AllRovi Full Metal Jacket at Box Office Mojo Full Metal Jacket at Rotten Tomatoes Full Metal Jacket at Metacritic
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His professional film career began with set work on "Dante’s Peak" (Universal Pictures). Subsequently, Joel moved to Hollywood and continued shooting and crewing diverse independent features, music videos & documentaries. Continuous camera work includes camera operating for TV shows "Jimmy Kimmel Live", "American Idol", "The Showbiz Show", “Americas Got Talent”, So You Think You Can Dance” underwater work for “CSI: NY” and other International documentary work. For the music video industry Joel shot Coheed and Cambria’s top ten rock music video “Welcome Home” with the intent of replicating the stylistic horror look of the band’s graphic novel. He has been honored by both the Society of Camera Operators for having demonstrated excellence in the art and craft of operating cinematography and by the International Cinematographers Guild for artistic achievement in cinematography. Joel has traveled to over 30 countries filming in around 15. His eye for patience and beauty complements any production.
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205	dbpedia	1	17	https://www.gemsagency.co.uk/cv_profile/doug-milsome/681	en	Doug Milsome	https://www.gemsagency.c…/elem/logo_c.png	https://www.gemsagency.c…/elem/logo_c.png	[ "https://www.gemsagency.co.uk/media/elem/logo_hrw.png", "https://www.gemsagency.co.uk/inc/i44/media/cv/1669126812508.jpg", "https://www.gemsagency.co.uk/inc/i03/media/u/1488281783477.jpg", "https://www.gemsagency.co.uk/inc/i03/media/cv/1531993822409.jpg", "https://www.gemsagency.co.uk/media/elem/logo_hrw.png", "https://www.creativecasting.tv/media/elem/logo_w.png" ]	[]	[]	[ "Film Agency", "Agency for Freelance Film and TV crew", "Crew Agency", "Crewing Agency", "Film and TV", "Film Crew Agency", "UK Crew", "British Crew", "International Crew" ]	null	[]	null	Doug is a highly experienced DOP and member of the BSC / ASC,GBCT, IATSE 600 (Hollywood local) &amp AMPAS.He also holds a US Green Card			www.gemsagency.co.uk	https://www.gemsagency.co.uk/cv_profile/doug-milsome/681	Doug is a highly experienced DOP and member of the BSC / ASC, GBCT, IATSE 600 (Hollywood local) & AMPAS. He also holds a US Green Card
205	dbpedia	2	42	https://countycat.mcfls.org/Record/.b41370351%3FsearchId%3D2676093%26recordIndex%3D7%26page%3D	en	Invalid Record			[ "https://countycat.mcfls.org/files/original/logoNamelogoNamecountycat-logo-aspencolors-darkergraywords-196.png", "https://countycat.mcfls.org/files/original/footerLogoCountyCat_Logo-white.png" ]	[]	[]	[ "" ]	null	[]	null		en	/files/original/faviconcropped-mcfls5757-e1542293491254-2-32x32.png	CountyCat	null	Sorry, we could not find a record with an id of .b41370351%3FsearchId%3D2676093%26recordIndex%3D7%26page%3D in our catalog. Please try your search again.
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Explore Body of Evidence's box office performance, follow development, and track popularity with MOVIEmeter. IMDbPro — The essential resource for entertainment professionals.		https://m.media-amazon.c…fw5S$yXMZ$C3.svg		https://pro.imdb.com/title/tt0106453/	Become a member to see MOVIEmeter and news information about Body of Evidence. Try IMDbPro Premium for free Become a member to see Box Office information about Body of Evidence. Try IMDbPro Premium for free
205	dbpedia	2	54	https://www.nytimes.com/1993/01/15/movies/review-film-did-she-use-her-body-as-a-murder-weapon.html	en	Review/Film; Did She Use Her Body As a Murder Weapon?	https://static01.nyt.com…op.png?year=1993	https://static01.nyt.com…op.png?year=1993	[ "https://s1.nyt.com/timesmachine/pages/1/1993/01/15/993093_360W.png?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Vincent Canby" ]	1993-01-15T00:00:00	Courtroom melodrama and sex teaser. Sluggish and unintentionally funny.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/1993/01/15/movies/review-film-did-she-use-her-body-as-a-murder-weapon.html	What to do about poor Madonna? After gaining screen credibility with sharp, funny performances in smallish roles in "Dick Tracy" and "A League of Their Own," and as the great mocking Queen Bee in her own documentary, "Truth or Dare," she lands back at square one in "Body of Evidence," a sluggish courtroom melodrama relieved only by unintenional laughter. As major corporate decisions go, "Body of Evidence" ranks with the Edsel. It's not going anywhere. As a movie, it looks as if it wanted to be "Basic Instinct," though it winds up more like "Ilsa, She-Wolf of the SS." It's easy to understand why the actress thought there might be Madonna-like possibilities in Brad Mirman's screenplay. She plays Rebecca Carlson, a woman on trial for a murder in which she allegedly used her body as the lethal weapon. Her victim, who is seen only as a wide-eyed, somewhat surprised-looking corpse in the opening sequence, is a rich old fellow with an unreliable heart and a fondness for sex toys. Robert Garrett (Joe Mantegna), the district attorney, is sure that Rebecca did willingly, and with full knowledge of the victim's frail ticker, have intercourse with him to the point of his death in a session that involved homemade porn videos, handcuffs and nipple clamps. There's also the matter of the $8 million Rebecca stands to inherit. When questioned about these embarrassing facts by Frank Dulaney (Willem Dafoe), the crackerjack lawyer she hires to defend her, all Rebecca can say is, "They've taken something good between two people in love and made it dirty." Rebecca has an explanation for everything. When confronted by a witness who claims to have seen her sniffing cocaine, she proves that the white powder was really Chinese peony roots, which, as everyone within the film knows, are a naturally buffered asprin substitute. "Body of Evidence" demonstrates the same teasing, rather parochial obsession with sadomasochistic game-playing that dominates the fantasies of Madonna's 1992 best-selling publishing phenomenon, "Sex," though without the book's redeemingly childlike, go-for-broke smuttiness. "Body of Evidence" is not a star's cannily packaged reveries. It means to be coherent both as a mystery story and as an odyssey of sexual liberation, but works as neither. It's not even blatant as a star vehicle. "Body of Evidence" is a movie that might actually have been better if the star had been more demanding. Perhaps the camera would have been more kind to her. Perhaps not. "Body of Evidence" is not a movie for which the blame can be assigned by anyone who was not on hand before, during and after production. A lot of good people were involved, including Uli Edel, the German-born director who was responsible for the fine screen adaptation of "Last Exit to Brooklyn." His work here makes Paul Verhoeven, the man who directed "Basic Instinct," seem the equal of Orson Welles. Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times. Thank you for your patience while we verify access. Already a subscriber? Log in. Want all of The Times? Subscribe.
205	dbpedia	2	8	https://quadcinema.com/film/body-of-evidence/	en	Body of Evidence	https://quadcinema.com/w…e-3-1400x707.png	https://quadcinema.com/w…e-3-1400x707.png	[ "https://quadcinema.com/wp-content/uploads/2018/01/Body-of-Evidence-3-1400x707.png" ]	[]	[]	[ "" ]	null	[]	null	Established in 1972, Quad Cinema is New York's original multi-screen cinema.	en		Quad Cinema	https://quadcinema.com/film/body-of-evidence/	Taking on a murder case, defense lawyer Willem Dafoe gets in over his head with his client, to the chagrin of his wife Julianne Moore. The client, accused of…er, loving a rich older man to death, is played by Madonna, who doesn’t sing but does take on the femme fatale role with near-Method dedication, throwing herself into some athletic sex scenes with a no-less committed Dafoe. With Joe Mantegna, Anne Archer, Jürgen Prochnow, and Frank Langella.
205	dbpedia	1	3	https://www.encyclopedia.com/education/news-wires-white-papers-and-books/milsome-douglas	en	Milsome, Douglas			[ "https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg" ]	[]	[]	[ "MILSOME", "Douglas\n(Doug Milsome)\nPERSONAL\nBorn in England." ]	null	[]	null	MILSOME, Douglas (Doug Milsome) PERSONAL Born in England. Source for information on Milsome, Douglas: Contemporary Theatre, Film and Television dictionary.	en	/sites/default/files/favicon.ico		https://www.encyclopedia.com/education/news-wires-white-papers-and-books/milsome-douglas	(Doug Milsome) PERSONAL Born in England. Addresses: Agent— The Mirisch Agency, 1801 Century Park East, Suite 1801, Los Angeles, CA 90067. Career: Cinematographer. Member: British Society of Cinematographers, American Society of Cinematographers. Awards, Honors: British Film Institute Award, camera operation, for Highlander; New York Film Critics Circle Award nomination, 1987, British Critics Circle Award, 1989, Academy Award nomination, all for Full Metal Jacket; Emmy Award nomination, 1989, and American Society of Cinematographers Award, both for Lonesome Dove; American Society of Cinematographers Award, for Return to Lonesome Dove; DVDX Award nomination, best cinematography in a DVD premiere movie, 2003, for Dracula II: Ascension. CREDITS Film Cinematographer: Takes This Job and Shove It, Avco Embassy Pictures, 1981. Wild Horses, Satori, 1983. Full Metal Jacket (also known as Stanley Kubrick's Full Metal Jacket ), Warner Bros., 1987. Hawks, Skouras Pictures, 1988. The Beast of War (also known as The Beast ), Columbia, 1988. Desperate Hours, Metro–Goldwyn–Mayer, 1990. If Looks Could Kill (also known as Teen Agent ), Warner Bros., 1991. Robin Hood: Prince of Thieves, Warner Bros., 1991. (As Doug Milsome) Body of Evidence (also known as Deadly Evidence ), Metro–Goldwyn–Mayer, 1993. Sunset Grill, New Line Cinema, 1993. (Second unit) Nowhere to Run, Sony Pictures Releasing, 1993. (As Doug Milsome) Rumpelstiltskin, Spelling Films International, 1996. (As Doug Milsome) The Sunchaser, Warner Bros., 1996. (As Doug Milsome) Breakdown, Paramount, 1997. Sinbad: The Battle of the Dark Knights, 1998. Legionnaire, Twentieth Century–Fox, 1998. Highlander: Endgame, Miramax, 2000. Dungeons & Dragons (also known as Dungeons & Dragons: The Movie ), New Line Cinema, 2000. Ritual (also known as Tales from the Crypt Presents: Revelation and Tales from the Crypt Presents: Voodoo ), Miramax, 2001. Standing in the Shadows of Motown (documentary; also known as Standing in the Shadows of Motown: The Story of the Frank Brothers ), Artisan Entertainment, 2002. Dracula II: Ascension (also known as Wes Craven Presents Dracula II: Ascension ), Buena Vista Home Video, 2003. Dracula III: Legacy, Dimension Films, 2004. Film Work: Camera assistant, The Yellow Rolls Royce, 1964. Camera assistant, The Curse of the Mummy's Tomb, 1964. Camera assistant, Modesty Blaise, 1965. Camera assistant, Sands of the Kalahari, 1965. Camera assistant, When Eight Bells Toll, 1969. Focus puller, Barry Lyndon, Warner Bros., 1975. (As Doug Milsome) Assistant camera, Who Is Killing the Great Chefs of Europe? (also known as La grande cuisine, Ein Kochtopf voller Leichen, Qualcuno sta uccidendo i piu grandi cuochi d'europa, Die Schlemmerorgie, Someone Is Killing the Great Chefs of Europe, and Too Many Chefs ), Warner Bros., 1978. Focus assistant and photographer: second unit, The Shining (also known as Stanley Kubrick's "The Shining "), Warner Bros., 1980. Camera assistant, Ragtime, 1980. Second unit photographer, Race for the Yankee Zephyr (also known as Gold Hunt and Treasure of the Yankee Zephyr ), ARC, 1981. Second unit camera operator, Better Late Than Never (also known as Whose Little Girl Are You? ), Warner Bros., 1982. Second unit camera operator, Yentl, Metro–Goldwyn–Mayer, 1983. Camera operator, Space Riders, 1983. (As Doug Milsome) Second unit camera operator, The Bounty, Orion, 1984. Camera operator, Greystoke: The Legend of Tarzan, Lord of the Apes, Warner Bros., 1984. (As Doug Milsome) Aerial camera operator, A View to a Kill (also known as Ian Fleming's "AViewtoa Kill "), Metro–Goldwyn–Mayer/United Artists Entertainment Company, 1985. Camera operator, Plenty, Twentieth Century–Fox, 1985. Camera operator, King David, Paramount, 1985. Camera operator, Highlander, Twentieth Century–Fox, 1986. Lighting cameraman, Full Metal Jacket (also known as Stanley Kubrick's Full Metal Jacket ), Warner Bros., 1987. Camera operator, The Beast of War (also known as The Beast ), Columbia, 1988. Camera operator, Desperate Hours, Metro–Goldwyn–Mayer, 1990. Additional photographer, The Last of the Mohicans, Twentieth Century–Fox, 1992. Film Appearances: Himself, Stanley Kubrick: A Life in Pictures (documentary), Warner Bros., 2001. Television Cinematographer; Series: Dirty Dozen: The Series, Fox, 1988. Television Cinematographer; Miniseries: Lonesome Dove, CBS, 1989. (As Doug Milsome) Great Expectations, The Disney Channel, 1989. Family of Spies, CBS, 1990. Diana: Her True Story, NBC, 1993. Return to Lonesome Dove, CBS, 1993. The Old Curiosity Shop, The Disney Channel, 1995. Liz: The Elizabeth Taylor Story, NBC, 1995. (Second unit) Buffalo Girls, CBS, 1995. Johnson County War, Hallmark Channel, 2002. Television Second Unit Director; Miniseries: Return to Lonesome Dove, CBS, 1993. Buffalo Girls, CBS, 1995. Television Cinematographer; Movies: The Hollywood Detective, USA Network, 1989. Seasons of the Heart, NBC, 1994. Following Her Heart, NBC, 1994. Hart to Hart: Secrets of the Hart, NBC, 1995. (Second unit) An Unfinished Affair, ABC, 1996. (As Doug Milsome) Glory & Honor, TNT, 1998. Sinbad: The Battle of the Dark Knights, HBO, 1999. (As Doug Milsome) Santa, Jr., Hallmark Channel, 2002. Television Camera Operator; Movies:
205	dbpedia	2	55	https://www.latimes.com/archives/la-xpm-1993-01-10-ca-1348-story.html	en	A look inside Hollywood and the movies. : READER BEWARE : Madonna’s ‘Body’ Isn’t Cornwell’s	https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg	https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg	[ "https://ca-times.brightspotcdn.com/dims4/default/8a821e3/2147483647/strip/true/crop/1993x1333+7+0/resize/320x214!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F72%2Ffd%2F8e8280fc4b7eb85800d37014deb1%2Fdf-20699-20690-r-2000x1333-thumbnail.jpg 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Times	https://www.latimes.com/archives/la-xpm-1993-01-10-ca-1348-story.html	Screen credits on movies have reached ridiculous proportions--everyone from assistant parking coordinator to the star’s personal trainer--but a credit on Madonna’s upcoming movie “Body of Evidence” is a new one on us. In tiny type at the bottom of advertisements for “Body of Evidence, “ after credits for the actors, director, producers, screenwriter and musical scorer, is a cryptic disclaimer: “Not based on the novel by Patricia Cornwell.” As the titles are the same, Cornwell was clearly not amused to realize that her second best-selling novel featuring the brilliant detective work of pathologist Dr. Kay Scarpetta might be confused with the upcoming sexually explicit thriller starring the singer-actress in a role where she’s accused of killing her lover while making love. The screenplay is by Brad Mirman. “I’m very opposed to the exploitation of sexual violence. It’s like the dark side of the moon compared to what I write about,” Cornwell said. “I don’t want to sound like a saint, but people would be making an error if they went to the movie thinking it had anything to do with my books.” Instead of undergoing a costly legal claim to try and force a title change--which they might not have won--Cornwell’s New York attorney Neil Rosini said an amicable resolution was agreed to by producers Dino De Laurentiis and distributor MGM on behalf of his client to run a one-line clarification on ads. The novelization of the movie tie-in book from Harper has been retitled “Deadly Evidence.” Cornwell’s “Body of Evidence,” published in early 1991, follows medical examiner Scarpetta as she solves the grisly murder of an aspiring novelist who had asked, but did not receive, police protection from an unknown assailant. Cornwell’s writing has been praised for its strong, clever writing style; her protagonist Dr. Scarpetta is “increasingly a woman of sensibility and deep concerns, able to be tough-minded, independent and soft-hearted at the same time,” according to Charles Champlin in a Los Angeles Times’ book review. “Body of Evidence,” the movie, is described in the press materials with this come-on line: “Did Rebecca Carlson (Madonna) use her body as a weapon for murder or an instrument for love?” In the film, Madonna’s character hires hot-shot attorney Willem Dafoe to defend her against a murder rap--and he has a hard time resisting her “deviant” sexual attractions. The movie initially received an NC-17 rating, but was trimmed down to an R. It has yet to be reviewed by critics. What’s unusual about this credit contretemps is how Cornwell has publicly called attention to herself for not wanting to be associated with a production rather than preferring to keep a low profile. Arbitration over such things as who gets what credit on a particular movie keeps a lot of entertainment lawyers, agents and guild officials in business. In this case, Cornwall had additional motives. She, too, has a Hollywood career. She is now busy adapting to the screen her fourth Scarpetta novel, “Cruel and Unusual,” to be published in June, for Columbia Pictures. Demi Moore will play the title role. The author is in town for Friday’s premiere of “Body of Evidence”--an occasion in which she said she’ll have the opportunity to meet Madonna and give her a “Body of Evidence” book-promotion T-shirt on which she (good-naturedly) intends to scrawl the words “Not based on the Madonna movie” across the bottom.
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205	dbpedia	2	43	https://www.portlandmercury.com/Feature/2015/10/14/16698395/body-of-evidence-boobs-bondage-and-the-pittock-mansion	en	Body of Evidence: Boobs, Bondage, and the Pittock Mansion	https://media2.fdncms.co…ature11-570x.jpg	https://media2.fdncms.co…ature11-570x.jpg	[ "https://www.portlandmercury.com/assets/3/base/images/noisy-creek-logo.png", "https://www.portlandmercury.com/assets/sites/mercury/images/site-logo.png?20220525222143", "https://www.portlandmercury.com/assets/3/sites/mercury/images/site-logo-darkbg.png", "https://www.portlandmercury.com/assets/sites/everout/everout-logo-small-white.png", "https://media2.fdncms.com/portmerc/imager/u/original/16698392/feature11-570x.jpg", "https://media1.fdncms.com/portmerc/imager/u/large/25935861/marissa-jds-1.jpg", "https://media2.fdncms.com/portmerc/imager/u/large/46519929/screen-shot-2023-05-21-at-4.19.53-pm.png", "https://media2.fdncms.com/portmerc/imager/u/large/46309832/gettyimages-1401835317.jpg", "https://media1.fdncms.com/portmerc/imager/u/large/46481019/gettyimages-1249550569.jpg", "https://media2.fdncms.com/portmerc/imager/u/large/46821859/screen_shot_2023-11-01_at_4.27.07_pm.png", "https://media1.fdncms.com/portmerc/imager/u/large/47205107/gettyimages-670551650.jpg", "https://media2.fdncms.com/portmerc/imager/u/large/47330407/screen_shot_2024-07-26_at_2.36.10_pm.png", "https://www.portlandmercury.com/assets/3/sites/mercury/images/site-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/index-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/stranger-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/everout-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/savagelove-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/lovecast-logo-darkbg.png", "https://www.portlandmercury.com/assets/3/base/images/hump-logo-darkbg.png" ]	[]	[]	[ "" ]	null	[ "Marissa Sullivan" ]	2015-10-14T00:00:00	A Portlander watches Madonna's 1993 erotic thriller for the first time.	en	/assets/sites/mercury/images/site-badge.svg	Portland Mercury	https://www.portlandmercury.com/Feature/2015/10/14/16698395/body-of-evidence-boobs-bondage-and-the-pittock-mansion	MADONNA FILMED 1993's Body of Evidence here in Portland, and it has everything a true Portlander can get behind: murder, loads of sex, tons (kilos?) of cocaine talk, and ample shots of Madonna's boobs. If you're a Portlander, you'd be crazy not to watch this movie once. Here are a few thoughts that a five-year resident had seeing it for the first time. Movie opens to rain, thunder, lighting, and a mansion. Were there rich people in Portland in the '90s? Oh, it's the Pittock Mansion. Nipple clamps?! Wow, that's a perfect pair of boobs you've got there, Madonna. Rich guy is watching a porn tape he made with Madonna. Wonder if he entered it in HUMP!? Flash to a nighttime Portland skyline. Where are the bridges? The doughnuts? The unicyclists? Willem Dafoe and his family are eating in a restaurant (oh hai, Julianne Moore!). I can't make out where they're at exactly, but as they get up to leave, Dafoe throws his Bulls hat on his kid. Blazers BURN. Cut to the Portlandia statue, one of the only things that no other city can claim. They pan up from the bottom, making the statue look haunting. Actually, pretty nice camera work here. In the cop shop. "Cocaine use is illegal in the state of Oregon," Willem Dafoe says to Madonna. She answers, "I've never used it in Oregon." Everyone laughs! When they leave the sheriff's department, I spy a TriMet bus in the background. We get another Portland skyline, this time at twilight. I can see a freeway, some water, maybe that's the hotel near what would become the Rose Garden. (The arena wouldn't open until two years after the movie came out.) That must be the KOIN Center lit up. They should've made the mountains more majestic! Who's the cinematographer on this thing? (Google break: It's Douglas Milsome, "known for his work on Full Metal Jacket, Robin Hood: Prince of Thieves, and The Shining." And, uh, Body of Evidence. How the mighty fall.) And now we're at Multnomah County Jail. (Yep, been there.) Madonna gets out on bail. HORSE COPS! IT'S RAINING! FREMONT BRIDGE! And now they're driving on the Hawthorne Bridge. Shhhhh, Willem and Madonna are talking about how Portlanders "have very conservative views about sex." Madonna says, "No they don't, they just don't talk about it. They're such hypocrites." Remember, this was all pre-She Bop. Madonna: "Is it still raining? Can you give me a ride home?" Oh TWIST, she lives on a houseboat? Flash to the next day, we get a long look at the beautiful marble staircase and walls inside the courthouse. Nothing snarky to say here, it's just pretty. At the trial, Madonna is asked: "Weren't you a patient at the Mt. Hood Substance Abuse center?" Way to make a local reference, Body of Evidence! And we're back inside the houseboat... is this the same as the Sleepless in Seattle houseboat? (Google tells me no.) Madonna and Willem finally get freaky. Nothing about their lovemaking is particularly Portland-esque, unless the candles they're dripping on each other are made of artisanal soy. Madonna finally takes the stand. Madonna to prosecutor Joe Mantegna: "Portland's a small city. I even dated a man who dated a woman you dated." Ummm, yeah, that's about how I'd describe this town, too. I guess Portland hasn't changed that much since 1993. The Madonna Issue It's Our Madonna Issue! Madonna Begins Madonna's Sex Positive Feminism How Madonna Brought Club Music to the Pop Charts The Best Videos of Madonna and Jean-Baptiste Mondino Madonna's Misunderstood Erotica Just Like Madge Our Halloween Costume Guide! Coming to Terms with Sex The Madonna-Off Body of Evidence: Boobs, Bondage, and the Pittock Mansion Madonna's Monumental First Album Madonna's Five Sexiest Songs That Aren't "Like a Virgin"
205	dbpedia	1	16	https://www.wikidata.org/wiki/Q890084	en	Body of Evidence	https://www.wikidata.org/static/favicon/wikidata.ico	https://www.wikidata.org/static/favicon/wikidata.ico	[ "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://www.wikidata.org/static/images/footer/wikimedia-button.svg", "https://www.wikidata.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null	1993 American film directed by Uli Edel	en	/static/apple-touch/wikidata.png		https://www.wikidata.org/wiki/Q890084	3.1/10
205	dbpedia	2	14	https://www.amazon.com/Body-Evidence-Madonna/dp/B00006L92K	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/wxvwzfzh/Captcha_grmpmtccbe.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=F2S1P7GXB48Z8JYV2NJ7&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
205	dbpedia	3	58	https://100films.co.uk/tag/stanley-kubrick/	en	Stanley Kubrick	https://100films.co.uk/w…s-icon.jpg?w=200	https://100films.co.uk/w…s-icon.jpg?w=200	[ "https://100films.co.uk/wp-content/uploads/2022/01/100films-seats-light.jpg", "https://100films.co.uk/wp-content/uploads/2015/07/black-spacer.png?w=584", "https://100films.co.uk/wp-content/uploads/2021/04/eyes-wide-shut.jpg?w=560", "https://100films.co.uk/wp-content/uploads/2012/01/4-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2015/07/black-spacer.png?w=584", "https://100films.co.uk/wp-content/uploads/2021/04/the-eyes-of-orson-welles.jpg?w=560", "https://100films.co.uk/wp-content/uploads/2012/01/3-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2015/07/black-spacer.png?w=584", "https://100films.co.uk/wp-content/uploads/2021/04/everybody-wants-some.jpg?w=560", "https://100films.co.uk/wp-content/uploads/2012/01/3-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2015/07/black-spacer.png?w=584", "https://100films.co.uk/wp-content/uploads/2015/07/black-spacer.png?w=584", "https://100films.co.uk/wp-content/uploads/2020/06/the-day-the-earth-stood-still.jpg?w=335", "https://100films.co.uk/wp-content/uploads/2012/01/3-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2015/07/black-spacer.png?w=584", "https://100films.co.uk/wp-content/uploads/2020/06/full-metal-jacket.jpg?w=560", "https://100films.co.uk/wp-content/uploads/2012/01/5-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2015/07/black-spacer.png?w=584", "https://100films.co.uk/wp-content/uploads/2020/06/wind-river.jpg?w=560", "https://100films.co.uk/wp-content/uploads/2012/01/4-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2015/07/black-spacer.png?w=584", "https://100films.co.uk/wp-content/uploads/2020/06/body-of-lies.jpg?w=560", "https://100films.co.uk/wp-content/uploads/2012/01/3-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2015/07/black-spacer.png?w=584", "https://100films.co.uk/wp-content/uploads/2016/07/barry-lyndon.jpg?w=223&h=349", "https://100films.co.uk/wp-content/uploads/2016/07/ryan-oneal-puts-his-hands-up.jpg?w=327&h=272", "https://100films.co.uk/wp-content/uploads/2016/07/adventures-in-duelling.jpg?w=321&h=250", "https://100films.co.uk/wp-content/uploads/2016/07/candles-what-candles.jpg?w=347&h=274", "https://100films.co.uk/wp-content/uploads/2012/01/5-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2015/12/a-clockwork-orange.jpg?w=234&h=347", "https://100films.co.uk/wp-content/uploads/2015/12/the-gangs-all-here.jpg?w=322&h=250", "https://100films.co.uk/wp-content/uploads/2015/12/milk-plus.jpg?w=302&h=252", "https://100films.co.uk/wp-content/uploads/2012/01/4-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2015/06/room-237.jpg?w=234&h=347", "https://100films.co.uk/wp-content/uploads/2012/01/3-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2015/04/the-shining.jpg?w=336&h=248", "https://100films.co.uk/wp-content/uploads/2015/04/but-youre-not-called-johnny.jpg?w=327&h=248", "https://100films.co.uk/wp-content/uploads/2012/01/5-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2015/02/2001-a-space-odyssey-poster.jpg?w=212&h=384", "https://100films.co.uk/wp-content/uploads/2015/02/starships-were-meant-to-fly.jpg?w=351&h=250", "https://100films.co.uk/wp-content/uploads/2015/02/2002-invasion-of-the-giant-space-baby.jpg?w=338&h=250", "https://100films.co.uk/wp-content/uploads/2015/02/dawn-of-the-technology-of-the-apes.jpg?w=320&h=250", "https://100films.co.uk/wp-content/uploads/2015/02/stargazing.jpg?w=350&h=250", "https://100films.co.uk/wp-content/uploads/2012/01/5-star.jpg?w=584", "https://100films.co.uk/wp-content/uploads/2009/12/paths-of-glory.jpg?w=217&h=344", "https://100films.co.uk/wp-content/uploads/2012/01/5-star.jpg?w=584", "https://i0.wp.com/www.largeassmovieblogs.com/wp-content/uploads/2012/09/lamb-icon.png", "https://100films.co.uk/wp-content/uploads/2022/01/100-films-icon.jpg?w=50", "https://100films.co.uk/wp-content/uploads/2022/01/100-films-icon.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2023-12-23T13:10:51+00:00	Posts about Stanley Kubrick written by badblokebob	en	https://100films.co.uk/w…ms-icon.jpg?w=32	100Films.co.uk	https://100films.co.uk/tag/stanley-kubrick/	Everybody Wants Some!! (2016) Eyes Wide Shut (1999) 2019 #72 Stanley Kubrick \| 159 mins \| Blu-ray \| 16:9 \| UK & USA / English \| 18 / R I seem to remember Eyes Wide Shut being received poorly on its release back in 1999, but then I would’ve only been 13 at the time so perhaps I missed something. Either way, it seems to have been accepted as a great movie in the two decades since (as is the case with almost every Kubrick movie — read something into that if you like). Numerous lengthy, analytical pieces have been written about its brilliance. This will not be one of them — my notes only include basic, ‘witty’ observations like: one minute you’re watching a “men are from Mars, woman are from Venus” kinda relationship drama, the next Tom Cruise has taken a $74.50 cab ride from Greenwich Village to an estate in the English countryside and you’re in a Hammer horror by way of David Lynch. “A Hammer horror by way of David Lynch” is a nice description, though. That sounds like my kind of film. And Eyes Wide Shut almost is. It’s certainly a striking, intriguing, even intoxicating film, but I didn’t find the resolution to the mystery that satisfying — I wanted something more. Perhaps I should have invested more time reading those lengthy analyses — maybe then I would be giving it a full five stars. Definitely one to revisit. Eyes Wide Shut was viewed as part of What Do You Mean You Haven’t Seen…? 2019. The Eyes of Orson Welles (2018) 2019 #74 Mark Cousins \| 100 mins \| TV (HD) \| 16:9 \| UK / English \| 12 Mark Cousins, the film writer and documentarian behind the magnificent Story of Film: An Odyssey, here turns his attention to the career of one revered filmmaker: Orson Welles (obv.) Narrated by Cousins himself, the voiceover takes the form of a letter written to Welles, which then proceeds to tell him (so it can tell us, of course) about where he went and when; about what he saw and how he interpreted it. A lot of the time it feels like it’s patronising Welles with rhetorical questions; as if Cousins is speaking to a dementia suffer who needs help to recall their own life — “Do you remember this, Orson? This is what you thought of it, isn’t it, Orson?” It makes the film quite an uneasy experience, to me; a mix of awkward and laughable. Cousins also regularly makes pronouncements like, “you know where this is going, I’m sure,” which makes it seem like he’s constantly second-guessing himself. Perhaps it’s intended as an acknowledgement of his subject’s — his idol’s — cleverness. But it’s also presumptive: that this analysis is so obvious — so correct — that of course Welles would know where it’s going. His imagined response might be, “of course I knew where you were going, because you clearly have figured me out; you know me at least as well as I know myself.” It leaves little or no room for Welles to respond, “I disagree with that reading,” or, “I have no idea what you’re on about.” Of course, Welles can’t actually respond… but that doesn’t stop the film: near the end, Cousins has the gall to end to imagine a response from Welles, literally putting his own ideas into the man’s mouth in an act of presumptive self-validation. I can’t deny that I learnt stuff about Orson Welles and his life from this film, but then I’ve never seen or read another comprehensive biography of the man, so that was somewhat inevitable. It’s why I give this film a passing grade, even though I found almost all of quite uncomfortable to watch. Everybody Wants Some!! (2016) 2019 #79 Richard Linklater \| 112 mins \| TV (HD) \| 1.85:1 \| USA / English \| 15 / R Everybody Wants Some Exclamation Mark Exclamation Mark (that’s how we should pronounce it, right?) is writer-director Richard Linklater’s “spiritual sequel” to his 1993 breakthrough movie, Dazed and Confused. That film has many fans (it’s even in the Criterion Collection), but I didn’t particularly care for it — I once referred to it as High Schoolers Are Dicks: The Movie. So while a lot of people were enthused for this followup’s existence, the comparison led me to put off watching it. A literal sequel might’ve shown some development with the characters ageing, but a “spiritual sequel”? That just sounds like code for “more of the same”. And yes, in a way, this is High Schoolers Are Dicks 2: College Guys Are Also Dicks. It’s funny to me when people say movies like this are nostalgic and whatnot, because usually they just make me glad not to have to bother with all that college-age shit anymore. That said, in some respects the worst parts of the film are actually when it tries to get smart — when the characters start trying to psychoanalyse the behaviour of the group. Do I really believe college-age jocks ruminate on their own need for competitiveness, or the underlying motivations for their constant teasing and joking? No, I do not. Still, while most of the characters are no less unlikeable than those in Dazed and Confused, I found the film itself marginally more enjoyable. These aren’t people I’d actually want to hang out with, and that’s a problem when the movie is just about hanging out with them; but, in spite of that, they are occasionally amusing, and we do occasionally get to laugh at (rather than with) them, so it’s not a total washout. Body of Lies (2008) The Day the Earth Stood Still (2008) 2018 #163 Scott Derrickson \| 104 mins \| Blu-ray \| 2.35:1 \| USA & Canada / English & Mandarin \| 12 / PG-13 Blockbuster remake of the 1951 sci-fi classic, starring Keanu Reeves as an alien who has come to “save the Earth”. The original might be best remembered for its message about mankind. The do-over doesn’t so much attempt serious “humanity are the problem” moralising as just nod in that general direction. Instead, it conforms to the Hollywood-remake stereotype of simplification, using the plot as an excuse for a CGI destructathon. Even as that it’s a bit of a damp squib, with no genuinely impressive sequences; some of the CGI is pretty crap, even, like the first appearance of the giant robot GORT. I know we all love him now because he seems like a genuinely wonderful guy in real life and the John Wick movies are cool, but, still, the role of an emotionally cold alien pretending to be human but struggling to understand what truly makes us ‘us’ is a perfect fit for Keanu Reeves and his usual acting style. Jaden Smith is equally perfect casting as an irritating brat of a kid. Jennifer Connelly struggles gamely to be the heart of the film, and there are small or cameo roles for the likes of Kathy Bates, Jon Hamm, and John Cleese, none of whom can really elevate the basic material they’re given. All in all, it’s inoffensively bland, with some light sci-fi ideas, a bit of loose moralising, and a bunch of pixels whooshing about. Perhaps with a better creative team — or without the demands of a studio blockbuster budget — it could’ve been more; something genuinely thought-provoking about the value (or otherwise) of humanity. But it isn’t. Full Metal Jacket (1987) 2018 #165 Stanley Kubrick \| 117 mins \| Blu-ray \| 16:9 \| UK & USA / English \| 15 / R Kubrick’s anti-war war movie, about the dehumanisation of abusive army training, the virtue and success of kindness, and how combat can erode and destroy the soul. It’s “a Vietnam movie”, but Kubrick wasn’t interested in Nam per se, rather “the phenomenon of war” and what happens to young men when you turn them into killing machines. It’s a film of two halves: first, the training; then, the war. The first half is the better known one, and some people will tell you it goes downhill when they leave training. That first part is indeed horrid but effective and meaningful, but I thought the second half lived up to its impact too. A film about war’s effect on people requires strong performances, and fortunately it has those. Most famous is R. Lee Ermey’s nasty drill instructor — an unquestionably accurate portrayal of the real thing, because Ermey used to be one. He was originally hired as a consultant, but decided he wanted the role and convinced Kubrick to cast him, then rewrote his dialogue — the obscenity-strewn insults are all Ermey’s own. But for my money the best performance in the movie comes from Vincent D’Onofrio. Apparently he got the part just because he was a friend of Matthew Modine — it was his first film role — but he’s fantastic. And nowadays best known as a gun-happy right-wing nut-job on Twitter, Adam Baldwin is very convincing as, er, a gun-happy right-wing nut-job. Naturally, Kubrick’s work is as on-point as ever. A climactic action scene pits the entire troop against just one sniper, which is both thrilling and horrifyingly brutal. The film’s final death is excruciatingly drawn out, to really convey its emotional toll. Douglas Milsome’s photography frequently looks stunning as well. The fire-lit final act is as visually gorgeous as it is suspenseful and gruelling. To paraphrase a commentator in the Between Good and Evil documentary, Kubrick “takes the sympathetic characters and breaks them down so that, by the end, there’s no one left to root for, and the sympathy you feel is not for the character, but for what they’d lost.” And another notes how much you can see Iraq in the film, as if Kubrick was predicting the future of urban warfare too. Or, another way of looking at it: how little changes; how few lessons we learn. Full Metal Jacket was viewed as part of What Do You Mean You Haven’t Seen…? 2018. It placed 8th on my list of The Best Films I Saw in 2018. Wind River (2017) 2018 #166 Taylor Sheridan \| 107 mins \| streaming (HD) \| 2.35:1 \| USA, UK & Canada / English \| 15 / R “A veteran hunter helps an FBI agent investigate the murder of a young woman on a Wyoming Native American reservation.” — IMDb What follows is a neo-Western crime thriller, written and directed by Taylor Sheridan. As a genre piece, it’s most noteworthy for how well it handles the reveal of whodunnit. Just as you think the film’s getting to the point where they find who did it, but it’s only a suspicion and they’re going to have to go off and prove it, the film takes a hard left in a different direction that’s perfectly handled. To quote from a comment on iCheckMovies, the way it goes about this “seemed truly unique to this genre. The closest comparison I can think of is from Se7en, when [Se7en spoilers!] Kevin Spacey just turns up and hands himself in, completely out of the blue. It unexpectedly shattered the cat and mouse formula that people expected it to follow.” By dispensing with narrative oneupmanship (i.e. trying really, really hard to pull a twist out of thin air, as most mystery/thrillers do), it lets “the story unfold into more of a tragedy than the standard mystery or thriller you might expect it to be.” Talking of other reviews, some people are heavily critical of the film having a white male lead when it’s supposed to be about the plight of Native Americans, and especially Native American women. Well, yes, to an extent that’s true, but this is where fantasy rubs up against reality: do you really think a movie with a Native American lead would find it easy to get funding, distribution, and gain attention? Sometimes these things are a necessary ‘evil’ if your goal is to reach a wider audience and thereby spread the message. Besides, the film makes a point of treating the white characters as outsiders, in various ways. It’s not pretending this is how it should be, nor that they’re welcomed like, “hooray, the white people are here to save us!” If anything it’s used to emphasise the point: the Native American cops can’t solve the case themselves because they’re underfunded and understaffed; they have no choice but to rely on white people being prepared to help. That’s an indictment in itself. Altogether, this is a powerful movie — arguably Taylor Sheridan’s best, most mature screenplay (which is saying something for the man who wrote Sicario and Hell or High Water), and features a superb performance from Jeremy Renner, reminding you why he was Oscar-nominated for The Hurt Locker before his attempts to be a blockbuster action star. Body of Lies (2008) 2018 #168 Ridley Scott \| 128 mins \| download (HD) \| 2.40:1 \| USA & UK / English & Arabic \| 15 / R “A CIA agent on the ground in Jordan hunts down a powerful terrorist leader while being caught between the unclear intentions of his American supervisors and Jordan Intelligence.” — IMDb That’s the simple version, anyhow, because I thought the film itself got a bit long-winded and complicated; but if you enjoy spy movies, it’s smattered with some good bits of tradecraft stuff. That said, I’m not sure I buy Leonardo DiCaprio as the CIA’s man in the Middle East — he stands out like a sore thumb there; not good for a spy. Meanwhile, Russell Crowe commands complex world-changing missions over the phone while taking his kids to school or watching a football match — a nice touch, I thought, contrasting mundanity with these high-stakes actions. (Quite why he “had” to gain 50lbs for the role is beyond me, though. Sounds like he just fancied being lazy about his diet and exercise regime.) Still, the standout from the cast is the ever-excellent Mark Strong as the head of Jordanian intelligence, a man who is urbane and always immaculately dressed, but does not suffer those who disrespect him, exhibiting a kind of calm fury-cum-disappointment when they offend him. For all the confusion I felt about the plot, what I presume is the intended theme (that America can’t win because it refuses to respect or understand the culture of both its enemies and allies in the Middle East; and that the supposed good guys aren’t any better than the bad guys) comes across quite effectively. It’s also about the ineffectiveness of advanced technology. The CIA, so focused on their shiny new bells and whistles, lose out in the end to old fashioned personal interaction and patient preparation. Body of Lies seems somewhat torn between making these points and being an entertaining action-thriller. Ultimately it straddles the two stools, not quite satisfying as either — it has its moments, for sure, but it’s less than the sum of its parts. Maybe Ridley should’ve left the spy thrillers to his brother…
205	dbpedia	2	80	https://www.lrfoundation.org.uk/en/news/nancy-hey-as-director-of-evidence-and-insight/	en	Nancy Hey appointed as Director of Evidence & Insight	https://lrfoundation.org…r-1280-x-720.png	https://lrfoundation.org…r-1280-x-720.png	[ "https://www.lrfoundation.org.uk/492ce8/globalassets/_shared-images/lrf-logo-fushia.svg", "https://www.lrfoundation.org.uk/4ad664/siteassets/_lr-foundation-shared-content/images/246-x-136-menu-image/eic-evidence-and-insight-246x136.jpg?w=246&h=136", "https://www.lrfoundation.org.uk/4ad64e/siteassets/_lr-foundation-shared-content/images/246-x-136-menu-image/eic-wrp-246x136.jpg?w=246&h=136", "https://www.lrfoundation.org.uk/4aa6f0/siteassets/_lr-foundation-shared-content/images/non-standard-social-tab-alt-opengraph-image-with-caption-alt-desktopmobile-rich-text-inline/various-fanned-publications.png?w=246&h=136", "https://www.lrfoundation.org.uk/4aaa68/siteassets/_lr-foundation-shared-content/images/246-x-136-menu-image/interactive-grants-map-246x136.jpg?w=246&h=136", "https://www.lrfoundation.org.uk/49c394/globalassets/_shared-images/0246-x-0136-c01.03.9-mega-menu-image/impact-review-navigation-image-246-x-136.png?w=246&h=136", "https://www.lrfoundation.org.uk/497f9a/siteassets/_lr-foundation-shared-content/images/non-standard-social-tab-alt-opengraph-image-with-caption-alt-desktopmobile-rich-text-inline/kids-at-hec-246x136.png?w=246&h=136", "https://www.lrfoundation.org.uk/4a86f6/siteassets/_lr-foundation-shared-content/images/non-standard-social-tab-alt-opengraph-image-with-caption-alt-desktopmobile-rich-text-inline/strategy-download-246-x-138.png?w=246&h=136", "https://www.lrfoundation.org.uk/49ca30/globalassets/_shared-images/1920-x-0540-c07.02-article-attributes-article-hero-image/pink-lrf-logo-header-1920x540.png?w=1920&h=540", "https://www.lrfoundation.org.uk/49bc60/contentassets/194edeea2eda40db8db860740757353b/nancy-hey.png", "https://www.lrfoundation.org.uk/4a228e/globalassets/_shared-images/0532-x-0421-t5.1-news-individualt6.1-article-individualt9-case-study-page-promo-desktop-image/eco-city-532-x-421.jpg?w=532&h=421", "https://www.lrfoundation.org.uk/49ca1e/globalassets/_shared-images/0532-x-0421-t5.1-news-individualt6.1-article-individualt9-case-study-page-promo-desktop-image/pink-lrf-logo-532-x-421.png?w=532&h=421", "https://www.lrfoundation.org.uk/49f931/siteassets/_lr-foundation-shared-content/images/0532-x-0421-t5.1-news-individualt6.1-article-individualt9-case-study-page-promo-desktop-image/she-sees-532-x-421.jpg?w=532&h=421", "https://www.lrfoundation.org.uk/49f639/siteassets/_lr-foundation-shared-content/images/0532-x-0421-t5.1-news-individualt6.1-article-individualt9-case-study-page-promo-desktop-image/makerspaces-event-532-x-421.jpg?w=532&h=421", "https://www.lrfoundation.org.uk/49d8aa/globalassets/_shared-images/0532-x-0421-t5.1-news-individualt6.1-article-individualt9-case-study-page-promo-desktop-image/freetown-532-x-421.png?w=532&h=421", "https://www.lrfoundation.org.uk/492ce8/globalassets/_shared-images/lrf-logo-fushia.svg" ]	[]	[]	[ "" ]	null	[]	null	Lloyd’s Register Foundation has appointed Nancy Hey as its new Director of Evidence and Insight.	en		Lloyd's Register Foundation	https://www.lrfoundation.org.uk/en/news/nancy-hey-as-director-of-evidence-and-insight/	Nancy will lead the global safety charity in building capacity and good practice for safety evidence and insight, supporting the generation, collation and implementation of evidence and data to improve safety across the world. The role includes the delivery of the 2023 and 2025 iterations of one of the Foundation’s flagship programmes, ‘The Lloyd’s Register Foundation World Risk Poll’ – a unique global study into people’s perceptions and experiences of risks to their safety – as well as the establishment of a Lloyd’s Register Foundation global safety evidence centre over the next 18 months. The centre aims to become a go-to hub for new information and good safety practice across the world.
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The study and practice of this field are referred to as cinematography (https://en.wikipedia.org/wiki/Cinematography). Find out more about them here (https://en.wikipedia.org/wiki/Cinematographer). Vote here (https://www.imdb.com/poll/rqI7wwqCyp8/) \| Discuss here (https://getsatisfaction.com/imdb/topics/poll-suggestion-best-cinematographer)	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/list/ls097863110/	John Alcott, the Oscar-winning cinematographer best known for his collaboration with director Stanley Kubrick, was born in 1931, in Isleworth, England, the son of movie executive Arthur Alcott, who would become the production controller at Gainsborough Studios during the 1940s. Alcott began his film career as a clapper boy, the lowest member of a camera crew. By the early 1960s he had worked his way up to focus puller, the #3 position on a camera crew after the lighting cameraman and camera operator. As a focus puller Alcott was responsible for measuring the distances between the camera and the subject being shot, which is critical during traveling shots, and more vitally, he was tasked with adjusting the lens when the camera is following a subject. By the mid-'60s Alcott was a member of the camera team of master cinematographer Geoffrey Unsworth, working on Kubrick's 2001: Odissea nello spazio (1968). When Unsworth had to leave the project during its two-year-long shoot to meet other commitments, Alcott was elevated to lighting cameraman by Kubrick. Thus began a collaboration that would reach its zenith a decade later with Barry Lyndon (1975). His association with Kubrick propelled him to the top of his craft, in terms of both style and in pushing the technical aspects of the discipline. Alcott preferred lighting that appeared natural and did not draw attention to itself. His ideas meshed perfectly with those of Kubrick, and the two developed their ideas about "natural" lighting in two landmark films, Arancia meccanica (1971) and "Barry Lyndon", which incorporated scenes shot entirely by candlelight. The idea of using candlelight solely for illumination was discussed by Alcott and Kubrick after the wrap of "2001" for Kubrick's planned film about the life of Napoleon, but there wasn't a fast-enough lens in existence then. After a search, Kubrick located three unique 50mm f/0.7 still-camera camera lenses designed by the Zeiss Corporation for use by NASA in its Apollo moon-landing program in order to shoot still pictures in the low light levels of outer space. The lens was 2 f stops faster than the fastest movie camera lens made at the time. Kubrick tasked Cinema Products Corp. to adapt a standard 35mm non-reflexed Mitchell BNC movie camera so that the camera could accept the lens. The camera was outfitted with a side viewfinder from one of the old Technicolor three-strip cameras that used mirrors rather than prisms (like a modern camera) to show what it "sees", the mirrors providing a much brighter image than did a prism-based single-lens reflex system, which could not obtain enough light to register an image. There was no real problem with parallax, as the viewfinder was mounted close to the lens. Cinema Products also created two special lenses by mating a 70mm projection lens with the remaining 0.7 Zeiss 50mm lenses. This battery of three lenses allowed Kubrick and Alcott to shoot the indoor scenes using nothing but candlelight. It was a formidable task, as the lenses could not be focused by eye. Metal shields also had to be installed above the sets, which were filmed in actual castles and manor houses in Ireland and England, to keep the heat and smoke from the candles from damaging the ceilings. Fortitously, the shields also reflected the candlelight back into the scene (this approach was later used successfully by lighting cameraman Alwin H. Küchler on the western Le bianche tracce della vita (2000), which shot its saloon interiors in very low light). The candles had to be constantly replaced to keep continuity during the scenes, and shooting was hampered by the fact that many of the manor houses were open to the public and the crew had to wait until the intervals between tours to film a scene. Alcott told "American Cinematographer" in a December 1975 interview that the ultra-fast lens had no depth of field at all. This necessitated the scaling of the lens by doing hand tests. Alcott's focus puller, Douglas Milsome (who would succeed him as Kubrick's cinematographer), used a closed-circuit video camera at a 90-degree angle to the film camera to keep track of the distances to maintain focus. A grid was placed over the TV screen and, by taping the various actors' positions in the set, the distances could be transferred to the TV grid to allow the actors a limited scope of movement during the scene, while keeping in focus. Alcott won an Academy Award for his work on "Barry Lyndon", which is considered one of the most visually beautiful movies ever made. (Three of Alcott's movies were ranked in the top 20 of "Best Shot" movies in the period after 1950-97 by the American Society of Cinematographers: "2001" at #3, "Barry Lyndon" at #16, and "A Clockwork Orange", for which he won the British Academy Award, at #19.) Alcott realized Kubrick's vision by evoking the paintings of Corot, Gainsborough, and Watteau, creating gorgeous tableaux. It was the aesthetic opposite of the cubism evoked by "A Clockwork Orange", While shooting what would turn out to be his last film for Kubrick, Shining (1980), Alcott lit the hotel sets with "practicals" (sources of lighting that are visible on screen as part of the set, such as lighting fixtures). As on "Barry Lyndon", Alcott supplemented the lighting with illumination coming into the set from outside the windows, though the "windows" on "The Shining" were part of a set. The high temperatures (110 degrees Fahrenheit) caused by the 700,000 watts of illumination outside the set's "windows" Alcott used to create the high white effect favored by Kubrick caused the set to burn down. Alcott, who shot films and TV commercials for other directors in the UK, moved to the US in 1981 in order to obtain more steady work than was possible in the ailing British film industry. His non-Kubrick projects as a cinematographer included three films with director Stuart Cooper and two with Roger Spottiswoode. Alcott could not shoot Kubrick's Full Metal Jacket (1987), which commenced shooting in 1985 and -- like any Kubrick shoot -- would involved a substantial commitment of time, as Alcott was committed to other projects (Kubrick hired Douglas Milsome, who had been Alcott's focus puller on "Barry Lyndon" and "The Shining", to shoot "Jacket"). His non-Kubrick oeuvre was eccentric, and included the Canadian slasher film Il giorno di San Valentino (1981), but he was able to bring his outstanding visual quality to such movies as Bronx 41º distretto di polizia (1981), Kaan principe guerriero (1982), Sotto tiro (1983) and Hugh Hudson's Greystoke - La leggenda di Tarzan, il signore delle scimmie (1984). Alcott suffered a massive heart attack and died on July 28, 1986, in Cannes, France. At the time of his death he was considered one of the film industry's great artist-technicians, someone who through his ability to push back the boundaries of what was technically possible, linked technology to aesthetic needs and contributed to the development of cinema as an art form. His last film, Senza via di scampo (1987), was dedicated to his memory. The British Society of Cinematographers named one of its awards the "BSC John Alcott ARRI Award" in his honor to commemorate his role as a lighting cameraman in the development of film as an art form. Four-time Oscar-winning cinematographer Joseph Ruttenberg was born in St. Petersburg, Russia. In 1893, at the age of four, his family moved to the United States, eventually settling in Boston. After schooling, he got his first job in 1907 working as a newsboy and personal runner for William Randolph Hearst's 'Boston American'. He was trained in reporting and as a still photographer and dark room technician. By 1914, he produced his own weekly newsreels for a local Loew's theatre, and, within another year, was employed as a cameraman with the Fox Film Corporation in New York. There, he perfected his craft over the next eleven years, rising from assistant cameraman to full cinematographer with a weekly salary of $175. He then moved over to Paramount's Kaufman Astoria Studios, where he worked under the supervision of the experienced George J. Folsey on several short features. In 1933, Ruttenberg decided to ply his trade in Hollywood, now that the transition to sound pictures had been successfully made. He had brief spells with RKO and Warners, before putting up his tent at MGM for the greater part of his long and distinguished career (1934-1963). He became an innovator in his use of cranes and dolly devices, often designed to capture scenes in a single take. Another distinguishing aspect of his camerawork was to keep the performers in sharp focus, while softening the background, thus highlighting the actors almost three-dimensionally, while also creating a sense of immediacy. Ruttenberg shot some of MGM's finest black-and-white films of the 30's and 40's, his lighting (which he often took charge of personally, rather than assigning assistants) providing the exact ingredients required to create the right atmosphere in each instance: Furia (1936), Three Comrades (1938), Il ponte di Waterloo (1940), Scandalo a Filadelfia (1940), La signora Miniver (1942) and Prigionieri del passato (1942), to name but a few. During the 1950's, Ruttenberg proved just as adept at colour photography, winning a Golden Globe award for his work on Brigadoon (1954), and his fourth Academy Award for the musical Gigi (1958). Among his six unsuccessful nominations, he received the last for Venere in visone (1960), creating some of the most enduring images of Elizabeth Taylor at her peak. He free-lanced for a few years after leaving MGM and finally retired in 1968. He was honoured by the American Society of Cinematographers Milestone award.
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Show all studios About Blu-ray movies Blu-ray studios Body of Evidence Blu-ray Shout Factory \| 1993 \| 1 Movie, 2 Cuts \| 101 min \| Unrated \| Jun 12, 2018 Large: Mystery Thriller Video Codec: MPEG-4 AVC (31.00 Mbps) Resolution: 1080p Aspect ratio: 1.85:1 Original aspect ratio: 1.85:1 Audio English: DTS-HD Master Audio 2.0 (48kHz, 24-bit) English: DTS-HD Master Audio 2.0 (48kHz, 24-bit) (less) Subtitles English SDH English SDH (less) Discs Blu-ray Disc Single disc (1 BD-50) Packaging Inner print Playback 2K Blu-ray: Region A (locked) Price List price: $27.99 Amazon: $22.70 (Save 19%) New from: $21.47 (Save 23%) In Stock Movie rating 5.9 130 ratings. My rating: 0 (Delete) Blu-ray rating Video 4.0Audio 4.2Extras 2.9 Based on 5 user reviews Blu-ray review Movie 2.0 Video 3.5 Audio 4.5 Extras 3.0 Overall 3.5 Blu-ray user rating Video 4.4 Audio 4.0 Extras 2.7 Overall 4.8 Based on 5 user ratings 43% popularity Overview Blu-ray review Screenshots (20) Packaging User reviews (5)Region coding News Forum Body of Evidence (1993) Body of Evidence Blu-ray offers solid video and superb audio in this fan-pleasing Blu-ray release A millionaire is found dead of heart failure handcuffed to the bed with a home video tape of him and his lover. When cocaine is found in his system, and his will leaves $8 million to his lover, they arrest her on suspicion of murder. For more about Body of Evidence and the Body of Evidence Blu-ray release, see Body of Evidence Blu-ray Review published by Brian Orndorf on June 27, 2018 where this Blu-ray release scored 3.5 out of 5. Director: Uli Edel Writer: Brad Mirman Starring: Madonna, Willem Dafoe, Anne Archer, Julianne Moore, Joe Mantegna, Michael Forest Producers: Dino De Laurentiis, Martin Moszkowicz, Stephen Deutsch, Bernd Eichinger, Melinda Jason, Herman Weigel » See full cast & crew Body of Evidence Blu-ray Review Reviewed by Brian Orndorf, June 27, 2018 The influence of European cinema crept into Hollywood during the 1980s, emerging in the form of the erotic thriller, which blended harsher elements of violence with softer bedroom appetites, giving audiences a sampling of chills and titillation. A good portion of these productions were built for the burgeoning VHS rental market and late night cable programming, giving viewers a chance to enjoy the product without the discomfort of sitting in a theater with strangers. Theatrical forays were rare, but they managed to burst forth on occasion, and certainly 1992's "Basic Instinct" turned the subgenre into a potential gold mine, giving producers the foolhardy idea that they could replicate Paul Verhoeven's specialized, Euro-stained madness. While 1993's "Body of Evidence" isn't a direct response to "Basic Instinct," it certainly aspires to find the same audience, offering its own take on murder, kink, and suspicion with decidedly lower voltage. While helmer Uli Edel is no stranger to the ways of lustful behavior, previously guiding 1989's "Last Exit to Brooklyn," his vision isn't as distinct for this studio assignment, unable to rise above the crummy raw materials he's been handed and transform painful mediocrity into riveting cinema. In Portland, Oregon, Andrew Marsh is dead, having passed away while watching a homemade sex tape made with his lover, Rebecca (Madonna). The police arrest Rebecca for murder, sniffing around evidence that she was at the scene when the old man with a bad heart was killed, giving lawyer Frank (Willem Dafoe) a chance to offer his services, representing her while prosecutor Robert (Joe Mantegna) builds a convincing case. As the pair spends time together, Frank suddenly finds himself attracted to Rebecca, learning more about her past lovers and fondness for kinky sexual gamesmanship, matching well with Andrew's bedroom interests. While Frank has a home life with wife Sharon (Julianne Moore) and a son, he loses control around his client, and the two commence a torrid affair that smashes his professionalism and challenges the limits of his sexual experience, finding Rebecca's forward nature arousing. As the case progresses, Franks works diligently to establish doubt, but the more he digs into his client's past, the stronger his obsession grows, with their union threatening to destroy everything he's worked for. Screenwriter Brad Mirman probably went into "Body of Evidence" with the hope that he was creating something sensual and secretive, competing with regal studio projects while tending to kinky encounters that could be enticing enough to energize what's largely a courtroom-based tale. Rebecca is scripted as a question mark, and while she maintains her innocence, the picture never quite believes it, focusing less on the twists and turns of her trial and more on Frank's growing obsession with his client, pulled into her orbit without much of a second thought. There's a murder, a suspect, a crafty prosecutor, and a string of witnesses, but "Body of Evidence" doesn't dig into to the case with both hands, missing a critical need for suspicion to mix in with all the bared skin and strange eroticism, finding Rebecca a big fan of bondage and pain-based pleasures, also getting off on control. There's no middle ground for Frank in "Body of Evidence." He's in Rebecca's control from the start, and his legal hustle is seriously lacking, finding his client sharper and more knowledgeable about courtroom maneuvering than he is, which doesn't help the dramatic pull of the film. There's a spouse in Sharon, but she's barely a character in the movie, popping up only a few times to represent Frank's domestic reality, and her presence is sorely missed. Without her perspective, the feature is left to Frank and Rebecca's affair, which fumbles to find heat in distress, watching the man- eater introduce the suburban square to the pleasures of burning candle wax dripped on his chest and genitals. They also enjoy a tryst inside a parking garage, grinding away on top of broken glass, and eventually, predictably, the line of consent is blurred, with Frank getting carried away while trying to play Rebecca's games, giving Edel a chance to add a layer of ickiness to an already half-baked endeavor. The helmer is prepared to smash taboos and give "Body of Evidence" identity through extremity, but dramatic management is lacking, finding the softcore sex scenes about as unresponsive as the court case, which rolls through its own ridiculous assembly of absurdities as witnesses clearly hide ulterior motives while being grilled on the stand. Body of Evidence Blu-ray, Video Quality The AVC encoded image (1.85:1 aspect ratio) presentation delivers an older master of "Body of Evidence," but it's a serviceable viewing experience. There's softness inherent to the original cinematography, and it's communicated here without much in the way of bloom, while detail remains to a satisfactory degree. Sex scenes keep their macabre particulars, with bodily harm on view, along with more sensual sequences, maintaining skin textures on exposed bodies. Locations are reasonably dimensional, along with cavernous courtroom interiors. Costuming secures some fibrous and sheer qualities. Colors maintain their warmth, with candlelit encounters offering an amber glow to set the seductive scene. More forceful, red-drenched encounters are emphasized without bleed. Greenery is lively, and skintones are natural. Delineation is acceptable. Speckling is detected, along with mild judder and a few jumpy frames. Body of Evidence Blu-ray, Audio Quality The 2.0 DTS-HD MA sound mix captures the thriller highs and lows of "Body of Evidence," offering a wider front stage presence that blends elements with care. Some hiss is detected, but clarity is generally strong, securing dialogue exchanges, which range from hushed moments of intimacy to fiery, echoed courtroom outbursts. Scoring selections are supportive, with appealing instrumentation and position, swelling when the mood calls for emphasis. Sound effects, including rain, are evocative, and moans of ecstasy and pain are pronounced to expectation. Body of Evidence Blu-ray, Special Features and Extras R-Rated Version (98:59, SD) is offered. "Love or Murder?" (5:42, SD) is an EPK featurette that provides a brief overview of the "Body of Evidence" filming experience, offering interviews with cast and crew. Topics include the storyline, characterizations, director Uli Edel and his vision, Madonna's comfort in front of a camera vs. a sea of fans, and, most candidly, the production's difficulties shooting in Olympia, Washington, where local politicians wanted nothing to do with such graphic material. Still Gallery (5:58) includes poster art, publicity snaps, and a few BTS photos. And a Theatrical Trailer (1:59, HD) is included. Body of Evidence Blu-ray, Overall Score and Recommendation When "Body of Evidence" was originally released, Madonna took a lot of heat for her dreadful performance, cast more for her willingness to be nude than her acting abilities. Truth is, nobody is good in the movie, with Dafoe straining himself to compete with kink, while supporting actors like Jurgen Prochnow, Frank Langella, Anne Archer, and Moore are terrible, unable to master Mirman's clumsy dialogue and smoke screen the film's obvious conclusion. "Body of Evidence" struggles with a basics in legal juggling and thespian chemistry, and Edel has nothing to offer it besides some lovely northwest vistas. It's a mess of intentions that plays like a project that was intended to be something else before "Basic Instinct" steamrolled into view, collecting headlines and a box office fortune. I'm sure it was never destined for greatness (where's Shannon Tweed and Andrew Stevens when you need them?), but there could've been something agreeably arresting with this combination of grabby acting and sensorial agony. Similar titles you might also like What is this? Use the thumbs up and thumbs down icons to agree or disagree that the title is similar to Body of Evidence. You can also suggest completely new similar titles to Body of Evidence in the search box below. Tell Me You Love Me Show more titles »« Show less titles Similar titles suggested by members +2 +2 +2 +2 +1 +1 +1 +1 Body of Evidence Blu-ray, News and Updates • Body of Evidence Blu-ray - November 10, 2022 British label Final Cut Entertainment will celebrate the 30th anniversary of Uli Edel's thriller Body of Evidence (1993) with a brand new Blu-ray release of the film, which will be available for purchase on January 30th. • Body of Evidence Blu-ray Detailed - May 14, 2018 Shout Factory has detailed its upcoming Blu-ray release of release of Uli Edel's erotic thriller Body of Evidence (1993), starring Madonna, Willem Dafoe, Anne Archer, Julianne Moore, and Joe Mantegna. The release will be available for purchase on June 12. • Body of Evidence Blu-ray - March 2, 2018 U.S. label Shout Factory has announced that it is preparing a Blu-ray release of Uli Edel's erotic thriller Body of Evidence (1993), starring Madonna, Willem Dafoe, Anne Archer, Julianne Moore, and Joe Mantegna. The release will be available for purchase on June ... » Show more related news posts for Body of Evidence Blu-ray North America Blu-ray Discussions Topic Replies Last post • Body of Evidence (1993) ( Official Thread )115Jan 15, 2024 Body of Evidence Blu-ray Screenshots Back to Body of Evidence Blu-ray » Body of Evidence Blu-ray $27.99 $22.70
205	dbpedia	3	1	https://nofilmschool.com/2016/08/tribute-picturesque-wide-shots-michael-ciminos-films	en	A Tribute to the Picturesque Wide Shots in Michael Cimino's Films	https://nofilmschool.com…10%2C0%2C110%2C0	https://nofilmschool.com…10%2C0%2C110%2C0	[ "https://nofilmschool.com/media-library/cimino-2.png?id=34082155&width=1245&height=700&quality=90&coordinates=177%2C0%2C178%2C0", "https://nofilmschool.com/media-library/calculating-minutes-per-page-of-a-script.jpg?id=34049055&width=1245&height=700&quality=90&coordinates=0%2C29%2C0%2C29", "https://nofilmschool.com/media-library/the-longlegs-ending-explained.webp?id=52683112&width=600&height=600&quality=90&coordinates=263%2C0%2C264%2C0", "https://nofilmschool.com/media-library/challengers.webp?id=52168117&width=600&height=600&quality=90&coordinates=104%2C0%2C104%2C0", "https://nofilmschool.com/media-library/the-best-screenwriting-software-with-free-options.jpg?id=34071569&width=600&height=600&quality=90&coordinates=175%2C0%2C175%2C0", "https://nofilmschool.com/media-library/runway-gen-3-alpha-image-to-video.png?id=53100618&width=600&height=600&quality=90&coordinates=467%2C0%2C276%2C0", "https://nofilmschool.com/media-library/sandisk-4tb-microsd-and-8tb-sd-cards.png?id=53144049&width=600&height=600&quality=90&coordinates=500%2C0%2C500%2C0", "https://nofilmschool.com/media-library/nofilmschool-header-when-to-go-full-time.png?id=34052903&width=600&height=600&quality=90&coordinates=0%2C0%2C560%2C0", "https://nofilmschool.com/media-library/how-to-write-a-slasher-movie.jpg?id=34055321&width=600&height=600&quality=90&coordinates=560%2C0%2C0%2C0", "https://nofilmschool.com/media-library/a-list-of-screenwriting-rules-and-how-to-break-them.jpg?id=52526584&width=600&height=600&quality=90&coordinates=180%2C0%2C1046%2C0", "https://nofilmschool.com/media-library/josh-hartnett-in-trap.jpg?id=53141540&width=600&height=600&quality=90&coordinates=0%2C0%2C1122%2C0", "https://nofilmschool.com/media-library/how-to-write-your-script-s-climax.jpg?id=34065553&width=600&height=600&quality=90&coordinates=370%2C0%2C0%2C0", "https://nofilmschool.com/media-library/get-free-high-resolution-pdf-of-how-to-write-a-screenplay.png?id=33771744&width=78&height=116" ]	[ "https://vimeo.com/177463099" ]	[]	[ "michael cimino", "long shot", "composition" ]	null	[ "V Renée" ]	2016-08-04T05:35:48+00:00	Sometimes you just have to stand back and gaze in awe at the sweeping beauty of a scene.	en	https://assets.rebelmous…h=192&height=192	No Film School	https://nofilmschool.com/2016/08/tribute-picturesque-wide-shots-michael-ciminos-films	We're not answering all those questions today, but we're going to help you master writing for runtime, so you can safely anticipate where you are in the story based on how many pages you've written. Page count affects the kind of project (short, feature, tv show), sometimes can influence the genre, and it affects the read. Let's start counting pages! How Many Pages Per Minute of A Script? I'm sure you've heard the rule that in general, one page of a screenplay equals one minute of screentime in your screenplays. There are lots of exceptions to those rules, but generally, this is what gets passed around Hollywood. As a former assistant, I can tell you that I hated reading scripts over 110 pages. But wait, how many pages is a 2-hour movie script? Well, it COULD be 120... it could also be 160... more on that later. Long scripts took longer to cover, so there is bias when it comes to page counts in scripts. Is There a Way to Tell How Many Minutes Per Page My Screenplay Is? The answer to this question comes from the esteemed John August. He explains in a blog that when you get to a professional level, the Script Supervisor is the person who estimates how long each page actually will be in screen time. In answer to an email, he goes on to say: "How accurate is the script timing? Well, that depends on how well the script supervisor has factored in the director’s style. Ang Lee’s Brokeback Mountain featured long, contemplative shots of the heroes herding sheep, which another director might have dropped altogether. But generally, the script timing is in the right ballpark. Although a script supervisor has more experience, you can time a script yourself. My advice would be to read the dialogue aloud, while trying to pad for non-spoken moments. It’s easier with some scripts than others." Reading aloud is a great way to prove how long your story will be on screen. There's a famous story that when Aaron Sorkin turned in The Social Network no one wanted to make it because it was 160+ pages. But he and Fincher had other ideas. They audio-recorded Sorkin reading the script and timed it. The pace and delivery of the lines made the screenplay come in right at two hours. And so did the movie. But yeah, imagine for a moment that Sorkin and Fincher had to do that to convince people to make their movie. It's tough out there. Let us know what you think in the comments.
205	dbpedia	2	79	https://loftcinema.org/film/coronado-the-new-evidence/	en	Coronado: The New Evidence	https://loftcinema.org/w…ages/favicon.png	https://loftcinema.org/w…ages/favicon.png	[ "https://loftcinema.org/wp-content/uploads/2023/01/Untitled-1-300x183.png 300w, https://loftcinema.org/wp-content/uploads/2023/01/Untitled-1-150x150.png 150w, ", "https://prod5.agileticketing.net/images/user/loft_4255/Coronado-header-02.jpg", "https://loftcinema.org/wp-content/themes/loft/images/ajax-loading.gif", "https://prod5.agileticketing.net/images/user/loft_4255/coronado-poster-02_thumb.jpg", "https://loftcinema.org/wp-content/uploads/2022/01/nea-logo-e1695266902428.png", "https://loftcinema.org/wp-content/uploads/2022/03/Desert-Diamond-02.png", "https://loftcinema.org/wp-content/uploads/2022/01/nea-logo-e1695266902428.png", "https://loftcinema.org/wp-content/uploads/2022/03/AZ-Comm-Arts-03.png", "https://loftcinema.org/wp-content/uploads/2022/03/Arts-Foundation-03.png", "https://loftcinema.org/wp-content/uploads/2022/03/Desert-Diamond-02.png" ]	[]	[]	[ "" ]	null	[]	2023-09-20T19:15:54+00:00	We have reached the pre-sale limit for this screening. All remaining tickets will be available to purchase at the box office 20 minutes before the screening time. World Premiere! Featuring a post-film Q&A with director Frances Causey, Dr. Deni Seymour, Tony Burrell and Allen Dart from Tucson’s Old Pueblo Archaeology Center. Coronado: The New Evidence […]	en	https://loftcinema.org/w…-precomposed.png	The Loft Cinema	https://loftcinema.org/film/coronado-the-new-evidence/	SATURDAY, OCTOBER 14 AT 1:45PM General Admission: $12 \| Loft Members: $10 Passes Not Accepted We have reached the pre-sale limit for this screening. All remaining tickets will be available to purchase at the box office 20 minutes before the screening time. World Premiere! Featuring a post-film Q&A with director Frances Causey, Dr. Deni Seymour, Tony Burrell and Allen Dart from Tucson’s Old Pueblo Archaeology Center. Coronado: The New Evidence explores one of the longest-standing archaeological mysteries in the United States – the land route taken by famed explorer Francisco Vazquez de Coronado, who from 1539-1542 was attempting to find vast wealth and fame while traveling north from Mexico. Through the work of Arizona-based archaeologist Dr. Deni Seymour, it is now known where Coronado’s expedition first crossed into what would later become the continental United States. The filmmakers have exclusive access to the Coronado archaeological site where their cameras have been rolling for three years as Dr. Seymour unearthed hundreds of Coronado artifacts including a breathtaking 15th-century “wall gun” that is the earliest firearm found in the continental United States. This discovery has dire, catastrophic far-reaching implications—not only for US history—but for the Indigenous people, the Sobaipuri, and their descendants, the Wa:k O’odham, who first encountered Coronado. The Wa:k O’odham soberly and thoughtfully share their reaction and meaning of this breakthrough discovery. Coronado was not exempt from the well-known litany of crimes committed by white Europeans against American Indigenous peoples. Dr. Seymour also discovered evidence at the site of a Sobaipuri revolt that predates the American Revolution, making it the first successful Native American revolt in what is now the U.S.. This single battle kept White explorers out of Arizona for another 150+ years. But perhaps the biggest discovery by Seymour is that this Coronado site is the first established Spanish colony in the Southwest and the third ever established in what is now the United States. (Dir. by Frances Causey, 2023, USA, 59 mins., Not Rated)
205	dbpedia	3	35	https://www.afi.com/afis-100-years-100-thrills/	en	AFI’s 100 YEARS…100 THRILLS	https://www.afi.com/imag…s/afi-social.jpg	https://www.afi.com/imag…s/afi-social.jpg	[ "https://www.facebook.com/tr?id=404753177081502&ev=PageView&noscript=1", "https://www.afi.com/wp-content/themes/AFI/images/search_close.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/05/AFI-Logo.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/05/AFI-Logo.png", "https://www.afi.com/wp-content/themes/AFI/images/search.png", "https://www.afi.com/wp-content/themes/AFI/images/white_search.png", "https://www.afi.com/wp-content/themes/AFI/images/search_close.png", "https://www.afi.com/wp-content/themes/AFI/images/search_white.png", "https://www.afi.com/wp-content/themes/AFI/images/toggle.png", "https://www.afi.com/wp-content/themes/AFI/images/white_toggle.png", "https://www.afi.com/wp-content/themes/AFI/images/loader.gif", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2020/02/Donate-to-AFI@2x.png", "https://www.afi.com/wp-content/themes/AFI/images/top.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/08/gdpr-logo.png" ]	[]	[]	[ "American Film Institute" ]	null	[]	null	AFI's 100 Years...100 Thrills is a list of the 100 most thrilling American films of all time.Regardless of genre, the total adrenaline-inducing impact of the artistry and craft of these films create an experience that engages our bodies and our minds. The	en	https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/09/favicon.ico	American Film Institute	https://www.afi.com/afis-100-years-100-thrills/	This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful. You can adjust all of your cookie settings by navigating the tabs on the left hand side.
205	dbpedia	2	4	https://letterboxd.com/film/body-of-evidence/	en	Body of Evidence (1993)	https://a.ltrbxd.com/res…jpg?v=d5a5949802	https://a.ltrbxd.com/res…jpg?v=d5a5949802	[ "https://s.ltrbxd.com/static/img/empty-poster-1000.231946d0.png", "https://s.ltrbxd.com/static/img/empty-poster-230.6b1dabe6.png", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://s.ltrbxd.com/static/img/flags/AUS.14a4ef0e.svg", "https://s.ltrbxd.com/static/img/flags/ESP.2321e2cc.svg", "https://s.ltrbxd.com/static/img/flags/FRA.8ba38c97.svg", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://s.ltrbxd.com/static/img/flags/CZE.cf470e4e.svg", "https://s.ltrbxd.com/static/img/flags/HUN.cb267ea8.svg", "https://s.ltrbxd.com/static/img/flags/AUS.14a4ef0e.svg", "https://s.ltrbxd.com/static/img/flags/CZE.cf470e4e.svg", "https://s.ltrbxd.com/static/img/flags/FRA.8ba38c97.svg", "https://s.ltrbxd.com/static/img/flags/HUN.cb267ea8.svg", "https://s.ltrbxd.com/static/img/flags/ESP.2321e2cc.svg", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://secure.gravatar.com/avatar/892df54d07b622a85f19271b847064cf?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://secure.gravatar.com/avatar/4080303b9d0419305d2377904748d35b?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://a.ltrbxd.com/resized/avatar/twitter/6/3/6/7/1/shard/http___pbs.twimg.com_profile_images_630983332805775361_dlOdbT7f-0-80-0-80-crop.jpg?v=7850e6fbd0", "https://a.ltrbxd.com/resized/avatar/upload/1/9/7/6/4/8/shard/avtr-0-80-0-80-crop.jpg?v=16f7c39629", "https://a.ltrbxd.com/resized/avatar/upload/6/0/2/8/3/0/shard/avtr-0-80-0-80-crop.jpg?v=e2cd35f74d", "https://a.ltrbxd.com/resized/avatar/twitter/1/2/9/1/0/8/shard/http___pbs.twimg.com_profile_images_1394085165350150146__C_Tg3sF-0-80-0-80-crop.jpg?v=debe908508", "https://a.ltrbxd.com/resized/avatar/upload/3/9/2/5/8/8/shard/avtr-0-80-0-80-crop.jpg?v=2ad2736c40", "https://a.ltrbxd.com/resized/avatar/twitter/1/8/5/3/7/9/4/shard/blob-0-80-0-80-crop.png?v=c87b76cd03", "https://a.ltrbxd.com/resized/avatar/upload/1/6/2/1/7/shard/avtr-0-80-0-80-crop.jpg?v=5ee83acdb1", "https://a.ltrbxd.com/resized/avatar/twitter/6/7/9/4/0/shard/http___pbs.twimg.com_profile_images_943264288281714690_aP9eEx_X-0-80-0-80-crop.jpg?v=c287a0266b", "https://secure.gravatar.com/avatar/b30645b87152eae66eecf3d4c15a5181?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://a.ltrbxd.com/resized/avatar/upload/3/8/0/4/8/3/shard/avtr-0-80-0-80-crop.jpg?v=42d67baca1", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png" ]	[]	[]	[ "" ]	null	[]	null	When an elderly millionaire is found dead with cocaine in his system, his will leaves $8 million to Rebecca Carlson, who was having an affair with him. District attorney Robert Garrett decides to prosecute Rebecca, arguing that she deliberately engaged in wild sex with the old man to overexcite him and lead to his premature death. Defense attorney Frank Dulaney defends Rebecca in court while getting sucked into a dangerous affair with her.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/body-of-evidence/	Infamously bad erotic thriller is more notable at this point for its amazing imdb trivia page than anything that happens in it. Examples: -Madonna's acting coach quit just before production began, claiming that "she thinks she knows everything". (Believable and hilarious) -Madonna had five personal assistants for this film, including her own hairstylist, make-up artist and personal trainer. (Easily believable as well) -Two of Madonna's more infamous scenes (one involving dripping candles, the other requiring her to masturbate) were improvised. (LOL Madonna is now a master of improv!) -Madonna's character doesn't remove her shoes in any of the three major sex scenes, except very briefly to smash a lightbulb with her heel. (Umm ok, dont know why this is in… "Have you ever seen animals make love, Frank? It's intense. It's violent. But they never really hurt each other." "We're not animals..." "Yes, we are." Sure, you know this as the movie where Madonna pours her hot wax all over Willem Dafoe, but did you remember that it's also the movie where Joe Mantegna knows all about nipple clamps and Julianne Moore melodramatically slaps Madonna for having stolen her husband? No? Well, you're welcome! Roger Ebert liked to refer to Hollywood's most libidinous cinematic offerings of the 80s and 90s as the "Fatal Basic" style, explaining it as "sex between bad people who live in good houses," and to that end I don't think it gets any more fatal or… Madonna released her SEX book before Body of Evidence was released, against the producers and director's wishes (as the whole box office potential hinged on, what does Madonna look like naked, and that was already answered in a coffee table book). And Basic Instinct scorched the earth of this genre a year prior with Paul Verhoeven's patented go-for-broke panache. So all you're left with is Willem Dafoe being covered with candle wax and champagne, with his hands tied behind his back, and loving it. But in regards to sex on top of a car and shattered glass, Madonna predated the auto-eroticism of Crash just a little bit, sans body horror. Body of Evidence is one of Roger Ebert's most hated…
205	dbpedia	3	15	https://cinemaaxis.com/2014/07/24/the-auteurs-michael-cimino/	en	The Auteurs: Michael Cimino	https://cinemaaxis.com/w…eer-hunter-2.png	https://cinemaaxis.com/w…eer-hunter-2.png	[ "https://cinemaaxis.com/wp-content/uploads/2018/02/cropped-cinemaaxisblack4.png", "https://2.gravatar.com/avatar/e93f8afcbac752474000fc14a4a61000c56ab610105008a80fd8748b2b9c8cc6?s=70&d=https%3A%2F%2F2.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D70&r=G", "https://cinemaaxis.com/wp-content/uploads/2014/07/cimino-1.jpg?w=770", "https://cinemaaxis.com/wp-content/uploads/2014/07/cimino-thunderbolt-and-lightfoot.jpg?w=770", "https://cinemaaxis.com/wp-content/uploads/2014/07/cimino-deer_hunter.jpg?w=770", "https://cinemaaxis.com/wp-content/uploads/2014/07/cimino-heavens-gate.jpg?w=770", "https://cinemaaxis.com/wp-content/uploads/2014/07/cimino-year-of-the-dragon.jpg?w=770", "https://cinemaaxis.com/wp-content/uploads/2014/07/cimino-the-sicilian.jpg?w=770", "https://cinemaaxis.com/wp-content/uploads/2014/07/cimino-desperate-hours.jpg?w=770", "https://cinemaaxis.com/wp-content/uploads/2014/07/cimino-sunchaser.jpeg?w=770", "https://cinemaaxis.com/wp-content/uploads/2014/07/cimino-to-each-his-own-cinema.jpg?w=770", "https://cinemaaxis.com/wp-content/uploads/2014/07/cimino.jpg?w=770", "https://2.gravatar.com/avatar/e93f8afcbac752474000fc14a4a61000c56ab610105008a80fd8748b2b9c8cc6?s=70&d=https%3A%2F%2F2.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D70&r=G", "https://0.gravatar.com/avatar/62941470abd8323ba5825775057b4b9f894851975459439d670abf51e636d177?s=70&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D70&r=G", "https://2.gravatar.com/avatar/e93f8afcbac752474000fc14a4a61000c56ab610105008a80fd8748b2b9c8cc6?s=70&d=https%3A%2F%2F2.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D70&r=G", "https://i0.wp.com/i1047.photobucket.com/albums/b478/bigthoughtssmallmind/ico-facebook.png", "https://i0.wp.com/i1047.photobucket.com/albums/b478/bigthoughtssmallmind/d29d2668-88e2-4982-bb6c-142b03c74e8c_zps041d580d.jpg", "https://i0.wp.com/i1047.photobucket.com/albums/b478/bigthoughtssmallmind/ico-rss.png", "https://i0.wp.com/i1047.photobucket.com/albums/b478/bigthoughtssmallmind/ico-letterboxd.png", "https://secure.gravatar.com/blavatar/96a0ad1c5e54b19587e1e8c28c1e7a038e66670071bd91f9b2d0d57fb0d3b488?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/96a0ad1c5e54b19587e1e8c28c1e7a038e66670071bd91f9b2d0d57fb0d3b488?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2014-07-24T00:00:00	Michael Cimino is one of the most controversial filmmakers to emerge from the New Hollywood era of the 1970s. Known for creating visually striking films, Cimino has the uncanny ability to keep the subject matter contained despite painting on a wide canvas. His name is synonymous with both success and failure. He went from being…	en	https://secure.gravatar.com/blavatar/96a0ad1c5e54b19587e1e8c28c1e7a038e66670071bd91f9b2d0d57fb0d3b488?s=32	Cinema Axis	https://cinemaaxis.com/2014/07/24/the-auteurs-michael-cimino/	Michael Cimino is one of the most controversial filmmakers to emerge from the New Hollywood era of the 1970s. Known for creating visually striking films, Cimino has the uncanny ability to keep the subject matter contained despite painting on a wide canvas. His name is synonymous with both success and failure. He went from being revered for making the Academy Award-winning Vietnam War film The Deer Hunter to being considered a pariah with the release of Heaven’s Gate a few years later. Some even placed the bankruptcy of United Artists squarely on Cimino’s shoulders. While there has been conflicting stories regarding his past, it has been reported that Michael Cimino was born on February 3, 1939 in New York City. His father was a music publisher and his mother worked as a costume designer. Considered a gifted student for most of his early school years, it was during his time at Yale that Cimino’s interested in films grew. Through observing the films of John Ford, Akira Kurosawa and Luchino Visconti, he learned both the visual language and the sprawling approach to storytelling that cinema had to offer. Following his graduation from Yale, and his brief service in the U.S. Army reserve, Cimino returned to New York City where he spent much of the 1960s directing commercials. Despite the brilliance of the commercials he created, not everyone liked his very meticulous approach to directing. After being encouraged by Joann Carelli, one of his earliest collaborators, to move to Los Angeles in the early 1970s, Cimino secured a job co-writing the science fiction film Silent Running with Steven Bochco and Deric Washburn. He then teamed up with John Milius to pen the script for the Dirty Harry sequel Magnum Force. It was through his work on Magnum Force that Cimino caught the eye of Clint Eastwood. Thunderbolt & Lightfoot (review) When Cimino showed Clint Eastwood a spec script for a heist film involving a Korean War veteran and a young drifter, Eastwood originally wanted to direct piece. However, since Cimino had a distinct look in mind, it was agreed that Cimino would direct and Eastwood would play the lead in the film. With a budget of $4 million, and a cast that included Jeff Bridges, Geoffrey Lewis and George Kennedy, shooting began in July of 1973 in Montana. Filming in Montana was a dream for Cimino as he loved the vastness of the location. Though Eastwood forced Cimino to do a few takes which directly contrast Cimino’s more meticulous style, Cimino was still able to get his ideas about rebellion and loyalty across. This was especially true to in regards to his approach to documenting the fallacies that come with the notion of the American dream. Thunderbolt & Lightfoot was released in May of 1974 to excellent reviews. The film collected $25 million at the box office and Jeff Bridges received an Oscar nomination in the Best Supporting Actor category. Eastwood wasn’t happy with the way the film was promoted and eventually severed the ties between his production company, Malapaso, and United Artists. The Deer Hunter (review) The success of Thunderbolt & Lightfoot gave Cimino his choice of possible projects to helm. After meeting producer Michael Deeley, Cimino became intrigued by the idea of tackling a film based on a spec script by Deric Washburn. Though the original story was about people traveling to Las Vegas to play Russian Roulette, Washburn and Cimino decided to change the script and set it around the Vietnam War. The Deer Hunter follows three men who leave their life in a Pennsylvania steel mill town to fight in the Vietnam War only to return changed and destroyed by their experience. Cimino enlisted the services of renowned Hungarian cinematographer Vilmos Zsigmond to give the film a sprawling feel. For the film’s cast, Cimino picked Robert de Niro to play the lead role of Michael Vronsky and filled out the rest of the cast with Christopher Walken, John Savage, Meryl Streep, George Dzundza, and John Cazale. Battling cancer for much of the shoot, producers were pushing Cimino to remove Cazale from the project. When Cazale’s then-girlfriend and co-star Meryl Streep threatened to leave the production if Cazale left, de Niro step in and paid Cazale’s insurance fees. For his part, Cimino decided to shoot all of Cazale’s scenes first before the actor ultimately passed away in March of 1978. After taking months shaping the film with editor Peter Zinner, and enduring numerous battle with the studio over the length, the film was finally released on December 8, 1978. Opening to rave reviews, The Deer Hunter went on to win five of its nine Oscar nominations in the Best Picture, Best Editing, Best Sound, Best Supporting Actor, and Best Director categories. Despite the reputation he gained during filming, for being a uncompromising perfectionist, the critical and commercial success of The Deer Hunter changed Michael Cimino’s status in Hollywood. He now had the ability to choose any project he wanted. Heaven’s Gate (review) Michael Cimino used his new found clout to make a project that he had wanted to make for years. Based on the real-life Johnson County War in Wyoming, Heaven’s Gate explored the ugly side of the American Dream as it documented the clash between European immigrants and rich American ranchers. The divide between small settlers and large ranchers intrigued Cimino, especially since it played into many of the mythological notions associated with the Wild West. Despite having a cast that included Christopher Walken, Kris Kristofferson, Jeff Bridges, Isabelle Huppert and John Hurt, the infamous production problems overshadowed the film. Cimino’s meticulous approach to filmmaking, including his instance that the sets look a certain way, led to many delays in production. Cimino’s desire for numerous takes and re-shoots gave him a reputation of being a very difficult director to work with. The film’s original $12 million budget ballooned to $30 million by time shooting finally finished. Cimino presented a five hour and twenty-five minute cut of the film to United Artist, who were furious with the results. The studio worked with the film’s editors to produce a 219 cut of the film for its November 19, 1980 release. A day after its premiere, Vincent Canby’s scathing review set the tone for the majority of reviews that began pouring in from critics. The film was pulled after only being theatre for a week in order for Cimino to work on a slimmer 149-minute cut. Though the film was well-received at the 1981 Cannes Film Festival, Heaven’s Gate made only $1.3 million in its box office against its final $44 million budget making it one of the cinema’s greatest flops. The failure to stir up much interest commercially had reverberations within the industry, including rumors that it bankrupted United Artists. The film also damaged Cimino’s reputation as he was treated like a pariah for the rest of his career. Year of the Dragon (review) Following the ugly reception over Heaven’s Gate, Cimino’s directorial options were slim at best. After several setbacks, including being attached to films such as The Pope of Greenwich Village and Footloose, Cimino was asked to adapt Robert Haley’s controversial novel Year of the Dragon. The story focuses on a New York City police captain who wages a war against the Chinese triads. Aware of the demands to the get project moving quickly, Cimino asked Oliver Stone to help him in writing the screenplay. Stone’s contributions proved useful in several ways as it gave Cimino the chance to meet famed Italian film producer Dino de Laurentiis. Though the three picture deal that Cimino and de Laurentiis agreed on seemed like a good idea at the time, it ultimately became a union that Cimino eventually regretted. With funding taken care of, Cimino moved quickly to secure his casting. He asked Mickey Rourke to star in the lead role of Stanley White and got then newcomer John Lone to play the role of the antagonist Joey Tai. Rourke and Lone perfectly captured the uncompromising, and destructive nature, of their characters. The rest of the cast included character actors like Victor Wong, Raymond J. Barry and Dennis Dun. With David Mansfield on board to do the film’s music, Cimino got the services of British cinematographer Alex Thomson and Francoise Bonnot to shoot and edit the picture respectively. The production turned out to be a smoother experience than Cimino’s previous film as he finished it on time and on budget. Year of the Dragon was released in August of 1985 to mixed reviews. One of the film’s fans was Stanley Kubrick who was impressed by the realism of the set design. While some praised the film for its visuals and action, others were critical of the violence and racial content. Though the film only made $18 million at the box office, it did receive a Golden Globe nominations in the both the Best Supporting Actor and Best Original score categories. The Sicilian (review) After Year of the Dragon was released, Cimino was approached to helm an adaptation of Mario Puzo’s novel about famed Sicilian bandit Salvatore Giuliano. Cimino gathered his collaborators from his last film to work on The Sicilian and casted Christopher Lambert in the lead role. John Turturro, Joss Ackland, Ray McNally, Barbara Sukowa, Terence Stamp, and Giulia Boschi all appeared in supporting roles. Gore Vidal was called in to re-write Steve Shagan’s screenplay, but his work was un-credited since Vidal was not a member Writer’s Guild of America at the time. Shooting began in April of 1986 in Sicily but the production faced several obstacles including equipment issues and encounters with low-level Mafia figures in the region. Still, Cimino managed to overcome those roadblocks to create a film that was vibrant and operatic in scope. In many ways Cimino was paying homage to the Italian filmmakers he loved like Luchino Visconti, Sergio Leone, and Bernardo Bertolucci. Though his contract stated that the running time was to be two-hours in length, Cimino’s original cut of the film ran 146 minutes. This resulted in a lawsuit between the producers and Cimino over the final cut of the film. 20th Century Fox wanted to release a two-hour cut of the film and Dino de Laurentiis testified that he never gave Cimino final cut authority. Though Cimino lost the suit, he was able to get his uncut version released in Europe while the shorter version played in the U.S. Released in October of 1987, The Sicilian drew very negative reviews and underperformed at the box office. While there were a few American critics fortunate enough to see, and praise, the uncut version, the overall negative reception and the lawsuit only added to Cimino’s troubled reputation. Desperate Hours (1990 film) (review) Saddled with a reputation in need of repairing, Cimino decided to helm a remake of the William Wyler’s 1955 film Desperate Hours. Based originally on the novel and play by Joseph Hayes, the story revolves around an escaped convict who takes a family hostage in their home while waiting for his lover to arrive and take him to Mexico. What starts off as a simple hostage taking evolves into a battle of wits between the criminal and the patriarch of the household. The film reunited Cimino with Mickey Rourke, who played the role of escaped criminal Michael Bosworth. British actor Anthony Hopkins was cast as Tim Cornell, the unfaithful patriarch of the Cornell clan. The rest of the cast included Mimi Rogers, Kelly Lynch, Shawnee Smith, Danny Gerard, Elias Koteas, David Morse, and Lindsay Crouse as the FBI agent Brenda Chandler. Much of the production took place around the suburbs, rivers and mountains of Utah. With the exception of David Mansfield, Cimino decided to work with an entirely different crew behind the scenes. One of his new collaborators was British cinematographer Douglas Milsome who was coming off his acclaim work on Stanley Kubrick’s 1987 film Full Metal Jacket. Milsome’s photography added a rich texture to the increasing tension between Bosworth and Cornell. Desperate Hours made its premiere in October of 1990 to a lukewarm reception from critics and a poor reception at the box office. Not only did the film mark Cimino’s last venture with Dino de Laurentiis, but it also ended his relationships with both Mickey Rourke and David Mansfield. Desperate Hours became the last Cimino film to get a theatrical release in the U.S. The Sunchaser (review) With Hollywood not wanting anything to do with him, Cimino struggled to get work. His fortunes changed when he was approached by renowned producer Arnon Milchan to helm a film by screenwriter Charles Leavitt. The Sunchaser told the story a rich doctor, Dr. Michael Reynolds (Woody Harrelson), who is kidnapped by a 16-year old half-Navajo juvenile delinquent, Blue (Jon Seda), who happens to be dying of abdominal cancer. Knowing he only has limited time to live, Blue forces Dr. Reynolds to drive him to a mountain lake considered sacred by the Navajo people. Cimino was instantly drawn to the film because it provided him with the chance to shoot in the American West again. Just as things were looking promising, funding for the film was suddenly taken away. While Cimino was able to make it through the shooting, his erratic behavior became more noticeable to the cast and crew. The Sunchaser made its premiere at the Cannes Film Festival in 1996, but failed to make any waves at the festival. Poor test screenings resulted in the film getting a straight-to-video release. The negative reception marked a bittersweet end to Cimino’s career. To Each His Own Cinema-No Translation Needed (review) To celebrate the 60th Anniversary of the Cannes Film Festival in 2007, Cimino was asked by festival organizer Gilles Jacob to be one of several filmmakers to make a three-minute short film about cinema. Cimino’s short focused on a filmmaker trying to make a film about a Cuban band. Cimino wanted to play off his reputation of being an egomaniac in a comical fashion. He achieved this by showing the filmmaker getting harassed by the diva lead singer of the band. The segment, unfortunately, was considered one of the worst of the bunch as it only showcased how detached Cimino had become from the film world. Unrealized Projects Cimino spent much of the 1970s and 1980s doing un-credited screenplay work on films such as The Rose starring Bette Midler and The Dogs of War starring Christopher Walken. Many of the film that Cimino wanted to direct never came to fruition due to the notoriety he got over Heaven’s Gate. He was attached to projects such as Born on the 4th of July and Michael Collins but eventually lost out to Oliver Stone and Neil Jordan respectively. The latter took over for Cimino after he left the project due to budget issues. There were also numerous collaborations Cimino did with Raymond Carver including a Dostoyevsky bio-pic and a contemporary Western. Cimino also worked with James Toback on a bio-pic about Frank Costello for 20th Century Fox that never came to fruition due to management changes. Another major project that almost got off the ground was a contemporary romantic drama called Santa Ana Wind but financing fell apart. The most recent project of Cimino’s that remained grounded was an adaptation of Andre Malraux’s novel Man’s Fate, about the early days of the Chinese Revolution from the perspective of Europeans. The project had all the traits that were considered to be hallmarks of Cimino’s work, but its overall lack of commercial potential forced the project to go into limbo. It has been nearly seven years since Michael Cimino stepped behind the camera, and eighteen years since he last directed a feature film. With his works now being re-evaluated by critics, many wonder if he will ever helm another film. To this day filmmakers like Quentin Tarantino and James Gray acknowledge Cimino as a major influence. While there is no question that Cimino is partly responsible for his reputation, it is time he was given another chance to showcase his talent. Cimino makes the kind of provocative films that cinemas are lacking nowadays. He is a director who, despite playings by his own rules, brings both style and substance together in a way that is truly epic. © thevoid99 2014
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"https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png" ]	[]	[]	[ "" ]	null	[]	null	When the dastardly Sheriff of Nottingham murders Robin's father, the legendary archer vows vengeance. To accomplish his mission, Robin joins forces with a band of exiled villagers (and comely Maid Marian), and together they battle to end the evil sheriff's reign of terror.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/robin-hood-prince-of-thieves/	Starring: My Name is Morgan Freeman So I finally got around to watching the last big Robin Hood adaptation I haven’t seen and one I’ve heard of for so long. And it was good. Costner makes for a very good Robin; he has the charm, the heroic values, and the whole angle of him being a rich man who decides to give away to the poor would make for some good commentary and discussion the movie is never interested in diving into. Most of the movie definitely wrestles to find the right tone; it often falls very much into the 90s silly tone that, for its execution and script, feels somewhat inconsistent. The only one who probably does a very… My roommate: "Do you want to watch a movie?" Me: "No. I've watched two already today." /sees this in the Netflix Instant library. /two.five hours later: www.youtube.com/watch?v=ZGoWtY_h4xo A few thoughts: 1. Kevin Costner is too low key for this role, too acharismatic, too American, and too Costnerian. Morgan Freeman should be considered one of those great actors who deserves far better than the roles he chooses/has given to him. Christian Slater's best feature was that he did not have a mullet, unlike all the other Merry Men. 2. No major role for Alan a Dale? A passing reference to Much the Miller's Son? Nothing for Gilbert Whitehand? With that excessive runtime? Jesus fucking Christ. 3. Alan Rickman got to utter… "The hospitality in this country is as warm as the weather." I get it. You all think you're cool for disliking this movie. Because of the accents, because of the anachronisms, because of the Hollywood-ness of it all. Well, you're all wrong. Prince of Thieves owns. As a Robin Hood story, it successfully depicts the themes of class warfare inherent within the character. As a medieval action epic, it's sweeping as hell. The set pieces hold up, and Michael Kamen's musical score is unbeatable. Kevin Reynolds' direction is surprisingly solid as well - those moments of silliness aside, the blocking and camera movement generally indicate that this was helmed by a filmmaker with a modicum of ability. The cast is… (2020 Summer Blockbuster Series) An ok Hollywoodized blockbuster take on Robin Hood .... but that main musical theme is aces! "A wise man once said: "There are no perfect men in the world; only perfect intentions." I had some nostalgia coming into Robin Hood: Prince of Thieves since it was one of the first big action movies I remember going to see in the theater, and while it is very conventional and overlong. I still had a fun time revisiting it with my kiddos. (Quick Hits) - The title sequence on the tapestry really loses its flair once you have seen how much better it has been done in other movies, including Powell and Pressburger's 'The Life and Death of…
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205	dbpedia	1	36	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9787741/	en	Carotid body responses to O2 and CO2 in hypoxia‐tolerant naked mole rats	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	[ "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/favicons/favicon-57.png", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-dot-gov.svg", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-https.svg", "https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/logos/AgencyLogo.svg", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/logo-blackwellopen.png", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/corrauth.gif", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/corrauth.gif", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9787741/bin/APHA-236-e13851-g007.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9787741/bin/APHA-236-e13851-g004.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9787741/bin/APHA-236-e13851-g009.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9787741/bin/APHA-236-e13851-g008.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9787741/bin/APHA-236-e13851-g005.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9787741/bin/APHA-236-e13851-g002.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9787741/bin/APHA-236-e13851-g001.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9787741/bin/APHA-236-e13851-g006.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9787741/bin/APHA-236-e13851-g003.jpg" ]	[]	[]	[ "" ]	null	[ "Ying‐Jie Peng", "Jayasri Nanduri", "Ning Wang", "Shakil A. Khan", "Matthew E. Pamenter", "Nanduri R. Prabhakar" ]	2022-10-12T00:00:00	Naked mole rats (NMRs) exhibit blunted hypoxic (HVR) and hypercapnic ventilatory responses (HCVR). The mechanism(s) underlying these responses are largely unknown. We hypothesized that attenuated carotid body (CB) sensitivity to hypoxia and hypercapnia ...	en	https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico	PubMed Central (PMC)	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9787741/	Acta Physiol (Oxf). 2022 Oct; 236(2): e13851. PMCID: PMC9787741 PMID: 35757963 Carotid body responses to O2 and CO2 in hypoxia‐tolerant naked mole rats , 1 , 1 , 1 , 1 , 2 , 3 and 1 Ying‐Jie Peng 1 Institute for Integrative Physiology and Center for Systems Biology of O2 Sensing, University of Chicago, Chicago Illinois, USA Find articles by Ying‐Jie Peng Jayasri Nanduri 1 Institute for Integrative Physiology and Center for Systems Biology of O2 Sensing, University of Chicago, Chicago Illinois, USA Find articles by Jayasri Nanduri Ning Wang 1 Institute for Integrative Physiology and Center for Systems Biology of O2 Sensing, University of Chicago, Chicago Illinois, USA Find articles by Ning Wang Shakil A. Khan 1 Institute for Integrative Physiology and Center for Systems Biology of O2 Sensing, University of Chicago, Chicago Illinois, USA Find articles by Shakil A. Khan Matthew E. Pamenter 2 Department of Biology, University of Ottawa, Ottawa Ontario, Canada 3 University of Ottawa Brain and Mind Research Institute, Ottawa Ontario, Canada Find articles by Matthew E. Pamenter Nanduri R. Prabhakar 1 Institute for Integrative Physiology and Center for Systems Biology of O2 Sensing, University of Chicago, Chicago Illinois, USA Find articles by Nanduri R. Prabhakar 1 Institute for Integrative Physiology and Center for Systems Biology of O2 Sensing, University of Chicago, Chicago Illinois, USA 2 Department of Biology, University of Ottawa, Ottawa Ontario, Canada 3 University of Ottawa Brain and Mind Research Institute, Ottawa Ontario, Canada Nanduri R. Prabhakar, Email: ude.ogacihcu@irudnan. Corresponding author. * Correspondence Nanduri R. Prabhakar, Institute for Integrative Physiology and Center for Systems Biology of O Sensing, University of Chicago, MC 5068, 5841 South Maryland Avenue, Chicago, IL 60637 USA. Email: ude.ogacihcu@irudnan Copyright © 2022 The Authors. Acta Physiologica published by John Wiley & Sons Ltd on behalf of Scandinavian Physiological Society. This is an open access article under the terms of the http://creativecommons.org/licenses/by/4.0/ License, which permits use, distribution and reproduction in any medium, provided the original work is properly cited. Abstract Aim Naked mole rats (NMRs) exhibit blunted hypoxic (HVR) and hypercapnic ventilatory responses (HCVR). The mechanism(s) underlying these responses are largely unknown. We hypothesized that attenuated carotid body (CB) sensitivity to hypoxia and hypercapnia contributes to the near absence of ventilatory responses to hypoxia and CO2 in NMRs. Methods We measured ex vivo CB sensory nerve activity, phrenic nerve activity (an estimation of ventilation), and blood gases in urethane‐anesthetized NMRs and C57BL/6 mice breathing normoxic, hypoxic, or hypercapnic gases. CB morphology, carbon monoxide, and H2S levels were also determined. Results Relative to mice, NMRs had blunted CB and HVR. Morphologically, NMRs have larger CBs, which contained more glomus cells than in mice. Furthermore, NMR glomus cells form a dispersed pattern compared to a clustered pattern in mice. Hemeoxygenase (HO)‐1 mRNA was elevated in NMR CBs, and an HO inhibitor increased CB sensitivity to hypoxia in NMRs. This increase was blocked by an H2S synthesis inhibitor, suggesting that interrupted gas messenger signaling contributes to the blunted CB responses and HVR in NMRs. Regarding hypercapnia, CB and ventilatory responses to CO2 in NMRs were larger than in mice. Carbonic anhydrase (CA)‐2 mRNA is elevated in NMR CBs, and a CA inhibitor blocked the augmented CB response to CO2 in NMRs, indicating CA activity regulates augmented CB response to CO2. Conclusions Consistent with our hypothesis, impaired CB responses to hypoxia contribute in part to the blunted HVR in NMRs. Conversely, the HCVR and CB are more sensitive to CO2 in NMRs. Keywords: carbon monoxide, carbonic anhydrase, heme oxygenase, hydrogen sulfide, hypercapnia, hypercapnic ventilatory response, hypoxia, hypoxic ventilatory response 1. INTRODUCTION Naked mole rats (NMRs; Heterocephalus glaber) are subterranean and eusocial rodents, who reside in crowded underground burrows. 1 , 2 A notable feature of NMRs is their remarkable tolerance to hypoxia, as they can survive for hours and weeks at 3% and 8% O2, respectively, 3 , 4 and up to 18 min in an anoxic environment. 5 NMRs are also highly tolerant to environmental hypercapnia. For example, NMRs survive several hours breathing 80% CO2, which is lethal to mice within minutes. 5 Moreover, NMRs do not exhibit metabolic, thermoregulatory, or behavioral changes to hypercapnia (<10% CO2). 6 , 7 Conversely, acute hypoxia suppresses the metabolic rate of NMRs, 4 which is in part due to modest reductions in physical activity and a total cessation of thermoregulation, resulting in decreased body temperature to near ambient levels in hypoxia. 8 , 9 , 10 Unlike NMRs, most adult mammals do not produce robust suppression of metabolic rate during hypoxia. Instead, rely more so on the hypoxic ventilatory response (HVR, i.e., a reflex increase in ventilation in hypoxia) to enhance the delivery of O2 to tissues when environmental O2 is limited. 11 Similarly, most adult mammals respond to increased ventilation by CO2 (hypercapnic ventilatory response or HCVR). 12 Intriguingly, whereas most mammals respond to hypoxia or hypercapnia with an increase in ventilation, 11 , 13 NMRs manifest a blunted HVR (7% inspired O2) and also a blunted HCVR. 5 , 7 The mechanism(s) underlying the attenuated HVR and HCVR in NMRs are not known. Carotid bodies (CBs) are the major sensory organs for monitoring the chemical composition of arterial blood, particularly in hypoxemia and to a lesser extent hypercarbia. 14 The chemoreceptor tissue in CBs is composed of O2‐sensitive glomus cells and supporting type II cells. 14 Hypoxemia stimulates carotid sinus nerve (CSN) activity, triggering a reflex increase in breathing (i.e., the HVR). On the other hand, the CB chemoreflex underlies ~20%–40% of the HCVR in humans, while the remaining 60%–80% is mediated by the central chemoreceptor(s) located in the brainstem. 15 , 16 , 17 Given that the CB plays a major role in mediating the HVR, and to a lesser extent the HCVR, we hypothesized that impaired CB responses to hypoxia and hypercapnia contribute in part to the blunted HVR and HCVR in NMRs. We tested this hypothesis by monitoring CSN and efferent phrenic nerve responses to hypoxia and hypercapnia in urethane‐anesthetized NMRs and C57BL/6 (BL6) mice, which we have previously studied. 5 , 7 Two approaches were employed to assess CB function: first by monitoring breathing responses to brief hyperoxia (i.e., the Dejour's test 18 ), which is an established assay for determining CB O2 sensitivity in humans 18 and rodents, 18 , 19 and second by directly measuring CSN activity in an ex vivo CB preparation. We chose the ex vivo CB preparation to exclude confounding influences from blood pressure changes on CSN activity, 20 which is commonly encountered in intact anesthetized animal preparations. 2. RESULTS 2.1. CB responses to hypoxia are impaired in NMRs 2.1.1. Ventilatory responses to brief hyperoxia (Dejour's test) Baseline phrenic nerve activity was recorded in urethane‐anesthetized animals breathing room air. Animals were challenged with 100% O2 (hyperoxia) for 30 s. Changes in phrenic nerve activity were analyzed during the last 20 s of the hyperoxic challenge. The initial 10s were excluded to account for the dead space in the breathing circuit. Brief hyperoxia depressed breathing in mice, but not in NMRs (Figure ; p < 0.01; n = 7 animals for each species). 2.1.2. CSN responses to hypoxia Examples of CSN responses to hypoxia in a mouse and an NMR are shown in Figure . Overall, CSN responses to hypoxia were blunted in NMRs compared to mice. Specifically, CSN responses to severe (Po2 ~ 40 mmHg) and moderate hypoxia (Po2 ~ 56 mmHg) were significantly attenuated in NMRs compared to mice (Figure ; p < 0.01; n = 9 CBs from 5 mice and 12 CBs from 6 NMRs). 2.2. NMRs have a blunted HVR The CB chemoreflex is a major driver of the HVR. 14 To assess whether the blunted CSN response to hypoxia is reflected in the HVR, we measured efferent phrenic nerve responses to a range of inspired O2 levels in spontaneously breathing urethane‐anesthetized animals. Body temperature was maintained at either 38 ± 1°C in mice or 33 ± 1°C in NMRs, which are their respective physiological body temperatures. 21 Figure depict representative examples of breathing responses to 10% O2 in a mouse and an NMR. Overall, NMRs had a lower baseline respiratory rate (phrenic burst frequency per min) than mice. Upon exposure to 10% O2, phrenic burst frequency and tidal phrenic amplitude increased in mice, whereas these effects were nearly absent in NMRs (Figure ). Specifically, baseline respiratory rate (RR, phrenic bursts/min) and minute neural respiration (MNR) were significantly less in NMRs compared to mice (Table , mice vs. NMR, p < 0.01; †). Because the baseline breathing was different between NMRs and mice, we analyzed the HVR as a percent of baseline breathing in animals breathing 100% O2 (Figure ). Compared to mice, NMRs manifested an attenuated HVR in 10% O2, which was due to lesser increase in tidal phrenic amplitude (i.e., tidal volume) and minute neural respiration (MNR) than mice (Figure ; p < 0.01, † n = 7 animals for each species). TABLE 1 100% O2 21% O2 10% O2 Mice (n = 7) RR (breaths/min)160 ± 17.3177 ± 19.5195 ± 20.0Tidal Ampl (a.u.)3.0 ± 0.33.8 ± 0.55.4 ± 0.7MNR (a.u.∙min)475 ± 67.9644 ± 88.21021 ± 118.4 NMRs (n = 7) RR (breaths/min)48 ± 5.7 † 56 ± 10.062 ± 13.2Tidal Ampl (a.u.)2.9 ± 0.5 ns 3.0 ± 0.43.0 ± 0.4MNR (a.u.∙min)133 ± 19.2 † 159 ± 23.3177 ± 29.8 Arterial blood gases were also measured in NMRs and mice breathing while breathing either room air or 10% O2 gas mixture. NMRs had a lower Pao2 than BL6 while breathing either room air (21% O2) or hypoxic gas (10% O2) (Table , BL6 vs. NMR, p < 0.05). TABLE 2 21% O2 10% O2 Mice (37°C)(n = 7)(n = 5) Pa O2 (mmHg)96 ± 639 ± 2 Pa CO2 (mmHg)36 ± 333 ± 2 pH7.31 ± 0.047.24 ± 0.04NMRs (33°C)(n = 7)(n = 6) Pa O2 (mmHg)75 ± 7* 31 ± 3* Pa CO2 (mmHg)28 ± 4* 27 ± 3* pH7.36 ± 0.04 ns 7.31 ± 0.03 ns 2.3. CB and breathing responses to CO2 in NMRs 2.3.1. CB response to CO2 CSN responses to hypercapnia were examined in NMRs and mice. Figure depict representative examples of CSN responses to CO2 in a mouse and an NMR and average data with graded hypercapnia is presented in Figure . Overall, NMRs had greater CSN responses to CO2 than BL6 mice (p < 0.01; n = 7 CBs in each species; 4 animals for each species). 2.3.2. HCVR Representative examples of phrenic nerve responses to 10% CO2 in a mouse and an NMR are shown in Figure . Average data of absolute values of phrenic nerve responses are presented in Table and HCVR data analyzed as a percent of baseline ventilation while breathing 90% O2 is shown in Figure . The magnitude of the hypercapnia‐mediated increase in minute neural respiration (MNR) was higher in NMRs than mice, which was due to a greater increase in respiratory rate (i.e., phrenic burst frequency) (Figure ; mice vs. NMR p < 0.01; n = 7 mice; 6 NMRs). TABLE 3 0% CO2 3% CO2 5% CO2 10% CO2 Mice (n = 7) RR (breaths/min)167 ± 11.7174 ± 11.8187 ± 14.9180 ± 15.9Tidal Ampl (a.u.)2.9 ± 0.93.3 ± 0.93.8 ± 1.04.1 ± 1.1MNR (a.u.∙min)457 ± 127.1539.2 ± 142.5660 ± 159.9684 ± 171.8 NMRs (n = 6) RR (breaths/min)51 ± 7.4 † 62 ± 8.267 ± 9.679 ± 11.1Tidal Ampl (a.u.)3.0 ± 0.2 ns 3.8 ± 0.54.0 ± 0.54.9 ± 0.7MNR (a.u. min)156 ± 30.4* 231 ± 34.3266 ± 49.3391 ± 78.3 2.4. CB morphology To assess CB morphology, CB sections from NMRs and mice were stained with anti‐TH and ant‐CGA antibodies, which are established markers of glomus cells, 14 , 22 and morphometric analysis was performed as described in the “Methods” section. CBs were bigger in NMRs than mice, as indicated by a greater CB volume (~230%) in NMRs compared to CBs [Figure ; Table , mice vs. NMR, p < 0.05; n = 4 each species]. The number of TH and CGA positive cells was higher in NMR CBs but the ratio of TH or CGA positive cells to the CB volume was comparable between NMRs and BL6 (Table ; BL6 vs. NMR, p > 0.05). NMR glomus cells formed a dispersed pattern compared to a clustered pattern in BL6 mice CBs (Figure ). TABLE 4 CB volumeTH volumeCGA volumeTH/CBCGA/CB(×105 μm3)(×104 μm3)(×104 μm3)(%)(%)Mice2.1 ± 0.144.3 ± 0.282.8 ± 0.120.2 ± 0.315.7 ± 0.9NMRs4.9 ± 0.7* 9.1 ± 1.1 † 6.8 ± 0.98* 19 ± 0.4 ns 13.9 ± 0.2 ns 2.5. CO‐H2S signaling is interrupted in NMR CBs Emerging evidence suggests that the regulation of CB sensitivity to hypoxia involves carbon monoxide (CO) and H2S gas messenger signaling pathways. 23 Therefore, we next examined whether altered CO‐H2S signaling contributes to the blunted CB response to hypoxia in NMRs. Endogenous CO is produced by hemeoxygenase (HO)‐1 and HO‐2, and CSE is a major H2S producing enzyme in the CB. 23 Therefore, Hmox1, Hmox2, CTH mRNAs encoding HO‐1, 2, and CSE, respectively, were determined in CBs of NMRs and mice. Transcript abundance was normalized to 18S mRNA. Hmox1, which encodes HO‐1, was ~6‐fold higher in NMR than mouse CBs, whereas Hmox‐2 and CTH abundances were comparable between CBs of both species (Figure ; p < 0.05; n = 4 animals for each species). Technical difficulties with antibodies precluded the analysis of HO‐1, HO‐2, and CSE proteins in NMR CBs. CO inhibits CSE and reduces H2S in the CB. 23 , 24 Hypoxia inactivates HO‐2 and reduces CO production thereby releasing inhibition on CSE. This leads to increased H2S production, which in turn stimulates CSN activity. 24 On the other hand, hypoxia has no effect on CO produced from HO‐1, because it lacks O2‐sensitive heme regulatory motifs (HRM). 25 Because NMR CBs have elevated Hmox‐1, which encodes O2 insensitive HO‐1, we hypothesized that hypoxia would not effectively alter CO levels in NMRs. Testing this possibility using biochemical assays requires pooling of several CB tissues from numerous animals, which was not possible in our study due to the limited availability of NMRs. We have previously used rat pheochromocytoma (PC)‐12 cells as a substitute for CB glomus cells. 26 However, we are not aware that PC12 cells express HO isoforms and CSE. Interestingly, liver tissue expresses a high abundance of HO‐2 27 and CSE. 28 In CBs, hypoxia reduces CO production by directly inhibiting HO‐2 and increases H2S levels 24 and in liver homogenates in response to chronic intermittent hypoxia through ROS mechanisms. 29 Together, these findings indicate similar interactions between CO and H2S in liver as in the CB. Therefore, we utilized liver tissues from NMRs and mice to assess the effects of hypoxia on CO and H2S signaling. In this analysis, we found that hypoxia reduced CO and increased H2S in mice but not in NMR liver (Figure ; p < 0.01; n = 6 NMRs and mice each). 2.6. An HO inhibitor improves CB response to hypoxia and HVR in NMRs We next assessed whether increasing H2S with an HO inhibitor improves CB response to hypoxia in NMRs. To test this, NMRs were treated with chromium (III) mesoporphyrin IX chloride (CrM459; 5 mg/kg; i.p), a pan HO inhibitor, 23 , 30 , 31 either alone or in combination with l‐propargyl glycine (l‐PAG; 30 mg/kg; I.P.), an inhibitor of H2S synthesis from CSE. 23 , 32 CBs were harvested 1 h after administration of these compounds and CSN responses to hypoxia were determined. The CSN response to hypoxia was markedly improved in HO inhibitor‐treated NMRs compared to vehicle‐treated controls, and this effect was blocked with l‐PAG (Figure ; p < 0.01; see Figure for number of animals in each group). Consistent with this improved CB response to hypoxia, HO inhibitor enhanced the HVR in NMRs (Figure ; absolute values of phrenic nerve activity in Table ). The improved HVR was due to increased respiratory rate (i.e., phrenic burst frequency) and tidal phrenic amplitude (Figure and Table ). TABLE 5 100% O2 21% O2 10% O2 Vehicle (n = 7) RR (breaths/min)48 ± 5.756 ± 10.062 ± 13.2Tidal Ampl (a.u.)2.9 ± 0.53.0 ± 0.43.0 ± 0.4MNR (a.u.∙min)133 ± 19.2159 ± 23.3177 ± 29.8 CrM459 (n = 5) RR (breaths/min)55 ± 3.9* 64 ± 3.190 ± 4.7Tidal Ampl (a.u.)3.8 ± 0.3 ns 4.3 ± 0.55.5 ± 0.5MNR (a.u.∙min)210 ± 27.3* 279 ± 38.6493 ± 45.7 2.7. Carbonic anhydrase is involved in augmented CB response to CO2 in NMRs Carbonic anhydrases (CAs) are zinc‐containing enzymes that catalyze the conversion of CO2 to bicarbonate and hydrogen ions. 33 , 34 The CB response to CO2 involves CA. 35 , 36 We next examined whether CA contributes to the augmented CB response to CO2 in NMRs. mRNA encoding CA2 was analyzed in CBs from NMRs and mice. CA2 abundance was higher in NMR compared to mice CBs (Figure ; p < 0.05; n = 4 each species). Non‐specific staining with commercially available anti‐CA‐2 antibodies precluded analysis of CA‐2 protein in NMR CBs. However, methazolamide (30 μM), a membrane‐permeable CA inhibitor, reduced the augmented CSN response to hypercapnia in NMRs but not in mice compared to vehicle‐treated controls (Figure ; Vehicle vs. methazolamide NMRs p < 0.01; mice p > 0.05; n = 5 for mice and 6 for NMRs). 3. DISCUSSION Previous studies have reported that NMRs manifest a blunted HVR and HCVR 3 , 37 , 38 ; however, the mechanisms underlying this phenomenon are largely unknown. The current study addressed this knowledge gap by testing the hypothesis that attenuated hypoxic and CO2 sensing by the CB chemoreceptor contributes, in part, to the blunted HVR and HCVR in NMRs. Our study had several salient findings. First, and consistent with our hypothesis, the CB response to hypoxia was attenuated in NMRs compared to mice, indicating that the blunted HVR in NMRs is partially due to reduced CB sensitivity to hypoxemia. We further found that the mechanism underlying this blunted response involves HO signaling because a pan‐HO‐inhibitor improved CB sensitivity to hypoxia and HVR became detectable in NMRs. On the other hand, HCVR and CB response to CO2 was augmented in NMRs compared to mice, which may be due to altered CA signaling. 3.1. The CB response to hypoxia The following findings demonstrate that NMRs exhibit impaired CB responses to hypoxia: first, NMR ventilation was less inhibited by brief hyperoxia than in mice (Dejour's test), which is an indirect measure of CB sensitivity to O2. Second, the CSN response to graded hypoxia was attenuated in NMRs. Consistent with earlier reports, 5 , 7 we also found a near absence of HVR in NMRs. This blunted HVR may be partially due to reduced body temperature since conscious NMRs cease thermoregulation and reduce their body temperature to near ambient temperatures in hypoxia. 39 However, our study suggests that this is unlikely because we determined the HVR in anesthetized animals, while maintaining body temperature at 33°C in NMRs and 38°C in mice, which are their respective body temperatures. 21 On the other hand, the blunted HVR is likely not due to anesthesia because previous studies reported similar impairment of the HVR in un‐anesthetized NMRs. 3 , 37 , 38 Given that the CB chemoreflex is a major driver of the HVR, 14 , 40 it is therefore likely that the attenuated hypoxic sensitivity of the CB in part contributes to the near absence of HVR in NMRs. Whether NMRs also have impaired processing of CB sensory nerve information in the central nervous system remains to be investigated. Being burrow‐dwelling animals, hypoxic lifestyle of NMRs may have impacted the morphological phenotype of their CBs. Indeed, prolonged exposure to hypoxia increases CB size in animals 41 as well as in humans. 42 Consistent with this, CBs were bigger, and the number of glomus cells was higher in NMRs compared to mice (Figure ). Interestingly, NMR glomus cells displayed a dispersed pattern, as opposed to the clustered pattern in mice CBs, which is typical of most adult mammalian CBs. 14 Glomus cells are of secretory phenotype, 14 and are connected via gap junctions, allowing electrical coupling at rest. Hypoxia uncouples glomus cells and increase coupling resistance. 43 The dispersed pattern of glomus cells in NMRs might reflect the impact of hypoxia resulting from life in crowded underground burrows. Interestingly, although the number of glomus cells is higher in NMR CBs, the ratio of TH to the CB volume was similar in NMR and mice, suggesting that the blunted hypoxic sensitivity of NMR CBs is likely due to defective hypoxia sensing at glomus cells (see below) and not fewer chemosensitive cells in NMRs per se. 3.2. Cellular mechanisms underlying the blunted CB response to hypoxia in NMRs Recent studies suggest that CB sensory nerve excitation by hypoxia involves O2‐dependent interactions between CO and H2S in glomus cells. 23 , 24 , 44 , 45 , 46 HO‐2 and CSE are the major enzymes that produce CO and H2S, respectively, in CB glomus cells. 23 , 47 While CO is a physiological inhibitor of the CSN response to hypoxia, 47 H2S, like hypoxia, stimulates CSN activity in several mammalian species. 48 Specifically, in normoxia, CO generated by HO‐2 inhibits H2S generation from CSE, thereby keeping the CSN activity low. On the other hand, hypoxia reduces CO production by inactivating HO‐2, thereby lifting inhibition on CSE, and the ensuing increase in H2S stimulates CSN activity. 24 We found that, unlike in mice, hypoxia neither reduced CO production nor increased H2S in NMRs (Figure ). The absence of CB response to hypoxia in NMRS is likely due to the inhibitory action of CO produced by HO‐1, which is not inhibited by hypoxia. 25 Indeed, Hmox‐1 mRNA encoding HO‐1 was higher in NMR CBs than mice. Biochemical assays showed the absence of the effects of hypoxia on CO and H2S levels in NMR compared to mice. Notwithstanding the limitation of using liver tissue for biochemical assay, these results indicate O2‐insensitive CO generation from HO‐1 by inhibiting CSE reduces H2S production in NMR CB. The reduced H2S production might account for the blunted CSN excitation by hypoxia in NMRs. Such a possibility was supported by the finding that a pan HO‐inhibitor markedly improved CB hypoxic response in NMRs and l‐PAG, a CSE inhibitor blocked the effect of the HO inhibitor (Figure ). The improved CB hypoxic response was associated with enhanced HVR in NMRs treated with HO inhibitor (Figure ). It should be noted that Hmox‐1 upregulation in NMR CB was not associated with increased baseline CO levels (Figure ), which might be due to incomplete translation of the Hmox‐1 gene to HO‐1 protein, a possibility that requires further investigation. 3.3. The HCVR and CB responses to CO2 in NMRs It is well established that burrowing rodents have relatively higher resting PaCO2 37 levels and attenuated HCVRs. 49 , 50 , 51 Interestingly, we found PaCO2 was not elevated in NMRs, which is consistent with a previous study (see Table in Pamenter et al. 2019). 52 Conversely, whereas two previous studies in whole animals have reported that NMRs have a blunted HCVR that does not manifest below 10% inhaled CO2, 6 , 7 whereas we report an augmented HVCR in NMRs. This discrepancy may be due to differences in the duration of hypercapnia exposure. For example, a previous study 6 examined breathing responses in NMRs to 1 h of hypercapnia, whereas in the present study we tested the effects of 5 min of hypercapnia on ventilation (i.e., on phrenic nerve activity). In addition, this previous study 6 used awake animals whereas our preparation was anesthetized. The other earlier study 5 also employed anesthetized animals but only measured breathing empirically via remote observation, which prevented this investigation from reporting tidal volume changes with hypercapnia. Thus, it is not possible to directly compare this study to our present findings. In other species, acute hypercapnia increases ventilation for a few minutes but prolonged hypercapnia depresses ventilation. 53 It is likely the depressed HCVR reported in an earlier study 6 in awake NMRs is due to prolonged hypercapnic challenge (1 h). NMRs likely experience hypoxia and hypercapnia simultaneously in their natural burrowing environment. The augmented HCVR likely increases O2 delivery to the lungs through a left‐shifted O2‐Hb dissociation curve, 54 thereby reducing the impact of hypoxia. The enhanced HCVR may be an important contributing factor to the hypoxia tolerance of NMRs. 3 , 4 , 5 Hypercarbia (i.e., elevated arterial blood CO2) stimulates CSN activity, albeit to a lesser extent than hypoxemia in most adult mammals. 14 We report that, unlike hypoxia, the CB response to CO2 is augmented in NMRs compared to mice. This is important because it demonstrates that NMR CBs exhibit selective impairment of their ability to detect hypoxia, but not CO2. Unlike the response to hypoxia, the CB response to CO2 is relatively underexplored. 14 However, the available information suggests CB activation by CO2 involves CA activity. 36 , 55 Intriguingly, NMR CBs have higher CA‐2 mRNA abundance than mice, suggesting divergence in the function of this pathway between species. Unfortunately, technical problems with antibodies precluded the analysis of CA2 protein in CBs; however, methazolamide, a membrane‐permeable CA inhibitor reduced the enhanced CB response to CO2 in NMR CB preparations. Therefore, we propose that elevated CA‐2 leads to greater hydration of CO2, resulting in an accumulation of H+. H+ in turn depolarize glomus cells by inhibiting either TASK‐like K+ channels 56 or acid‐sensing ion channels (ASICs), 57 and thereby contribute to the augmented CO2 response of the NMR CB. However, further studies are needed to test this possibility by evaluating whether NMR glomus cells express TASK or ASIC channels and whether they contribute to the augmented CB CO2 response. In summary, our results support the hypothesis that the blunted HVR in NMRs is associated with attenuated CB sensitivity to hypoxia. On the other hand, and contrary to our hypothesis, the HCVR and CB CO2 sensitivity are augmented in NMRs. As a largely subterranean species, NMRs likely experience prolonged periodic hypoxia and hypercapnia in their natural burrows. Although much is known about the impact of intermittent hypoxia, such as that experienced with obstructive sleep apnea on CB function and the HVR, 58 , 59 , 60 little is known regarding the physiological consequences of long‐term exposures to a combination of periodic hypoxia and hypercapnia such as that experienced in burrowing animals. NMRs are relatively resistant to aging, neurodegeneration, and devastating diseases such as cancer, 61 all of which have been linked to derangements in cellular oxygen handling. Future studies on experimental animals treated with long‐term periodic hypoxia and hypercapnia simulating the burrowing environment may thus provide mechanistic insights on how and why NMR are less susceptible to such diseases and pathologies. 4. METHODS 4.1. Preparation of animals Experimental protocols were approved by the Institutional Animal Care and Use Committee of the University of Chicago (Protocol # ACUP 71811, approved on February 27, 2019). Experiments were performed on adult male NMRs (males; body weight 45.2 ± 1.6 g, and 1–3 years old; bred at the University of Ottawa, and reared at the University of Chicago, Animal Resource Center). BL6 mice (males; 28.4 ± 0.8 g, 4–6 months old, purchased from Charles River Laboratories, USA). 4.2. Measurements of phrenic nerve activity Animals were anesthetized with intraperitoneal injections of urethane (1.2 g/kg). Supplemental doses (10% of the initial dose of anesthetic) were given when corneal reflexes or responses to toe pinches were observed. Animals were placed on a warm surgical board. The trachea was cannulated, and animals were allowed to breathe spontaneously. Core body temperature was monitored by a rectal thermistor probe and maintained at 38°C (mice) or 33°C (NMR) by a heating pad (RightTemp, Kent Scientific, Torrington, CT). The phrenic nerve was isolated unilaterally at the level of the C3 and C4 spinal segments, cut distally, and placed on bipolar stainless‐steel electrodes. Integrated efferent phrenic nerve activity was monitored as an index of respiratory neuronal output. The electrical activity was filtered (band pass, 30 Hz −10 kHz), amplified (P511K, Grass Instrument, West Warwick, RI), and passed through Paynter filters (time constant of 100 ms; CWE Inc.) to obtain a moving average signal. Data were collected and stored in a computer for further analysis (PowerLab/8P, AD Instruments Pty Ltd, Australia). Phrenic nerve activity (burst frequency, an index of respiratory rate, bursts/min); tidal phrenic nerve activity (arbitrary units, a.u.); and minute neuronal respiration (MNR = RR × tidal phrenic nerve activity) were analyzed. The effects of different O2 levels (21% or 10% O2‐balanced N2), and hypercapnia (3%, 5%, or 10% CO2‐balanced O2) on phrenic nerve activity were determined. Gases were administered through a needle placed in the tracheal cannula and gas flow was controlled by a flow meter. To examine the responses to different O2 levels, baseline phrenic nerve activity was monitored while animals breathed 100% O2 for 3 min. Subsequently, inspired gas was switched to 21% or 10% O2 for 3 min. The duration of 3 min for hypoxia was chosen because a longer duration of hypoxic exposure (>5 min) in anesthetized mice leads to hypotension which confounds the interpretation of results. For hypercapnic responses, 5 min of 3%, 5%, or 10% CO2‐balanced O2 was preceded with exposure to 100% O2 for 3 min. At the end of the experiment, animals were killed by overdose of urethane (>3.6 g/kg, i.p.). 4.3. Measurements of arterial blood gases Arterial blood (0.1 ml) was collected in the anesthetized animals at the end of 3 or 5 min of gas challenges via a catheter (PE‐10) inserted into the femoral artery. Blood gases (PaO2, PaCO2, and pH) were determined by a blood gas analyzer (ABL‐80, Radiometer, Copenhagen, Denmark). Blood gas analyzer provides data corrected at 37°C as well as normal body temperature of the animals. Two to four blood samples were collected in each experiment. 4.4. Recording of CB sensory nerve (CSN) activity The CSN activity was recorded from CBs ex vivo as described previously. 62 Briefly, CBs (two CBs from a given animal) along with the sinus nerves were harvested from anesthetized animals, placed in a recording chamber (volume, 250 μl), and superfused with warm bicarbonate‐based physiological saline (35°C) at a rate of 3 ml/min. The composition of the medium was (in mM): NaCl, 125; KCl, 5; CaCl2, 1.8; MgSO4, 2; NaH2PO4, 1.2; NaHCO3, 25; d‐glucose, 10; Sucrose, 5. The solution was bubbled with 21% O2/5% CO2. Hypoxic challenges were achieved by switching the perfusate to physiological saline equilibrated with the desired levels of O2. Oxygen levels in the medium were continuously monitored by a platinum electrode placed next to the CB using a polarographic amplifier (Model 1900, A‐M Systems, Sequim, WA). To facilitate the recording of clearly identifiable action potentials, the sinus nerve was treated with 0.1% collagenase for 5 min. Action potentials (1–3 active units) were recorded from one of the nerve bundles with a suction electrode and stored in a computer via a data acquisition system (PowerLab/8P). “Single” units were sorted based on the shape, height, and duration of the individual action potentials using the spike discrimination module. To examine CB responses to graded hypercapnia, baseline CSN activity was recorded while irrigating the CBs with a 100% O2 equilibrated medium for 3 min, followed by medium equilibrated with either 95% O2 + 5% CO2 or 90% O2 + 10% CO2 for 5 min. The PO2, Pco2, and pH of the medium were determined by a blood gas analyzer (ABL‐80). 4.5. CB morphology CBs were harvested from anesthetized animals (urethane 1.2 g/kg, i.p.) perfused with heparinized saline followed by 4% paraformaldehyde. The protocols for fixation of CBs were essentially the same as described previously. 23 Specimens were frozen in Tissue Tek (OCT; VWR Scientific), sectioned at 8 μm, and mounted on collagen‐coated coverslips. Mouse CB usually yields 7–8 sections. However, 4–5 sections representing the middle of each CB were chosen for morphometric analysis (4–5 sections per CB; 2CBs from each animal; n = 4 animals for each species). Sections were blocked in PBS containing 1% normal goat serum and 0.2% Triton X‐100, and then incubated with anti‐chromogranin A (CGA, 1: 1000; AB Cam) or with anti‐tyrosine hydroxylase (TH, 1:300; Sigma) antibody in PBS with 1% NGS and 0.2% Triton X‐100 at 4°C for 16 h. After washing in PBS, sections were incubated with Texas red‐conjugated goat anti‐rabbit IgG and FITC‐conjugated goat anti‐mouse IgG (1:250; Molecular Probes) in PBS with 1% NGS and 0.2% Triton X‐100 at room temperature for 1 h. After washing with PBS, sections were mounted in DAPI‐containing media and visualized using a fluorescent microscope (Eclipse E600; Nikon). Carotid body morphology, glomic volume, and glomus cell numbers were analyzed in adjacent sections using ImageJ (NIH) as described previously. 63 Briefly, serial sections (minimum 4–5 sections from each CB) were imaged individually. For each image, the CB area was measured manually by tracing the periphery of the carotid body and glomic cell area was calculated by tracing the periphery of glomus cells stained with TH or CGA (marker proteins). CB and glomic cell volumes were calculated by sum of each area multiplied by thickness and number of sections as described. 63 4.6. Measurements of mRNAs Real‐time RT‐PCR was performed using a MiniOpticon system (Bio‐Rad Laboratories) with SYBR GreenER two‐step qRT‐PCR kit (#11764–100, Invitrogen). Briefly, RNA was extracted from CBs using TRIZOL and was reverse transcribed using superscript III reverse transcriptase. Primer sequences for real‐time RT‐PCR amplification were as follows: CA2 forward: CAC CAA GTT GGC GGG AGC CTA T; CA2 reverse: TCT CCA TTG GCA ATG GGG AAG TCC; CTH forward: TGC TTG GAA AAA GCA GTG GC; CTH reverse: CCT CTA GCA ATT TGG TTT TGG A; Hmox ‐1 forward: GGA GCA GGA CAT GGC CTT CT; Hmox ‐1 reverse: AGG TCA CCC AGG TAG CGG GT; Hmox ‐2 forward: TGA AGG AAG GGA CCA AGG AAG; Hmox ‐2 reverse: GTG GTC CTT GTT GCG GTC C; 18s forward: CGC CGC TAG AGG TGA AAT TC; 18s reverse: CGA ACC TCC GAC TTT CGT TCT. Relative mRNA quantification was calculated using the comparative threshold (CT) method using the formula “2−ΔΔCT” where ΔΔCT is the difference between the threshold cycle of the given target cDNA between BL6 and NMRs. The CT value was taken as a fractional cycle number at which the emitted fluorescence of the sample passes a fixed threshold above the baseline. Values were compared with an internal standard gene 18S. Purity and specificity of all products were confirmed by omitting the template and by performing a standard melting curve analysis. 4.7. Measurements of H2S production H2S levels in the livers were determined as described previously. 23 , 64 Briefly, liver homogenates were prepared in 100 mM potassium phosphate buffer (pH 7.4). The enzyme reaction was carried out in sealed tubes flushed with either 100% N2 or 21% O2. The PO2 of the reaction medium was determined by a blood gas analyzer (ABL‐80). The assay mixture in a total volume of 500 μl contained (in final concentration) 800 μM l‐cysteine, 80 μM pyridoxal 5′‐phosphate, 100 mM potassium phosphate buffer (pH 7.4), and tissue homogenate (10 μg of liver protein). The reaction mixture was incubated at 37°C for 1 h and at the end of the reaction alkaline zinc acetate (1% wt/vol; 250 μl) and trichloroacetic acid (10% vol/vol) were added sequentially to trap H2S generated and to stop the reaction, respectively. The zinc sulfide formed was reacted sequentially with acidic N,N‐dimethyl‐p‐phenylenediamine sulfate (20 μM) and ferric chloride (30 μM) and the absorbance was measured at 670 nm using a microplate reader. A standard curve relating the concentration of Na2S and absorbance was used to calculate H2S concentration and expressed as nanomoles of H2S formed per hour per milligram protein. 4.8. Measurements of CO production CO abundance was measured in the livers using a spectrophotometric procedure as previously described. 23 , 64 Reaction mixtures containing 10 μg liver protein, NADPH (1 mM), hemin (25 μM), and NADPH Regenerating System Solution (BD Biosciences) were equilibrated to 21% O2 or 100% N2 at 37°C in sealed tubes. CO generated in the reaction was trapped in a reaction mixture containing 25 μM leuco crystal violet, 200 μM palladate, and 4 μM iodate. CO concentrations were calculated from a standard curve relating CORM‐2 concentration to absorbance of 620 nm light. 4.9. Data analysis In anesthetized animals, the following respiratory variables were analyzed: respiratory rate (phrenic bursts per minute), tidal amplitude of the integrated phrenic nerve activity (a.u., arbitrary units), and minute neural respiration (MNR, number of phrenic bursts per min, RR × tidal amplitude of the integrated phrenic nerve activity, a.u.). In a given animal, absolute values of phrenic variables the response to hypoxia or hypercapnia as well as normalized data as the percentage of the phrenic nerve activity while breathing 100% O2 were analyzed. CSN activity (discharge from “single” units) was averaged during 3 min of baseline and during the entire 3 min of hypoxic or 5 min of hypercapnic challenge and expressed as impulses per second. Each data point represents the average of two trials in each animal for a given gas challenge. Average data are presented as mean ± SEM. Statistical significance was assessed by t‐test, or Mann–Whitney test, or One‐Way or Two‐Way ANOVA followed by a posthoc test, or Two‐Way ANOVA with repeated measures followed by a post hoc test using SigmaPlot (version 11). p Values < 0.05 were considered significant. CONFLICT OF INTEREST The authors declare no competing interests. ACKNOWLEDGMENTS The authors thank Professor Ganesh K. Kumar for his constructive comments. This work was supported by a Natural Sciences and Engineering Research Council of Canada (NSERC) grant to MEP (04229‐2019), and a National Institutes of Health grant to NRP (P01‐HL‐44454). Notes Peng Y‐J, Nanduri J, Wang N, Khan SA, Pamenter ME, Prabhakar NR. Carotid body responses to O2 and CO2 in hypoxia‐tolerant naked mole rats. Acta Physiol. 2022;236:e13851. doi: 10.1111/apha.13851 [PMC free article] [PubMed] [CrossRef] [Google Scholar] See related editorial: Moya E. A. 2022. Carotid bodies in naked mole rats: Are the sensing mechanisms still there? 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Erotic Thrillers, Body of Evidence is an odd one. It falls into the even more niche sub-category of courtroom thrillers, which spend as	en	https://i0.wp.com/bloody…it=32%2C32&ssl=1	Bloody Disgusting!	https://bloody-disgusting.com/editorials/3768433/blame-pedestrian-sex-not-madonna-for-the-failure-of-body-of-evidence-sex-crimes/	In the pantheon of Erotic Thrillers, Body of Evidence is an odd one. It falls into the even more niche sub-category of courtroom thrillers, which spend as much time on the naughty bits as they do with witnesses on the stand or in depositions (see also: Disclosure). Enter Body of Evidence. In the film, femme fatale Rebecca Carlson (Madonna) is arrested and charged with murder when her older, wealthy boyfriend John Marsh (Michael Forest) is found dead. Turns out the pair had quite the risqué sex life (or at least as risqué as mainstream Hollywood fare was willing to address in 1993): they were having non-missionary sex that involved some light bondage (ie: restraints such as belts and handcuffs). District Attorney Robert Garrett (Joe Mantegna) makes it clear to the jury in his opening remarks that Rebecca’s body is the murder weapon. She induced Marsh’s fatal heart attack from a lethal combination of cocaine (hidden in his medical spray) and rigorous sex, all so that she could inherit $8M in his will. The state’s case is bogus and Rebecca’s lawyer, Frank Dulaney (Willem Dafoe), rightfully argues as such. In some ways, this is screenwriter Brad Mirman making the same concession to audiences: the premise is far-fetched, even ludicrous, but just go along with it. Admittedly it is one of the most far-fetched premises of the subgenre I’ve seen to date. It’s no less ridiculous than the plot of many film noirs, however, which – as we’ve discussed before in this series – is essential to the Erotic Thriller trend of the 80s and 90s. Madonna is clearly playing both female archetypes: the falsely accused victim (the virgin) and the sinful temptress who leads men to their doom (the whore), the latter of which was very much in keeping with her public persona at the time. As Karina Longworth discusses in episode ten of You Must Remember This’ Erotic 90s series, Body of Evidence was considered a perfect star vehicle for Madonna. Just two months earlier in October 1992, the queen of pop had concurrently released two sexually explicit texts: her latest album Erotica and Sex, her provocative limited-run book. In both, the superstar makes the argument for normalizing sex, even as she pushes the boundaries of what is considered normal and/or deviant. It’s hardly surprising that critics at the time had difficulty separating Madonna from her character Rebecca, although is it unfair to blame the film’s failures on its lead actress. While Body of Evidence’s blonde vamp isn’t as interesting or complicated as, say, Basic Instinct’s Catherine Trammell, Rebecca is clearly the most compelling aspect of the film. The problem with Body Evidence isn’t that Madonna is playing herself (she’s not), it’s that the film resolutely refuses to deviate away from the conventions of a traditional film noir without acknowledging how norms of sex and sexuality have become more progressive, or complicated, over the course of 40 to 50 years. In many ways, Body of Evidence’s failure is in its fairly pedestrian (read: vanilla) approach to sex. In fact, there’s something incredibly compelling about how the film shows Rebecca indoctrinating men into her “lifestyle,” vis a vis the character of Frank. Unfortunately the film frequently treats this aspect as dangerous, which, especially through a contemporary lens, comes off as moralistic and slightly preachy. At a clandestine dinner, the married lawyer asks his client how she identified Marsh as a prospective romantic partner. This is pertinent to the plot because the DA’s case rests of the idea that Rebecca is a gold-digger: she seeks out rich elderly men with bad hearts, like Marsh and her former lover Jeffrey Roston (Frank Langella), with the goal of getting into their will and then fucking them to death. Rebecca’s answer to Frank’s prompt is that she can simply tell, and when he asks her to identify someone in the restaurant, her gaze eventually settles on him. Naturally, as in many film noirs, Frank is too much of a rube to deduce that he’s the mark, but (like most things in the film) it’s extremely evident to the audience. That night, as Frank stares longingly at Rebecca while she lounges on her houseboat (even her choice of abode is strange and deviant!), she lures him aboard like a siren. Rebecca emerges from the shadows like a spider, wrapping Frank in an embrace from behind before he quite literally rips off her clothes. She then ties his arms behind his back with his belt before pouring hot wax over his chest and genitals. This is all meant to be sexy, but it’s not, mainly due to director Uli Edel’s uninspired, flat direction (full credit, however, to production designer Victoria Paul for dressing the enormous set with flowing black silk curtains like something out of a porno or a perfume commercial). Later, in the film’s most provocative and (successful) erotic scene, Rebecca has sex with Frank on the hood of a car littered with broken glass. When they finish, the back of his shirt is covered with blood stains from where he has been cut; this is the evidence of the cost that men will pay – with their literal bodies! – to pursue this vamp. It’s a great scene: sexy, risqué and more than a little daring; it’s easily the most memorable aspect of the entire film. The back half of the film is less interesting, if only because it relies too heavily on lackluster reveals, such as Marsh’s longtime assistant Joanne Braslow (Fatal Attraction’s Anne Archer) having a coke addiction and Marsh’s doctor, Alan Paley (Jürgen Prochnow) hiding a sexual obsession with Rebecca. The red herrings are clearly meant to disguise the film’s big twist, which is that Rebecca is every bit the villainous femme fatale the DA made her out to be. In a thoroughly uninspired move, the film punishes its deviant murderess with a watery death and a pat resolution wherein Frank goes back to his forgiving restauranteur wife Sharon (a painfully underutilized Julianne Moore). Madonna famously didn’t agree with the ending, which clearly passes judgement on its jezebel before reinstating normalcy and the status quo (back to missionary sex, I guess!). The most intriguing aspect of the ending is costume designer Susan Becker‘s decision to balk conventional costume colour coding and dress Rebecca in an all-white pyjama set for her big death scene. The result is that Body of Evidence winds up feeling trapped in the past. Aside from its acrobatic parking garage sex scene, Edel’s film feels stale and antiquated, especially when it is compared to Basic Instinct, a film that only a year earlier famously refused to imprison or kill its sexually adventurous villain and even dared to suggest that she was going to kill the film’s protagonist. To be clear: Body of Evidence isn’t good. It’s too slow and its courtroom theatrics feel out of step with the evolution of Rebecca and Frank’s relationship. But it’s certainly not the trash fire that critics and the lackluster box office would have you believe. If nothing else, the film is something of a curiousity, particularly for audiences who are interested in witnessing just how a film can so badly misuse a superstar like Madonna. A better bet would be to check out 1990’s Dick Tracy, which features the material girl in a nearly identical role that, despite featuring a similar fate, is much more nuanced and successful. Sex Crimes is a column that explores the legacy of erotic thrillers. For this month’s installment of “TV Terrors” we revisit the small screen adaptation of 1980s movie “Weird Science,” which aired from 1994 – 1998 on the USA Network. I probably sound like an old fogy when I say this, but the USA Network of the cable television heyday was drastically different than the USA Network we have today. Back in the early nineties, USA Network was a free for all of weird, fun entertainment. There were adult cartoons, erotic thrillers, “Up All Night,” sports events, a large Saturday morning cartoon line up, classic horror movies, Troma double bills, and there were even kung fu movies every weekday morning. USA Network also aired the primetime TV series adaptation of “Weird Science.” The classic John Hughes sci-fi comedy from 1985 was adapted in 1994 into a mostly faithful TV version that took everything scandalous about the original film and amped up the ridiculousness by about fifty percent. While you wouldn’t think “Weird Science” would be considered much of a horror series at all, the writers surprisingly managed to take the opportunity to deliver various horror-tinted themes. Even when the show adhered mainly to the science fiction comedy elements of the movie, the series’ writers always injected this air of menace and sinister intentions behind genie Lisa, whose own naivete made her dangerous to her new friends. The fact that the premise was so absurd allowed the writers to do pretty much whatever they wanted, injecting elements like aliens, time travel, and even monsters into the mix. In place of Ilan Mitchell-Smith and Anthony Michael Hall were Michael Manasseri and John Asher, respectively. All the while fashion model turned actress Vanessa Angel did a bang up job replacing Kelly LeBrock as walking deus ex machina Lisa. In place of Bill Paxton as Chett was the equally obnoxious and fun Lee Tergesen. He appears throughout the series playing the constant foil to the pair of friends, almost always intruding on their schemes. The pilot, “She’s Alive!” was basically a truncated twenty two minute, sanitized remake of the 1985 film. It’s meant to really lay out the entire premise for the new audience. And it gets the job done. All the while it also sets the bar for what the show is conceptually trying to achieve. It’s about as goofy and silly as all get out, but it’s also about more than the two characters trying to lose their virginity. The teen sex comedy angle is downplayed in favor of more misadventures involving sci-fi, the supernatural, magic, and beyond. This allowed the writers a chance to do pretty much whatever they wanted, with Lisa acting as a tech based genie and excuse to inject the extraordinary plot elements. The series dabbled in a lot of horror themed standalone episodes, as well; among some of the best was “Bikini Camp Slasher,” where slasher geek Wyatt is convinced that he could kick the butt of any movie slasher. Lisa takes it literally and warps the pair into the reality of their newest slasher film, and the catch is that they can’t leave until the movie officially ends. In “The Sci Fi Zoned,” the guys take in a twenty four hour marathon of their favorite black and white horror anthology show. After hearing their enthusiasm for the series, wouldn’t you know it? Lisa zaps them into the show when a big fight threatens their friendship. There are a ton of fun callbacks to classic “Twilight Zone” episodes including “The Living Doll,” who is voiced by none other than original Talky Tina actress June Foray. But probably my favorite episode is “You’ll Never Eat Brains in This Town Again.” When Lisa attempts to make her own zombie movie, she zaps a horde of actual brain eating zombies into their reality. Despite her insistence they’re docile during the day, the zombies set off a potential apocalypse as they begin craving human brains, prompting Wyatt, Gary, and Chett to figure out how to stop them. Even worse, Lisa being bitten has turned her into a potential flesh eater. Unlike previous attempts to serialize John Hughes classics like “Ferris Bueller” and “Uncle Buck,” USA’s “Weird Science” was a surprising success. It lasted five whole seasons, and ended right on the cusp of the network’s reformatting to fit in endless hours of crime procedurals. Once ending in 1998, the show re-ran in syndication for a few years on other cable channels before disappearing for a long time. It certainly won’t be everyone’s cup of tea, but “Weird Science” still holds up well as this weird mid-nineties fever dream that embraced its silly and took risks with various sub-genres. Where Can I Watch It? Sadly only the first season of the series is available to rent or buy on Amazon Prime Video. Various episodes, however, can still be found on YouTube.
205	dbpedia	1	61	https://onlinelibrary.wiley.com/doi/abs/10.1111/1758-5899.13381	en	Assessing public health implications of free trade agreements: The comprehensive and progressive Trans-Pacific Partnership Agreement	https://onlinelibrary.wi…ck=1723478077321	https://onlinelibrary.wi…ck=1723478077321	[ "https://onlinelibrary.wiley.com/pb-assets/hub-assets/pericles/logo-header-1690978619437.png", "https://onlinelibrary.wiley.com/pb-assets/hub-assets/pericles/mobilehublogo-1690978876347.png", "https://pubads.g.doubleclick.net/gampad/ad?iu=$googlePublisherCategory&sz=728x90&tile=1&c=$random", "https://onlinelibrary.wiley.com/pb-assets/journal-banners/17585899-1501384774837.jpg", "https://onlinelibrary.wiley.com/specs/products/acropolis/pericles/releasedAssets/images/pdf-icon-169a2eb30e52100e76dfa5f4b66998e6.png", "https://onlinelibrary.wiley.com/cms/asset/5cb076a9-54f6-4c67-a8fb-98d481de00a9/gpol.v15.s4.cover.jpg", "https://pubads.g.doubleclick.net/gampad/ad?iu=$googlePublisherCategory&sz=160x600\|160x320\|160x160\|120x600&tile=2&c=$random", "https://onlinelibrary.wiley.com/specs/products/acropolis/pericles/releasedAssets/images/spinner-1ffd60b3aabe5b09bc98c48345208fd9.gif", "https://pubads.g.doubleclick.net/gampad/ad?iu=$googlePublisherCategory&sz=160x600\|160x320\|160x160\|120x600&tile=2&c=$random", "https://onlinelibrary.wiley.com/pb-assets/tmp-images/footer-logo-wiley-1510029248417.png", "https://onlinelibrary.wiley.com/pb-assets/hub-assets/pericles/logo-header-1690978619437.png", "https://onlinelibrary.wiley.com/pb-assets/hub-assets/pericles/logo-header-1690978619437.png", "https://onlinelibrary.wiley.com/pb-assets/hub-assets/pericles/logo-header-1690978619437.png" ]	[]	[]	[ "" ]	null	[ "C.M", "S.V", "A.-M", "A.B", "H.-J", "D.H", "A.T", "Parry-Williams", "A.M", "C.L" ]	null	In 2016, the United Kingdom voted to exit the European Union, which was surrounded by political and social uncertainty. The United Kingdom now negotiates its own trade agreements, and in March 2023, ...	en	/favicon.ico	Wiley Online Library	https://onlinelibrary.wiley.com/doi/10.1111/1758-5899.13381	Policy Implication Governments should use HIAs as a valuable tool that captures the potential impacts of the CPTPP and other trade agreements across the wider determinants of health, well-being and equity. These can be actioned at different stages of the negotiation and implementation process to inform and enable inclusive discussion and decision-making. Sustainable procurement and legislation across the UK should not be undermined by free trade agreement provisions. Continued efforts to improve awareness and understanding of the ways trade policy and agreements can affect health and healthy public policies and legislation is needed. Public Health Institutes, agencies such as WHO, civil society and academia have a key role to play in this. Further research into the issues identified as part of this work and the impact of trade agreements in general would improve understanding of the potential health and equity impacts and what action may be needed to mitigate risks and maximise opportunities. This includes capturing the longer-term impacts of trade agreements on health and well-being. 1 TRADE, HEALTH, AND HEALTH IMPACT ASSESSMENT Trade is a key commercial and social determinant of health and well-being (Gilmore et al., 2023; Green et al., 2020; World Health Organization, 2021a) and has implications for health and health equity (Department for International Trade, 2021; Green et al., 2021). It is also essential for the functioning of a healthy economy and society (The World Bank, 2021; World Economic Forum, 2016). In June 2016, the United Kingdom (UK) voted to exit the European Union (EU) in a process known as ‘Brexit’, which is surrounded by political and social uncertainty (Green et al., 2020). This led to the United Kingdom having the ability to negotiate its own trade agreements for the first time in over 40 years. Trade agreements are not routinely assessed for their wider health impacts (McNamara et al., 2023). Wider determinants are social, economic and environmental factors which have an impact on people's health and well-being (Dahlgren & Whitehead, 1991). Health Impact Assessment (HIA) is a practical process through which to assess potential and observed health impacts of plans and policies in all sectors (Birley, 2011; Green et al., 2020; Winkler et al., 2021). The national Public Health Institute for Wales (Public Health Wales) has a stream of work focused on health and trade post Brexit due to the importance of trade as a determinant of health (Green et al., 2020; Public Health Wales, 2022) and carried out a HIA on the Comprehensive and Progressive Trans-Pacific Partnership agreement (CPTPP). In the United Kingdom, trade negotiation is a reserved matter and not within the powers of the devolved governments of Wales, Scotland or Northern Ireland (House of Commons, 2022). Reserved powers can be described as ‘decisions that are made by the UK parliament and government’ (Centre on Constitutional Change, 2023). Reserved powers relate mainly to the UK's external affairs such as defence, foreign policy, the constitution, immigration, and many aspects of economic policy, for example, trade negotiations. Therefore, in these policy spaces, Wales and other devolved nations of the United Kingdom must represent their interests to the UK government including advocating for economic growth, investment and protecting public health and well-being. HIA can be a beneficial tool to raise awareness of the impact on devolved nations and inform their policy positions. The HIA assessed the potential impacts on health, well-being and inequalities in Wales of the Comprehensive and Progressive Trans-Pacific Partnership agreement (Box 1), the first major trade bloc agreement to be signed post UK withdrawal from the EU. This HIA is only the second ever carried out on a Free Trade Agreement (FTA) globally, with one previously carried out in Australia on the CPTPP's predecessor the Trans-Pacific Partnership (TPP) (Hirono et al., 2016). Analysis of the TPP to date has largely focused on Australia and New Zealand and has identified many health and well-being impacts. Evidence highlights potential negative impact on pharmaceuticals cost and access to medicines, intellectual property rights, policies including public health, environmental regulations and standards, healthcare services, diet, nutrition and alcohol (Correa, 2017; Friel et al., 2013; Gleeson et al., 2013, 2018; Gleeson & Labonté, 2020; Labonté et al., 2016a, 2016b; Pusceddu, 2018; Ruckert et al., 2015; Schram et al., 2018; Thow & Gleeson, 2017). Its provisions would have had an impact on a range of population groups such as those on low incomes, those with long-term conditions and equity (Gleeson et al., 2013; McNamara, 2015). The impact of FTAs or trade liberalisation more generally has been also been scrutinised and highlighted similar issues (Feng et al., 2021; McNamara, 2015; Missoni, 2013). These contributions have used various methodologies and their scope has ranged from a focused analysis on particular commodities (processed food and medicines) or aspects (biodiversity, patents and data protection) and certain countries or FTAs to analysis regrading free trade or globalisation effects for public health, the environment or sustainability more broadly. These take the form of peer-reviewed articles, viewpoints, reports or position papers of stakeholders (Cote, 2014; Hirono et al., 2016; McNamara & Labonté, 2019; Milsom et al., 2021; PETRA, 2022). BOX 1. The comprehensive and progressive Trans-Pacific Partnership Agreement (CPTPP): key points for health and well-being The CPTPP is a free trade agreement (FTA) between, now, 12 countries: Canada, Mexico, Peru, Chile, New Zealand, Australia, Brunei, Singapore, Malaysia, Vietnam, Japan and the United Kingdom (Institute for Government, 2023). It builds on its forerunner which is the TPP. Positively, the TPP provisions include commitments to social and wider determinants of health such as to recognise labour rights (elimination of child labour, forced labour and respect for minimum wages) (chapter 19 of the TPP), the environment including toxic chemicals, protection of the ozone layer and marine environment (ch. 20) and the participation of women in labour markets and business (ch. 23). Similarly, CPTPP provisions could have several potential positive economic impacts for some population groups in Wales through expanded market access and employment opportunities. Other potential positive impacts include an expanded health and social care workforce due to mobility provisions, increased collaborative working and international recruitment; and access to new medicines and treatments due to increased research and development. A range of potential negative impacts are more likely to be experienced among those in Wales on low incomes, suffering from long-term chronic conditions, or working in the agricultural sector. Potential negative impacts include poorer diet and nutrition through reduced food standards or lower tariffs on unhealthy food stuffs; challenges to enacting and implementing environmentally friendly and net zero policies as well as increased air pollution and packaging requirements for shipping; increased risk of alcohol and tobacco use; decreased access to healthcare services and medicines, and the increased cost of these. In addition, labour market disruptions, lower pricing and production costs in member states could lead to loss of employment and may have potential negative impacts on working conditions, both of which have impacts on health and well-being. All of these were also identified in relation to the TPP. Of particular concern for public health are the potential long-term policy impacts of the CPTPP's Investor State Dispute Settlement (ISDS) procedures, which offer some of the strongest protections for investors. It allows an investor from one member country to legally challenge the government of another member country in which it has made an investment if it believes a new policy is unfair, discriminatory, is a form of expropriation, or negatively impacts on capital flow based on the provisions of the agreement (European Parliament, 2015). ISDS presents several potential risks to public health policy and practice. While the CPTPP states that members can introduce new regulations without the risk of legal challenge if they are ‘in the public interest’ (i.e., ‘legitimate public welfare objectives’), there is ambiguity over what constitutes ‘legitimate’ and who makes this decision. Therefore, this right to regulate may be contested such as Philip Morris vs. Uruguay or Australia or as Eli Lilly vs. Canada. In addition, while legal challenges are not always successful, they are expensive. This a strong deterrent to governments considering new public health policies and can result in ‘regulatory chill’ (i.e., restraint of state to enact certain regulatory or public policy measures as a result of arbitration, or a fear thereof, thereby constraining the states' right to regulate) (Petchey & Cresswell, 2021; Shekhar, 2016). For example, Milsom et al (Milsom et al., 2021) have found a chilling effect for nutrition and alcohol policy in South Africa under WTO rules and Boru (Boru, 2021) showed that regulatory chill should be still a concern for countries that are party to the TPP regarding access to health technologies/medicines. CPTPP members can bilaterally exchange ‘side letters’ to form a special arrangement to derogate from some of their obligations, including ISDS (UK Trade Policy Observatory, 2021). For example, in 2018, New Zealand signed side letters to exclude them from compulsory ISDS with five members of the CPTPP (Green et al., 2023). The United Kingdom has agreed to side letters with Australia and New Zealand that exclude ISDS between them. However, ISDS can still be used by investors from many of the other member states to make claims against the UK Government (UK Parliament, 2024). Published HIAs can make potential health and well-being impacts a matter of public debate, with the goal of increasing transparency and scrutiny of the trade negotiation process (McNamara et al., 2023). This HIA aimed to highlight to public health and trade policymakers and practitioners the likely effects of trade agreements such as the CPTPP to health and equity. Particularly, it aimed to better understand the potential impacts on the health and well-being of the people of Wales arising from the CPTPP to demonstrate how HIA as a process could be used in the negotiation, drafting and implementation of FTAs. The purpose of this paper was to present the findings of the HIA on the CPTPP in Wales, to discuss and capture the learning from carrying it out and provide evidence and insight to a range of policy and decision-makers and researchers on the health and equity impacts of trade agreements. It discusses the benefits of using HIA and the challenges identified as part of the process. It provides transferable insights to scholars and policymakers in the realms of public health, economics, health services, and trade and suggests some ways HIA could be further be utilised by trade and health advocates and policymakers. 2 MATERIALS AND METHODS HIA as practised in Wales is based on the World Health Organization (WHO) definition of health and well-being (Birley, 2011; World Health Organization, 2021b). It is a flexible and pragmatic process that considers potential impacts on the wider determinants of health, such as conditions in which we vote, work, live, grow and take leisure, as well as our health behaviours such as smoking or exercise (Dahlgren & Whitehead, 1991). HIA follows a systematic process and uses mixed methods to consider both the potential positive and the negative impacts across a range of determinants and population groups (Wales Health Impact Assessment Support Unit, 2012). The assessment includes appraising existing evidence, and engaging with stakeholders who could, or will be, impacted. Based on the Welsh HIA guidance, this HIA followed a standard five-step evidence-based HIA process to assess the likely impacts of the CPTPP on health, well-being and inequalities in Wales (Wales Health Impact Assessment Support Unit, 2012). The HIA process is evidence based and includes the following stages; screening, scoping, appraisal, reporting and recommendations, and review and reflection including monitoring and evaluation (Table 1). It is recommended as a key public health tool to support a consideration of ‘Health in All Policies’ (World Health Organization, 2010, 2021b). The HIA was comprehensive, participatory, and prospective in its nature. A Steering Group oversaw the work, which was completed over a six-month period in 2022–23. The Steering Group comprised public health specialists across health, health policy, the economy, HIA and an academic with expertise in both public health and trade policy. HIA step Action taken Steps 1 and 2: Screening and Scoping The population and determinants of health likely to be affected by CPTTP were identified using HIA checklist Establishment of the Steering Group Scope of the HIA was defined, including methods, timeframes, stakeholders to be interviewed and resources Step 3: Appraisal Literature review of peer-reviewed and grey literature undertaken Quantitative community health profile completed Qualitative interviews with key stakeholders carried out Evidence assessed and characterised to identify the potential positive and negative impacts Step 4: Recommendations and Reporting The HIA steering group agreed the recommendations The final HIA report was published and disseminated to local, national and global networks A webinar was also held to disseminate findings Step 5: Monitoring and Evaluation, including Reflection and Review Review and reflection meeting held A review and evaluation of the HIA is planned Future validation of findings 2.1 Steps 1 and 2: Screening and scoping As part of the screening process, checklists of populations and determinants were used (Wales Health Impact Assessment Support Unit, 2020a) in a participatory group exercise involving steering group members to identify the potential populations and priority heath determinants that could be affected by the CPTPP. Developed by the Wales Health Impact Assessment Support Unit (WHIASU), one checklist focuses on population groups, for example, older people and different professional groups. The other focuses on the wider determinants of health, for example, food, healthcare services and air quality (Wales Health Impact Assessment Support Unit, 2020a). The contents of the CPTPP were known at this time but there was still uncertainty about the final terms of the UK accession protocol being negotiated and so the impacts identified were potential anticipated impacts, as is common in prospective HIAs (Douglas et al., 2020; Green et al., 2020; Hirono et al., 2016). The HIA roles and responsibilities and methods for evidence collection were scoped out using a Scoping Checklist (Wales Health Impact Assessment Support Unit, 2020b). This identified the aim and purpose of the HIA, resources and boundaries, who would carry out which tasks, the mixed methodology (interviews with key stakeholders, literature review and policy analysis) to be followed and the governance process. 2.2 Step 3: Appraisal The literature review aimed to identify evidence of the impact of the CPTPP on health and inequalities in the existing member countries and of potential impacts highlighted by stakeholders in existing and proposed member countries. We searched for evidence on the potential impact of the CPTPP on specific population groups, health determinants and inequalities as identified by the HIA team in the screening and scoping stages, in both the peer-reviewed literature and grey literature. The search for peer-reviewed evidence was undertaken using MEDLINE, Embase, Proquest and Google Scholar using terms such as ‘NHS’, ‘healthcare workers’, ‘medicine’, ‘food standards’ and ‘mental health’. The inclusion criteria included international evidence on trade and the determinants of health, publication in English only, publication between January 2010 and June 2023. We also identified further literature by searching the reference lists of included papers, through the team's contacts and from a weekly trade policy tracker. The search engine Google was used to capture policy and grey literature, and other targeted searches were carried out on websites of key stakeholders and trade/health experts including Trade Justice Movement/Wales, Department for International Trade, UK and Welsh Government and Wales Trades Union Congress. All results were screened and reviewed for relevance by two independent members of the HIA team. Because the scope of the HIA focused on the health, well-being and equity impacts of the CPTPP on populations in Wales, the peer-reviewed and grey literature search sought to identify evidence specifically on the UK's accession to the CPTPP in its current form. It was recognised that many of the CPTPP's provisions aligned with its precursor, the TPP and evidence assessing the potential impacts of the TPP were analysed and included in the HIA (Barlow et al., 2022; Correa, 2017; Green et al., 2023; Schram et al., 2018; Thow & Gleeson, 2017). Evidence from countries that were already members of the CPTPP and TPP was used to inform the Welsh HIA analysis, for example, Australia and New Zealand (Friel et al., 2013; Gleeson et al., 2015). However, these have different regulatory and health systems contexts, for example, the United Kingdom has the National Health Service while Australia and New Zealand have mixed public–private health insurance systems. This was taken into account when analysing the data and evidence on the impacts of the TPP on other members was incorporated into the HIA where broadly applicable in Wales. A community health profile was constructed using routine quantitative data sources such as the Office of National Statistics (Office for National Statistics, 2022), Welsh Government (Welsh Government, 2020) and the Welsh Index of Multiple Deprivation (Stats Wales, 2020) to enable understanding of the relevant population groups. This included demographic statistics on population groups identified through the scoping, such as those with long-term conditions, those on low incomes, small business owners and local area deprivation statistics. Additionally, semi-structured qualitative interviews (n = 11) were carried out with key informants. Interviewees were purposively selected to represent different interests including trade policymakers, environmental and public health specialists, civil society groups and businesses from the public and private sector. In total, 15 individuals were approached. The interviews aimed to identify how key informants believed the CPTPP would affect health and well-being and the people of Wales, or the subject area they represented and how and what could be done to address this. All interviews were carried out virtually or via telephone. Respondents were asked a set of open-ended questions, providing the opportunity to probe on themes when necessary. All responses were transcribed and anonymised. The interviewees reviewed the transcripts to check they accurately reflected their views. The qualitative and quantitative data and evidence identified were analysed and triangulated by members of the HIA team who had been responsible for collating the evidence. Peer-reviewed academic publications and official health intelligence data were weighted with a higher level of significance than other data sources. Findings were compared against the two checklists used at the scoping stage (Wales Health Impact Assessment Support Unit, 2020a), and each impact was characterised as positive or negative and by strength of evidence and affected populations. Sections from the report were sent to Public Health Wales internal topic leads, who are policy specialists in areas relating to the environment, food and obesity. These specialists provided feedback and additional evidence or information of note. 2.3 Step 4. Recommendations and reporting The Steering Group oversaw all the work, debated the findings from each of the sources and agreed the recommendations of the HIA. Findings were written up and compiled into a report and accompanying infographic (Green et al., 2023). These were both disseminated via a wide range of networks including globally, and throughout the United Kingdom and Wales (Health Impact Assessment: The Comprehensive and Progressive Agreement for Trans-Pacific Partnership, n.d.) The report was subject to internal quality assurance processes including a HIA appraisal tool (Green et al., 2017) and sign off by the Public Health Wales Executive Team. 2.4 Step 5. Monitoring and evaluation, including review and reflection Finally, a review and reflection session was held with the Steering Group 1 month after the final report was published. This involved discussing what worked well throughout the HIA process, what could be improved, challenges, whether the HIA process met its objectives and any impact reported to date. Monitoring of impacts is ongoing. The team will track the impacts of the CPTPP once it is implemented, to understand whether the predictions identified in the HIA are observed in future, using methods we have demonstrated in another study (Green et al., 2022). 3 RESULTS The evidence appraisal included a total of 43 peer-reviewed papers and 34 pieces of evidence from the grey literature, findings from the population profile and themes identified through the interviews. This total included several additional articles and additional sources that were not found through the literature review but through stakeholders and reference lists of included papers. This included policy documents and consultation responses from organisations such as National Farmers' Association in Wales and websites such as the Centre for Inclusive Trade Policy. An important document was also the Conclusions of the Negotiations document (UK Government, 2023) published at the reporting stage in March 2023. The HIA identified significant potential impacts across multiple determinants of health, including economic and mental well-being impacts, and also identified vulnerable population groups, for example, those on low incomes and some Welsh sectors (Tables 2 and 3). Key themes identified from the interviews included concerns about the ability of Wales to introduce enhanced policies in the future due to ‘regulatory chill’ or legal action through ISDS. These concerns related, for example, to the regulation of unhealthy commodities such food products high in fat, sugar or salt. Other concerns related to impacts on agriculture and economic opportunities or constraints. Determinants of health Potential impacts of CPTPP Potential positive impacts Potential negative impacts Economic determinants Expanded market access Increased employment opportunities ✓ Labour market disruption, lower pricing and production costs elsewhere leading to loss of employment and potential impacts on working conditions ✓ Health and social care determinants Increased collaborative working and International recruitment ✓ Increased cost of medicines and equipment Loss of NHS workforce to other CPTPP countries ✓ Reduced governmental budgets and regulatory chill. ✓ Behavioural determinants Reduced ability to regulate unhealthy commodities, for example, food labelling and illicit trade of alcohol, tobacco and drugs ✓ Social determinants Reduced data protection and privacy which could have an impact on mental well-being ✓ Environmental determinants Air pollution due to transport distances for goods and increased packaging requirements Reduced ability to regulate for environmental protection ✓ Macro-Economic Reduced governmental budgets and regulatory chill. ✓ The HIA team developed an impacts matrix to show the potential impacts, with the sources of evidence and potentially impacted populations for each. See, for example, Table 4 which shows the impact matrix for the food and safety standards area of impact. The full impact matrix for each area of impact is available in the published report (Green et al., 2023). The HIA also identified key pathways to potential health impacts including: economic uncertainty, changing relationships, loss of regulatory alignment and the impact of ISDS on public health regulations. Some impacts were nuanced or could impact either positively or negatively. For example, evidence highlighted that the CPTPP could increase access to a variety of foods, but also increase imports of cheaper, more highly processed, and unhealthy foods. It was also found that the CPTPP may have positive economic benefits in certain sectors, while at the same time increasing economic insecurity in others. Evidence shows clearly that better health is linked to wealth and economic status – which employment and economic development can harness (Marmot et al., 2020; The Health Foundation, 2018, 2022) but commentators have been keen to stress that the economic impact of the CPTPP must not be overstated, and led to debate on the actual size of any benefits (Rogers, 2023; Schneider-Petsinger, 2023). Predicted benefits of the CPTPP are low and range from 0.04% to 0.08% of GDP after 15 years of membership (Centre for Policy Studies, 2022; International Agreements Committee, 2021; McNamara et al., 2023; Office for Budget Responsibility, 2023; Trade Justice Movement, 2021). Economic benefits are also likely to be smaller in Wales as it has the lowest proportion of exports destined for CPTPP countries (6.2%) when compared to England, Scotland and Northern Ireland (Centre for Policy Studies, 2022).Two important areas of uncertainty identified by the HIA include the question of how Investor State Dispute Settlements (ISDS; Practical Law UK, 2023) provisions could interact with public health policy; and the potential negotiation of side letters on specific areas or with specific CPTPP members. The ISDS mechanism may allow commercial actors to challenge government legislation and regulations deemed detrimental to their trade interests, even if these are designed to protect or improve health. The fear of expensive legal challenge could also inhibit devolved and UK governments from developing some health regulations (termed ‘regulatory chill’). This may have both immediate and long-term impacts on health, well-being and equity policy and outcomes. Current evidence for regulatory chill is sparse (Barlow et al., 2022; Barlow & Allen, 2023) owing in part to the difficulty in identifying when nothing has been legislated for when a country would like to do so. For example, Cote indicates that three may not be an effect from the threat of ISDS. However, there are papers which highlight the cost of ISDS and that these costs may be a deterrent to developing regulations (Practical Law UK, 2023; UNCTAD, n.d.). Side letters can be used to address key public health issues related to, for example, tobacco control, food labelling, infectious disease control cooperation or exemption from the ISDS mechanism. A clear example of this is the public health side letter agreed as part of the UK–Australia agreement concluded in 2021 (UK Government, n.d.) focused on the regulation of medical devices. The United Kingdom has agreed to a range of side letters (UK Government, 2023) with several member countries across different areas. Some are specific to the UK's accession to the CPTPP while others include the United Kingdom in pre-existing arrangements, which were originally agreed in the TPP and CPTPP. However, side letters have not been agreed to with all members of the CPTPP and many key areas that impact on public health are not included in side letters. In addition, the United Kingdom has only agreed to side letters around ISDS with Australia and New Zealand, leaving the mechanism in place with other member countries. The HIA also identified potential actions to protect and promote population health, well-being and equity. Undertaking a HIA could enable policymakers to take action at different stages of the negotiation and implementation process and can be a scrutiny tool to increase accountability. This HIA suggested actions to improve the health and well-being impacts relating to: ISDS exemption; tobacco and alcohol labelling and control; food labelling and standards; infectious disease control cooperation; workers' protection and rights; cooperation agreements on the flow of health workforce professions; and action on the environment, climate and nature emergencies. The HIA was published and has been well received (Green, 2023). It has been disseminated widely via PHW internal and external channels, social media and via policy sites targeting politicians and policymakers (Morning Trade UK, 2023). The work was presented at a number of events and conferences (American Public Health Association, 2023). We found the HIA process enabled public health policy leads to effectively engage policy-relevant stakeholders. For example, connections were made with other inclusive trade academics, Welsh Government departments including for EU Exit and trade policy and the UK Government department for Business and Trade. It also raised the importance of trade in relation to health to PHW internal specialists working on environment, obesity, food and fair work. The Review and Reflection session identified that the HIA did meet its objectives in raising awareness of health and HIA and trade as noted above. It provides a tangible product in the form of a HIA report, a vehicle through which to discuss and advocate for public health, and a rationale to show why it is important for public health to be involved and treated as a key stakeholder. The team worked well together, and the different skills and knowledge and contexts allowed for a holistic assessment. However, the team also identified as limitations the lack of peer-reviewed impact studies and the uncertainty about the terms of the accession package being negotiated. 4 DISCUSSION This paper set out to explore the findings of the HIA along with the value of the approach in engaging with stakeholders and informing policymakers. Overall, this HIA has demonstrated that although the consideration of health within a trade agreement is challenging, it can be achieved. The findings of the HIA of the CPTPP highlight a wide range of predominantly negative potential impacts on the Welsh population, which aligns with existing literature on the impact of trade policy on health and the CPTPP predecessor, the TPP, specifically (Correa, 2017; Gleeson & Labonté, 2020; Gleeson et al., 2015; Kelsey, 2013; Labonté et al., 2016a, 2016b; Milsom et al., 2021; Pusceddu, 2018; Ruckert et al., 2015; Thow & Gleeson, 2017). These include potential impacts on the environment, food and health behaviours, access to medicines and health services and economic security. The most affected population groups include people on low incomes, those working in the agricultural sector and healthcare sector and those with long-term health conditions. A smaller number of potential positive impacts were identified related to economic opportunities, including growth in some economic sectors. As noted, only one other HIA has been undertake of a trade agreement (Hirono et al., 2016). On comparison, while the two HIAs identified some similar impacts, there are also differences. Both HIAs identified impacts for the whole population and on people with chronic conditions. They also both highlighted potential negative impacts on the ability of governments to develop regulations that would limit consumption of unhealthy foods due to regulatory chill, and both identified the potential increased cost of medicines. However, the scope of the TPP HIA was restricted to determinants related to the cost of medicines, tobacco and alcohol control policies and food labelling. The current HIA also included a wider set of determinants. It identified some potential positive impacts, for example, economic development, growth and employment opportunities and a wider set of potential negative impacts, for example, worsening of global air pollution due to transport distances for goods, the potential for regulatory chill to affect environmental regulations, and impacts on mental well-being. The work reinforced the importance of ISDS and side letters, as also highlighted in existing literature (Labonté et al., 2020; McNamara et al., 2023). The ISDS mechanism may enable new government policy to be legally challenged if it is seen as negatively impacting trade (Petchey & Cresswell, 2021). This can include, but is not limited to, new public health or net zero policies such as Minimum Unit Pricing or restrictions on marketing of high fat, high salt and sugar foods (Barlow et al., 2022; Labonté et al., 2020; McNamara, 2021). Side letters can be used to opt out of ISDS or to protect areas such as tobacco control (Buchanan, 2018). Strengths of this HIA include the systematic and structured process, clear governance including steering group oversight and tangible products in the form of the published HIA report (Green et al., 2023) and a follow on workshop (Public Health Network Cymru, 2023). The broad ranging literature, statistical and qualitative evidence was triangulated and debated by the whole steering group to form a holistic picture of impact. Finally, it engaged a wide range of stakeholders and provided an opportunity and platform to inform government departments and negotiators. Although the HIA team had no direct link into the UK Government decision-making process on the CPTPP, it was able to raise the findings through trade and health networks (PETRA, 2022), and stakeholder engagement. The paper was informally reviewed by the team who provided constructive feedback, for example, details on extension of patents. Limitations of the HIA include a lack of published empirical research on the health, social and community impacts of trade agreements. The grey literature was often speculative or ideologically based and sometimes presented ways to maintain the status quo as a positive, not just neutral, impact. At the time the HIA was completed in June 2023, the government's position and data informing this were not openly available. This HIA was restricted by lack of transparency during the negotiation and conclusion of trade agreements and the technical language and procedures involved. Neither the team nor contributors had sight of the UK accession protocol or negotiating positions until after signing. The HIA indicates a direction of travel of impact, that is, potential positive or negative but the evidence limitations precluded detailed categorisation of impact for most of the determinants assessed. The full implications of joining the agreement and its implementation will take time to emerge and may change under different governments. The HIA highlighted priority areas where future research is needed and supports the urgent need for more research on the health and health equity impacts of trade policy and trade agreements (Hirono et al., 2016; Labonté et al., 2020; PETRA, 2022). This research could focus on the impacts identified here, as well as the impact of trade agreements in general, including longer-term impacts and impacts on specific at-risk populations. It should also evaluate ways to mitigate adverse effects and enhance positive effects of trade agreements. In addition, due to the high level of uncertainty around the potential impacts, it would be beneficial to monitor health impacts following implementation of CPTPP, to see if predicted impacts have occurred. This can be challenging but predictive accuracy of HIA has been evaluated in a previous study (Green et al., 2022). Although undertaken in a limited timeframe, the findings have been beneficial in informing policy and decision-makers of the importance of trade and trade agreements to health and well-being in Wales, the benefits of using an evidence-informed approach such as HIA, and to advocate for Welsh interests and public health (Box 2). The HIA has been welcomed by civil society, public health specialists and trade and health advocates not only in the United Kingdom but the European Union and Oceania and can provide a baseline for scrutinising the CPTPP and the health impacts which may arise from it. As discussions continue about opportunities to improve the scrutiny process for trade agreements, the CPTPP HIA has been highlighted as an example of how HIA can be used to inform this process and discussions (McNamara et al., 2023; Trade Justice Movement, 2018). BOX 2. Implications and recommendations for policy This HIA: Highlights the importance of evaluating trade policies through a health and well-being economy lens, to develop healthy trade policy. Indicates that greater transparency of trade agreement negotiations is needed. Suggests that HIA should be used routinely in the trade policy arena. Provides a focal point for discussion with policymakers. Could provide a platform for other HIAs, that is, of the RCEP or specific topics such as ISDS or TRIPS. In terms of global policy and practice, the CPTPP HIA has led to further work both internal and external to Wales. For example, it has been used by Welsh Government to inform its own impact assessment on the CPTPP and its response to the UK government, and it was submitted to the UK Parliamentary Committee call for evidence on the impacts of the CPTPP by them and Public Health Wales (Public Health Wales, 2023; UK Parliamentary Committee on Trade, 2023; Welsh Government, 2023). The HIA has also been used to advocate for more HIAs on trade agreements and has been presented at a number of international conferences and fora (American Public Health Association, 2023; Ashton, 2024; Ashton & Green, 2023; Silva et al., 2023), and the authors were asked to present the work at the World Health Organisation global New Economic Expert Group at the end of 2023 (World Health Organization, 2021c). In addition, the HIA has contributed to wider Public Health Wales and World Health Organization work on trade and in particular its role in supporting or inhibiting the creation of well-being economies (EuroHealthNet, 2022). Wales is a member of the Wellbeing Alliance and has a focus on sustainable development and well-being in its unique legislation the Wellbeing of the Future Generations (Wales) Act 2015 (Welsh Government, 2015). The well-being economy approach is underpinned by the principle that public and private investment, spending and resources should be guided by the extent to which a policy, service or organisation can improve population and societal well-being for all (EuroHealthNet, 2022). In other words, trade agreements should consider health and well-being before, or alongside, economic growth. This aligns with recent research from the Institute for Public Policy Research (IPPR) linking health and wealth(Thomas et al., 2022). However, UK Government estimates of economic growth are quite small and are only likely to be realised in the long term. The IPPR report argues that correcting failures on population health could help alleviate key economic challenges facing the United Kingdom, including low growth, low productivity, labour market losses and wide inequality. Therefore, given the inextricable links between trade, health and wealth, HIA of trade agreements should play an even more important role in trade policy discussions and scrutiny processes by building in a consideration of health prospectively to maximise health improvement opportunities and mitigate the negative impact. HIAs could prove valuable for other nations too, for example, those party to, or wanting to join, some of the recent mega regional trade agreements recently agreed such as the Regional Comprehensive Economic Partnership (RCEP), the African Continental Free Trade Area (AfCFTA) or the new iteration of the North America Free Trade Agreement (NAFTA) (Inama & Hoekman, 2022; World Economic Forum, 2021). Furthermore, a wide ranging HIA of the World Trade Organization (WTO) multilateral platform or on a specific topic such as Trade-Related Aspects of Intellectual Property Rights (TRIPS) or ISDS in relation to access to medicines may also be interesting avenues to pursue. 5 CONCLUSION This work has demonstrated the value of a HIA approach to highlight holistic health and equity considerations relevant to trade policy and trade negotiations. It mobilised a wide range of evidence through a transparent and systematic process. The findings of this HIA should be used to inform the implementation of the CPTPP to maximise potential benefits and mitigate any potential risks. The HIA has demonstrated the value of triangulating mixed methods to develop policy recommendations even in situations of uncertainty, but more research is urgently needed. The HIA has highlighted the links between trade, health, well-being and equity and the importance of further work to explore these links and apply this understanding to future trade policy. Biographies Liz Green is a Consultant in Public Health and Programme Director for Health Impact Assessment at Public Health Wales. She is a Visiting Professor at the WHO CC for ‘Healthy Urban Environments’ at the University of West of England, UK, and has extensive experience in Health Impact Assessment, ‘Health in All Policies' and spatial planning. Kath Ashton is a Principal Health Impact Assessment Development Officer within the Welsh Health Impact Assessment Support Unit (WHIASU). Kath has an interest in exploring how Health Impact Assessment can be used as a platform for social value measurement and provides advice, training and guidance on using Health Impact Assessment. Leah Silva is a Senior Policy and International Evidence Development Officer and Principal Health Impact Assessment Development Officer at Public Health Wales. Leah supports the organisation in advocating for and influencing public health policy and contributes to the development of Health Impact Assessments on key public health issues, including trade. Courtney McNamara is an interdisciplinary social scientist and Lecturer in Public Health within the Population Health Sciences Institute at Newcastle University. She has written extensively on the health impacts of international trade, including on CPTPP and the potential risks to public health. She is an editor for the journal Globalization and Health and chair of the Trade and Health Forum within the American Public Health Association. Michael Fletcher is a Public Health Officer in the Wales Health Impact Assessment Support Unit (WHIASU), focusing on Policy and Health Impact Assessments (HIAs). Michael has supported various HIAs over the past few years, including Brexit, the CPTPP and COVID-19. Louisa Petchey is a Senior Policy Specialist at Public Health Wales. Louisa manages the Polisi team and leads a collaborative partnership with the Future Generations Commissioner's office on embedding the long-term way of working into public body thinking and planning. Timo Clemens is an Associate Professor at the Department of International Health, Care and Public Health Research Institute CAPHRI, Maastricht University, Margaret Douglas is a Consultant in Public Health, Public Health Scotland and Honorary Clinical Senior Lecturer, University of Glasgow. Her interests include Health in All Policies, Health Impact Assessment and links between Place and Health and Economy and health. She has worked on HIA since the late 1990s, producing HIA reports, guidance and sector-specific evidence guides for HIA as well as academic publications. Open Research DATA AVAILABILITY STATEMENT The data that support the findings of this study are available from the corresponding author upon reasonable request.
205	dbpedia	2	34	https://archive.org/details/turner_video_2143	en	Body of Evidence : Free Download, Borrow, and Streaming : Internet Archive	https://archive.org/down…/2143_000010.jpg	https://archive.org/down…/2143_000010.jpg	[ "https://archive.org/services/img/etree", "https://archive.org/services/img/librivoxaudio", "https://archive.org/services/img/metropolitanmuseumofart-gallery", "https://archive.org/services/img/clevelandart", "https://archive.org/services/img/internetarcade", "https://archive.org/services/img/consolelivingroom", "https://archive.org/images/book-lend.png", "https://archive.org/images/widgetOL.png", "https://archive.org/services/img/tv", "https://archive.org/services/img/911", "https://archive.org/services/img/movie_trailers", "https://archive.org/services/img/moviesandfilms", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=control&cache_bust=955681610", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=disabled&cache_bust=1309192819" ]	[]	[]	[ "" ]	null	[]	null	Sizzingly sexy Madonna leads a star-filled cast in this erotic thriller as a woman accused of killing a wealthy, elderly man through her insatiable sexual...	en	https://archive.org/images/glogo.jpg	Internet Archive	https://archive.org/details/turner_video_2143	Search the history of over 866 billion web pages on the Internet. Search the Wayback Machine Search icon An illustration of a magnifying glass. Save Page Now Capture a web page as it appears now for use as a trusted citation in the future. Please enter a valid web address
205	dbpedia	3	81	https://technicolordreams70.wordpress.com/tag/jerry-lewis/	en	Technicolor Dreams	https://secure.gravatar.com/blavatar/45d344888b0ccc7665a66427f3aa2d110670ff626efa9918033fe3e6ca781895?s=200&ts=1723463232	https://secure.gravatar.com/blavatar/45d344888b0ccc7665a66427f3aa2d110670ff626efa9918033fe3e6ca781895?s=200&ts=1723463232	[ "https://technicolordreams70.wordpress.com/wp-content/uploads/2014/03/tumblr_mz3dx22z0d1rovfcgo1_500.jpg?w=450", "https://technicolordreams70.wordpress.com/wp-content/uploads/2011/03/film_clown.jpg?w=300&h=392", "https://technicolordreams70.wordpress.com/wp-content/uploads/2011/02/227673-1020-a.jpg?w=450&h=696", "https://technicolordreams70.wordpress.com/wp-content/uploads/2011/01/192893-1020-a.jpg?w=450&h=664", "https://technicolordreams70.wordpress.com/wp-content/uploads/2011/01/226561-1020-a.jpg?w=450&h=358", "https://technicolordreams70.wordpress.com/wp-content/uploads/2011/01/269336-1020-a.jpg?w=450&h=666", "https://technicolordreams70.wordpress.com/wp-content/uploads/2011/01/110613-1020-a.jpg?w=450", "https://technicolordreams70.wordpress.com/wp-content/uploads/2011/01/314852-1020-a.jpg?w=450&h=352", "https://technicolordreams70.wordpress.com/wp-content/uploads/2011/01/11-harrowhouse-movie-poster-1020232714.jpg?w=450&h=675", "https://technicolordreams70.wordpress.com/wp-content/uploads/2011/02/240984-1020-a.jpg?w=450&h=356", "https://technicolordreams70.wordpress.com/wp-content/uploads/2011/02/258198-1020-a.jpg?w=450&h=672", "https://technicolordreams70.wordpress.com/wp-content/uploads/2010/01/zvirpkfps8f9bzy.jpg?w=450&h=353", "https://technicolordreams70.wordpress.com/wp-content/uploads/2010/01/way019.jpg?w=300&h=225", "https://technicolordreams70.wordpress.com/wp-content/uploads/2010/01/way024.jpg?w=236&h=300", "https://technicolordreams70.wordpress.com/wp-content/uploads/2010/01/way002.jpg?w=450", "https://s-ssl.wordpress.com/wp-includes/images/rss.png?m=1354137473i", "https://0.gravatar.com/avatar/f3aae126190e54306ec4cc6dfced7504878a4b6fa4a3881dae306cc0610b04b5?s=16&d=&r=X", "https://0.gravatar.com/avatar/?s=16&d=&r=X", "https://2.gravatar.com/avatar/ed168988011e56ede4d8f864689959731f62945c58944de864a3fd33f58a0c3f?s=16&d=&r=X", "https://0.gravatar.com/avatar/?s=16&d=&r=X", "https://1.gravatar.com/avatar/7dca66acca6e2c140aa35942aea42724c06f5d38bacc4b9dd5931d541445691f?s=16&d=&r=X", "https://2.gravatar.com/avatar/b3400ef850417b537449ab166564e7d0fde7aff17313f08ac55e58e370be5641?s=128&d=&r=X", "https://secure.gravatar.com/blavatar/45d344888b0ccc7665a66427f3aa2d110670ff626efa9918033fe3e6ca781895?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/45d344888b0ccc7665a66427f3aa2d110670ff626efa9918033fe3e6ca781895?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	null	Posts about Jerry Lewis written by christian	en	https://secure.gravatar.com/blavatar/45d344888b0ccc7665a66427f3aa2d110670ff626efa9918033fe3e6ca781895?s=32	Technicolor Dreams	https://technicolordreams70.wordpress.com/tag/jerry-lewis/	Let’s reel in the new year with a fresh batch of Instant Watch films that includes the outre, the classics and the forgotten among others. Netflix has added so many terrific titles that it’s been a buffet of indecision as to when I can viddy them all, but I’m plugging away like you, catching up on old and new favorites, so this edition will contain multitudes. Our Feature Presentations: SALT & PEPPER (1968) – A surprise hit from BANANA SPLITS director Richard Donner, starring Rat Packers Sammy Davis, Jr. and Peter Lawford as the titular pair of swinging London club-owners and bon vivants, I have no real defense for this ridiculous bit of fluff — that doesn’t mean I haven’t watched it about five times, specifically for the great opening titles. I’m a sucker for Sammy Davis, Jr. and feel his was the most unappreciated and underused talent of the Rat Pack. The plot, such as it is, entails something about our koo-koo heroes involved in 60’s style international espionage and their wacky attempts to find out who’s killing who or bombing whatzit; I’m still not sure nor should I care. There’s lots of “Playboy” era sexism and limp risque humor, such as the recurring joke with a group of English students calling out, “Fags” — for cigarettes, get it, guv? Each silly scene beggars reality, such as Davis wailing on guitar during a faux-rock number in a youth club, or the pair escaping the villains in a floating car boat. But Sammy and Peter are a likable pair of cads and their unapologetic ebony and ivory vibe is kind of heartwarming in the midst of the decade’s racial strife. Plus, check out that Jack Davis poster! However, the 1970 sequel, ONE MORE TIME, directed by Jerry Lewis, must be seen to be disbelieved and makes SALT & PEPPER look like a Billy Wilder farce. FULL METAL JACKET (1987) – No, it’s not the best war movie ever made, as I’d put Kubrick’s PATHS OF GLORY (1958) up with obvious others like APOCALYPSE NOW, PLATOON among a few before this. But there is greatness here as in most Kubrick, particularly the entire first section of the film set at boot camp where we first encounter Privates Joker (Mattew Modine) and Pyle (Vincent D’Onfrio) learning how to become trained killing machines under the harsh tutelage of Sgt. Hartman (R. Lee Emery), the most loathsome and charismatic soldier in the history of cinema. Expertly framed by Kubrick’s compositional mastery and Douglas Milsome’s icy blue lighting, this segment is a powerful indictment of the military during our misguided excursion into Vietnam, leavened by some pitch black humor courtesy of Emery’s endlessly quotable insults and D’Onfrio’s doltish grin (recalling one of the Droogs from A CLOCKWORK ORANGE). We all know how it climaxes, with Kubrick’s patented bowed-face-stare-into-the-maw-of-madness and Sgt Hartman on the rifle receiving end of his own protege. Sadly, the second half of the film set proper in ‘Nam, with a more wizened, cynical Private Joker and his team caught in a flurry of battle, is less satisfying, though not without interest. I would have prefered Anthony Michael Hall, Kubrick’s inspired, original choice for Joker; the sketchy characters don’t seem to have anywhere to go except through their paces and I’m not sure what exactly this segment has to say about America or Vietnam except that the combo leads to dehumanization, Stanley Kubrick’s subject du jour. One can debate for days whether this is an iconic masterpiece or a brilliant misstep, but there are moments that are forever part of our film DNA. Netflix presents this in crisp High Definition, and it’s certainly worth another view if only to remind us of an age when cinema masters ruled the screen. “10” (1980) – Surprisingly, I just watched this for the first time following Blake Edward’s passing and was surprised at how less wacky it was considering Edward’s slapstick pedigree. No wonder since it was written in the early 70’s, obviously based on the filmmaker himself in a time of unbridled hedonistic introspection. Starring Dudley Moore during his second-act American ascension (that began with his scene-stealing in FOUL PLAY (1978)) as a bored successful songwriter undergoing the classic mid-life crisis who falls for a spectral beauty played by Bo Derek, “10” mashes up Edward’s cinematic sexual hijinks with somber meditations on age. Interestingly, the film posits a square attitude with Derek representing the callow youth of the age, even though she launched a fashion trend and hundred magazine covers; it’s hard to take seriously Moore’s lament that today’s generation only has “Why Don’t We Do It In The Road” for an anthem in the face of his “elevator music” as Derek apropos calls it. Still, Moore is outstanding and the seduction scenes between him and Derek (who is actually quite good here) are more raw and insightful than I would have expected. And despite the generational chauvinism, Edwards was still a cultural forecaster, injecting the ponderous strains of Bolero into music cliche history. Julie Andrews doesn’t have much to do here, but Dee Wallace, Robert Webber and Brian Dennehy get juicy roles and the whole film has an aura of melancholy that belies its comedic nature. NORTH DALLAS FORTY (1978) – Based on former NFL player Peter Gent’s caustic, raunchy best-seller (which I own), this is possibly the best film about professional football, a sport I admittedly could not give a shit about except what it reveals about our cultural character. Nick Nolte stars in a defining role as Phillip Eliot, a fading quarterback whose failing body is propped up by pot, sex, pills, booze and the glory of the gridiron. Due to his individual, idiosyncratic nature, he finds himself on thin turf with the hard-ass team owner played to icy perfection by G.D. Spradlin, who made a minor career out of such roles in the 70’s (playing almost the same part in 1977’s basketball sleeper, ONE ON ONE). Elliot has enough self-awareness to question the casual sexism and brutality of his teammates, well-played by Mac Davis, the awesome Bo Svenson and ex-pro, John Matuszak. He finds himself in a somewhat typical “beauty and the beast” relationship with a socialite who frequently questions his lust for the macho theatrics (yet doesn’t question her own lust for the stud). Ted Kotcheffs direction is top-flight here, and I’m particularly impressed by the locker room prelude to the big final game, an amazing scene that shows each player going through their own mental warm-up, replete with simmering rivalries and uneasy alliances. Charles Durning and Dabney Coleman add to the bonza ensemble, but it’s Nick Nolte’s show all the way in an Oscar-worthy performance; his epic monologue to the team owners is one of his finest moments. The film wisely jettisons the novel’s tragic, sensationalistic ending in favor of a more subtle 70’s flavored denouement. Touchdown! THE LAST EMBRACE (1980) – Jonathan Demme’s first and least-known studio film is a strange Hitchcockian thriller about a frazzled agent (Roy Scheider) who may or may not be marked for assassination. He enlists the reluctant aid of the sexy, underused Janet Margolin (ANNIE HALL) and they find themselves in a confusing web of intrigue and murder. It’s great to see Russ Meyer regular Charles Napier in widescreen action and there are juicy bits from John Glover and Christopher Walken as well. Scheider’s nervous paranoid freak-outs are unusual somewhat unintentionally funny and the stoic nature of this thriller plot doesn’t fit Demme’s eclectic, generous style, but it’s definitely worth a view of only for a film unavailable on DVD and whose identity I only learned of last year. Or did I? Is this a set-up? A trap? TWO FOR THE SEESAW (1962) – Another Forgotten Film newly discovered in the Netflix vault (and recently added to the 20th Century Fox CreateSpace DVD On-Demand line-up), this is a fascinating romantic noir about a staid, recently divorced lawyer (Robert Mitchum) who moves to Manhattan and meets your proto-typical beatnik (Shirley MacLaine) to form an uneasy love affair between two worlds. Based on a play by William Gibson, directed with maximum Panavision style by the master of studio filmmakers, Robert Wise, TWO FOR THE SEESAW has some of the most stunning black and white cinematography I’ve ever seen, the palpable grit and intimacy of New York adding to the texture of the odd couple; DP Ted McCord deserved his Academy Award nomination. In a nice surprise, Mitchum’s squarish lawyer only wants the best for the self-destructive MacLaine, and doesn’t attempt to turn her into a stay at home housewife. Their relationship is handled with a surprising amount of risque honesty given its studio pedigree, but Wise never shied away from controversy, a more subtle and less exploitive Otto Preminger or Stanley Kramer. Both actors are in top form and in fact would start an affair of their own after the production. While the poster promises a madcap love story, the film’s kitchen-sink ambiance belies any easy generalization. A powerful, memorable final scene. 11 HARROWHOUSE (1974) – Another long overdue title recently released by the good folk at Shout! Factory, this was a regular on late-nite television back in the day and one I never actually watched. Starring Charles Grodin (who also wrote the screen adaption with Jeffrey Bloom), Candice Bergen and the stalwart English trio of James Mason, Trevor Howard and John Gielgud, directed with stylish panache by former editor Aram Avakian (JAZZ ON A SUMMER’S DAY; END OF THE ROAD; COPS AND ROBBERS), this is the very definition of a 70’s breezy, international caper film. Grodin narrates in his most deadpan manner (which Variety dubbed as “catatonic” and was oddly absent from the original VHS release, making it clear the voice-over was a post-production addition) as an underacheiving diamond-merchant who attempts a massive gem robbery from the high-class rogues at “11 Harrowhouse.” I adore this kind of urbane, methodical film redolent of a quieter pop era with a sleek Michael J. Lewis score, expertly lensed by Arthur Ibbetson (WILLY WONKA AND THE CHOCOLATE FACTORY; WHERE EAGLES DARE) in an excellent Panavision print and Avakian’s subtle mise-en-scene for his last directorial effort delivers the goods. THE BEAST WITHIN (1982) – I still have the FANGORIA magazine that alerted me to the production of this unusual shocker and recall Roger Ebert’s TV review where he declared this the most disgusting film he’d ever seen. I vividly recall being at the drive-in with family and watching this mesmerized on the opposite silent screen of whatever forgotten film we had ostensibly gone to watch. Written by Tom Holland (FRIGHT NIGHT; CHILD’S PLAY) and directed by Philippe Mora, this is certainly one of the most unique, and yes, disgusting, genre films of the decade. The weird gothic story deals with the aftermath of a monstrous rape that leads to the birth of a troubled youth who carries the cursed “cicada” gene, intensely played by Paul Clemons (a genuine horror fan who made appearances in FAMOUS MONSTERS OF FILMLAND). Revisiting the Mississipi swampy scene of the crime, the beast within rears its ugly head in a revolting, show-stopping finale that helped usher in the totally 80’s age of the bladder-effect courtesy of future Oscar-nominee Tom Burman, who also originated the term “special make-up effects.” Undeniably sleazy and ridiculous; directed with genuine Southern-fried atmospheric dread by Moira, with a nifty character actor cast from Ronny Cox to Luke Askew to L.Q. Jones, sporting Les Baxter’s histrionic final score and an aficionado’s love of the horror genre, THE BEAST WITHIN is perfect drive-in fare or fodder. You have been warned. SUBURBIA (1996) – Richard Linklater’s follow-up to DAZED AND CONFUSED, based on a play by Eric Bogosian, and set in Burnsfield, Texas (shot in my beloved Austin, natch), the story takes place over the course of one night as a pack of restless youth confront their dead-end lives in the form of Pony, the only one to escape and return as a minor rock star. Featuring an archetypal 90’s indie cast of Giovanni Ribisi, Nicky Katt, Parker Posey, and Steve Zahn, Bogosian’s script doesn’t necessarily reflect genuine generational angst; I don’t believe that Ribisi’s Kerouacian writer and Amie Carey’s performance artist would be part of a gang that regularly insults the Indian convenience store owner (Ajay Naidu). But the actors are quite engaging, and there are many moments of truth and humor thanks to Linklater’s typically understated directing. SUBURBIA is not available on DVD but will be coming to Criterion in the near future. Hail Netflix for adding this worthy addition of cinematic anomie to the instant queue. From the tragic to the tragique, I realize I’ve written very little on Monsieur Jerry Lewis, the greatest living comedic filmmaker on the planet (alongside Woody) despite the highly debatable nature of his output or even if some consider it comedic at all. Or do they? Lewis was the butt of many jokes about bad comedy in the 1970’s-80’s until his critical reformation in THE KING OF COMEDY (1982) — and Lewis was right, the critics are usually the last to know. That was then. Is there actually anybody now who can’t find something hilarious in any Jerry Lewis film? Maybe John Simon or Rex Reed. Or the authors of THE DAY THE CLOWN CRIED (1970). Woody Allen even asked The Idiot to direct TAKE THE MONEY AND RUN (1969) and Lewis told him to do it himself. I was glad to see Jerry take the stage and finally get his Academy Award, though he shoulda been nominated for Best Actor as THE NUTTY PROFESSOR (1963) — as Eddie Murphy also should have in the otherwise uneven re-make in 1996. Like Marty Scorcese, I keep a treasured copy of “The Total Film-Maker” close to my vest. All of which is fanfare about a flea, since we’re talking WAY…WAY OUT from 1966, one of Lewis’ rarely-screened and unavailable films. I recall seeing this only once in my TV childhood, a CBS Late Night Movie I believe; I was an astronaut geek and intrigued by its 60’s space age ambiance. Plus I was a Lewis fan as most children were. But this was one of the transitional films where Lewis was trying to update his man-child persona into swinging bachelorhood, the same way Julius Kelp transforms into Buddy Love, though less obnoxious. Paramount wanted Lewis to stop directing, stop getting all artistic and go back to the laughs, as in the sexy swinging stews comedy with Tony Curtis, BOEING BOEING (1965). That was his last film at the studio, but he tried this soft approach at 20th Century Fox. But comparing THE NUTTY PROFESSOR to WAY…WAY OUT shows the fallacy of that argument. The screenplay by William Bowers is the highly probable story of a 1989 cosmic cold sex war as Jerry Lewis and Connie Stevens, the first American married astronauts, are sent to a moonbase along with a horny Russian couple. Wacky outer space 60’s hi-jinks ensue. Or don’t, depending on your comedy bent. The gags are on the level of a risque party jokebook, with the characters as strained as the material. And as directed by that venerable workhorse Gordon Douglas (THEM; OCEAN’S ELEVEN), the set-ups are more static than a CinemaScope episode of LOST IN SPACE. Yet…yet there are pleasures to be had in WAY…WAY OUT. The movie blasts off from the get go-go with the infectious theme song by Gary Lewis & The Playboys along with Lalo Schifrin, who composed the supercool soundtrack (which is what most favorably remember about this effort along with its spaz star). The widescreen frame gives this low-budget film an epic Pan Am sheen; the production design is suitably NASA pop for the era. Then of course there’s Jerry Lewis, who doesn’t show up for ten minutes, and who plays in a lower-idiot key, more of a men’s magazine cad than bumbling fool. As others have discovered, Lewis does just as well when under-playing and over-playing, but it’s also true that this kind of part could have been written for Tony Curtis or James Garner and doesn’t take advantage of Lewis’s physical gifts until the end of the movie as the astronauts engage in an all-too-brief space brawl. He’s also at his best in a scene where he becomes brazen and obnoxious in a drunken report to Robert Morley. The supporting cast is very interesting, especially one of my favorites, Dick Shawn, as the lovable Russian cosmonaut. Dennis Weaver and Howard Morris play the crazed, frustrated astronauts who have a complete breakdown with Weaver surprisingly funny. Brian Keith is good as a stern general cast in the DR. STRANGELOVE-mode. And it wouldn’t officially be a 60’s sex comedy without Anita Elkberg. Va-va-va zoom, lady!
205	dbpedia	1	98	https://library.law.wisc.edu/dvd-collection/	en	DVD Collection	https://library.law.wisc…logo-150x150.png	https://library.law.wisc…logo-150x150.png	[]	[]	[]	[ "" ]	null	[]	null	The UW Law Library has a large collection of law-related feature films and documentaries which are available at the Circulation Desk for three day loan. The study room on the fifth floor is equipped with a VCR and DVD player for film viewing.	en	https://library.law.wisc…logo-150x150.png	Law Library	https://library.law.wisc.edu/dvd-collection/	1 Feature Film Absence of Malice (DVD) 117 min. Originally released as a motion picture in 1981. Paul Newman, Sally Field, Bob Balaban, Melinda Dillon, Luther Adler, Barry Primus, Josef Sommer, John Harkins, Don Hood, Wilford Brimley. Written by Kurt Luedtke; produced and directed by Sydney Pollack; director of photography, Owen Roizman; music, Dave Grusin; editor, Sheldon Kahn. A businessman becomes the subject of a criminal investigation when a story about him is purposely "leaked" to an investigative reporter. 2 Feature Film The Accused (DVD) 110 min. DVD release of the 1988 motion picture. Kelly McGillis, Jodie Foster. Director, Jonathan Kaplan ; producers, Stanley R. Jaffe, Sherry Lansing ; writer, Tom Topor ; director of Photography, Ralf Bode ; editors, Jerry Greenberg, O. Nicholas Brown. A fiercely independent woman is gang raped, then battles the legal system twice, going after both her attackers and the onlookers whose cheering fueled and encouraged the assault. 3 Feature Film Adam's Rib (DVD) 101 min. DVD release of the 1949 motion picture. Spencer Tracy, Katharine Hepburn, Judy Holliday, Tom Ewell, David Wayne, Jean Hagen, Hope Emerson. Produced by Lawrence Weingarten; directed by George Cukor; screen play by Ruth Gordon and Garson Kanin; director of photography, George J. Folsey; film editor, George Boemler; music by Miklos Rozsa. A husband and wife lawyer team clash when the wife defends a woman on trial for shooting her spouse, with the lawyer-husband as the prosecutor. 4 Feature Film Advise & Consent (DVD) 138 min. Originaly produced in 1962 as a motion picture. Based on the novel by Allen Drury. Henry Fonda, Charles Laughton, Don Murray, Walter Pidgeon, Peter Lawford, Gene Tierney, Franchot Tone, Lew Ayres, Burgess Meredith, Eddie Hodges, Paul Ford, George Grizzard, Inga Swenson, Frank Sinatra (voice), Edward Andrews, Paul McGrath, Will Geer, Betty White, Tom Helmore, Rene Paul, Paul Stevens, Russ Brown, Malcolm Atterbury, Janet Jane Carty, Hilary Eaves, Michele Montau, J. Edward McKinley, William Quinn, Tiki Santos, Raoul De Leon, Chet Stratton, Larry Tucker, Bettie Johnson, John Granger, Sid Gould, Meyer Davis and his orchestra. Screenplay by Wendell Mayes; produced & directed by Otto Preminger; director of photography, Sam Leavitt; film editor, Louis R. Loeffler; music by Jerry Fielding; production designer, Lyle Wheeler; set decorator, Eli Benneche; sound, Harold Lewis and William Hamilton; Gene Tierney's clothes designed by Bill Blass. Blackmail, suicide and scandal follow the President's appointment of an unpopular Secretary of State, and put the stability of the entire U.S. government at risk in this highly praised political drama. 5 Feature Film The Advocate (DVD) 102 min. DVD release of the 1993 motion picture. Colin Firth, Ian Holm, Donald Pleasence, Amina Annabi, Nicol Williamson. Producer, David Thompson; director, Leslie Megahey; screenplay, Leslie Megahey. Set in the 15th century, this is the story of a young lawyer-advocate whose quest for the simple life leads him to a position in a small rural village. Instead of the peaceful life, however, he finds more depravity and intrigue than in the city. 6 Feature Film All the King's Men (DVD) 110 min. Originally produced as a motion picture in 1949. Based on the book by Robert Penn Warren. Winner, 1950 Academy Awards for Best Actress in a Supporting Role--Mercedes McCambridge, Best Actor in a Leading Role--Broderick Crawford, Best Picture--Robert Rossen Productions; 1950 Writer's Guild of America Awards for Best Written American Drama and The Robert Meltzer Award (Screenplay Dealing Most Ably with Problems of the American Scene)--Robert Rossen; 1950 Golden Globe Awards for Most Promising Newcomer-Female and Best Supporting Actress--Mercedes McCambridge, Best Motion Picture Actor--Broderick Crawford, Best Motion Picture Director--Robert Rossen, Best Motion Picture-Drama. Broderick Crawford, John Ireland, Joanne Dru, John Derek, Mercedes McCambridge, Shepperd Strudwick, Ralph Dumke, Anne Seymour, Katharine Warren, Raymond Greenleaf, Walter Burke, Will Wright, Grandon Rhodes. Written for the screen and directed by Robert Rossen; director of photography, Burnett Guffey; art director, Sturges Carne; film editor, Al Clark; montages, Donald W. Starling; gowns, Jean Louis; musical score by Louis Gruenberg. This is the story of working class hero Southern demagogue Willie Stark--rising from the mud of the back country--and his long climb to the top, followed by his longer drop to the bottom. Abetted by newspaper reporter Jack Burden, who becomes his chronicler, Stark's career begins with running for county treasurer and losing. Through law school, private practice, and finally as people's advocate against corruption, he moves up the political ladder. In his 2nd run for governor, Willie vows to give the people new hospitals, schools, roads -- and when he's elected, he delivers. But the more power he gets, the more corrupt he acts, until he's unrecognizable. He chases women, turns his family into photo-op props, and makes Burden his personal character assassin. Do the ends justify the means? Is it power that corrupts, or is it that power allows people to be corrupt? These are the questions that Willie Stark, in the end, cannot answer. 7 Feature Film Amistad (DVD) 155 min. Originally released as a motion picture in 1997. Academy Award nominations for Best Supporting Actor (Hopkins), Best Music, Best Costume Design, and Best Cinematography. Morgan Freeman, Nigel Hawthorne, Anthony Hopkins, Djimon Hounsou, Matthew McConaughey. Written by David Franzoni; directed by Steven Spielberg; produced by by Steven Spielberg, Debbie Allen, and Colin Wilson; director of photography, Janusz Kaminski; film editor, Michael Kahn; music, John Williams. Chronicles the 1839 revolt on board a slave ship bound for America. Much of the story involves the court-room drama about the slave who led the revolt. 8 Feature Film Anatomy of a Murder (DVD) 161 min. DVD release of the 1959 motion picture. Based on the novel of the same title by Robert Traver. James Stewart, Lee Remick, Ben Gazzara, George C. Scott. Producer and director, Otto Preminger; screenplay, Wendell Mayes; music, Duke Ellington. A riveting courtroom drama of rape and premeditated murder. 9 Feature Film And Justice For All (DVD) 120 min. DVD release of the 1979 motion picture. Al Pacino, Jack Warden, John Forsythe, Lee Strasberg. Music, David Grusin; screenplay, Valerie Curtin, Barry Levinson; executive producer, Joe Wizan; producers, Norman Jewison, Patrick J.Palmer; director, Norman Jewison. A young lawyer battles not only one-on-one injustice in the courts, but the whole system as well. 10 Feature Film The Asphalt Jungle (DVD) 112 min. Originally produced as a motion picture in 1950 Based on the novel by W.R. Burnett. Sterling Hayden, Louis Calhern, Jean Hagen, James Whitmore, Sam Jaffe, John McIntire, Marc Lawrence, Barry Kelley, Anthony Caruso, Teresa Celli, Marilyn Monroe. Director, John Huston; producer, Arthur Hornblow, Jr.; screenplay, Ben Maddow, John Huston; director of photography, Harold Rosson; art directors, Cedric Gibbons and Randall Duell; film editor, George Boemler; music by Miklos Rozsa; set decorations, Edwin B. Willis. When criminal mastermind Doc Riedenschneider is released from prison, he approaches lawyer Alonzo Emmerich with a plan for the biggest jewel heist in history. Doc carefully selects and rehearses his team, but Emmerich is planning to double-cross the thieves and flee the country with the loot. 11 Feature Film Assault at West Point (VHS) 95 min. Videocassette release of the 1994 motion picture. Based on the book The Court-Martial of Johnson Whittaker by John F. Marszalek. Samuel L. Jackson, Sam Waterston, Seth Gillam, Mason Adams, Val Avery, Eddie Bracken, Gene Canfield, Robert Clohessy, Al Freeman, Jr., Ken Garito, Greg Germann, John Glover, Brad Greenquist, Peter Maloney, George Martin, Scott Paetty, Josef Sommer. Writer/producer/director, Harry Moses; executive producers, Bob Rubin, Bill Siegler; director of photography, Ken Kelsch; editor, Jay Freund; music, Terence Blanchard. A dramatization of the court martial of Johnson Whittaker (Gillam) and the clash between a Harvard-educated black law professor (Jackson) and his co-defense, a racist white attorney (Waterston) more interested in upholding the honor of West Point than in seeing that justice is done. 12 Feature Film Bad Lieutenant (DVD) 91 min. Originally produced as motion picture in 1992. Harvey Keitel, Victor Argo, Paul Calderone, Leonard Thomas, Robin Burrows, Frankie Thorn, Victoria Bastel, Paul Hipp. Executive producers, Ronna B. Wallace, Patrick Wachsberger; director of photography, Ken Kelsch; production designer, Charles Lagola; music, Joe Delia; editor, Anthony Redman; co-producer, Randall Sabusawa; screenplay, Zoe Lund, Abel Ferrara; producers, Edward R. Pressman, Mary Kane; director, Abel Ferrara. He's a gambler, a thief, a junkie, a killer, and a cop. Now he's investigating the most shocking case of his life, and as he moves closer to the truth, his self-destructive past is closing in. 13 Feature Film The Big Hangover (DVD) 82 min. DVD release of the 1950 motion picture. Van Johnson, Elizabeth Taylor. Writer, director, producer, Norman Krasna. An ex-pilot was trapped in a wine cellar during a WWII bombing and almost got drowned in a flood of brandy. Since then even a sniff renders him instantly pie-eyed. To his rescue comes the beautiful daughter of his boss. 14 Feature Film Billy Budd (DVD) 123 min. DVD release of the 1962 motion picture. Robert Ryan, Peter Ustinov, Melvyn Douglas, Terence Stamp. Screenplay by Peter Ustinov and DeWitt Bodeen; produced and directed by Peter Ustinov; director of photography, Robert Krasker; film editor, Jack Harris; art director, Peter Murton; technical advisor, Alan Villiers; campera operator, John S. Harris; music composed by Anthony Hopkins. Movie version of the play by Louis Osborne Cox and Robert H. Chapman, based on the novel by Herman Melville: story of the clash between the young, innocent sailor, Billy Budd, and his corrupt superior, Claggart. 15 Feature Film Black Widow (DVD) 101 min. DVD release of the 1987 motion picture. Debra Winger, Theresa Russell, Black Widow, Sami Frey, Dennis Hopper and Nicol Williamson. Music, Michael Small; director of photography, Conrad Hall; production designer, Gene Callahan; executive producer, Laurence Mark; written by Ronald Bass; produced by Harold Schneider; directed by Bob Rafelson. A complex psychological thriller about a beautiful serial killer whose victims are wealthy men. A lonely federal agent tracks down the alluring seductress only to be turned inside out when she falls under the killer's potent spell herself. 16 Feature Film Blaze (DVD) 117 min. DVD release of the 1989 motion picture. Based on the book: Blaze Starr, my life as told to Huey Perry. Paul Newman, Lolita Davidovich. Director of photography Haskell Wexler; executive producers David Lester and Don Miller; produced by Gil Friesen and Dale Pollock; written for the screen and directed by Ron Shelton. Based on the real life story of stripper Blaze Starr and her romance with the governor of Louisianna. 17 Feature Film Bleak House (1988) (DVD) 6 hr. 30 min. A BBC TV production in association with the Arts and Entertainment Network. Originally shown on television. Based on the novel by Charles Dickens. Diana Rigg, Denholm Elliot. Dramatised by Arthur Hopcraft; directed by Ross Devenish; producers, Betty Willingale, John Harris; photographers, Kenneth Macmillan, John Walker; film editors, Clare Douglas, Dave King; music, Geoffrey Burgon. Charles Dickens' biting social commentary on the justice system of 19th century England. The infamous Jarndyce case has been dragging through the courts for years, ruining lives and leaving entire families devastated. John Jarndyce, a good-natured country gentleman, refuses to let it control his life. But one of his wards is not so fortunate. Like so many before him, the young man gets caught up in the labrynthine suit and the intrigue that surrounds it. A powerful tale of greed and social decay. 18 Feature Film Blind Faith (VHS) 121 min. Originally produced as a motion picture in 1998. Charles S. Dutton, Courtney B. Vance. Produced by Nick Grillo; written by Frank Military; directed by Ernest Dickerson; director of photography, Rodney Charters; film editor, Stephen Lovejoy; music, Ron Carter. Drama set in 1957 in the Bronx, this is the story of a black teenager on trial for killing a young white man in the park. 19 Feature Film Blind Justice (DVD) 94 min. DVD release of the 1986 motion picture. Based on a true story. Tim Matheson, Mimi Kuzyk, Lisa Eichhorn. Writers, Josephine Cummings, Richard Yalem; director, Rod Holcomb; producer, Andrew Gottlieb. James Anderson is falsely arrested, charged with armed robbery, identified by his "victim," and eventually charged with six similar crimes plus kidnapping and rape. As the ordeal continues, Jim's life falls apart to such a degree that eventually even he begins to wonder if he's actually guilty. This film paints a powerful, frightening picture about what can happen when justice, "blindfolded" to be fair to all, is also blind to innocence. 20 Feature Film Body Heat (DVD) 113 min. DVD release of the 1981 motion picture. William Hurt, Kathleen Turner, Richard Crenna. Writer-director, Lawrence Kasdan; produced, Fred T. Gallo. A likable, unambitious lawyer and his siren-like lover plot to kill her wealthy husband. 21 Feature Film Body of Evidence (DVD) 99 min. DVD release of the 1992 motion picture. Not based on the novel by Patricia Cornwell. Rated R. Madonna, Willem Dafoe, Joe Mantegna, Anne Archer. Producer, Dino De Laurentiis; director, Uli Edel; writer, Brad Mirman; music, Graeme Revell; film editor, Thom Noble; director of photography, Doug Milsome. Rebecca Carlson is on trial for the murder of her older, wealthy lover whose death, it seems, was the result of an intense lovemaking session with Rebecca. It is up to Rebecca's attorney to prove her innocence but when he becomes entangled in her web of erotic game-playing, his body of evidence begins to contain as many curves as his client. 22 Feature Film The Bounty (DVD) 130 min. DVD release of the 1984 motion picture. Based upon the book Captain Bligh and Mr. Christian by Richard Hough. Mel Gibson, Anthony Hopkins, Edward Fox, Laurence Olivier. Producer, Bernard Williams; director, Roger Donaldson; screenplay, Robert Bolt; music, Vangelis. In 1787, Lt. William Bligh leads an expedition to take breadfruit plants from Tahiti to Jamaica, with his old friend Fletcher Christian as Master's Mate. After an arduous journey during which the ship is nearly lost in a disastrous attempt to sail around Cape Horn, they reach Tahiti, where the crew is seduced by its natural splendors and uninhibited native women. When Bligh insists on trying once more to round the Horn during the voyage to Jamaica, Christian leads the men in a mutiny. 23 Feature Film The Bonfire of the Vanities (DVD) 126 min. DVD release of the 1990 motion picture. Based on the novel by Tom Wolfe. Tom Hanks, Bruce Willis, Melanie Griffith. Producer/director, Brian De Palma; screenplay, Michael Cristofer. A Wall Street wheeler-dealer has everything going his way. But one night, in the right car with the wrong woman, he took a wrong turn at the wrong place, and nothing has gone right ever since! 24 Feature Film Breaker Morant (VHS) 106 min. Videorecording of the 1979 motion picture. Adapted from the play of the same title by Kenneth Ross, with additional material from "The Breaker," by Kit Denton. Edward Woodward, Jack Thompson, John Waters, Bryan Brown. Producer, Matthew Carroll; director, Bruce Beresford; screenplay, Jonathan Hardy, David Stevens, Bruce Beresford; photography, Donald McAlpine; film editor, William Anderson. Following the brutal death of a British captain in the Boer War in South Africa in 1901, Lt. Harry Morant leads his unit in pursuit of the Boers, attacks their camp, and has a captive executed. Other executions and deaths lead to the arrest and trial of Morant and two other lieutenants. 25 Feature Film The Caine Mutiny (DVD) 125 min. Originally released as a motion picture in 1954. Based on the Pulitzer Prize winning novel by Herman Wouk. Humphrey Bogart, Jose Ferrer, Van Johnson, Lee Marvin, E.G. Marshall, Fred MacMurray, Robert Francis, May Wynn. Director, Edward Dmytryk; producer, Stanley Kramer; screenplay, Stanley Roberts; music, Max Steiner. A combat-weary, paranoic Captain Queeg loses his nerve during a typhoon and is relieved of command by his first officer 26 Feature Film Call Northside 777 (DVD) 111 min. Originally released as motion picture in 1948. James Stewart, Richard Conte, Lee J. Cobb, Helen Walker. Screenplay, Jerome Cady, Jay Dratler; adapters, Leonard Hoffman, Quentin Reynolds; producer, Otto Lang; director, Henry Hathaway. The powerful true story of a reporter who corrects a miscarriage of justice. 27 Feature Film Cape Fear (1961 : DVD) 106 min. Originally released as a motion picture in 1961. Based on the novel "The Executioners" by John D. MacDonald. Gregory Peck, Robert Mitchum, Polly Bergen, Lori Martin, Martin Balsam, Jack Kruschen, Telly Savalas, Barrie Chase. Director, J. Lee Thompson; producer, Sy Bartlett; screenplay, James R. Webb. An ex-con is determined to wreak bloody revenge on the small-town lawyer who helped send him to jail. 28 Feature Film Cape Fear (1991 : DVD) 128 min. Originally released as a motion picture in 1991. Based on a screenplay by James R. Webb and "The Executioners," a novel by John D. MacDonald. Robert De Niro, Nick Nolte, Jessica Lange, Joe Don Baker, Juliette Lewis, Robert Mitchum, Gregory Peck. Bernard Hermann's score adapted and conducted by Elmer Bernstein; editor, Thema Schoonmaker; production designer, Henry Bumstead; director of photography, Freddie Francis; executive producers, Kathleen Kennedy and Frank Marshall; screenplay, Wesley Strick; producer, Barbara De Fina; director, Martin Scorsese. Fourteen years after being imprisoned, psychopath Max Cady emerges with a single-minded mission: to seek revenge on his attorney Sam Bowden. 29 Feature Film A Case of Deadly Force (VHS) 95 min. Videocassette release of the 1986 made-for-television motion picture. Based on the book Deadly Force, the true story of how a badge can become a license to kill, by L. O'Donnell. Richard Crenna, John Shea, Lorraine Toussaint, Frank McCarthy, Tom Isbell, Dylan Baker, Michael O'Hare, Tate Donovan. Director, Michael Miller; Producer, Bruce S. Pustin; teleplay, Dennis Nemec; photography, Kees Van Oostrum; editor, Paul Fried; music, Paul Chihara. When an innocent black man is killed by the Boston police, attorney Lawrence O'Donnell takes on a "wrongful death" case against Boston's Tactical Patrol Force and police brutality. 30 Feature Film The Castle (DVD) 84 min. Originally released as a motion picture in 1997. Michael Caton, Anne Tenney, Stephen Curry, Sophie Lee, Anthony Simcoe, Charles "Bud" Tingwell. Director, Rob Stich; producer, Debra Choate; written and conceived by Santo Cilauro et al.; director of photography, Miriana Marusic; art director, Ben Morieson; editor, Wayne Hyett; music, Edmund Choi. Even though there is an airport practically running through their backyard, the eccentric Kerrigan clan loves their humble home. But when the airfield needs room to expand, the government says that the Kerrigans have got to go. This hilarious family decides to stay and fight for their beloved "castle" ... no matter how far the conflict goes. 31 Feature Film The Chamber (DVD) 113 min. DVD release of the 1997 motion picture. Based on the novel by John Grisham. Chris O'Donnell, Gene Hackman, Faye Dunaway, Lea Rochon, Robert Prosky, Raymond Barry, David Marshall Grant. Director of photography, Ian Baker; editor, Mark Warner; music, Carter Burwell. Adam Hall is an idealistic young attorney who takes on the death row clemency case of his one-time Klansman grandfather, Sam Cayhall. With just 28 days before the execution, Adam sets out to retrace the events leading to the crime for which Sam was convicted. As the impending death sentence looms closer, Adam works quickly to uncover the family's history for any hidden clues. In a white-knuckle series of twists and turns, Adam discovers deceptions and dark secrets that ultimately lead him to the startling truth. 32 Feature Film Chinatown (DVD) 131 min. Originally produced as a motion picture in 1974. Jack Nicholson, Faye Dunaway, John Hillerman, Perry Lopez, Burt Young, Bruce Glover, Joe Mantell, Roy Jenson, Diane Ladd, Dick Bakalyan, John Huston. Written by Robert Towne; produced by Robert Evans; directed by Roman Polanski; director of photography, John A. Alonzo; film editor, Sam O'Steen; music, Jerry Goldsmith. The plot is a labyrinth of successive revelations having to do with Los Angeles water reserves, land rights, fraud and intra-family hanky-panky, climaxing in Los Angeles's Chinatown on a street that seems no more mysterious than Flatbush Avenue."--Vincent Canby, New York Times. 33 Feature Film A Civil Action (DVD) 115 min. DVD release of the 1999 motion picture. Based on the book of the same title by Jonathan Harr. John Travolta, Robert Duvall, Stephen Fry, James Gandolfini, Dan Hedaya, Zeljko Ivanek, John Lithgow, William H. Macy, Kathleen Quinlan, Tony Shalhoub. Produced by Scott Rudin, Robert Redford, Rachel Pfeffer; screenplay by Steven Zaillian; directed by Steven Zaillian; director of photography, Conrad L. Hall; editor, Wayne Wahrman; music, Danny Elfman. A high-priced personal injury attorney represents eight families whose children died of leukemia after large corporations let toxic waste leak into the water supply in the Boston area. He puts his career, reputation and all that he owns on the line for the rights of his clients. 34 Feature Film Clarence Darrow (DVD) 84 min. DVD release of the 1974 motion picture. Based on "Clarence Darrow for the Defense" by Irving Stone. Henry Fonda. Director, John Houseman; producers, Mike Merrick and Don Gregory. Henry Fonda's masterful picture of Darrow, using the man's own words, portrays Darrow as twentieth century America's foremost trial lawyer. 35 Feature Film Class Action (DVD) 110 min. DVD release of the 1991 motion picture. Gene Hackman, Mary Elizabeth Mastrantonio. Producers, Ted Field, Scott Kroopf and Robert W. Cort; director, Michael Apted; writers, Carolyn Shelby, Christipher Ames and Samantha Shad. Two lawyers, father and daughter, face off against each other in a multimillion dollar lawsuit. The case concerns a potentially defective auto design that could involve corporate corruption and violations of legal ethics. 36 Feature Film The Client (DVD) 121 min. DVD release of the 1994 motion picture. . Based on the novel of "The client" by John Grisham. Susan Sarandon, Tommy Lee Jones, Brad Renfro, Mary-Louise Parker. none Mark Sway is an 11-year-old torn between what he knows and what he can never tell. A hitman will snuff him in half a heartbeat if Mark reveals what he learned about a Mob murder. An ambitious federal prosecutor will keep the pressure on until Mark tells all. Suddenly, Mark isn't a boy playing air guitar anymore. He's a pawn in a deadly game. And his only ally is a courageous but unseasoned attorney who risks her career for him...but never imagines she'll also risk her life. 37 Feature Film Compulsion (DVD) 105 min. Originally produced as a motion picture in 1959. Based on the novel by Meyer Levin. Orson Welles, Dean Stockwell, Diane Varsi, Bradford Dillman, E.G. Marshall, Martin Milner, Richard Anderson. Screenplay, Richard Murphy; producer, Richard D. Zanuck; director, Richard Fleischer. A riveting true story about the notorious 1924 Leopold-Loeb murder case. Brilliant attorney Clarence Darrow defended two wealthy Chicago teenagers who throught their superior intellect would enable them to execute the perfect crime. Darrow's history-making and controversial defense against capital punishment saved the boys from a death sentence. 38 Feature Film The Confession (DVD) 114 min. Originally released as a motion picture in 1998. Rated R. Alec Baldwin, Amy Irving, Ben Kingsley. Directed by David Hugh Jones. A high powered NY litigator, hired to defend a murderer who avenged his young son's death, struggles with his own desires for success versus the moral wishes of his client to choose the path of truth. 39 Feature Film Cool Hand Luke (DVD) 132 min. Originally released as a motion picture in 1967. Based on the novel by Donn Pearce. Paul Newman, George Kennedy, J.D. Cannon, Robert Drivas, Lou Antonio, Strother Martin, Jo Van Fleet. Screenplay by Donn Pearce and Frank R. Pierson; produced by Gordon Carroll; directed by Stuart Rosenberg. A part of a chain gang, Luke is a man who won't or can't conform to the arbitrary rules of his captivity. 40 Feature Film The Court-Martial of Billy Mitchell (DVD) 100 min. Originally released as a motion picture in 1955. Gary Cooper, Rod Steiger, Ralph Bellamy, Elizabeth Montgomery, Darren McGavin, Charles Bickford, Jack Lord, Peter Graves. Writers, Milton Sperling, Emmet Lavery; producer, Milton Sperling; director, Otto Preminger. Brigadier General Billy Mitchell has devoted his life to the military, and to developing a superior air defense force for the U.S. When top army brass fail to recognize the importance of air power following its crucial role in winning WWI, Mitchell initiates a campaign to change their minds--a campaign that will ultimately lead to his demotion and the most controversial military trial in U.S. history. 44 Feature Film Cracker (Television program) (DVD) 22 hrs. 30 min. Television series first shown between 1993 and 1996. Robbie Coltrane, Barbara Flynn, Geraldine Somerville, with Beryl Reid. Directors, Michael Winterbottom, Andy Wilson, Simon Cellan Jones, Tim Fywell, Julian Jarrold, Jean Stewart, Roy Battersby, Charles McDougall, Richard Standeven, Antonia Bird; writers, Jimmy McGovern, Ted Whitehead, Paul Abbott; producers, Gub Neal, Paul Abbott, Hilary Bevan Jones, John Chapman. Episodes from the "Cracker" series, featuring a criminal psychologist with a dark side, a side dependent on a cocktail of alcohol and gambling. Disc 1. Mad woman in the attic -- disc 2. To say I love you -- disc 3. One day a lemming will fly -- disc 4. To be a somebody -- disc 5. The big crunch -- disc 6. Men should weep -- disc 7. Brotherly love -- disc 8. Best boys -- True romance -- disc 9. White ghost -- disc 10. A new terror -- Bonus: Cracker : behind the scenes. 45 Feature Film Criminal Law (DVD) 114 min. Originally released as a motion picture in 1988. Gary Oldman, Kevin Bacon, Tess Harper, Karen Young, Joe Don Baker. Executive producers, John Daly and Derek Gibson; written by Mark Kasdan; produced by Robert MacLean and Hilary Heath; directed by Martin Campbell; music, Jerry Goldsmith; director of photography, Philip Meheux; editor, Chris Wimble; co-producer, Ken Gord. Attorney Ben Chase persuades a jury to find his client Martin Thiel not guilty of a brutal murder. Thiel is released and commits several vicious murders. Ben Chase tries to stop him. 46 Feature Film A Cry in the Dark (DVD) 122 min. Originally released as a motion picture in 1989. Based on "Evil Angels" by John Bryson. Meryl Streep, Sam Neill. Screenplay by Robert Caswell and Fred Schepisi; produced by Verity Lambert; directed by Fred Schepisi. Meryl Streep captured her third New York Film Critics Award and her eighth Oscar nomination for her portrayal of Lindy, who lives the nightmare of seeing a wild dog carry off her infant, then endures a travesty of a trial by the courts and media. 47 Feature Film Dead Man Walking (DVD) 122 min. Originally released as a motion picture in 1995. Based on the book of the same title by Sister Helen Prejean. Susan Sarandon, Sean Penn, Robert Prosky. Director, Tim Robbins; producers, Jon Kilik, Tim Robbins, Rudd Simmons; prooduction design, Richard Hoover; director of photography, Roger A. Deakins; written by Tim Robbins; music by David Robbins. This film tells of death row convict Matthew Poncelet and his spiritual advisor, Sister Helen Prejean. 48 Feature Film The Defender (DVD) 112 min. Originally presented on Studio One (February 25 and March 4, 1957) on CBS-TV. Ralph Bellamy, Martin Balsam, Steven McQueen, William Shatner, Ian Wolfe. Written by Reginald Rose; directed by Robert Mulligan; produced by Herbert Brodkin. A courtroom drama about a lawyer & his son, appointed to defend a client against a murder charge. The older lawyer feels the client is guilty ; his son disagrees. When the son's unorthodox style is all that stands between the client & execution, the father must chose between his morals & saving the client's life. 49 Feature Film Defending Your Life (DVD) 112 min. Originally released as a motion picture in 1991. Albert Brooks, Meryl Streep, Rip Torn, Lee Grant, Buck Henry. Music, Michael Gore; editor, David Finfer; production designer, Ida Randon; director of photography, Allen Daviau; co-producer, Robert Grand; executive producer, Herb Nanas; producer, Michael Grillo; writer and director, Albert Brooks. Meryl Streep joins Albert Brooks for a witty, highly acclaimed peek at the afterlife. Make that a laughterlife whose comforts include eating all you want and not gaining an ounce. Alas, there's a catch: you're also saddled with defending your life. If you can't make a case for having lived a full and fearless one, you must go back and try again. But Daniel, whose life was far from fearless, doesn't want to go back. Not after he meets Julia, a remarkable woman who's going places a lot more evolved than L.A. 50 Feature Film Defenseless (DVD) 106 min. Originally produced as motion picture in 1990. Rated R. Barbara Hershey, Sam Shepard, Mary Beth Hurt, J.T. Walsh. Director, Martin Campbell; producers, Renee Missel and David Bombyk; story, James Hicks and Jeff Burkhart; screenplay, James Hicks; director of photography, Phil Meheux; editor, Chris Wimble; music, Curt Sobel. T.K. Katwuller is a lawyer defending real estate tycoon Steve Seldes against charges of hiring teenage girls to perform in porno films, which is complicated by the fact that he's her lover and the husband of an old friend. When he's murdered, the apparent victim of a teenager's outraged father, only the engimatic Detective Butell remains cool-headed enough to expose the truth of the real killer. 51 Feature Film Devil's Advocate (DVD) 144 min. Based on the novel by Andrew Neiderman. Originally produced as a motion picture in 1997. Al Pacino, Keanu Reeves, Charlize Theron. Screenplay, Jonathan Lemkin, Tony Gilroy ; producers, Arnon Milchan, Arnold Kopelson, Anne Kopelson ; director, Taylor Hackford ; music, James Newton Howard. Attorney Kevin Lomax's 64-0 case record has brought him a tempting offer from an elite New York firm. But the job isn't what it seems. The Devil is in the details. 52 Feature Film Do the Right Thing (DVD) 120 min. Originally released as a motion picture in 1989. Danny Aiello (Sal), Ossie Davis (Da Mayor), Ruby Dee (Mother Sister), Richard Edson (Vito), Giancarlo Esposito (Buggin Out), Spike Lee (Mookie), Bull Nunn (Radio Raheem), John Turturro (Pino). Director/producer, Spike Lee; production design, Wynn Thomas; original music score, Bill Lee; editor, Barry Alexander Brown; photography by Ernest Dickerson; co-producer, Monty Ross. This powerful visual feast combines humor and drama with memorable characters while tracing the course of a single day on a block in the Bedford-Stuyvesant area of Brooklyn. It's the hottest day of the year, a scorching 24-hour period that will change the lives of its residents forever. 53 Feature Film A Dry White Season (DVD) 107 min. Originally produced as a motion picture in 1989. Based on the book by Andre Brink. Donald Sutherland, Janet Suzman, Jurgen Prochnow, Zakes Mokae, Susan Sarandon, Marlon Brando. Music by Dave Grusin; executive producer, Tim Hampton; screenplay by Colin Welland and Euzhan Palcy; produced by Paula Weinstein; directed by Euzhan Palcy. The politics of apartheid are put into meaningful, human terms in this critically acclaimed film about a prominent white schoolteacher who is awakened to the reality of South African justice. 54 Feature Film Duck Soup (DVD) 70 min. Originally released as a motion picture in 1933. The Marx Brothers (Groucho, Harpo, Chico, and Zeppo), Margaret Dumont, Louis Calhern, Raquel Torres, Edgar Kennedy. Director, Leo McCarey; screenplay by Bert Kalmar and Harry Ruby; photography, Henry Sharp. As Prime Minister Firefly of Freedonia, Groucho soon reduces the kingdom to shambles. Harpo and Chico are secret agents disguised as peanut vendors and Zeppo is Firefly's secretary. 55 Feature Film Erin Brockovich (DVD) 132 min. Based on a true story. Originally released as motion picture in 1999. Julia Roberts, Albert Finney, Aaron Eckhart. Produced by Danny DeVito, Michael Shamberg, Stacey Sher; written by Susannah Grant; directed by Steven Soderbergh; photography, Ed Lachman; editor, Anne V. Coates; music, Thomas Newman. Erin Brockovich is a feisty young mother who convinces attorney Ed Masry to hire her and promptly stumbles upon a law case against a giant corporation for water pollution. Erin's determined to take on this powerful adversary even though no law firm has dared to do it before. The two begin a legal fight that will bring a small town to its feet and a huge company to its knees. 56 Feature Film Eye for an Eye (DVD) 102 min. Originally produced as a motion picture in 1996. Sally Field, Kiefer Sutherland, Ed Harris, Beverly D'Angelo, Joe Mantegna. none Karen McCann's orderly life is shattered when a stranger breaks into her home and murders her 17-year-old daughter. But shock and grief turn into rage and disbelief when the killer is released on a legal technicality. When he commits another murder--and is set free once again-- Karen is determined to make him pay for his crimes. Alienating her husband and her friends, Karen quietly and methodically devises a deadly plan for retribution. 57 Feature Film Fatal Attraction (DVD) 120 min. Originally released as a motion picture in 1987. Special collector's edition. Special features include cast/crew interviews, featurettes, alternate ending, rehearsal footing, and director commentary. Michael Douglas, Glenn Close, Anne Archer. Music by Maurice Jarre; screenplay by James Dearden; produced by Stanley R. Jaffe and Sherry Lansing; directed by Adrian Lyne. A New York attorney has a romantic fling while his wife is out of town, and then shrugs it off. But the woman involved with him won't be ignored, even if it means destroying his family to keep him. 58 Feature Film Fatal Vision (VHS) 185 min. Videocassette release of the 1984 motion picture. Based upon the book by Joe McGinniss. Karl Malden, Eva Marie Saint, Gary Cole. Producer, Richard L. O'Connor; director, David Greene; executive producers, Daniel Wigutow, Mike Rosenfeld; music by Gil Melle; teleplay by John Gay. One of the most publicized and thought-provoking criminal cases in modern history is brought to the screen in this film depicting the events that surround the brutal murder of a military doctor's pregnant wife and two young daughters. 59 Feature Film A Few Good Men (DVD) 138 min. DVD release of the 1992 motion picture. Tom Cruise, Jack Nicholson, Demi Moore. Music, Marc Shaiman; director of photography, Robert Richardson; executive producers, William Gilmore, Rachel Pfeffer; co-producers, Steve Nicolaides, Jeffrey Stott; screenplay, Aaron Sorkin; producers, David Brown, Rob Reiner, Andrew Scheinman; director, Rob Reiner. Cruise stars as a brash Navy lawyer who's teamed with a gung-ho litigator in a politically-explosive murder case. Charged with defending two Marines accused of killing a fellow soldier, they are confronted with complex issues of loyalty and honor - including its most sacred code and its most formidable warrior. 601 Feature Film Knock on Any Door (DVD) 99 min. Based on the novel by Willard Motley. Originally released as a motion picture in 1949. Humphrey Bogart, John Derek, George Macready, Allene Roberts, Susan Perry, Mickey Knox. Screenplay by Daniel Taradash, John Monks. Jr.; produced by Robert Lord; directed by Nicholas Ray. Director of photography, Burnett Guffey; editor, Viola Lawrence; music, George Antheil. A crusading lawyer fights to save a juvenile delinquent charged with murder. 602 Feature Film Mississippi Burning (DVD) 127 min. Based on the book: Three lives for Mississippi / by William Bradford Huie. Originally released as a motion picture in 1988. Gene Hackman, Willem Dafoe, Frances McDormand, Brad Dourif, R. Lee Ermey, Gailard Sartain. Produced by Frederick Zollo and Robert F. Colesberry; written by Chris Gerolmo; directed by Alan Parker. Director of photography, Peter Biziou; production designers, Philip Harrison and Geoffrey Kirkland; editors, Gerry Hambling, Craig Richards; music, Trevor Jones. Two FBI agents investigate the deaths of civil rights workers in a Mississippi town. Tension is caused by the discovery of a local coverup. 61 Feature Film The Firm (DVD) 154 min. DVD release of the 1993 motion picture. Based on the book by John Grisham. Tom Cruise, Gene Hackman, Jeanne Tripplehorn, Ed Harris, Holly Hunter, Wilford Brimley, Hal Holbrook, David Strathairn. Music composer/performer, Dave Grusin; editors, William Steinkamp, Fredric Steinkamp; production designer, Richard MacDonald; director of photography, John Seale; executive producers, Michael Hausman, Lindsay Doran; screenplay, David Rabe, Robert Towne, David Rayfiel; producers, Scott Rudin, John Davis; producer/director, Sydney Pollack. A brilliant and ambitious Harvard Law grad joins a small, prosperous law firm in Memphis, and is soon confronted by FBI agents with evidence of corruption and murder within the firm. 62 Feature Film First Monday in October (DVD) 99 min. DVD release of the 1981 motion picture. Walter Matthau, Jill Clayburgh. Producer, Paul Heller and Martha Scott; director, Ronald Neame; screenplay, Jerome Lawrence and Robert E. Lee. Walter Matthau and Jill Clayburgh star in this dramatic comedy that centers around the appointment of the first woman to the U.S. Supreme Court. 63 Feature Film The Fortune Cookie (DVD) 126 min. Originally produced as a motion picture in 1966. Jack Lemmon, Walter Matthau. Producer/director, Billy Wilder; writers, Billy Wilder and I.A.L. Diamond; music, Andre Previn. A TV cameraman, trampled by a half-back while shooting a football game, and his shyster brother-in-law team up to defraud an insurance company in a million dollar law suit. 64 Feature Film Fury (DVD) 89 min. Originally released as a motion picture in 1936. Based on a story by Norman Krasna. Sylvia Sidney, Spencer Tracy, Walter Abel, Bruce Cabot, Edward Ellis, Walter Brennan. Directed by Fritz Lang; produced by Joseph L. Mankiewicz; screenplay by Bartlett Cormack and Fritz Lang. An ethical young man is forced to confront his own morality after he becomes a victim of vigilantism. 65 Feature Film Gandhi (DVD) 3 hr, 11 min. Originally produced as a motion picture in 1982. 2-disc collector's ed.; 25th anniversary ed. Special features: Disc 1. Introduction and commentary by Richard Attenborough. Disc 2. Photo gallery of vintage lobby cards; "The making of Gandhi" video montage; "Milestones in the life of Gandhi" interactive timeline; Trailer. Academy Awards, USA, 1982: Oscars for Best Actor in a Leading Role (Ben Kingsley) ; Best Art Direction - Set Decoration (Stuart Craig, Robert W. Laing, Michael Seirton) ; Best Cinematography (Billy Williams, Ronnie Taylor) ; Best Costume Design (John Mollo, Bhanu Athaiya) ; Best Director (Richard Attenborough) ; Best Film Editing (John Bloom) ; Best Picture ; Best Writing, Screenplay Written Directly for the Screen (John Briley). Ben Kingsley, Candice Bergen, Edward Fox, John Gielgud, Trevor Howard, John Mills, Martin Sheen. Production designer, Stuart Craig; editor, John Bloom; in charge of production, Terence A. Clegg; co-producer, Rani Dube; music, Ravi Shankar; orchestral score & additional music, George Fenton; directors of photography, Billy Williams, Ronnie Taylor; executive producer, Michael Stanley-Evans; written by John Briley; produced and directed by Richard Attenborough. Chronicles the life of Mahatma Ghandi beginning with his political activities in South Africa during the late 1890's and ending with his assassination at the hands of a Hindu extremist in 1948. Shows the development of his philosophy of non-violence as he leads the people of India to independence from the British. 66 Feature Film Ghosts of Mississippi (DVD) 131 min. DVD release of 1996 motion pictures. Alec Baldwin, Whoopi Goldberg, James Woods. Produced and directed by Rob Reiner. The film features the final trial of the assassin of the 60s civil rights leader Medgar Evers. 67 Feature Film Gideon's Trumpet (DVD) 105 min. Based on the book by Anthony Lewis. Originally broadcast as a production of Hallmark Hall of Fame on television in 1980. Special DVD features: Insert with production notes by Anthony Lewis and cast filmographies. Henry Fonda, Jose Ferrer, John Houseman, Fay Wray, Sam Jaffe, Dean Jagger. Executive producer, John Houseman; producers, Robert H. Justman and David W. Rintels; screenplay, David W. Rintel; directed by Robert E. Collins; cinematography by Donald H. Birnkrant; editor, Frank Bracht; music, Joseph Weiss. Clarence Earl Gideon, a semi-literate drifter, is arrested for breaking into a pool room and for petty theft. When he asks the court to appoint a lawyer for his defense because he cannot afford one, his request is denied. Acting as his own lawyer, Gideon is convicted and sent to jail. While in prison, he begins a hand-written campaign directed to the U.S. Supreme Court,contending that every defendant is entitled to legal representation. The Court agrees to hear Gideon's case, and, in a landmark decision, rules in his favor. 68 Feature Film The Gingerbread Man (DVD) 115 min. Originally produced as motion picture in 1997. Based on an original story by John Grisham. Kenneth Branagh, Embeth Davidtz, Robert Downey Jr., Daryl Hannah, Robert Duvall, Tom Berenger. Screenplay by Al Hayes; produced by Jeremy Tannenbaum; directed by Robert Altman; director of photography, Changwei Gu; editor, Geraldine Peroni; music, Mark Isham. Lawyer Rick Magruder has a one-night-stand affair with caterer Mallory Doss. He becomes hooked on her, and when he learns her nut-case 69 Feature Film Glengarry Glen Ross (DVD) 100 min. Originally produced as a motion picture in 1992. Based on David Mamet's Pulitzer prize-winning play. Al Pacino, Jack Lemmon, Alec Baldwin, Ed Harris, Alan Arkin, Kevin Spacey, Jonathan Pryce. Screenplay, David Mamet; executive producer, Joseph Caracciola, Jr.; photography, Juan Ruiz Pryce; editor, Howard Smith; music, James Newton Howard. A powerful story set in the world of real estate. Times are tough at Premiere Properties. Shelley "the machine" Levene (Lemmon) and Dave Moss (Harris) are veteran salesmen, but only Ricky Roma (Pacino) is on a hot streak. The new Glengarry sales leads could turn everything around, but the front office is holding them back until these "losers" prove themselves. Then someone decides to take matters into his own hands, stealing the Glengarry leads and leaving everyone wondering who did it. 70 Feature Film The Good Mother (DVD) 104 min. Originally released as a motion picture in 1988. Based on the novel by Sue Miller. Diane Keaton, Liam Neeson, Jason Robards, Ralph Bellamy. Screenplay by Michael Bortman; produced by Arnold Glimcher; directed by Leonard Nimoy. Discovering true passion for the first time in her life, Anna's life couldn't have been more perfect. But shocking charges against her force her to prove that she is a good mother. 71 Feature Film Having Wonderful Crime (VHS) 70 min. Videocassette release of the 1944 motion picture. Based on a story by Craig Rice. Pat O'Brien, George Murphy, Carole Landis. Screenplay, Howard J. Green, Stewart Sterling, Parke Levy; producer, Robert Fellows; director, Eddie Sutherland; photography, Frank Redman; music, Leigh Harline; editor, Gene Milford. A criminal lawyer is hooked into investigating the disappearance of a famous magician by his newlywed friends. 266 Instructional Video Unconstitutional: The War on Our Civil Liberties (DVD) 68 min. Issued in 2004. Written, produced and directed by Nonny de la Pena; edited by Joe Bini and Greg Byers; executive producers Robert Greenwald, Earl Katz, and Dan Raskov. Discusses how the USA PATRIOT Act has taken away checks on law enforcement and continues to endanger the civil liberties of all Americans under the guise of being part of the war on terrorism, and how paranoia, fear and racial profiling have led to gross infringements on freedom and democracy without strengthening national security. 73 Feature Film I Am Sam: Love Is All You Need (DVD) 134 min. Originally produced as a motion picture in 2001. Sean Penn, Michelle Pfeiffer, Dakota Fanning. Directed by Jessie Nelson; produced by Marshall Herskovitz, Jessie Nelson, Richard Solomon, and Edward Zwick; written by Kristine Johnson and Jessie Nelson; cinematography by Elliot Davis; edited by Richard Chew; music by John Powell. Sam Dawson has the mental capacity of a 7-year-old. He works at a Starbucks and is obsessed with the Beatles. He has a daughter with a homeless woman; she abandons them as soon as they leave the hospital. He names his daughter Lucy Diamond (after the Beatles song), and raises her. But as she reaches age 7 herself, Sam's limitations start to become a problem at school; she's intentionally holding back to avoid looking smarter than he is. The authorities take her away, and Sam shames high-priced lawyer Rita Harrison into taking his case pro bono. In the process, he teaches her a great deal about love, and whether it's really all you need. 74 Feature Film I Am the Law (DVD) 83 min. Originally produced as a motion picture in 1938. Story based upon Liberty Magazine serial by Fred Allhoff. Edward G. Robinson, Barbara O'Neil, John Beal, Wendy Barrie, Otto Kruger. Produced by Everett Riskin; directed by Alexander Hall; screenplay by Jo Swerling. A dynamic law professor is drafted by a civic leader to investigate the city's gangster activities in this lurid expose of the inner workings of the urban underworld. 75 Feature Film I Confess (DVD) 95 min. Originally produced as a motion picture in 1953. Based on the play "Nos deux consciences" by Paul Anthelme. Montgomery Clift, Anne Baxter, Karl Malden, Brian Aherne. Director, Alfred Hitchcock; screenplay, George Tabori, William Archbald; music, Dimitri Tiomkin. Father Logan, stolid, stalwart, to all appearances the embodiment of priestly piety, hears a murderer's confession. Almost immediately Logan is plunged into peril, for circumstantial evidence and eyewitness accounts point to a priest as the killer. The sacrament of penance forbits him to reveal what he knows. As calamity and coincidence conspire to paint Logan into a hopeless corner, it becomes the priest who must admit to himself, and confess his own human frailty. 76 Feature Film I Want To Live! (DVD) 2 hr. Originally produced as a motion picture in 1958. Susan Hayward, Simon Oakland, Virginia Vincent, Theodore Bikel. Director, Robert Wise; producer, Walter Wanger; screenplay, Nelson Gidding and Don Mankiewicz; original jazz score, John Mandel. Based on the true story of Barbara Graham, a fast-living party girl, who suddenly finds herself accused of a murder she did not commit and sentenced to the gas chamber. Only a psychologist and a reporter can help her in the desperate struggle to prevent the final judgment. 77 Feature Film Mae West:The Glamour Collection (DVD) About 7 hours. Originally produced as American motion pictures in 1932 (Night After Night), 1933 (I'm No Angel), 1935 (Goin' To Town), 1936 (Go West Young Man), and 1940 (My Little Chickadee). Night After Night: George Raft (Joe Anton), Constance Cummings (Miss Jerry Healy), Wynne Gibson (Iris Dawn), Mae West (Maudie Triplett), Alison Skipworth (Miss Mabel Jellyman). I'm No Angel: Mae West (Tira), Cary Grant (Jack Clayton), Gregory Ratoff (Benny Pinkowitz), Edward Arnold (Big Bill Barton), Ralf Harolde (Slick Wiley), Kent Taylor (Kirk Lawrence), Gertrude Michael (Alicia Hatton), Russell Hopton (The Barker), Dorothy Peterson (Thelma), Wm. B. Davidson (The Chump), Gertrude Howard (Beulah). Goin' To Town: Mae West (Cleo Borden), Paul Cavanagh (Edward Carrington), Gilbert Emery (Winslow), Marjorie Gateson (Mrs. Crane Brittony), Tito Coral (Taho), Ivan Lebedeff (Ivan Valadov), Fred Kohler (Buck Gonzales), Monroe Owsley (Fletcher Colton), Grant Withers (Young fellow), Vladimar Bykoff. Go West Young Man: Mae West (Mavis Arden), Warren William (Morgan), Randolph Scott (Bud Norton), Alice Brady (Mrs. Struthers), Elizabeth Patterson (Aunt Kate), Lyle Talbot (Francis X. Harrigan), Jack LaRue (Rico), Isabel Jewell (Gladys), Xavier Cugat and his Orchestra. My Little Chickadee: Mae West (Flower Belle Lee), W.C. Fields (Cuthbert J. Twillie), Joseph Calleia (Jeff Badger), Dick Foran (Wayne Carter), Ruth Donnelly (Aunt Lou), Margaret Hamilton (Mrs. Gideon), Donald Meek (Amos Budge). Night after Night: Photographed by Ernest Haller, continuity by Kathryn Scola. I'm No Angel: Photographed by Leo Tover, music by Harvey Brooks, lyrics by Gladys duBois and Ben Ellison, suggestions by Lowell Brentano, continuity by Harlan Thompson. Goin' To Town: Photographed by Karl Struss, music by Sammy Fain, lyrics by Irving Kahal, Mae West's costumes designed by Travis Banton. Go West Young Man: Photographed by Karl Struss, music by Arthur Johnston, lyrics by John Burke, editing by Ray Curtiss, art direction by Wiard Ihner, gowns by Irene Jones. My Little Chickadee: Photography directing by Joseph Valentine; art directing by Jack Otterson, film editing by Edward Curtiss, gowns by Vera West, musical directing by Charles Previn, musical score by Frank Skinner. Mae West had an inexhaustibly playful interest in language, and a rare, sometimes perplexing, and even lofty wit, spiced by low-down slang. Well before the second wave of feminism, she wrote all her own material, insisted on total control of her work, and was wildly popular for a short time, right before the Production Code lowered the boom on adult attitudes being expressed in films. She made only 12 movies, but three are first-rate, and these were enough to seal her fame and launch a legend. In her first film appearance, "Night After Night," a successful ex-boxer buys a high-class speakeasy and falls for a rich society girl. As the bold Tira in "I'm No Angel," she works as a dancing beauty and lion tamer at a fair. For "Goin' To Town," West goes Western. Cleo Borden is a former dance hall queen who has become newly rich. She falls for--and pursues--an upper crust Englishman. This is followed by "Go West Young Man," where she plays Mavis Arden, a movie star stranded in the country. To stifle her boredom, she trifles with a young man's affections. "My Little Chickadee" pairs West with a legend of similar stature, W.C. Fields. As Flower Belle Lee, she is rightly suspected of illicit relations with the Masked Bandit, and run out of Little Bend. Surprisingly, things change very little when she arrives in Greasewood City to start over. 78 Feature Film In the Name of the Father (DVD) 133 min. Originally released as a motion picture in 1993. Based on the autobiographical book: Proved innocent, by Gerry Conlon. Daniel Day-Lewis, Emma Thompson, Pete Postlethwaite. Executive producer, Gabriel Byrne; co-producer, Arthur Lappin; producer/director, Jim Sheridan; screenplay, Terry George and Jim Sheridan. Fact-based film about Gerry Conlon, the young Irish punk who is caught in the wrong place at the wrong time and forced to confess to a terrorist bombing. He and his father, along with friends of Gerry, are found guilty and sentenced to life in prison. There, his father shows his true strength, and Gerry works to prove their innocence and clear his father's name. 79 Feature Film Inherit the Wind (DVD) 128 min. Originally produced as a motion picture in 1960. Based upon the play by Jerome Lawrence and Robert E. Lee. Spencer Tracy, Fredric March, Gene Kelly, Dick York, Donna Anderson, Harry Morgan. Producer/director, Stanley Kramer; screenplay, Nathan E. Douglas, Harold Jacob Smith. A small Tennessee town gained national attention in 1925 when a biology schoolteacher was arrested for violating state law by teaching Darwin's theory of evolution in the classroom. 80 Feature Film Jagged Edge (DVD) 108 min. Originally released as a motion picture in 1985. Glenn Close, Jeff Bridges, Peter Coyote, Robert Loggia. Music, John Barry; camera, Matthew F. Leonetti; screenplay, Joe Eszterhas; producer, Martin Ransohoff; director, Richard Marquand. An attorney falls in love with her defendant, the prime suspect in a vicious murder case. 81 Feature Film Judgment at Nuremberg (DVD) 190 min. DVD release of the 1961 motion picture. From the play by Abby Mann. Spencer Tracy, Burt Lancaster, Richard Widmark, Marlene Dietrich, Judy Garland, Maximilian Schell, Montgomery Clift, William Shatner, Edward Binns, Kenneth MacKenna. Producer/director, Stanley Kramer; writer, Abby Mann; music, Ernest Gold. This fictionalized account of a war crimes trial of four eminent Nazi judges at Nuremberg, Germany, after World War II provides insight into Nazi brutality and raises questions about freedom of choice, loyalty to one's country, and responsibility to mankind. 82 Feature Film The Juror (DVD) 118 min. DVD release of the 1996 motion picture. Based on the book by George Dawes Green. Demi Moore, Alec Baldwin. Screenplay, Ted Tally; produced by Irwin Winkler and Rob Cowan; directed by Brian Gibson. A struggling single mother impulsively agrees to serve on a jury hoping for a little excitement in her humdrum life. She gets far more than she bargained for when she's forced to sacrifice the truth to save her son from the mob's seductive, psychotic enforcer. 83 Feature Film Just Cause (DVD) 102 min. DVD release of the 1995 motion picture Based on the novel by John Katzenbach. Sean Connery, Laurence Fishburne, Kate Capshaw, Blair Underwood, Ruby Dee, Ed Harris. Co-producers, Gary Foster, Anna Reinhardt; editor, William Anderson; production designer, Patrizia Von Brandenstein; director of photography, Lajos Koltai; music, James Newton Howard; executive producer, Sean Connery; screenplay, Jeb Stuart, Peter Stone; producers, Lee Rich, Arne Glimcher, Steve Perry; director, Arne Glimcher. A Harvard Law School professor reopens a murder investigation on behalf of a Death Row inmate who claims he was forced by a sinister lawman to confess to a crime he didn't commit. On the surface, it seems to be a straight-ahead case of the prisoner's guilt or innocence. But nothing really lies on the surface of this mystery, set in the Florida swamplands. 85 Feature Film Knock on Any Door (DVD) 100 min. DVD release of the 1949 motion picture. From the novel "Knock on any door" by Willard Motley. Humphrey Bogart, John Derek, George Macready, Allene Roberts, Susan Perry. Screenplay, Daniel Taradash, John Monks, Jr. ; director, Nicholas Ray ; producer, Robert Lord. A young hoodlum from the slums is tried for murdering a cop. He is defended by a prominent attorney who has known him from childhood. 86 Feature Film Kramer vs. Kramer (DVD) 105 min. DVD release of the 1979 motion picture. Based on the novel by Avery Corman. Dustin Hoffman, Meryl Streep, Jane Alexander, Justin Henry. Produced by Stanley R. Jaffe; written for the screen and directed by Robert Benton; director of photography, Nestor Almendros; editor, Jerry Greenberg. When his wife walks out on Ted Kramer and his six-year-old son they have a chance to really get to know each other. When Ted's wife returns she wants her son back. 87 Feature Film L.A. Law: The Movie (DVD) 90 min. Originally broadcast on television in 2002. Harry Hamlin, Corbin Bernsen, Jill Eikenberry, Alan Rachins, Susan Dey, Larry Drake, Michael Tucker, Richard Dysart. Produced by David Madden; written by Steven Bochco, Terry Louise Fisher, and William Finkelstein, directed by Michael Schultz. In this television movie that reunites the cast of LA Law, founding partner Leland McKenzie retires and former partner Michael Kuzak returns to stop the execution of a past client. Meanwhile divorce attorney Arnie Becker deals with his own divorce. 88 Feature Film The Lady from Shanghai (DVD) 87 min. Originally released as motion picture in 1948. Based on the novel: If I Die Before I Wake, by Sherwood King. Rita Hayworth, Orson Welles, Everett Sloane, Glenn Anders. Screenplay by Orson Welles; produced and directed by Orson Welles; photographer, Charles Lawton, Jr.; editor, Viola Lawrence; music, Heinz Roemheld. A seaman becomes involved in the murderous intrigue of a crippled lawyer and his homicidal frustrated wife. The film culminates in a shoot-up in a hall of mirrors. 89 Feature Film Ladybird, Ladybird (VHS) 102 min. Videocassette release of the 1994 motion picture. he lady from Shanghai [videorecording] / Columbia Pictures Corporation. Publisher: Burbank, CA : Columbia TriStar Home Video, c1991. Description: 1 videocassette (87 min.) : sd., b&w ; 1/2 in. Series: Columbia classics Summary: A seaman becomes involved in the murderous intrigue of a crippled lawyer and his homicidal frustrated wife. The film culminates in a shoot-up in a hall of mirrors. Notes: Originally released as motion picture in 1948. Based on the novel: If I die before I wake, by Sherwood King. "60451." Credits: Rita Hayworth, Orson Welles, Everett Sloane, Glenn Anders. Screenplay by Orson Welles; produced and directed by Orson Welles; photographer, Charles Lawton, Jr.; editor, Viola Lawrence; music, Heinz Roemheld. Winner of 1994 Berlin Film Festival International Critics Award. Crissy Rock, Vladimir Vega, Ray Winstone, Sandie Lavelle. Director, Ken Loach; producer, Sally Hibbin; photographer, Barry Ackroyd; editor, Jonathan Morris; music, George Fenton; screenplay, Rona Munro. Maggie Conlon (Rock) is an unwed mother with four children by four different fathers. While she loves her children deeply, she seems unable to escape the self-destructive behavior that repeatedly brings her into conflict with the local social services department. A new love affair with Jorge (Vega), a gentle political refugee, may be her last chance to break the vicious cycle she's trapped in, and her only hope for building a better life for her family and herself. 90 Feature Film Legal Eagles (DVD) 116 min. DVD release of the 1986 motion picture. Robert Redford, Debra Winger, Daryl Hannah, Brian Dennehy, Terence Stamp, Steven Hill. Screenplay, Jim Cash, Jack Epps, Jr.; story, Ivan Reitman, Jim Cash, Jack Epps, Jr.; producer-director, Ivan Reitman; executive producers, Joe Medjuck, Michael C. Gross. A hard-nosed assistant district attorney and an imaginative defense attorney combine their talents to defend a "performance artist" who is accused of theft and murder. 91 Feature Film Legally Blonde (DVD) 95 min. Originally produced as a motion picture in 2001. Reese Witherspoon, Luke Wilson, Selma Blair, Matthew Davis, Victor Garber, Jennifer Coolidge, Holland Taylor, Ali Larter. Screenplay by Karen McCullah Lutz & Kirsten Smith; directed by Robert Luketic; director of photograpy, Anthony B. Richmond; editors, Anita Brandt Burgoyne, Garth Craven; music Rolfe Kent; costume designer, Sophie de Rakoff Carbonell; production designer, Melissa Stewart. When a blonde sorority queen is dumped by her boyfriend, she decides to follow him to law school to get him back and, once there, learns she has more legal savvy than she ever imagined. 93 Feature Film The Life of Emile Zola (DVD) 117 min. DVD release of the 1937 motion picture, winner of the academy award for best picture. Paul Muni, Gale Sondergaard, Joseph Schildkraut, Gloria Holden, Donald Crisp, Erin O'Brien Moore, Henry O'Neill, Morris Carnovsky, Louis Calhern. Directed by William Dieterle; screenplay by Norman Reilly Raine, Heinz Herald and Geza Herczeg; music by Max Steiner. Explores the career of the novelist who championed the cause of France's oppressed, notably in the Dreyfus case.. 94 Feature Film Madame X (DVD) 100 min. Originally released as a motion picture in 1966. Based upon the play: La femme X, by Alexandre Bisson. Lana Turner, John Forsythe, Ricardo Montalban, Burgess Meredith, Constance Bennett, Keir Dullea. Screenplay by Jean Holloway; directed by David Lowell Rich; produced by Ross Hunter. Blackmailed into leaving her politician husband and their baby, a woman, twenty years later, finds herself on trial for murder, inadvertently defended by her own son. Issued with: Portrait in Black. 95 Feature Film The Magnificent Yankee (DVD) 80 min. Based on the play The Magnificent Yankee, by Emmet Lavery, as produced and staged by Arthur Hopkins, opening in New York on January 22, 1946, which was based on the book Mr. Justice Holmes by Francis Biddle, originally published in New York in 1942. Originally produced as a motion picture in 1950. Also aired on NBC's Hallmark Hall of Fame program in 1965. Louis Calhern, Ann Harding, Eduard Franz. Screenplay, Emmet Lavery, based on his play; director, John Sturges; producer, Armand Deutsch. Dramatizes the life of Justice Oliver Wendell Holmes, from his appointment to the Supreme Court by Theodore Roosevelt, through the administrations of Taft, Wilson, and Franklin D. Roosevelt, with particular focus on the love between Holmes and his wife Fanny, and their relationships with their many "sons," Holmes' law students. 96 Feature Film A Man for All Seasons (DVD) 120 min. DVD release of the 1966 motion picture. Based on the play by Robert Bolt. Paul Scofield, Wendy Hiller, Leo McKern, Robert Shaw, Orson Welles, Susannah York, Nigel Davenport, John Hurt, Corin Redgrave. Screenplay by Robert Bolt; produced and directed by Fred Zinnemann; photography, Ted Moore; editor, Ralph Kemplen; music, Georges Delerue. Historical drama about the opposition of Sir Thomas More to the divorce of King Henry VIII and the events which lead to More's execution. 97 Feature Film The Man Who Shot Liberty Valance (DVD) 123 min. Originally released as a motion picture in 1962. Based on the story by Dorothy M. Johnson. John Wayne, James Stewart, Vera Miles, Lee Marvin, Edmond O'Brien, Andy Devine, Ken Murray. Screenplay by James Warner Bellah and Willis Goldbeck; produced by Willis Goldbeck; directed by John Ford; director of photography, William H. Clothier; editor, Otho Lovering; music, Cyril Mockridge. The story of a man who becomes a legend and an important political figure by falsely claiming he shot a ruthless gunman (Liberty Valance). 98 Feature Film Manhattan Melodrama (VHS) 91 min. Videocassette release of the 1934 motion picture. Clark Gable, William Powell, Myrna Loy. Screenplay, Oliver H.P. Garrett and Joseph Mankiewicz; original story, Arthur Caesar; producer David O. Selznick; director W.S. Van Dyke. Story about boyhood pals who end up on opposite sides of the law, and who fall for the same woman. Won Oscar for best original story. In film history, this motion picture is known for three reasons: It's the film John Dillinger saw with his Lady in Red before an FBI ambush; It's the only pairing of Gable and Powell; It's the first teaming of partners Powell and Loy. 99 Feature Film Marked Woman (DVD) 97 min. Originally released as a motion picture in 1937. Bette Davis, Humphrey Bogart, Lola Lane, Isabel Jewell, Eduardo Cianelli, Jane Bryan, Rosalind Marquis, Mayo Methot, Allen Jenkins, John Litel, Ben Welden, Henry O'Neill. Director, Lloyd Bacon; music and lyrics, Harry Warren, Al Dubin. A crusading prosecutor uses a prostitute to indict mobster Johnny Vanning. Inspired by the real-life saga of prostitutes whose testimony put Lucky Luciano behind bars. 100 Feature Film The Merchant of Venice (VHS) 131 min. A television version of Jonathan Miller's 1973 London stage production of the play by William Shakespeare. Laurence Olivier, Joan Plowright, Jeremy Brett, Michael Jayston. Adapted and directed by John Sichel; executive producer, Cecil Clarke. The play is set in the Venice of 1860. Laurence Olivier stars in Shakespeare's story of the young Venetian and the Jew who lends him money on the security of one pound of flesh. Upon default the Jew insists on payment of his bond and the young Venetian is rescued by the heroine disguised as a male lawyer. 101 Feature Film Mississippi Burning (DVD) 127 min. DVD release of the 1988 motion picture. Gene Hackman, Willem Dafoe. Producers, Frederick Zollo and Robert F. Colesberry; director, Alan Parker; writer, Chris Gerolmo. Set in Mississippi in 1964, this is a fictionalized version of the case of the murder of three young civil rights workers, the FBI's attempts to find the missing boys and the clash between the authorities and the locals in a Klan-dominated town. 102 Feature Film Mr. Deeds Goes to Town (DVD) 115 min. Originally produced as a motion picture in 1936. Based on a story by Clarence Budington Kelland. Gary Cooper, Jean Arthur, George Bancroft, Lionel Stander, Douglass Dumbrille, Raymond Walburn. Screen play by Robert Riskin; story by Clarence Budington Kelland; directed and produced by Frank Capra; photography, Joseph Walker; film editor, Gene Havlick; musical director, Howard Jackson. Comedy about writer of greeting card verses who leaves his small town home for New York when he inherits $20 million dollars. In New York, "sophisticates," including relatives, lawyers, and business executives, attempt to have him declared insane in order to gain control of the fortune. 103 Feature Film Murder in the First (DVD) 123 min. Originally released as a motion picture in 1994. Christian Slater, Kevin Bacon, Gary Oldman, Embeth Davidtz, Brad Dourif, William H. Macy, R. Lee Ermey. Directed by Marc Rocco, produced by Marc Frydman and Mark Wolper, screenplay by Dan Gordon, camera by Fred Murphy, music by Christopher Young, edited by Russell Livingstone. In this fact-based story, a convict is confined to the dungeons of Alcatraz for three years in isolation after a failed escape. When he at last emerges from the total darkness, he's confused, savage, barely human, and he immediately kills the stoolie who ratted on his escape. It's an open-and-shut case of Murder One. But his resolute attorney puts Alcatraz and its sadistic associate warden on trial in his client's behalf. Issued with: A Perfect Murder and Murder by Numbers. 104 Feature Film A Murder of Crows (DVD) 101 min. Originally released as a motion picture in 1999. Cuba Gooding, Jr., Tom Berenger, Marianne Jean-Baptiste, Mark Pellegrino, Eric Stoltz. Producers, Elie Samaha, Cuba Gooding, Jr., Ashok Amritraj; writer and director, Rowdy Herrington. The story of one man's struggle with his responsibilities as a lawyer and with the appetite of his ego. Prominent New Orleans attorney Lawson Russell (Cuba Gooding, Jr.) puts his name on a best seller he didn't write. However, the novel he stole was a factual account of a series of murders. 105 Feature Film Murder or Mercy (VHS) 78 min. Videocassette release of the 1974 motion picture by QM Productions. Bradford Dillman, Melvyn Douglas, Denver Pyle, Mildred Dunnock. Executive producer, Quinn Martin; producer, Adrian Samish; director, Harvey Hart; writer, Douglas Day Stewart. A noted doctor stands trial for the mercy killing of his terminally-ill wife. 106 Feature Film Music Box (DVD) 126 min. First released as a motion picture in 1989. Jessica Lange, Armin Mueller-Stahl, Frederick Forrest, Lukas Haas, Donald Moffat. Written by Joe Eszterhas; produced by Irwin Winkler; directed by Costa-Gavras; director of photography, Patrick Blossier; production designer, Jeannine Claudia Oppewell. A Chicago attorney agrees to defend her Hungarian immigrant father against accusations of heinous war crimes committed fifty years earlier. As the trial unfolds, she probes for evidence that will not only establish his innocence but also lay to rest her own agonizing doubts about his past. 107 Feature Film My Cousin Vinny (DVD) 120 min. DVD release of the 1992 motion picture. Joe Pesci, Marisa Tomei, Ralph Macchio, Mitchell Whitfield. Produced by Dale Launer and Paul Schiff; directed by Jonathan Lynn; writer, Dale Launer. Two carefree pals mistakenly arrested and charged with murder are defended by the cousin of one of them (Vinny), a former auto mechanic of Brooklyn who just passed his bar exam after his sixth try. Vinny's never been in court and this case quickly turns into a hysterical escapade. 108 Feature Film Nuts (DVD) 116 min. Originally released as a motion picture in 1987. Based on the play by Tom Topor. Barbra Streisand, Richard Dreyfuss. Teri Schwartz, Cis Corman, executive producers; Tom Topor, Darryl Ponicsan, Alvin Sargent, screenplay; Barbra Streisand, producer; Martin Ritt, director. Courtroom thriller in which the accused (Streisand) fights to prove her competency to stand trial. 109 Feature Film On the Waterfront (DVD) 108 min. Originally produced as a motion picture in 1954. Academy Award for Best Picture, 1954. Marlon Brando, Karl Malden, Lee J. Cobb, Eva Marie Saint, Rod Steiger, Pat Henning. Director, Eliz Kazan; producer, Sam Spiegel; screenplay, Budd Schulberg; music, Leonard Bernstein. A young dockworker tries to break the hold of a waterfront boss. 110 Feature Film The Onion Field (DVD) 126 min. DVD release of the 1979 motion picture. Based on the book of the same title by Joseph Wambaugh. John Savage, James Woods, Franklyn Seales, Ronny Cox. Director, Harold Becker; producer, Walter Coblenz; screenplay, Joseph Wambaugh; music, Emuir Deodato. A true story about two Los Angeles cops who are kidnapped. One of the officers is murdered in a deserted onion field between Los Angeles and Bakersfield, Calif. The reality of day-to-day police work is scrutinized and while the wheels of justice turn slowly, the surviving policeman becomes an emotional cripple, believing that he is responsible for his partner's death. 111 Feature Film Other People's Money (DVD) 101 min. Originally released as a motion picture in 1991. Based on the play by Jerry Sterner. Danny DeVito, Gregory Peck, Penelope Ann Miller, Piper Laurie. Music, David Newman; film editor, Lou Lombardo; production designer, Phillip Rosenberg; director of photography, Haskell Wexler; executive producers, Ellen Krass and Davina Belling; screenplay, Alvin Sargent; producers, Norman Kewison and Ric Kidney; director, Norman Jewison. Lawrence "Larry the Liquidator" Garfield deals, connives, wheedles and cajoles as Garfield, the Wall Street buccaneer. But New England Wire and Cable's patriarch has been a fighter all his life and, to arm against a takeover, he's hired an attorney whose high style and high-stakes cunning rival Larry's. 112 Feature Film The Ox Bow Incident (DVD) 75 min. Originally released as a motion picture in 1943. Based on a novel by Walter Van Tilburg Clark. Henry Fonda, Dana Andrews, Henry Morgan , Anthony Quinn. Director, William A. Wellman. A cowboy is unable to prevent three wandering travellers from being unjustly lynched for murder. 114 Feature Film The Paper Chase (DVD) 111 min. From the original 1973 motion picture. Based on the novel by John Jay Osborn. Timothy Bottoms, Lindsay Wagner, John Houseman. Produced by Robert C. Thompson and Rodrick Paul; directed by James Bridges; screenplay by James Bridges. Making it through the first year of Harvard Law School is tough enough without making an adversary of your most important professor. That, however, is exactly what Timothy Bottoms does in this realistic and moving drama. 115 Feature Film The Paradine Case (DVD) 114 min. Originally released as a motion picture in 1948. From a novel by Robert Hichens. Gregory Peck, Ann Todd, Charles Laughton, Charles Coburn, Ethel Barrymore, Louis Jourdan, Valli. Director, Alfred Hitchcock; producer, David O. Selznick; adaptation, Alma Reville; photography, Lee Garmes. In a suspenseful courtroom drama, a beautiful woman is accused of having murdered her husband. 116 Feature Film Paris Trout (DVD) 98 min. DVD release of the 1991 motion picture. Based on the novel by Pete Dexter. Dennis Hopper, Barbara Hershey, Ed Harris. Directed by Stephen Gyllenhaal; produced by Frank Konigsberg and Larry Sanitsky; screenplay by Pete Dexter; executive producer, Diana Kerew. Storekeeper (Paris Trout) in a quiet Southern town takes the law into his own hands and ends up murdering a 12-year-old black girl. His attorney is torn between duty to his arrogant, prejudiced client and his increasing attraction to Trout's abused wife. 117 Feature Film A Passage to India (DVD) 163 min. Originally released as a motion picture in 1984. Based on the novel by E.M. Forster. Peggy Ashcroft, Judy Davis, James Fox, Alec Guinness, Nigel Havers, Victor Banerjee. Director, David Lean; producers, John Brabourne, Richard Goodwin; screenplay, David Lean; music, Maurice Jarre. While on a trip in 1928 to visit her son, Mrs. Moore, accompanied by her son's fiancee, becomes appalled at the treatment of the Indians by the ruling British government. Later, they befriend a native Indian who, over-stepping the accepted norms of his culture, invites the two ladies on an excursion. In a strange turn of events, he is accused of attempting to rape the young girl. 118 Feature Film The Pelican Brief (DVD) 141 min. DVD release of the 1993 motion picture. Based on the book by John Grisham. Julia Roberts, Denzel Washington. Screenplay, Alan J. Pakula; producers, Alan J. Pakula, Pieter Jan Brugge; director, Alan J. Pakula. Two Supreme Court justices have been assassinated, and a young law student stumbles upon the truth. An investigative journalist wants her story, but it seems as if everybody else wants her dead. 119 Feature Film Philadelphia (DVD) 125 min. DVD release of the 1993 motion picture. Tom Hanks, Denzel Washington, Jason Robards, Mary Steenburgen. Executive producers, Gary Goetzman, Kenneth Ott and Ron Bozman; director, Jonathan Demme; writer, Ron Nyswaner. Powerful story of two lawyers who join together to sue a prestigious Philadelphia law firm when the firm fires one of them because he has AIDS. 120 Feature Film Physical Evidence (DVD) 99 min. Originally released as a motion picture in 1988. Burt Reynolds, Theresa Russell, Ned Beatty. Executive producer, Don Carmody; screenplay by Bill Phillips; story by Steve Ransohoff and Bill Phillips; produced by Martin Ransohoff; directed by Michael Crichton; director of photography, John A. Alonzo; music by Henry Mancini. A suspended Boston cop, charged with first degree murder, is forced to depend upon a court-appointed attorney, an ambitious, cool and sophisticated woman, who represents everything he hates. 121 Feature Film A Place in the Sun (DVD) 120 min. Originally produced as a motion picture in 1951. Based on the novel An American tragedy by Theodore Dreiser and the Patrick Kearney play adapted from the novel. Academy Awards, Oscar, 1952: Best Cinematography, Black-and-White, Best Costume Design, Black-and-White, Best Director, Best Film Editing, Best Music, Scoring of a Dramatic or Comedy Picture, Best Writing, Screenplay. Montgomery Clift, Elizabeth Taylor, Shelly Winters, Keefe Brasselle. Screenplay by Michael Wilson and Harry Brown; produced and directed by George Stevens; director of photography, William C. Mellor; editor, William Hornbeck; music, Franz Waxman. A poor young man is determined to win a place in respectable society and the heart of a beautiful socialite, but a factory girl's dark secret threatens his professional and romantic prospects. Consumed with fear and desire, he is ultimately driven to a desperate act of passion that unravels his world forever. 122 Feature Film Planet of the Apes (DVD) 112 min. Originally produced as a motion picture in 1968. Based on the novel by Pierre Boulle. Academy Awards, 1968: Honorary Award (To John Chambers for his Outstanding Makeup Achievement). Charlton Heston, Roddy McDowall, Maurice Evans, Kim Hunter, James Whitmore. Produced by Arthur P. Jacobs; directed by Franklin Schaffner; screenplay by Michael Wilson and Rod Serling; music by Jerry Goldsmith. Four American astronauts crashland on an unchartered planet and discover it is ruled by a race of intelligent apes. 123 Feature Film Presumed Innocent (DVD) 127 min. DVD release of the 1990 motion picture. Based on the novel by Scott Turow. Harrison Ford, Brian Dennehy, Raul Julia, Bonnie Bedelia, Paul Winfield, Greta Scacchi. Film editor Evan Lottman; production designer George Jenkins; director of photography Gordon Willis; music by John Williams; screenplay by Frank Pierson and Alan J. Pakula; executive producer Susan Solt; produced by Sydney Pollack and Mark Rosenberg; directed by Alan J. Pakula. Rusty Sabich is an up-and-comer in the county prosecutor's office. He's intelligent, hard working, dependable. And, just maybe, he's also a murderer. 124 Feature Film Primal Fear (DVD) 130 min. Originally released as a motion picture in 1996. Richard Gere, Laura Linney, John Mahoney. Directed by Gregory Hoblit; produced by Gary Lucchesi. A high-powered Chicago attorney defends a penniless altar boy accused of murdering the local archibishop. 125 Feature Film Pudd'nhead Wilson (VHS) 87 min. Videocassette release of the 1983 motion picture by The Great Amwell Company, Inc. and Nebraskans for Public Television. Based on the novel by Mark Twain. Ken Howard, Lise Hilboldt. Executive producer, William Perry; director, Alan Bridges; producer, Jane Iredale. Mark Twain uses his insight and wit to explore the issues of slavery, mother/son relationships, justice, and the many shapes of human folly. A mulatto slave switches her disconcertingly white baby with her master's son to protect it in a time of strong racial prejudice. 126 Feature Film QB VII (DVD) 5 hrs., 13 min. Originally broadcast as a television mini-series in 1974. Based on the novel of the same title by Leon M. Uris. Ben Gazzara, Lee Remick, Anthony Hopkins, Jack Hawkins, Leslie Caron, Juliet Mills, John Gielgud, Anthony Quayle, Edith Evans, Anthony Andrews. Producer, Douglas S. Cramer; director, Tom Gries; written for television by Edward Anhalt. The story of a novelist who is sued by a doctor for libel because the author's best-seller accuses the doctor of being a Nazi collaborator who conducted experiments on Jews in a concentration camp during World War II. The story covers a 27-year period in the lives of these men and concludes with the dramatic trial in Queens Bench No. VII (QB VII). 127 Feature Film Rage at Dawn (DVD) 84 min. Originally releaseed as a motion picture in 1955. Randolph Scott, Forrest Tucker, Mala Powers, J. Carrol Naish. Screenplay, Horace McCoy; story, Frank Gruber; producer, Nat Holt; director, Tim Whelan; photographer, Ray Rennahan; music, Paul Sawtell. Based on the real life escapades of the infamous Reno Brothers gang, this double-barreled western adventure stars Randolph Scott as the tough, two-fisted Chicago special agent assigned to bring the outlaws to justice. 128 Feature Film Rage of Angels (VHS) 2 videocassettes. (Approx. 3 hr. 7 min.) Videocassette release of the 1983 motion picture. Based on the novel by Sidney Sheldon. Jaclyn Smith, Ken Howard, Armand Assante. Writer, Robert L. Joseph; producers, John Furia Jr., Barry Oringer; executive producer, Sidney Sheldon; director, Buzz Kulik. Jennifer Parker, a trial attorney, is trapped in a scandalous love triangle. First, there's the man of her dreams she can't have, Adam Warner--a politically ambitious and married attorney who is the father of her son. Then, there's the man of her desires she won't have, Michael Moretti, a seductive but malicious underworld attorney. 129 Feature Film The Rainmaker (1997 : DVD) 137 min. Originally produced as a motion picture in 1997. Based on the novel by John Grisham. Matt Damon, John Voight, Mickey Rourke, Danny DeVito, Mary Kay Place. Screenplay by Francis Ford Coppola; produced by Michael Douglas, Steven Reuther and Fred Fuchs; directed by Francis Ford Coppola; director of photography, John Fall; editor, Barry Malkin; music, Elmer Bernstein. A rookie lawyer in over his head on a high-profile case hires a feisty paralawyer who specializes in flunking the bar. Their chances of winning are slim to none, until they uncover a trail of corruption. 130 Feature Film Rainmaker (1956 : DVD) 121 min. Originally produced as a motion picture in 1956. Based on the Broadway stage play by N. Richard Nash. Burt Lancaster, Katharine Hepburn, Wendell Corey, Lloyd Bridges, Earl Holliman, Cameron Prudhomme. Producer, Hal Wallis; director, Joseph Anthony; screenplay, N. Richard Nash; music, Alex North. Under the spell of a wandering charlatan named Starbuck, a lonely ranch girl blosssoms into full womanhood. 131 Feature Film Rashomon (DVD) 83 min. Originally released as a motion picture in 1950. Based on the novel In the Forest by Ryunosuke Akutagawa. In Japanese with English subtitles. Toshiro Mifune, Masayuki Mori, Machiko Kyo, Takashi Shimura. Producer, Jingo Minora; director, Akira Kurosawa; screenplay, Shinobu Hashimoto and Akira Kurosawa; cinematography, Kazuo Miyagawa; music, Takashi Matsuyama. Four people involved in the murder of a gentleman in feudal Japan and the seduction of his wife report differing views of what actually happened. 132 Feature Film Rear Window (DVD) 113 min. Originally released as a motion picture in 1954. Based on a short story by Cornell Woolrich. James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, Raymond Burr. Producer-director, Alfred Hitchcock; screenplay, John Michael Hayes. As a photographer with a broken leg, Stewart takes up the fine art of spying on his Greenwich Village neighbors during a summer heat wave. But things really begin to get hot for Stewart, Kelly and the unassuming audience when he suspects neighbor Raymond Burr of murdering his invalid wife and burying the body in a flower garden. 133 Feature Film Regarding Henry (DVD) 107 min. Originally produced as a motion picture in 1991. Harrison Ford, Annette Bening. Director, Mike Nichols; Producers, Scott Rudin, Mike Nichols; writer, Jeffrey Abrams; music, Hans Zimmer. A New York lawyer's fast-track rise is brought to a dead stop when a single gunshot leaves him with no memory of his previous lifestyle. Faced with starting over, he must learn the hard truth about a total stranger ... himself. 134 Feature Film The Return of Martin Guerre (DVD) 123 min. Originally produced as motion picture in 1982. In French, with English subtitles. Gerard Depardieu, Nathalie Baye, Maurice Barrier, Bernard-Pierre Donnadieu, Isabelle Sadoyan. Written by Jean-Claude Carriere and Daniel Vigne; director, Paul Maigret; photography, Andre Neau; editor, Denise de Casablanca; music, Michel Portal; historical advisor, Natalie Zemon Davis. The plot revolves around the unraveling of the identity of a 16th century peasant who disappeared as a young husband, and the man who returns to resume his marriage nine years later. 135 Feature Film Reversal of Fortune (DVD) 112 min. Originally released as a motion picture in 1990. Based on the book of the same title by Alan M. Dershowitz. Glen Close, Jeremy Irons, Ron Silver. Ccreenplay, Nicholas Kazan; producers, Edward R. Pressman and Oliver Stone; director, Barbet Schroeder; music, Mark Isham; editor, Lee Percy; production design, Mel Bourne; director of photography, Luciano Tovoli; co-producers, Elon Dershowitz and Nicholas Kazan; executive producer, Michael Rauch. Did European aristocrat Claus von Bulow attempt to murder his wife Sunny at their luxurious Newport mansion in 1980? Jeremy Irons plays von Bulow in an Academy Award winning performance of icy brittleness that also won a Golden Globe and Los Angeles and National Society of Film Critics Best Actor Awards. Glen Close is wanly elegant as heiress Sunny. And Ron Silver portrays Harvard law professor Dershowitz, retained by von Bulow to uncover the evidence that will demolish the prosecution's case - and reverse a devastating verdict. 136 Feature Film Ricochet (DVD) 104 min. Originally released as a motion picture in 1991. Denzel Washington, John Lithgow, Ice T, Kevin Pollak. Director, Russell Mulcahy; producers, Joel Silver and Michael Levy; screenplay, Steven de Souza; story, Fred Dekker and Menno Meyjes; executive producer, Barry Josephson; co-producers, James Herbert and Suzanne Todd; director of photography, Peter Levy; editor, Peter Honess; costume designer, Marilyn Vance Straker; music, Alan Silvestri. Rookie cop Nick Styles' arrest of a ruthless psychotic killer, Blake, makes him a deadly enemy. Blake escapes from jail, faking his own death, and starts an intricate plan of revenge involving intimidation, public humiliation and murder. Nick is forced to return to the tough streets of his childhood and call on his old friend Odessa, a hustler and drug dealer, for help. Together they set a trap that pits Nick against the killer in a confrontation that will leave only one man alive and victorious. 137 Feature Film Rules of Engagement (DVD) 127 min. Originally released as a motion picture in 2000. Tommy Lee Jones, Samuel L. Jackson, Guy Pearce, Bruce Greenwood, Blair Underwood, Philip Baker Hall, Annie Archer, Ben Kingsley produced by Richard D. Zanuck, Scott Rudin; directed by William Friedkin; screenplay by Stephen Gaghan; directors of photography, William A. Fraker, Nicola Pecorini; edited by Augie Hess; music by Mark Isham; story by James Webb. Colonel Terry Childers is a patriot and war hero. But when a peacekeeping mission he leads in Yemen goes terribly worng, he finds himself facing a court martial. Accused of breaking the rules of engagement by killing unarmed civilians, Childers, only hope of vindication rests with comrade-in-arms Hays Hodges a military lawyer of questionable abilities. Together, they face the battle of their lives. 139 Feature Film Separate But Equal (DVD) 193 min. DVD release of the 1991 motion picture. Sidney Poitier, Burt Lancaster, Richard Kiley. Executive producers, George Stevens, Jr., Stan Margulies; writer and director, George Stevens, Jr. The year is 1950 and America is divided between black and white. Schools, restaurants, trains, buses, even drinking fountains cannot be shared by both races. White and Negro facilities are separate and unequal and the tension has reached a breaking point for the blacks of Clarendon County, South Carolina. When their request for a single school bus is denied by white school officials, a bitter, violent and courageous battle for justice and equality begins, putting black against white and friend against neighbor all across the country. 140 Feature Film Seven Hours to Judgment (DVD) 90 min. Originally released as a motion picture in 1988. Beau Bridges, Ron Leibman, Julianne Phillips. Executive producers, Paul Mason and Helen Sarlui-Tucker; director, Beau Bridges; screen play, Walter Davis and Elliot Stephens; music, John Debney; editor, Bill Butler. A judge rules that three gang members who murdered a woman must be freed on a technicality. Her husband sets out to seek his own revenge. 141 Feature Film The Shawshank Redemption (DVD) 142 min. Originally released as a motion picture in 1994. Based on the short novel "Rita Hayworth and Shawshank Redemption" by Stephen King. Tim Robbins, Morgan Freeman, Bob Gunton, William Sadler, Clancy Brown, Gil Bellows, James Whitmore. Music, Thomas Newman; production designer, Terence Marsh; editor, Richard Francis-Bruce; director of photography, Roger Deakins; executive producers, Liz Glotzer, David Lester; screenplay, Frank Darabont; producer, Niki Marvin; director, Frank Darabont. Two convicts, one white and one black, never give up the dream of freedom, and together they turn hope and friendship into an uplifting bond no prison can ever take away. 142 Feature Film Shining Through (DVD) 2 hrs. 12 min. Originally produced as a motion picture in 1992. Based on the novel by Susan Isaacs. Michael Douglas, Melanie Griffith, Liam Neeson, Joely Richardson, John Gielgud. Music, Michael Kamen; editor, Craig McKay; production designer, Anthony Pratt; director of photography, Jan De Bont; executive producers, Sandy Gallin and David Seltzer; co-producer, Nigel Wooll; producers, Howard Rosenman and Carol Baum; writer/director, David Seltzer. During World War II a secretary from Queens convinces her boss, a Colonel in American intelligence, to let her go undercover behind enemy lines in Germany. 143 Feature Film Simple Justice (DVD) 133 min. A segment of the TV program "American Experience" broadcast Jan. 18, 1993. Based on the book: Simple justice, by Richard Kluger. Peter Francis James (Thurgood Marshall), James Avery (Charles Houston), Andre Braugher, Scott Wentworth, Scott Whitehurst, William Allen Young, Sam Gray (Felix Frankfurter); narrator, Graham Brown. Executive producer, Avon Kirkland; producer, Yanna Kroyt Brandt; teleplay, John McGreevey; story, John McGreevey and Avon Kirkland & Peter Cook; director, Helaine Head. Recounts the remarkable legal strategy and social struggle that resulted in the Supreme Court's landmark ruling in Brown v. Board of Education of Topeka. 145 Feature Film Sleepers (DVD) 2 hrs. 28 min. Originally produced as motion picture in 1996. Based upon the book by Lorenzo Carcaterra. Kevin Bacon, Robert De Niro, Dustin Hoffman, Jason Patric, Brad Pitt. Director of photography, Michael Ballhaus; editor, Stu Linder; music, John Williams. Sentenced to the Wilkinson School for boys, four pals are mistreated at will by a cadre of sadistic guards. 15 years later, they have an unexpected opportunity for revenge. 146 Feature Film Sling Blade (DVD) 2 hrs. 28 min. Originally released as a motion picture in 1996. Billy Bob Thornton, Dwight Yoakam, J.T. Walsh, John Ritter, Lucas Black, Natalie Canerday, Robert Duvall. Director of photography, Barry Markowitz; editor, Hughes Winborne; original music, Daniel Lanois. 25 years after committing an unthinkable crime, a quite man named Karl is finally returning home. Once there he is befriended by a fatherless boy and his mother. As a strong relationship develops between Karl and the boy, a confrontation builds with the mother's abusive and sometimes violent boyfriend. 147 Feature Film Snow Falling on Cedars (DVD) 128 min. Originally released as motion picture in 1999. Based on the novel by David Guterson. Ethan Hawke, James Cromwell, Richard Jenkins, Youki Kudoh, James Rebhorn, Sam Shepard, Rick Yune, Max von Sydow. Produced by Kathleen Kennedy and Frank Marshall; produced by Harry J. Ufland and Ron Bass; screenplay by Ron Bass and Scott Hicks; directed by Scott Hicks; director of photography, Robert Richardson; editor, Hank Corwin; music, James Newton Howard. A murder trial has upset the quiet community of San Piedro, and now this tranquil village has become the center of controversy. For a local reporter the trial strikes a deep emotional chord when he finds his ex-lover is linked to the case. 148 Feature Film A Soldier's Story (DVD) 1 hr. 37 min. Originally released as a motion picture in 1984. Based on the play A Soldier's Play by Charles Fuller. Howard E. Rollins, Jr., Adolph Caesar. Executive producer, Charles Schultz; producers, Norman Jewison, Ronald L. Schwary, Patrick Palmer; director, Norman Jewison; screenplay, Charles Fuller; music, Herbie Hancock. A black army attorney is sent to Fort Neal near the end of WW II to investigate the murder of Sgt. Waters, a black man who despised his own roots. 149 Feature Film Sommersby (DVD) 1 hr. 53 min. Originally released as a motion picture in 1993. Based on the film The Return of Martin Guerre written by Daniel Vigne and Jean-Claude Carriere. Richard Gere, Jodie Foster, Bill Pullman, James Earl Jones. Director, Jon Amiel; producers, Arnon Milchan, Steven Reuther; co-producer, Mary McLaglen; executive producers, Richard Gere, Maggie Wilde; screenplay, Nicholas Meyer, Sarah Kernochan; story, Nicholas Meyer, Anthony Shaffer; music, Danny Elfman. A Civil War veteran returns to his hometown a changed man, leading his wife and others who knew him to doubt his identity. 150 Feature Film The Star Chamber (DVD) 1 hr. 48 min. Originally produced as a motion picture in 1983. Michael Douglas, Hal Holbrook, Yaphet Kotto, Sharon Gless. Story, Roderick Taylor; screenplay, Roderick Taylor, Peter Hyams; producer, Frank Yablans; director, Peter Hyams; music, Michael Small. Vicious criminals and sadistic killers are running rampant, fearlessly preying on whomever they choose with no fear of punishment. They know that if they're caught slick lawyers will get them off scot free by using obscure loopholes to put them back on the street again. A small group of powerful men decide to meet behind closed doors in the utmost secrecy and decree their own punishment for the guilty. 151 Feature Film State's Attorney (DVD) 1 hr. 19 min. Originally released as a motion picture in 1932. John Barrymore, Helen Twelvetrees, Jill Esmond, William Boyd, Mary Duncan. Executive producer, David O. Selznick; screenplay and dialogue, Gene Fowler and Rowland Brown; director, George Archainbaud. A brilliant young lawyer with underworld connections puts his life and career on the line when he is appointed District Attorney in this courtroom drama. 152 Feature Film Suspect (DVD) 101 min. Originally released as a motion picture in 1987. Cher, Dennis Quaid, Liam Neeson, John Mahoney, Joe Mantegna, Philip Bosco. Peter Yates, director; John Veitch, executive producer; Daniel A. Sherkow, producer; Eric Roth, screenplay; Michael Kamen, music. Kathleen Riley (Cher) is an overworked Washington, D.C. public defender who needs a vacation. Instead, she is assigned another case. Lobbyist Eddie Sanger (Dennis Quaid) gets saddled with jury duty just when a critical bill is coming up for vote. While on jury duty, Eddie discovers evidence critical to Kathleen's case and contacts her outside the courtroom--a violation of the law. Cher and Dennis Quaid take the law into their own hands in this daring suspense thriller where everything is revealed in court--except the truth. 153 Feature Film The Sweet Hereafter (DVD) ca. 2 hrs. Originally released as a motion picture in 1997. Based on a novel by Russell Banks. Ian Holm, Maury Chaykin, Peter Donaldson, Bruce Greenwood, David Hemblen, Brooke Johnson, Arsinee Khanjian, Tom McCamus, Stephanie Morgenstern, Earl Pastko, Sarah Polley, Gabrielle Rose, Alberta Watson. Screenplay by Atom Egoyan; produced by Camelia Frieberg and Atom Egoyan; directed by Atom Egoyan; music, Mychael Danna; editor, Susan Shipton; executive producers, Robert Lantos, Andras Hamori. Following a tragic schoolbus accident, high-profile lawyer Mitchell Stephens descends upon a small town. With promises of retribution and a class-action lawsuit filed on behalf of the grieving community, Stephens begins his investigation into the details of the crash. But beneath the town's calm, he uncovers a tangled web of lies, deceit and forbidden desires that mirrors his own troubled personal life. Gradually, we learn that Stephens has his own agenda, and that everyone has secrets to keep. 154 Feature Film A Tale of Two Cities (DVD) 2 hrs. 36 min. Originally broadcast as a made-for-TV movie in 1980. Based on the novel by Charles Dickens. Chris Sarandon, Peter Cushing, Kenneth More, Barry Morse, Flora Robson, Billie Whitelaw, Alice Krige. Director, Jim Goddard; producer, Norman Rosemont; teleplay, John Gay; photography, Tony Imi; production design, John Stoll; editor, Bill Blunden; music, Allyn Ferguson. Indifferent to the plight of France's downtrodden and pained by unrequited love for Lucie Darnay, London barrister Sydney Carton finds meaning through an act of ultimate sacrifice. 155 Feature Film The Talk of the Town (DVD) ca. 2 hrs. Originally released as a motion picture in 1942. Based on a story by Sidney Harmon. Ronald Coleman, Cary Grant, Jean Arthur. Director-producer, George Stevens ; screenplay, Irwin Shaw, Sidney Buchman. A suspected murderer hides out with an unsuspect professor and his landlady, and tries to convince the legal-minded professor there is a human side to all laws. To further complicate things, a young woman loves both the suspected murderer and the lawyer who defends him. 157 Feature Film They Won't Believe Me (VHS) 80 min. Videocassette release of the 1946 motion picture. Robert Young, Susan Hayward, Jane Greer. Producer, Joan Harrison; screenplay, Jonathan Latimer; director, Irving Pichel. Man plots to kill his wife, but finds she has committed suicide. Then he's charged with murder. 158 Feature Film A Time To Kill (DVD) 150 min. DVD release of the 1996 motion picture. Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Kevin Spacey, Brenda Fricker, Oliver Platt, Charles S. Dutton, Ashley Judd, Patrick McGoohan, Donald Sutherland. Produced by Arnon Milchan et al.; screenplay by Akiva Goldsman; directed by Joel Schumacher; director of photography, Peter Menzies, Jr.; editor, William Steinkamp; music, Elliott Goldenthal. A murder trial brings a small Mississippi town's racial tension to the flashpoint. Amid a frenzy of activist marches, Klan terror, media clamor and brutal riots, an unseasoned but idealistic young attorney mounts a stirring courtroom battle for justice. 159 Feature Film To Kill a Mockingbird (DVD) 131 min. DVD of the 1962 motion picture. Winner of Academy Awards for Gregory Peck, Best Actor, and Horton Foote, Best Screenplay. Based on the novel of the same name by Harper Lee. Gregory Peck, Brock Peters, Robert Duvall, Mary Badham, Philip Alford, Collin Wilcox, John Megna, Ruth White, Paul Fix, Frank Overton, Rosemary Murphy. Music, Elmer Bernstein; film editor, Aaron Stell.; producer, Alan Pakula; screenplay, Horton Foote; director, Robert Mulligan. Two children in a small southern town are thrust into an adult world of racial bigotry and hatred when their lawyer father chooses to defend a black man unjustly accused of raping a white girl. 161 Feature Film Touch of Evil (DVD) 1 hr. 51 mins. Originally produced as an American motion picture in 1958. Based on the novel Badge of Evil by Whit Masterson. Charlton Heston, Janet Leigh, Orson Welles, Marlene Dietrich, Joseph Calleia, Ray Collins, Akim Tamiroff, Zsa Zsa Gabor. Screenplay by Orson Welles; produced by Albert Zugsmith; directed by Orson Welles; director of photography, Russell Metty; film editors, Virgil Vogel and Aaron Stell; music, Henry Mancini; art direction, Alexander Golitzen and Robert Clatworthy; gowns, Bill Thomas; Orson Welles' requested editorial changes produced by Rick Schmidlin; edited by Walter Murch; picture restoration, Bob O'Neil; consultant, Jonathan Rosenbaum. This classic film noir is an elaborate mystery involving a corrupt police official in a squalid town on the Mexican border and a murder that ensnares a narcotics agent and his wife. 162 Feature Film Touching Evil (DVD) 13 hrs. Originally broadcast as episodes of the television series from 1997-1999. Robson Green, Nicola Walker, Michael Feast, Adam Kotz, Shaun Dingwall; host, Russell Baker. Series devised by Paul Abbott; produced by Jane Featherstone and Philip Leach; directed by Julian Jarrold and Marc Munden. Maverick police detective Dave Creegan is the newest member of London's Organized and Serial Crime Unit (OSC), an elite, rapid-response cri
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https://images.plex.tv/photo?size=large-1920&scale=1&url=https%3A%2F%2Fmetadata-static.plex.tv%2Fextras%2Fiva%2F6128%2F6ca931e2d34af5344e1dd579736dc38c.jpg 1920w" ]	[]	[]	[ "" ]	null	[]	1992-12-25T00:00:00	Where to watch Body of Evidence (1992) starring Madonna, Willem Dafoe, Julianne Moore and directed by Uli Edel.	en	/icons/favicon.ico		https://watch.plex.tv/movie/body-of-evidence	A millionaire is found dead of heart failure handcuffed to the bed with a home video tape of him and his lover. When cocaine is found in his system, and his will leaves $8 million to his lover, they arrest her on suspicion of murder. Her lawyer succumbs to her charms, and he begins a torrid and kinky affair with her. As new evidence turns up during trial, he begins to wonder if he's defending a murderer.
205	dbpedia	1	20	https://movies.fandom.com/wiki/Body_of_Evidence	en	Body of Evidence	https://static.wikia.nocookie.net/filmguide/images/8/8b/Body_of_Evidence_Poster.jpg/revision/latest?cb=20240112193654	https://static.wikia.nocookie.net/filmguide/images/8/8b/Body_of_Evidence_Poster.jpg/revision/latest?cb=20240112193654	[ "https://static.wikia.nocookie.net/filmguide/images/e/e6/Site-logo.png/revision/latest?cb=20230601122650", "https://static.wikia.nocookie.net/filmguide/images/8/8b/Body_of_Evidence_Poster.jpg/revision/latest?cb=20240112193654", "https://static.wikia.nocookie.net/filmguide/images/9/90/Rated_R.svg/revision/latest/scale-to-width-down/20?cb=20230115042905", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Moviepedia" ]	2024-07-12T14:06:28+00:00	Body of Evidence is a 1993 erotic thriller film directed by Uli Edel, written by Brad Mirman, and starring Madonna and Willem Dafoe, with Joe Mantegna, Anne Archer, Julianne Moore, and Jürgen Prochnow in supporting roles. Madonna's performance in the film was panned by film critics and it marked...	en	https://static.wikia.nocookie.net/filmguide/images/4/4a/Site-favicon.ico/revision/latest?cb=20230313154015	Moviepedia	https://movies.fandom.com/wiki/Body_of_Evidence	Body of Evidence is a 1993 erotic thriller film directed by Uli Edel, written by Brad Mirman, and starring Madonna and Willem Dafoe, with Joe Mantegna, Anne Archer, Julianne Moore, and Jürgen Prochnow in supporting roles. Madonna's performance in the film was panned by film critics and it marked her fourth film acting performance to be panned, following Shanghai Surprise, Who's That Girl, and Bloodhounds of Broadway. In France and Japan, the film was released under the name Body. In Japan, Madonna's other 1993 film Dangerous Game was released there as Body IIeven though the films have nothing in common nor are related to each other in narrative. Plot[] The elderly and wealthy Andrew Marsh dies from complications stemming from an erotic incident involving bondage and homemade pornography. The main suspect is his lover Rebecca Carlson who proclaims her innocence to lawyer Frank Dulaney. Initially believing her, Frank agrees to represent her. District Attorney Robert Garrett seeks to prove that Rebecca deliberately killed Marsh in bed to receive the $8 million he left her in his will. As the trial begins, Rebecca and Frank enter a sadomasochistic sexual relationship behind the back of Frank's unsuspecting wife, Sharon. During their first sexual encounter, Rebecca secures Frank's arms behind his back using his own belt and alternately pours hot wax and champagne on him before having sex. After an ex-lover of Rebecca's, Jeffrey Roston, testifies that he also had a heart condition, and both changed his will to favour Rebecca, and that she was sexually domineering and compelled him to engage in sexual activity with no regard to his health, describing an incident that clearly resonates with Frank's own experience, Frank attempts to end their affair. Sharon confronts him about the affair having figured it out from a phone call with Rebecca as well as the strange marks on his body from the hot wax. Frank goes to Rebecca's home and accuses her of telling his wife about them (although Sharon says she worked it out from her tone alone). Rebecca taunts Frank, and he pushes her to the ground. Rebecca begins to masturbate on the floor in front of him. Rebecca pulls out handcuffs, Frank forcibly cuffs her hands instead and sexually assaults her. Initially she resists before appearing to enjoy the assault. Footage from Marsh's home video reveals that he had an affair with his secretary, Joanne Braslow, who is a key witness against Rebecca. He also had previously left Joanne more money in his will before beginning his relationship with Rebecca. She says that she was hurt but she loved him and would never hurt him. However, there is evidence that she bought the murder weapon. Rebecca suggests to Frank that the secretary tried to frame her, but he is now less sure of her innocence in the crime. Rebecca takes the stand and her surprising testimony that Roston had an affair with another man convinces the jury, which acquits her. Before leaving court, she mockingly thanks Frank and indicates that she is guilty after all. Frank still cannot resist going to Rebecca's home, where he overhears an incriminating conversation between her and Marsh's doctor, Alan Paley. He confronts the co-conspirators, realizing that it was Paley who supplied the fatal dose of cocaine. Rebecca is amused by Frank's discovery of her manipulating him, but Paley is shocked to learn that she was sleeping with Frank as well. Rebecca mocks both men, bluntly acknowledging that she used her sexual prowess to control and humiliate both of them, as well as Marsh. Paley realizes she does not care about him and becomes enraged. After a struggle with Frank who tries to save Rebecca, Paley shoots her twice. She plunges from a window to her death. Paley is arrested for murdering her. Before leaving the scene with his wife to repair their relationship, Frank then tells Garret he should've won the case with Garrett replying: "I did". Cast[] Madonna as Rebecca Carlson Willem Dafoe as Frank Dulaney Joe Mantegna as Robert Garrett Anne Archer as Joanne Braslow Julianne Moore as Sharon Dulaney Stan Shaw as Charles Briggs Charles Hallahan as Dr. McCurdy Lillian Lehman as Judge Mabel Burnham Mark Rolston as Detective Reese Jeff Perry as Gabe Richard Riehle as Detective Griffin Jürgen Prochnow as Dr. Alan Paley Frank Langella as Jeffrey Roston
205	dbpedia	2	75	https://www.moviefone.com/movie/body-of-evidence/7696/where-to-watch/	en	Body of Evidence (1993) Stream and Watch Online	https://cdn.moviefone.co…g?d=360x540&q=60	https://cdn.moviefone.co…g?d=360x540&q=60	[ "https://cdn.moviefone.com/legacy/assets/x.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/image-assets/2149/rGDfwZHRMpY5R0ZkmaiHHvpYQKB.jpg?d=360x540", "https://cdn.moviefone.com/legacy/assets/justwatch_logo_10px.png", "https://images.justwatch.com/icon/169478387/s100", "https://images.justwatch.com/icon/131862988/s100", "https://images.justwatch.com/icon/430995/s100", "https://images.justwatch.com/icon/146383632/s100", "https://images.justwatch.com/icon/76972041/s100", "https://images.justwatch.com/icon/104966985/s100", "https://images.justwatch.com/icon/166008757/s100", "https://images.justwatch.com/icon/59562423/s100", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/wp-content/uploads/2024/07/saturday-night-live-200.jpg?q=50", "https://cdn.moviefone.com/wp-content/uploads/2024/06/kinds-of-kindness-987.jpg?q=50", "https://cdn.moviefone.com/wp-content/uploads/2024/06/kinds-of-kindness-107.jpg?q=50", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/x.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=6035391&cv=3.6.0&cj=1" ]	[]	[]	[ "" ]	null	[]	null	Stream 'Body of Evidence' and watch online. Discover streaming options, rental services, and purchase links for this movie on Moviefone. Watch at home and immerse yourself in this movie's story anytime.	en	https://cdn.moviefone.com/legacy/assets/favicon/mf_favicon_rounded.ico	Moviefone	https://www.moviefone.com/movie/body-of-evidence/7696/where-to-watch/	Want to behold the glory that is 'Body of Evidence' on your TV, phone, or tablet? Finding a streaming service to buy, rent, download, or view the Uli Edel-directed movie via subscription can be difficult, so we here at Moviefone want to help you out. We've listed a number of streaming and cable services - including rental, purchase, and subscription options - along with the availability of 'Body of Evidence' on each platform when they are available. Now, before we get into all the details of how you can watch 'Body of Evidence' right now, here are some finer points about the Metro-Goldwyn-Mayer, Constantin Film thriller flick. Released January 15th, 1993, 'Body of Evidence' stars Madonna, Willem Dafoe, Julianne Moore, Anne Archer The R movie has a runtime of about 1 hr 41 min, and received a user score of 50 (out of 100) on TMDb, which put together reviews from 291 respected users. Want to know what the movie's about? Here's the plot: "When an elderly millionaire is found dead with cocaine in his system, his will leaves $8 million to Rebecca Carlson, who was having an affair with him. District attorney Robert Garrett decides to prosecute Rebecca, arguing that she deliberately engaged in wild sex with the old man to overexcite him and lead to his premature death. Defense attorney Frank Dulaney defends Rebecca in court while getting sucked into a dangerous affair with her." 'Body of Evidence' is currently available to rent, purchase, or stream via subscription on Google Play Movies, Pluto TV, Apple iTunes, Vudu, The Roku Channel, Tubi TV, AMC on Demand, and YouTube .
wrong_mix_range_leader_00122	FactBench	1	35	https://www.britannica.com/topic/history-of-East-Timor	en	History of East Timor \| Events, People, Independence, Dates, & Facts	https://cdn.britannica.c…f-East-Timor.jpg	https://cdn.britannica.c…f-East-Timor.jpg	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/60/72760-004-1BBBBFBE/Flag-of-East-Timor.jpg", "https://cdn.britannica.com/33/61833-004-CFF92EB3/East-Timor.jpg", "https://cdn.britannica.com/43/233943-004-BA926A69/East-Timorese-cheer-and-wave-flags-during-parade-celebrate-independence-May-20-2002-Dili.jpg", "https://cdn.britannica.com/42/233942-004-E9196954/Taur-Matan-Ruak-thanks-supporters-after-presidential-run-off-election-April-8-2012.jpg", "https://cdn.britannica.com/55/182155-050-30F55CFC/fire-US-Marines-Fallujah-Iraq-Second-Battle-November-2004.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/49/221849-131-4DA1A70D/timeline-world-8-maps.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/92/125692-131-43C78F64/Charles-Pete-Conrad-Apollo-12-surface-flag-Nov-19-1969.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/68/220368-131-C835E48E/United-States-electoral-college-votes-by-state.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/36/162636-131-E4AA93A0/Colosseum-Rome-Italy.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/57/203257-131-48B2BCA1/Martin-Luther-King-Jr-marchers-speech-I-August-28th-1963.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/38/114738-131-1EC2D535/assassination-Pres-John-Wilkes-Booth-Abraham-Lincoln-April-14-1865.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/28/60728-131-36BD65EF/infantrymen-German-Maxim-World-War-I-machine.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/45/189145-131-45FF672E/Secret-Service-Agent-Earpiece.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/60/72760-050-4F87197C/Flag-of-East-Timor.jpg?w=300", "https://cdn.britannica.com/33/61833-050-302C6C05/East-Timor.jpg?w=300", "https://cdn.britannica.com/43/233943-050-6C8965CB/East-Timorese-cheer-and-wave-flags-during-parade-celebrate-independence-May-20-2002-Dili.jpg?w=300", "https://cdn.britannica.com/42/233942-050-EBD2040E/Taur-Matan-Ruak-thanks-supporters-after-presidential-run-off-election-April-8-2012.jpg?w=300" ]	[]	[]	[ "history of East Timor", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "The Editors of Encyclopaedia Britannica" ]	2023-05-19T00:00:00+00:00	History of East Timor, survey of the notable events and people in the history of East Timor from the 16th century to the present. The country occupies the eastern half of the island of Timor, which it shares with Indonesia. East Timor is in the Lesser Sunda Islands, at the southern end of the Malay	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/topic/history-of-East-Timor	history of East Timor, survey of the notable events and people in the history of East Timor from the 16th century to the present. The country occupies the eastern half of the island of Timor, which it shares with Indonesia. East Timor is in the Lesser Sunda Islands, at the southern end of the Malay Archipelago between the Pacific and Indian oceans. Its capital and largest city is Dili, on the country’s northern coast. The Portuguese first settled on Timor in 1520, and the Spanish arrived in 1522. The Dutch took possession of the western portion of the island in 1613. The British governed the island in 1812–15. The Dutch and the Portuguese fought for supremacy over Timor, and Portuguese sovereignty over the island’s eastern half was settled by treaties in 1860 and 1893, although the latter became effective only in 1914. Japanese forces occupied Timor during World War II. East Timor province, including the Ambeno enclave, thereafter remained in Portuguese possession until 1975, when one of the major political parties there, Fretilin (Frente Revolucionária do Timor-Leste Independente [Revolutionary Front for an Independent East Timor]), gained control of much of the territory and in November declared its independence as the Democratic Republic of East Timor. Early in December Indonesian forces invaded and occupied the area, and in 1976 Indonesia declared it to be an integral part of that country as the province of East Timor (Timor Timur). Over the next two decades, tens of thousands of East Timorese died (some observers claim as many as 200,000 perished) resisting the Indonesian occupation and annexation or as a result of famine and disease. In response to mounting international pressure, the Indonesian government authorized a referendum there for August 30, 1999, to determine the future of East Timor. Almost four-fifths of the voters supported independence, and the Indonesian parliament rescinded Indonesia’s annexation of the territory. East Timor was returned to its preannexation status of independence but as a non-self-governing territory under UN supervision. However, the transfer of power was accompanied by violence perpetrated by anti-independence militants. Hundreds of people were killed, and thousands fled to the western half of the island; refugees subsequently began returning home. In April 2002 Xanana Gusmão—leader of the National Council of Timorese Resistance (Conselho Nacional de Resistência Timorense; CNRT), one of the former opposition groups—was elected East Timor’s first president. The territory achieved full status as a sovereign state shortly thereafter. Prime Minister José Ramos-Horta—who had been a corecipient of the 1996 Nobel Prize for Peace—was elected president in May 2007 and succeeded Gusmão. Tensions within the country remained high, however, as indicated by the continued presence of a UN security mission in the country. The situation only worsened after Ramos-Horta swore in Gusmão as prime minister of a coalition government even though the CNRT—renamed, with the same acronym, the National Congress for the Reconstruction of Timor (Congresso Nacional de Reconstrução do Timor)—finished second to Fretilin in the July 2007 parliamentary elections. In February 2008 President Ramos-Horta was seriously injured when he was shot by militant forces in an attempted assassination. He subsequently recovered and served the remainder of his term. Ramos-Horta was unsuccessful in his bid for a second presidential term in 2012, however, and he was succeeded in office by the country’s former army chief, Taur Matan Ruak. Gusmão’s government weathered the political crisis of 2007–08 and began efforts to improve East Timor’s economy. The country did achieve some significant economic growth during Gusmão’s first term as prime minister, but much of that growth was tied to the heavy dependence on hydrocarbon production. A large proportion of the population still lived in deep poverty, and Gusmão’s government was criticized for having done little to improve conditions for those citizens. East Timor applied for membership in ASEAN in 2011. When Indonesia’s permanent representative to ASEAN intimated in May 2016 that East Timor would become a member of the organization in 2017, it appeared as if the country’s long wait to join ASEAN was almost over. However, when the Joint Communiqué of ASEAN’s foreign ministers’ meeting was issued in July, it only “looked forward” to “continued discussion” that would take into consideration the results of several feasibility studies, thus leaving the issue of East Timor’s membership unresolved. The CNRT won a plurality (but not a majority) of seats in the 2012 legislative elections, and Gusmão was again able to form a coalition government. One notable development during his second administration was the departure of the last members of the UN security mission by early 2013. In January 2014 Gusmão announced his intention to step down as prime minister. He delayed that action until mid-February 2015, when he was succeeded by Rui Maria de Araújo of Fretilin, who appointed Gusmão to the post of minister for planning and strategic investment.
wrong_mix_range_leader_00122	FactBench	0	5	https://www.tampabay.com/archive/1992/03/10/plot-to-kill-drug-lord-escobar-uncovered/	en	Plot to kill drug lord Escobar uncovered	https://www.tampabay.com…mes-fallback.png	https://www.tampabay.com…mes-fallback.png	[ "https://www.tampabay.com/pf/resources/images/icons/sports/icon--bucs-logo.png?d=578", "https://www.tampabay.com/pf/resources/images/icons/sports/icon--rays-logo.png?d=578", "https://www.tampabay.com/pf/resources/images/icons/sports/icon--lightning-logo.png?d=578", "https://www.tampabay.com/pf/resources/images/icons/sports/icon--bulls-logo.png?d=578", "https://www.tampabay.com/pf/resources/images/icons/sports/icon--gators-logo.png?d=578", "https://www.tampabay.com/pf/resources/images/icons/sports/icon--seminoles-logo.png?d=578", "https://files.tampabay.com/resources/images/florida-public-notices-verfied.png" ]	[]	[]	[ "" ]	null	[ "Times Staff" ]	1992-03-10T00:00:00	Authorities said Monday they had uncovered an assassination plot against imprisoned Medellin drug lord Pablo Escobar Gaviria by the rival Cali cartel. They said the plotters intended to use...	en	/pf/favicon.ico	Tampa Bay Times	https://www.tampabay.com/archive/1992/03/10/plot-to-kill-drug-lord-escobar-uncovered/	Authorities said Monday they had uncovered an assassination plot against imprisoned Medellin drug lord Pablo Escobar Gaviria by the rival Cali cartel. They said the plotters intended to use 500-pound bombs to blow up Escobar's prison in Colombia. The plotters apparently managed to get three of the four bombs _ purchased from a Salvadoran air force officer _ out of the country, the officials said. Nine people have been arraigned in criminal court on charges of possession of and theft of weapons of war, officials said. In Bogota, Colombia, police said they were searching for the three bombs. Colombian authorities have barred all aircraft from airspace over the jail at Envigado, where Escobar is awaiting trial on charges of murder and smuggling cocaine. Mexicans arrested in "Moreliagate' MORELIA, Mexico _ Authorities have arrested three government agents who reportedly posed as journalists to try to bug a meeting of the leadership of Mexico's largest opposition party, an official said Monday. Leaders of the National Action Party charged that the three Interior Ministry agents left a tiny microphone and transmitter hidden in a conference room at a hotel in Morelia, where the party's national executive committee was to meet. They also claimed the men obtained confidential party documents. The attorney general's office said the three were expected to give statements to investigators today. Newspapers have started calling the case "Moreliagate." Belgium gets new prime minister BRUSSELS, Belgium _ Belgium's new prime minister promised on Monday that his government would regain the confidence of voters, who have grown weary of political crises. Jean-Luc Dehaene, a Christian Democrat who leads a new center-left coalition, told parliament his government's top priority would be cutting the budget deficit and pushing through constitutional reforms that would give more power to Belgium's main regions, Dutch-speaking Flanders and French-speaking Wallonia. Constant disputes between the two have brought down most Belgian governments since World War II: Dehaene's is the 35th. His government ends the era of Europe's longest serving premier, Wilfried Martens, who served for 12 years. Elsewhere . . . BEIRUT, Lebanon _ In the first official statistics on Lebanon's civil war, police said Monday that more than 144,000 people were killed and nearly 200,000 wounded from 1975 to 1990. The report excluded 6,630 people killed and about 8,000 wounded in related conflicts involving Palestinians. The report said that 17,415 people remain missing and that most are presumed dead. BELFAST _ Protestant and Catholic politicians in Northern Ireland resumed talks Monday, but there was concern the discussions could be delayed because of a British general election, which British Prime Minister John Major is expected to call for April 9. The talks are aimed at returning the province to local power-sharing government after 18 years of British rule. LONDON _ China formally acceded to the Non- Proliferation Treaty Monday and pledged to help prevent the spread of nuclear arms and work for nuclear disarmament. China is the last major nuclear power to sign the treaty. DARWIN, Australia _ A Portuguese "peace boat" with students and activists aboard set sail Monday for East Timor, with an Indonesian navy flotilla determined to block it. The protesters want to lay wreaths at the Santa Cruz cemetery in Dili, East Timor, in memory of the 50 to 180 civilians massacred by Indonesian troops in November. Indonesia invaded the former Portuguese colony in 1975.
wrong_mix_range_leader_00122	FactBench	1	62	https://www.movedemocracy.org/person/chair-jose-ramos-horta-timor-leste	en	World Movement for Democracy	https://www.movedemocrac…-rh-headshot.png	https://www.movedemocrac…-rh-headshot.png	[ "https://www.movedemocracy.org/wp-content/themes/wmd/assets/img/democracy-logo.png", "https://www.movedemocracy.org/wp-content/uploads/2020/06/JRH-photo-social-dimensions-345x259.png", "https://www.movedemocracy.org/wp-content/uploads/2021/11/NED_WORLD-MOVEMENT-LOGOs-for-Formats-04-e1637612615447-345x117.png" ]	[]	[]	[ "" ]	null	[]	2020-06-16T19:22:44+00:00	The World Movement for Democracy is pleased to welcome Jose Ramos-Horta, winner of the Nobel Peace Prize and former president of Timor-Leste (East Timor), as new Chairperson of its Steering Committee. During the 24 year occupation of his country by Indonesia, Ramos-Horta worked in exile as a leading voice of the East Timorese independence movement, […]	en	https://www.movedemocrac…avicon-32x32.png	World Movement for Democracy	https://www.movedemocracy.org/person/chair-jose-ramos-horta-timor-leste	The World Movement for Democracy is pleased to welcome Jose Ramos-Horta, winner of the Nobel Peace Prize and former president of Timor-Leste (East Timor), as new Chairperson of its Steering Committee. During the 24 year occupation of his country by Indonesia, Ramos-Horta worked in exile as a leading voice of the East Timorese independence movement, tirelessly working among grassroots and diplomatic channels to promote peaceful dialog between Indonesia’s government and the East Timorese people as they struggled for self-determination. He received the Nobel Peace Prize in 1996 largely in recognition of this work. As Chair, Ramos-Horta will lead the World Movement’s Steering Committee, which advises and helps mobilize a global network of civil society activists, scholars, parliamentarians, thought leaders, journalists, and funders who are committed to advancing democracy. Ramos-Horta succeeds Zainab Hawa Bangura, who served as Chairperson for four years before becoming Director-General of the United Nations Office at Nairobi. “During the unique circumstances that the COVID pandemic has imposed on the world,” Ramos-Horta remarked, “we need to work harder than ever to ensure that the ideals of democratic society—such as freedom of speech, freedom of assembly & association, rule of law—are defended and renewed. The work of networks of democracy and human rights activists like the World Movement for Democracy is essential to protecting those freedoms where they exist, and providing hope where people are still striving to achieve them. In my own country, I’ve seen the importance of global solidarity in our struggle for freedom, and so I’m excited by the opportunity to help keep the spirit of global solidarity among democrats strong.” Ramos-Horta began his career as a member of Fretilin liberation movement, and when Indonesia invaded and occupied the country in 1975, he became part of Fretilin’s government in exile, serving as its representative to the United Nations. It’s estimated that over 100,000 people died as a result of the subsequent 24 year occupation. When he shared the 1996 Nobel Peace Prize with fellow countryman Carlos Filip Zimenes Belo, the Nobel committee considered Ramos-Horta “the leading international spokesman for East Timor’s cause since 1975.” In 1992 he presented a peace plan, which contained concrete proposals for humanitarian cooperation between the Indonesian government and UN workers in East Timor. The plan was meant to prepare the country to vote in a referendum between independence and remaining part of Indonesia. In 1999 the country voted in a landslide for independence. In response, the Indonesian army and pro-Indonesia militia burned 85% of the buildings in Timor, massacred hundreds, and forcibly relocated hundreds of thousands of people to other parts of Indonesia. The destruction was only halted by the arrival of UN peacekeeping forces. Returning from exile, Ramos-Horta was a key player in the promotion of national reconciliation and of reconciliation with Indonesia. He joined that government as his country’s first Foreign Minister. In 2006, Ramos-Horta served as Prime Minister before being elected president in 2007. He served as president until 2012, and was widely known for his anti-poverty programs, home building initiatives, and working towards reconciliation. He remains popular with the East Timorese people, as he received a 91% popular approval rating from a 2017 IRI survey . Known as a global peacemaker, he was invited by the United Nations in 2012 to serve as special envoy to Guinea-Bissau following a military coup there. He served until 2014, at which point the country had held democratic elections and peacefully transitioned power to an elected government. In 2014, he chaired the UN High Level Panel on Peace Operations, which is a global review of UN peacekeeping and mediation work, meant to assess the UN’s effectiveness in this area. He continued his work with the UN in 2017, serving as an External Advisor to UN General Assembly President, H.E. Mr. Miroslav Lajčák, until 2018, and as a member of the UN’s High Level Board on Mediation until 2019. Today, he serves as a member of numerous international organizations’ boards of directors, and continues to advocate for international peace and human rights.
wrong_mix_range_leader_00122	FactBench	3	94	https://www.facebook.com/EastTimorTradingG/	en	Bei Facebook anmelden	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	[ "https://static.xx.fbcdn.net/rsrc.php/y1/r/4lCu2zih0ca.svg", "https://facebook.com/security/hsts-pixel.gif?c=3.2.5" ]	[]	[]	[ "" ]	null	[]	null	Melde dich bei Facebook an, um dich mit deinen Freunden, deiner Familie und Personen, die du kennst, zu verbinden und Inhalte zu teilen.	de	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	Facebook	https://www.facebook.com/login/web/
wrong_mix_range_leader_00122	FactBench	0	18	https://en.wikipedia.org/wiki/Prime_minister	en	Prime minister	https://upload.wikimedia…er_2014_-_09.jpg	https://upload.wikimedia…er_2014_-_09.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/0/01/A_coloured_voting_box.svg/16px-A_coloured_voting_box.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2d/The_Prime_Ministers_of_the_Nordic_Council_in_October_2014_-_09.jpg/220px-The_Prime_Ministers_of_the_Nordic_Council_in_October_2014_-_09.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/27/CommonwealthPrimeMinisters1944.jpg/250px-CommonwealthPrimeMinisters1944.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/55/Royal_Decree_no_08231772_of_07.08.2023_%28Cambodia%29.jpg/220px-Royal_Decree_no_08231772_of_07.08.2023_%28Cambodia%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/da/Secretary_Pompeo_and_Malaysian_Prime_Minister_Mahathir_Mohamad_%2843814329771%29_%28Mahathir_cropped%29.jpg/220px-Secretary_Pompeo_and_Malaysian_Prime_Minister_Mahathir_Mohamad_%2843814329771%29_%28Mahathir_cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Ambox_globe_content.svg/48px-Ambox_globe_content.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Macdonald1872.jpg/170px-Macdonald1872.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/Sirimavo_Bandaranaike%2C_Prime_Minister_of_Ceylon_1960_%28cropped%29.PNG/220px-Sirimavo_Bandaranaike%2C_Prime_Minister_of_Ceylon_1960_%28cropped%29.PNG", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Pitt_the_Younger.jpg/170px-Pitt_the_Younger.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/21/Prime_ministers.svg/300px-Prime_ministers.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2001-10-23T04:45:15+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Prime_minister	Top minister of cabinet and government A prime minister or chief of cabinet is the head of the cabinet and the leader of the ministers in the executive branch of government, often in a parliamentary or semi-presidential system. A prime minister is not the head of state, but rather the head of government, serving as the chief of the executive under either a monarch or a president in a republican form of government. In parliamentary systems of government (be they constitutional monarchies or parliamentary republics), the Prime Minister (or occasionally a similar post with a different title, such as the Chancellor of Germany) is the most powerful politician and the functional leader of the state, by virtue of commanding the confidence of the legislature. The head of state is typically a ceremonial officer, though they may exercise reserve powers to check the Prime Minister in unusual situations. Under some presidential systems, such as South Korea and Peru, the prime minister is the leader or the most senior member of the cabinet, but not the head of government. As such, in South Korea, the prime minister is equivalent to that of a vice president which is the second in-command and assumes the presidency in the absence of the president. In many systems, the prime minister selects and may dismiss other members of the cabinet, and allocates posts to members within the government. In most systems, the prime minister is the presiding member and chairman of the cabinet. In a minority of systems, notably in semi-presidential systems, a prime minister is the official appointed to manage the civil service and execute the directives of the head of state. Today, the prime minister is often, but not always, a member of the legislature or its lower house, and is expected with other ministers to ensure the passage of bills through the legislature. In some monarchies the monarch may also exercise executive powers (known as the royal prerogative) without the approval of parliament. As well as being head of government, being prime minister may require holding other roles or posts—the prime minister of the United Kingdom, for example, is also First Lord of the Treasury and Minister for the Civil Service.[note 1] In some cases, prime ministers may choose to hold additional ministerial posts (e.g. when the portfolio is critical to that government's mandate): during the Second World War, Winston Churchill was also Minister of Defence (although there was then no Ministry of Defence). Another example is the Thirty-fourth government of Israel (2015–2019) , when Benjamin Netanyahu at one point served as the prime minister and minister of Communications, Foreign Affairs, Regional Cooperation, Economy, Defense and Interior. The term "prime minister" is attested in 17th century sources referring to Cardinal Richelieu,[1] after he was named premier ministre to head the French royal council in 1624. The title was used alongside the principal ministre d'État ("chief minister of the state") more as a job description. After 1661, Louis XIV and his descendants refused to allow one of their Ministers to be more important than the others, so the term was no longer in use.[2] In the 18th century in the United Kingdom, members of parliament disparagingly used the title in reference to Sir Robert Walpole (whose official title was First Lord of the Treasury). During the whole of the 18th century, Britain was involved in a prolonged conflict with France, periodically bursting into all-out war, and Britons took outspoken pride in their "Liberty" as contrasted to the "Tyranny" of French Absolute Monarchy; therefore, being implicitly compared with Richelieu was no compliment to Walpole. Over time, however, the title became honorific[where?] and remains so in the 21st century.[3] See also: History of parliamentarism The monarchs of England and the United Kingdom had ministers in whom they placed special trust and who were regarded as the head of the government. Examples were Thomas Cromwell under Henry VIII; William Cecil, Lord Burghley under Elizabeth I; Clarendon under Charles II and Godolphin under Queen Anne. These ministers held a variety of formal posts, but were commonly known as "the minister", the "chief minister", the "first minister" and finally the "prime minister". The power of these ministers depended entirely on the personal favour of the monarch. Although managing the parliament was among the necessary skills of holding high office, they did not depend on a parliamentary majority for their power. Although there was a cabinet, it was appointed entirely by the monarch, and the monarch usually presided over its meetings. The monarch could dismiss the minister at any time, or worse: Cromwell was executed and Clarendon driven into exile when they lost favour. Kings sometimes divided power equally between two or more ministers to prevent one minister from becoming too powerful. Late in Anne's reign, for example, the Tory ministers Harley and Viscount Bolingbroke shared power. In the mid 17th century, after the English Civil War (1642–1651), Parliament strengthened its position relative to the monarch then gained more power through the Glorious Revolution of 1688 and passage of the Bill of Rights in 1689.[4] The monarch could no longer establish any law or impose any tax without its permission and thus the House of Commons became a part of the government. It is at this point that a modern style of prime minister begins to emerge.[5][6] A tipping point in the evolution of the prime ministership came with the death of Anne in 1714 and the accession of George I to the throne. George spoke no English, spent much of his time at his home in Hanover, and had neither knowledge of, nor interest in, the details of British government. In these circumstances it was inevitable that the king's first minister would become the de facto head of the government. From 1721, this was the Whig politician Robert Walpole, who held office for twenty-one years. Walpole chaired cabinet meetings, appointed all the other ministers, dispensed the royal patronage and packed the House of Commons with his supporters. Under Walpole, the doctrine of cabinet solidarity developed. Walpole required that no minister other than himself have private dealings with the king, and also that when the cabinet had agreed on a policy, all ministers must defend it in public, or resign. As a later prime minister, Lord Melbourne, said, "It matters not what we say, gentlemen, so long as we all say the same thing." Walpole always denied that he was "prime minister", and throughout the 18th century parliamentarians and legal scholars continued to deny that any such position was known to the Constitution. George II and George III made strenuous efforts to reclaim the personal power of the monarch, but the increasing complexity and expense of government meant that a minister who could command the loyalty of the Commons was increasingly necessary. The long tenure of the wartime prime minister William Pitt the Younger (1783–1801), combined with the mental illness of George III, consolidated the power of the post. The title "prime minister" was first referred to on government documents during the administration of Benjamin Disraeli but did not appear in the formal British Order of precedence until 1905. The prestige of British institutions in the 19th century and the growth of the British Empire saw the British model of cabinet government, headed by a prime minister, widely copied, both in other European countries and in British colonial territories as they developed self-government.[7][8][9] In some places alternative titles such as "premier", "chief minister", "first minister of state", "president of the council" or "chancellor" were adopted, but the essentials of the office were the same. In the late 20th century,[10][11] many of the world's countries had prime ministers or equivalent ministers, holding office under either constitutional monarchies or ceremonial presidents. The main exceptions to this system include Switzerland and the United States, as well as the presidential republics in Latin America, such as Chile and Mexico, modelled on the U.S. system in which the president directly exercises executive authority. Bahrain's former prime minister, Sheikh Khalifah bin Sulman Al Khalifah, occupied the post for about 50 years, from 1970 to November 2020, making him the longest serving non-elected prime minister. The post of prime minister may be encountered both in constitutional monarchies (such as Belgium, Denmark, Japan, Luxembourg, the Netherlands, Norway, Malaysia, Morocco, Spain,[note 2] Sweden, Thailand, Canada, Australia, New Zealand, and the United Kingdom) and in parliamentary republics, in which the head of state is an elected official (such as Bangladesh, Finland, the Czech Republic, France, Greece, Hungary, India, Indonesia (1945–66), Ireland, Nigeria (1960–66), Pakistan, Montenegro, Croatia, Bulgaria, Romania, Serbia, Turkey (1923–2018) and Italy). See also "First Minister", "Premier", "Chief Minister", "Chancellor", "Taoiseach", "Minister of State (Statsminister)", "President of the Government", "President of the Council of Ministers" and "Secretary of State": alternative titles usually equivalent in meaning to, or translated as, "prime minister". Both Indonesia and Nigeria lost their positions as prime ministers in 1966. Brazil, Iran, the Philippines and Turkey also lost their positions as prime ministers. Chile, Mexico, Switzerland and the United States never had positions as prime ministers. This contrasts with the presidential system, in which the president (or equivalent) is both the head of state and the head of the government. In some presidential and all semi-presidential systems, such as those of Algeria, Argentina, China, France, Poland, Russia, South Korea or Ukraine, the prime minister is an official generally appointed by the president but usually approved by the legislature and responsible for carrying out the directives of the president and managing the civil service. The premier of the Republic of China (Taiwan) is also appointed by the president but does not require any approval by the legislature.[citation needed] Appointment of the prime minister of France does not require any approval by the parliament either, but the parliament may force the resignation of the government. In these systems, it is possible for the president and the prime minister to be from different political parties if the legislature is controlled by a party different from that of the president. When it arises, such a state of affairs is usually referred to as (political) cohabitation.[citation needed] In parliamentary systems a prime minister may enter into office by several means. The head of state appoints a prime minister, of their personal choice: Example: France, where the president has the power to appoint the prime minister of their choice, though the National Assembly can force a government to resign, they cannot nominate or appoint a new candidate. While in practice most prime ministers under the Westminster system (including Australia, Canada, New Zealand, Malaysia, India and the United Kingdom) are the leaders of the largest party or coalition in parliament, technically the appointment of the prime minister is de jure exercised by the head of state. The head of state appoints a prime minister who has a set timescale within which they must gain a vote of confidence: Example: Italy, Romania, Thailand The head of state appoints a formateur from among the members of Parliament, who then has a set timescale within which they must form a cabinet, and receive the confidence of Parliament after presenting the Cabinet Composition and Legislative Program to Parliament, and the formateur becomes prime minister once approved by parliament: Example: Israel The head of state appoints the leader of the political party with the majority of the seats in the parliament as prime minister. If no party has a majority, then the leader of the party with a plurality of seats is given an exploratory mandate to receive the confidence of the parliament within three days. If this is not possible, then the leader of the party with the second highest seat number is given the exploratory mandate. If this fails, then the leader of the third largest party is given it and so on: Example: Greece, see Prime Minister of Greece The head of state nominates a candidate for prime minister who is then submitted to parliament for approval before appointment as prime minister: Example: Spain, where the King sends a nomination to parliament for approval. Also Germany where under the German Basic Law (constitution) the Bundestag votes on a candidate nominated by the federal president. In the Philippines under the 1973 Constitution as amended after martial law, the prime minister was elected by the Batasang Pambansâ (Legislature) upon nomination by the president. In these cases, parliament can choose another candidate who then would be appointed by the head of state (or, in the case of the Philippines, outright elect that candidate). Parliament nominates a candidate who the head of state is then constitutionally obliged to appoint as prime minister: Example: Ireland, where the president appoints the Taoiseach on the nomination of Dáil Éireann. Also Japan. Election by the legislature: Example: the Philippines under the unamended 1973 Constitution, where the prime minister was supposed to be elected by the Batasang Pambansâ; these provisions were never used because the Philippines was under martial law at the time. Also Vanuatu. Direct election by popular vote: Example: Israel, 1996–2001, where the prime minister was elected in a general election, with no regard to political affiliation. Nomination by a state office holder other than the head of state or his or her representative: Example: Under the modern Swedish Instrument of Government, the power to appoint someone to form a government has been moved from the monarch to the speaker of the parliament and the parliament itself. The speaker nominates a candidate, who is then elected to prime minister (statsminister) by the parliament if an absolute majority of the members of parliament does not vote no (i.e. the candidate can be elected to the post even if more MP:s vote no than yes). In older, convention-based parliamentary systems, prime ministers are not appointed for a specific term in office and in effect may remain in power through a number of elections and parliaments. For example, Margaret Thatcher was only ever appointed prime minister on one occasion, in 1979. She remained continuously in power until 1990, though she used the assembly of each House of Commons after a general election to reshuffle her cabinet. Newer parliamentary systems that operate based on a codified constitution, however, do have a term of office of the prime minister linked to the period in office of the parliament. Hence, for example, Latvian prime minister Krišjānis Kariņš, who was first appointed in 2018, had to be reappointed as head of a new government following the 2022 Latvian parliamentary election. The position of prime minister is usually chosen from the political party that commands - whether by itself or as the largest member of a coalition - the majority of seats in the lower house of parliament, though this is not a requirement either; for example, following the 2018 Latvian parliamentary election, after two failed attempts by larger parties to form a coalition headed by them, the leader of the smallest party in parliament - Krišjānis Kariņš - was eventually appointed as a compromise candidate. Italy has seen several emergency technocratic governments, such as Carlo Azeglio Ciampi's and Mario Draghi's governments, where the prime minister was a non-partisan expert backed by the confidence and supply of a broad cross-section of the parliament. In parliamentary systems, governments are generally required to have the confidence of the lower house of parliament (though a small minority of parliaments, by giving a right to block supply to upper houses, in effect make the cabinet responsible to both houses, though in reality upper houses, even when they have the power, rarely exercise it). Where they lose a vote of confidence, have a motion of no confidence passed against them, or where they lose supply, most constitutional systems require either: a letter of resignation or a request for parliamentary dissolution. The latter in effect allows the government to appeal the opposition of parliament to the electorate. However, in many jurisdictions a head of state may refuse a parliamentary dissolution, requiring the resignation of the prime minister and his or her government. In most modern parliamentary systems, the prime minister is the person who decides when to request a parliamentary dissolution. Older constitutions often vest this power in the cabinet. In the United Kingdom, for example, the tradition whereby it is the prime minister who requests a dissolution of parliament dates back to 1918. Prior to then, it was the entire government that made the request. Similarly, though the modern 1937 Irish constitution grants to the Taoiseach the right to make the request, the earlier 1922 Irish Free State Constitution vested the power in the Executive Council (the then name for the Irish cabinet). Some systems, such as Germany and Spain, require motions of no confidence to be constructive: i.e., they must include the name of an alternative prime minister; if the motion of no confidence is successful, the alternative prime minister automatically takes office in place of the incumbent government, which cannot appeal this replacement to the electorate. In Australia, the prime minister is expected to step down if they lose the majority support of their party under a spill motion as have many such as Tony Abbott, Julia Gillard, Kevin Rudd and Malcolm Turnbull. Main article: Cabinet department The prime minister's executive office is usually called the Office of the Prime Minister or Cabinet Office. The U.K.’s Cabinet Office includes the Prime Minister’s Office. Conversely, some Prime Minister's Offices incorporate the role of Cabinet, while Australia’s Department of the Prime Minister and Cabinet joins them at par. In Israel, the prime minister's executive office is officially titled the "Prime Minister's Office" in English, but the original Hebrew term can also be translated as the Prime Minister's Ministry. The Prime Minister's Department is also used, as is Cabinet Department. Wilfried Martens, who served as Prime Minister of Belgium, described his role as follows: First of all the Prime Minister must listen a lot, and when deep disagreements occur, he must suggest a solution to the matter. This can be done in different ways. Sometimes during the discussion, I note the elements of the problem and think of a proposal I can formulate to the Council (cabinet), the Secretary taking notes. The Ministers then insist on changing game ages. The Prime Minister can also make a proposal which leaves enough room for amendments in order to keep the current discussion on the right tracks. When a solution must be found in order to reach a consensus, he can force one or two Ministers to join or resign.[citation needed] In many cases, though commonly used, "prime minister" is not the official title of the office-holder. In the Russian constitution, the prime minister is titled Chairman of the government. The Irish prime minister is called the Taoiseach (which is rendered into English as prime minister), in Israel the prime minister is Rosh HaMemshalah, meaning "head of the government", and the Spanish prime minister is the President of the Government (Presidente del Gobierno). The head of government of the People's Republic of China is referred to as the Premier of the State Council.[citation needed] Other common forms include president of the council of ministers (for example in Italy, Presidente del Consiglio dei Ministri), President of the Executive Council, or Minister-President. In the Nordic countries the prime minister is called Statsminister, meaning "Minister of State". In federations, the head of government of a federated entity (such as the province or territory of Canada, the province of Argentina or the state of Brazil) is most commonly known as the premier, chief minister, governor or minister-president.[citation needed] It is convention in the English language to call nearly all national heads of government "prime minister" (or sometimes the equivalent term "premier"), except in cases where the head of state and head of government are one position (usually a presidency), regardless of the correct title of the head of government as applied in his or her respective country. The few exceptions to the rule are Germany and Austria, whose head of government's title is Federal Chancellor; Monaco, whose head of government is referred to as the Minister of State; and Vatican City, for which the head of government is titled the Secretary of State. A stand-out case is the president of Iran, who is not actually a head of state, but the head of the government of Iran. He is referred to as "president" in both the Persian and English languages. In non-Commonwealth countries, the prime minister may be entitled to the style of Excellency like a president. In some Commonwealth countries, prime ministers and former prime ministers are styled Honourable or Right Honourable associated with their position (the prime minister of Australia or the prime minister of Canada, for example). In the United Kingdom, the prime minister and former prime ministers are also often styled Honourable or Right Honourable; however, this is not due to their position as head of government, but a privilege of being current members of His Majesty's Most Honourable Privy Council.[12] In the UK, where devolved government is in place, the leaders of the Scottish, Northern Irish and Welsh Governments are styled First Minister. Between 1921 and 1972, when Northern Ireland had a majority rule Parliament, the head of government was the prime minister of Northern Ireland. In Bangladesh, the prime minister is called Prodhan Montri, literally meaning "the head of ministers" or "prime minister". In India, the prime minister is called Pradhān Mantrī, literally meaning "the head of ministers" or "prime minister". In Pakistan, the prime minister is referred to as Wazir-e-Azam, meaning "grand vizier". Entity Title Albania Albanian definite form: Kryeministri Algeria Arabic: الوزير الأول الجزائري French: Premier ministre d'Algérie Australia English: Prime Minister of Australia Austria Bundeskanzler Bangladesh Bengali: প্রধানমন্ত্রী, prodhan montri Bhutan Lyonchhen Buganda Katikkiro Bulgaria Министър-председател, Ministar-predsedatel Cambodia នាយករដ្ឋមន្ត្រី, Néayuŏk-roătmôntrei Canada English: Prime Minister of Canada French: Premier ministre du Canada China Chinese: 国务院总理, Guówùyuàn Zǒnglǐ Denmark Danmarks statsminister Estonia Peaminister Eswatini Ndvunankhulu Faroe Islands Faroese: Løgmaður Danish: Lagmand Finland Finnish: Suomen pääministeri Swedish: Finlands statsminister France French: Premier ministre de la République Française Germany Bundeskanzler Georgia პრემიერ-მინისტრი, Premier-Ministri Greece Prothypourgós tis Ellinikís Dimokratías Greenland Greenlandic: Naalakkersuisut siulittaasuat Danish: Landsstyreformand Hungary Miniszterelnök Iceland Forsætisráðherra Íslands India Hindi: प्रधान मंत्री, Pradhān Mantrī Israel Hebrew : רֹאשׁ הַמֶּמְשָׁלָה, Rosh HaMemshala Ireland Taoiseach Italy Presidente del Consiglio dei ministri Japan 内閣総理大臣, Naikaku-sōri-daijin Latvia Ministru prezidents Lithuania Ministras Pirmininkas Malaysia Malay: Perdana Menteri Malaysia Jawi: ڤردان منتري مليسيا Malta Prim Ministru ta' Malta Mongolia Prime Minister/Ерөнхий сайд Л.Оюун-эрдэнэ/L.Oyun-erdene Montenegro Premijer Crne Gore Norway Statsminister Nepal Nepali: प्रधानमन्त्री, Pradhān Mantrī Netherlands Minister-president van Nederland Pakistan Urdu: وزیر اعظم, Wazīr-ē-Āzam Poland Prezes Rady Ministrów Portugal Primeiro-Ministro Romania Prim-ministrul Guvernului României Russia Председатель Правительства Российской Федерации, Predsedatel' Pravitel'stva Rossiyskoy Federatsii Singapore Malay: Perdana Menteri Republik Singapura Chinese: 新加坡共和国总理, Xīnjiāpō gònghéguó zǒnglǐ Tamil: சிங்கப்பூர் குடியரசின் பிரதமர், Ciṅkappūr kuṭiyaraciṉ piratamar South Korea Hangul: 국무총리 Hanja: 國務總理 RR: Gungmuchongni Spain Presidente del Gobierno Sri Lanka Sinhala: ශ්‍රී ලංකා අග්‍රාමාත්‍ය, Śrī Laṃkā agrāmāthya Tamil: இலங்கை பிரதமர் Ilaṅkai piratamar Sweden Statsminister Tanzania Waziri mkuu Thailand นายกรัฐมนตรี, Nayok Ratthamontri Turkey Başbakan Ukraine Прем'єр-міністр України Premier-ministr Ukrainy United Kingdom Prime Minister Vietnam Thủ Tướng The position, power and status of prime ministers differ depending on the age of the constitution. Algeria's constitution (1962) lists the powers, functions and duties of the prime minister of Algeria. Australia's constitution makes no mention of a prime minister of Australia and the office only exists by convention, based on the British model. Bangladesh's constitution clearly outlines the functions and powers of the prime minister, and also details the process of his/her appointment and dismissal. The People's Republic of China constitution set a premier just one place below the National People's Congress in China. Premier read as (Simplified Chinese: 总理; pinyin: Zŏnglĭ) in Chinese. Canada has a 'mixed' or hybrid constitution, partly formally codified and partly uncodified. The codified part originally made no reference whatsoever to a prime minister[13] and still gives no parameters of the office. Instead, her or his powers, duties, appointment and termination follow uncodified conventions. The Constitution Act, 1867 only establishes the Queen's Privy Council for Canada, to which all federal ministers (among others) are appointed and with Members[note 3] of which the Monarch or her Governor General normally performs executive government (as King- or Governor-in-Council).[14] The Constitution Act, 1982, adds passing reference to the "Prime Minister of Canada" [French: premier ministre du Canada] but as detail of conferences of federal and provincial first ministers.)[15] Czech Republic's constitution clearly outlines the functions and powers of the prime minister of the Czech Republic, and also details the process of his/her appointment and dismissal. France's constitution (1958) lists the powers, functions and duties of the prime minister of France. Germany's Basic Law (1949) lists the powers, functions and duties of the federal chancellor. Greece's constitution (1975) lists the powers, functions and duties of the prime minister of Greece. Hungary's constitution (2012) lists the powers, functions and duties of the prime minister of Hungary. India's constitution (1950) lists the powers, functions and duties of the prime minister of India. In India, prime ministerial candidates must be a member of parliament, i.e. of either the Lok Sabha (Lower House) or Rajya Sabha (Upper House). No parliamentary vote takes place on who forms a government. Ireland's constitution (1937), provides for the office of Taoiseach in detail, listing powers, functions and duties. Italy's constitution (1948) lists the powers, functions and duties of the president of the Council of Ministers. Japan's constitution (1946) lists the powers, functions and duties of the prime minister of Japan. The Republic of Korea's constitution (1987) sections 86–87 list the powers, functions and duties of the prime minister of the Republic of Korea. Malta's constitution (1964) lists the powers, functions and duties of the prime minister of Malta. Malaysia's constitution (1957) lists the powers, functions and duties of the prime minister of Malaysia. Norway's constitution (1814) lists the powers, functions and duties of the prime minister of Norway Pakistan's constitution (1973) lists the powers, functions and duties of the prime minister of Pakistan. Poland's constitution (1918) lists the powers, functions and duties of the prime minister of Poland. Spain's constitution (1978) regulates the appointment, dismissal, powers, functions and duties of the President of the Government. Sri Lanka's constitution (1978) lists the powers, functions and duties of the prime minister of Sri Lanka. Thailand's constitution (1932) lists the powers, functions and duties of the prime minister of Thailand. Taiwan's constitution (1946) lists the powers, functions and duties of the president of the Executive Yuan. The United Kingdom's constitution, being uncodified and largely unwritten, makes no mention of a prime minister. Though it had de facto existed for centuries, its first mention in official state documents did not occur until the first decade of the twentieth century. Accordingly, it is often said "not to exist"; indeed there are several instances of parliament declaring this to be the case. The prime minister sits in the cabinet solely by virtue of occupying another office, either First Lord of the Treasury (office in commission) or more rarely Chancellor of the Exchequer (the last of whom was Balfour in 1905). In such systems unwritten (and unenforceable) constitutional conventions often outline the order in which people are asked to form a government. If the prime minister resigns after a general election, the monarch usually asks the leader of the opposition to form a government. Where however a resignation occurs during a parliament session (unless the government has itself collapsed) the monarch will ask another member of the government to form a government. While previously the monarch had some leeway in whom to ask, all British political parties now elect their leaders (until 1965 the Conservatives chose their leader by informal consultation). The last time the monarch had a choice over the appointment occurred in 1963 when the Earl of Home was asked to become prime minister ahead of Rab Butler. During the period between the time it is clear that the incumbent government has been defeated at a general election, and the actual swearing-in of the new prime minister by the monarch, governor-general, or president, that person is referred to as the "prime minister-elect" or "prime minister-designate". Neither term is strictly correct from a constitutional point of view, but they have wide acceptance. In a situation in which a ruling party elects or appoints a new leader, the incoming leader will usually be referred as "prime minister-in-waiting". An example or this situation was in 2016 in the United Kingdom when Theresa May was elected leader of the Conservative Party while David Cameron was still prime minister. Russia's constitution (1993) lists the powers, functions and duties of the prime minister of Russia. Ukraine's constitution (1996) lists the powers, functions and duties of the prime minister of Ukraine. For a more comprehensive list, see List of current prime ministers. The following table groups the list of past and present prime ministers and details information available in those lists. Government List starts Parties shown Term given by years or dates Incumbent Abkhazia 1995 - dates Alexander Ankvab Afghanistan 1927 - years Hasan Akhund (acting) Albania 1912 - years Edi Rama Algeria 1962 yes years Nadir Larbaoui Andorra 1982 - years Xavier Espot Zamora Angola 1975 - dates (Post abolished) Anguilla 1976 yes dates Ellis Webster Antigua and Barbuda 1981 - years Gaston Browne Argentina[note 4] 1993 yes dates Guillermo Francos Armenia 1918 yes dates Nikol Pashinyan Aruba 1986 - dates Evelyn Wever-Croes Australia (List) 1901 yes dates Anthony Albanese Austria 1918 yes years Karl Nehammer Azerbaijan 1918 yes dates Ali Asadov Bahamas 1967 - dates Philip Davis Bahrain 1970 - years Crown Prince Salman Bangladesh (List) 1971 yes dates Sheikh Hasina Barbados (List) 1953 yes dates Mia Mottley Belarus 1919 - dates Roman Golovchenko Belgium (List) 1831 yes dates Alexander De Croo Belize 1973 yes years Johnny Briceño Benin 1957 yes dates (Post abolished) Bermuda 1968 yes dates Edward David Burt Bhutan 1952 - dates Lotay Tshering Bosnia and Herzegovina 1945 - dates Borjana Krišto Botswana 1965 yes dates (Post abolished) Brazil 1847 yes dates (Post abolished) British Virgin Islands 1967 yes dates Natalio Wheatley Brunei 1984 no dates Sultan Hassanal Bolkiah Bulgaria 1879 yes dates Dimitar Glavchev Burkina Faso 1971 - dates Apollinaire de Tambèla Burundi 1961 yes dates (Post abolished) Cambodia 1945 - years Hun Manet Cameroon 1960 - dates Joseph Ngute Canada (List) 1867 yes dates Justin Trudeau Cape Verde 1975 yes dates Ulisses Correia e Silva Cayman Islands 1992 yes dates Julianna O'Connor-Connolly Central African Republic 1958 - dates Félix Moloua Chad 1978 - dates Allamaye Halina People's Republic of China (List) 1949 - dates Li Qiang Comoros 1957 yes dates (Post abolished) Congo (Brazzaville) 1957 yes dates Anatole Collinet Makosso Congo (Kinshasa) (List) 1960 yes dates Judith Suminwa Tuluka Cook Islands 1965 yes dates Mark Brown Côte d'Ivoire (Ivory Coast) 1957 yes dates Robert Beugré Mambé Croatia 1939 - dates Andrej Plenković Cuba 1940 - dates Manuel Marrero Cruz Curaçao 2010 - dates Gilmar Pisas Northern Cyprus 1983 yes dates Ünal Üstel Czech Republic (List) 1993 - years Petr Fiala Denmark (List) 1848 - years Mette Frederiksen Djibouti 1977 - dates Abdoulkader Kamil Mohamed Dominica 1960 - dates Roosevelt Skerrit East Timor 2002 yes dates Xanana Gusmão Egypt (List) 1878 - years Moustafa Madbouly Equatorial Guinea 1963 - dates Manuela Roka Botey Estonia 1918 - dates Kaja Kallas Ethiopia 1942 yes dates Abiy Ahmed Faroe Islands 1946 - years Aksel V. Johannesen Fiji 1966 - dates Sitiveni Rabuka Finland (List) 1917 yes years Petteri Orpo France (List) 1589 - years Gabriel Attal Gabon 1957 yes dates Raymond Ndong Sima The Gambia 1961 - dates (Post abolished) Georgia 1918 yes dates Irakli Kobakhidze Germany (List) 1871/1949 yes dates Olaf Scholz Ghana 1957 - dates (Post abolished) Gibraltar 1964 yes dates Fabian Picardo Greece (List) 1833 - dates Kyriakos Mitsotakis Greenland 1979 - years Múte Bourup Egede Grenada 1954 - years Dickon Mitchell Guernsey 2007 - dates Lyndon Trott Guinea 1972 - dates Bah Oury Guinea-Bissau 1973 - dates Rui Duarte de Barros Guyana 1953 - dates Mark Phillips Haiti 1988 - dates Garry Conille Hungary (List) 1848 - dates Viktor Orbán Iceland 1904 - dates Bjarni Benediktsson India (List) 1947 yes dates Narendra Modi Indonesia 1945 yes dates (Post abolished) Iran (List) 1624 - years (Post abolished) Iraq 1920 - years Mohammed Al-Sudani Ireland 1937 yes dates Simon Harris Israel (List) 1948 - years Benjamin Netanyahu Italy (List) 1861 - years Giorgia Meloni Jamaica 1959 - years Andrew Holness Japan (List) 1885 - dates Fumio Kishida Jersey 2005 - dates Lyndon Farnham Jordan 1944 - dates Bisher Al-Khasawneh Kazakhstan 1920 - years Oljas Bektenov Kenya 1963 - dates (Post abolished) North Korea 1948 - years Kim Tok-hun South Korea (List) 1948 - years Han Duck-soo Kosovo 1945 yes dates Albin Kurti Kuwait 1962 yes dates Sheikh Ahmad Al-Abdullah Al-Sabah Kyrgyzstan 1924 - dates Akylbek Japarov Laos 1941 - years Sonexay Siphandone Latvia 1918 yes dates Evika Siliņa Lebanon 1926 - dates Najib Mikati Lesotho 1965 yes dates Sam Matekane Libya 1951 - dates Abdul Hamid Dbeibeh Liechtenstein 1921 yes dates Daniel Risch Lithuania 1918 yes dates Ingrida Šimonytė Luxembourg 1959 - years Luc Frieden Madagascar 1833 - dates Christian Ntsay Malawi 1963 yes dates (Post abolished) Malaysia 1957 yes years Anwar Ibrahim Mali 1957 yes dates Choguel Kokalla Maïga (interim) Malta 1921 yes years Robert Abela Isle of Man 1986 - years Alfred Cannan Mauritania 1957 yes dates Mohamed Ould Bilal Mauritius 1961 yes dates Pravind Jugnauth Moldova 1990 - dates Dorin Recean Monaco 1911 n/a dates Pierre Dartout Mongolia 1912 yes dates Luvsannamsrain Oyun-Erdene Montenegro 1879 yes dates Milojko Spajić Montserrat 1960 yes dates Easton Taylor-Farrell Morocco 1955 yes years Aziz Akhannouch Mozambique 1974 yes dates Adriano Maleiane Myanmar (Burma) 1948 yes dates Min Aung Hlaing Namibia 1990 yes dates Saara Kuugongelwa Nepal 1803 yes dates KP Sharma Oli Netherlands (List) 1848 yes dates Dick Schoof New Zealand (List) 1856 yes dates Christopher Luxon Newfoundland and Labrador (List) 1855 yes dates Andrew Furey Niger 1958 yes dates Ali Lamine Zeine Nigeria 1960 yes dates (Post abolished) Niue 1974 - dates Sir Dalton Tagelagi Norfolk Island 1896 2015 dates (Post abolished) North Macedonia 1943 yes dates Hristijan Mickoski Norway 1814 yes years Jonas Gahr Støre Pakistan (List) 1947 yes dates Shehbaz Sharif Palestine 2003 yes dates Mohammad Shtayyeh Papua New Guinea 1975 yes years James Marape Peru 1857 - dates Gustavo Adrianzén Philippines 1899 yes dates (Post abolished) Poland (List) 1918 - dates Donald Tusk Portugal (List) 1834 yes dates Luís Montenegro Qatar 1970 - dates Sheikh Mohammed bin Abdulrahman bin Jassim Al Thani Romania (List) 1862 - years Marcel Ciolacu Russia (List) 1864/1905 yes dates Mikhail Mishustin Rwanda 1960 yes dates Édouard Ngirente Saint Kitts and Nevis 1960 - dates Terrance Drew Saint Lucia 1960 - dates Philip Pierre Saint Vincent and the Grenadines 1956 - dates Ralph Gonsalves Samoa 1875 yes dates Fiamē Naomi Mataʻafa São Tomé and Principe 1974 yes dates Patrice Trovoada Saudi Arabia 1953 no dates Mohammad bin Salman Senegal 1957 yes dates Ousmane Sonko Serbia 1805 yes years Miloš Vučević Seychelles 1970 yes years (Post abolished) Sierra Leone 1954 yes dates David Moinina Sengeh Singapore 1959 - dates Lawrence Wong Sint Maarten 2010 - dates Silveria Jacobs Slovakia (List) 1993 - dates Robert Fico Slovenia 1943 yes years Robert Golob Solomon Islands 1949 yes dates Manasseh Sogavare Somalia 1949 yes dates Hamza Abdi Barre South Africa 1910 - dates (Post abolished) South Ossetia 1991 - dates Konstantin Dzhussoev Spain (List) 1705 yes years Pedro Sánchez Sri Lanka (List) 1948 - dates Dinesh Gunawardena Sudan 1952 yes dates Osman Hussein Suriname 1949 yes dates (Post abolished) Swaziland 1967 - years Russell Dlamini Sweden (List) 1876 yes years Ulf Kristersson Syria 1920 - dates Hussein Arnous Taiwan (Republic of China) (List) 1912 - dates Cho Jung-tai Tajikistan 1924 - dates Kokhir Rasulzoda Tanzania 1960 yes dates Kassim Majaliwa Thailand (List) 1932 yes dates Srettha Thavisin Togo 1956 yes dates Victoire Tomegah Dogbé Tokelau 1992 - dates Kerisiano Kalolo Tonga 1876 - years Siaosi Sovaleni Transnistria 2012 yes dates Aleksandr Rosenberg Trinidad and Tobago 1956 - dates Keith Rowley Tunisia 1969 - dates Ahmed Hachani Turkey (List) 1920 yes dates (Post abolished) Turkmenistan 1924 - dates (Post abolished) Turks and Caicos Islands 1976 yes dates Washington Misick Tuvalu 1975 n/a dates Feleti Teo Uganda 1961 yes dates Robinah Nabbanja Ukraine (List) 1917 - dates Denys Shmyhal United Arab Emirates 1971 - years Sheikh Mohammed bin Rashid Al Maktoum United Kingdom (List) 1721 yes dates Keir Starmer Uruguay No List (post established 1919) - - (Post abolished) Uzbekistan 1924 - dates Abdulla Aripov Vanuatu 1980 yes dates Charlot Salwai Vatican 1644 - years Cardinal Pietro Parolin Vietnam 1976 yes dates Phạm Minh Chính Yemen 1990 yes years Maeen Abdulmalik Saeed Western Sahara 1976 no years Bouchraya Hammoudi Bayoun Zambia 1964 yes dates (Post abolished) Zimbabwe 1923 - dates (Post abolished) List of current prime ministers by date of assumption of office Chancellor Chief minister Governor-general Head of government Head of state Monarch President Prime ministerial government Lists List of current heads of state and government List of democracy and election-related topics
wrong_mix_range_leader_00122	FactBench	1	42	https://exhibits.stanford.edu/virtual-tribunals/feature/special-panels-for-serious-crimes-east-timor-spsc	en	Special Panels for Serious Crimes, East Timor (SPSC)	https://exhibits.stanford.edu/assets/favicon-df64c91ecdc99b5c0279df6d9093fab97f18507af3230f5402a4c1fc2b24b19b.ico	https://exhibits.stanford.edu/assets/favicon-df64c91ecdc99b5c0279df6d9093fab97f18507af3230f5402a4c1fc2b24b19b.ico	[ "https://exhibits.stanford.edu/uploads/spotlight/attachment/file/9610/East_Timor_-_Location_Map__2013__-_TLS_-_UNOCHA.svg.png", "https://exhibits.stanford.edu/uploads/spotlight/attachment/file/9611/peace_street_art_in_dili_east_timor_0.jpg", "https://stacks.stanford.edu/image/iiif/xh670tz7801/EastTimor_Reg0015E_0001/full/!400,400/0/default.jpg", "https://stacks.stanford.edu/image/iiif/my791ry9009/EastTimor_reg200030_0001/full/!400,400/0/default.jpg", "https://stacks.stanford.edu/image/iiif/pj620nr0258/EastTimor_2001-25_0001/full/!400,400/0/default.jpg", "https://stacks.stanford.edu/image/iiif/bm424fc5843/EastTimor_Report_of_the_UNSG_2006_0001/full/!400,400/0/default.jpg", "https://stacks.stanford.edu/image/iiif/vn751fn1160/EastTimor_constfnen_0001/full/!400,400/0/default.jpg", "https://exhibits.stanford.edu/assets/sul-logo-stacked-81fe8f6494abfa50a78514f0409a19d8f4302639b1405f64617f25f9afda88db.svg", "https://www-media.stanford.edu/su-identity/images/footer-stanford-logo@2x.png" ]	[]	[]	[ "" ]	null	[]	null		en	/assets/favicon-df64c91ecdc99b5c0279df6d9093fab97f18507af3230f5402a4c1fc2b24b19b.ico	Virtual Tribunals - Spotlight at Stanford	null	Background and History of East Timor and Indonesia In 1999, the East Timorese voted to become citizens of an independent state. Independence, first claimed in 1975, came at a high price, exacted over 24 years of Indonesian occupation. Even after the Indonesian government decided in early 1999 to allow the East Timorese to choose between autonomy within Indonesia or independence, supporters of independence suffered systematic violence at the hands of militia groups created and directed by the Indonesian army. The violence intensified before and after the vote for independence on August 30, 1999, and then reached its climax once the outcome was announced. Thousands were killed or injured, hundreds of thousands were displaced, and the systematic and massive destruction of property caused immense damage to the living conditions of an already poor and vulnerable population. The attacks on United Nations personnel, including the killing of several East Timorese staff members, added a special aspect of international concern to what were already clearly crimes against humanity. The international community was outraged as the media reported the violence. There were calls for an international tribunal to be created to investigate and prosecute the crimes, foremost among them the recommendation of the International Commission of Inquiry mandated by the UN Commission on Human Rights. This was not done, as Indonesia committed itself to ensure full accountability. Three post-conflict mechanisms were created to address this period of violence: (1) the Serious Crimes Unit (SCU) of the Special Panels for Serious Crimes (SPSC) in Dili, East Timor; (2) the Ad Hoc Human Rights Court on East Timor in Jakarta, Indonesia; and (3) the Commission on Truth and Friendship of East Timor and Indonesia. The Stanford Center for Human Rights & International Justice has closely monitored and published critical analysis of the investigative efforts and formal proceedings in all three of these transitional justice efforts. Special Panels for Serious Crimes (SPSC) in Dili, East Timor In 1999, the UN established investigation and trials in Dili, East Timor. Known as the Special Panels for Serious Crimes (SPSC), these were intended to address the human rights violations occurring prior to the independence of East Timor. The Center monitored trials in 2001, and published reports on the proceedings. Since 2002, David Cohen has authored two critical reports about the SPSC, both published by the East-West Center at the University of Hawaii, Manoa. The first of these, Seeking Justice on the Cheap: Is the East Timor Tribunal Really a Model for the Future?, was published in August of 2002. This was followed in May of 2006 with an even more critical retrospective account of the tribunal’s shortcomings, 'Justice on the Cheap' Revisited: The Failure of the Serious Crimes Trials in East Timor.'
wrong_mix_range_leader_00122	FactBench	1	39	https://www.aljazeera.com/news/2022/5/19/nobel-winner-jose-ramos-horta-sworn-in-as-east-timor-president	en	Nobel winner Jose Ramos-Horta sworn in as East Timor president	https://www.aljazeera.co…size=1920%2C1440	https://www.aljazeera.co…size=1920%2C1440	[ "https://www.aljazeera.com/wp-content/uploads/2022/05/h_57690422.jpg?resize=770%2C513&quality=80", "https://www.aljazeera.com/static/media/aj-footer-logo.bac952ad.svg" ]	[ "https://www.youtube.com/embed/1BAsjof56mY?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent" ]	[]	[ "News", "Elections", "Politics", "Asia Pacific", "East Timor" ]	null	[ "Al Jazeera" ]	2022-05-19T00:00:00	New president pledges to reduce poverty, improve health services for mothers, children, and restore political stability.	en	/favicon_aje.ico	Al Jazeera	https://www.aljazeera.com/news/2022/5/19/nobel-winner-jose-ramos-horta-sworn-in-as-east-timor-president	Former independence fighter and Nobel Peace Prize laureate Jose Ramos-Horta was sworn in as president of East Timor ahead of celebrations marking the 20th anniversary of independence for Asia’s youngest country. Crowds cheered late Thursday night as Ramos-Horta travelled by motorcade to parliament, where a ceremony kicked off nationwide festivities commemorating the country’s 2002 independence from Indonesia, which invaded the former Portuguese colony in 1975. Ramos-Horta, 72, who led the resistance during Indonesia’s occupation, called for national reconciliation and unity as he took the oath of office shortly before midnight local time, the time that the country declared independence 20 years ago. “Today more than ever, we must be fully aware that only in unity will be able to achieve the development goals that we propose,” Ramos-Horta said. The new president pledged to reduce poverty, improve health services for mothers and children, and promote a dialogue to restore political stability. He said he expects East Timor, formally known as Timor-Leste, to become the 11th member of the regional bloc the Association of Southeast Asian Nations (ASEAN) in the next two years. In a wide-ranging speech delivered in four languages, Ramos-Horta called for national unity between rival parties that have had a tumultuous relationship in recent years. “I will fulfil with loyalty the functions that have been invested in me… and will dedicate all my energies and knowledge to the defence and consolidation of independence and national unity,” the bespectacled leader said. “Peace will only be real and lasting when it is achieved through dialogue and mutual respect in which neither party feels coerced and humiliated,” he added, addressing a crowd of military and diplomatic personnel. Portuguese President Marcelo Rebelo de Sousa and Indonesian Coordinating Minister of Political, Law and Security Affairs Mohammad Mahfud were among those who attended the inauguration. Ramos-Horta defeated incumbent Francisco “Lu Olo” Guterres, his fellow independence fighter, in an April 19 election runoff. Ramos-Horta, who was prime minister from 2006 to 2007 and president from 2007 to 2012, and Guterres have blamed each other for years of political paralysis in East Timor. At one point in the ceremony on Thursday night, Ramos-Horta received an embrace from his presidential predecessor Guterres. Living in exile for almost three decades and returning to Timor at the end of 1999, Ramos-Horta was awarded the Nobel Peace Prize in 1996, along with Bishop Carlos Felipe Ximenes Belo, in recognition of their work “toward a just and peaceful solution to the conflict” in the country. “He is a great hero in the era of our struggle for independence,” Aderito Herin Martins, a resident of the capital, Dili, said of Ramos-Horta. “Now it’s time for him to work on the critical issues of poverty and unemployment that still face our country as he promised in his campaign.” East Timor’s transition to a democracy has been rocky, with leaders battling massive poverty, unemployment and corruption as the country continues to struggle with the legacy of its bloody independence battle and bitter factional politics that have occasionally erupted into violence. The country’s economy is reliant on dwindling offshore oil revenues. The United Nations estimates that nearly half the population lives below the extreme poverty line of $1.90 a day, and for every 1,000 babies born in the country, 42 die before their fifth birthday because of malnutrition. Residents voted overwhelmingly for independence in a 1999 referendum held under UN auspices, despite widespread Indonesian intimidation and violence. The vote had been unexpectedly offered by an overconfident Indonesian government following a long-running but largely fruitless resistance struggle. Indonesia’s military responded to the referendum results with a scorched-earth campaign that left East Timor devastated. Australia spearheaded a UN military mission to restore order from the chaos as the Indonesian forces left. It took almost three more years for the half-island nation of just over one million people to become an independent and sovereign country on May 20, 2002.
wrong_mix_range_leader_00122	FactBench	0	22	https://www.kas.de/c/document_library/get_file%3Fuuid%3Da0e349a7-18b0-bf24-687a-abb132a0f3a2%26groupId%3D252038	en	Adenauer	https://www.kas.de/o/kas…mediaquadrat.png	https://www.kas.de/o/kas…mediaquadrat.png	[ "https://www.kas.de/o/kas-de-theme/images/leichte-sprache.svg", "https://www.kas.de/o/kas-de-theme/images/header/logo.png", "https://www.kas.de/o/kas-de-theme/images/header/ac__logo.png", "https://www.kas.de/o/kas-de-theme/images/leichte-sprache_light.svg", "https://www.kas.de/o/kas-de-theme/images/leichte-sprache_light.svg", "https://www.kas.de/o/kas-de-theme/images/leichte-sprache_light.svg", "https://www.kas.de/o/kas-de-theme/images/leichte-sprache_light.svg", "https://www.kas.de/o/kas-de-theme/images/leichte-sprache_light.svg", "https://www.kas.de/o/kas-de-theme/images/leichte-sprache_light.svg", "https://www.kas.de/o/kas-de-theme/images/leichte-sprache_light.svg", "https://www.kas.de/o/kas-de-theme/images/leichte-sprache_light.svg", "https://www.kas.de/o/kas-de-theme/images/leichte-sprache_light.svg", "https://www.kas.de/o/kas-de-theme/images/icons/facebook_icon.png", "https://www.kas.de/o/kas-de-theme/images/icons/twitter_icon_new.png", "https://www.kas.de/o/kas-de-theme/images/icons/xing_icon.png", "https://www.kas.de/o/kas-de-theme/images/icons/linkedin_icon.jpg" ]	[]	[]	[ "" ]	null	[]	null	Die Konrad-Adenauer-Stiftung setzt sich national und international durch politische Bildung für Frieden, Freiheit und Gerechtigkeit ein. Wir fördern und bewahren freiheitliche Demokratie, die Soziale Marktwirtschaft und die Entwicklung und Festigung des Wertekonsenses.	de	https://www.kas.de/o/kas…avicon-96x96.png		https://www.kas.de/de/home
wrong_mix_range_leader_00122	FactBench	3	77	https://www.ifc.org/en/where-we-work/country/timor-leste	en	IFC in Timor-Leste	https://www.ifc.org/cont…r-leste-port.jpg	https://www.ifc.org/cont…r-leste-port.jpg	[ "https://www.ifc.org/content/dam/ifc/corporate/logo/IFC-Logo.svg", "https://www.ifc.org/content/dam/ifc/corporate/logo/IFC-Logo.svg", "https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing1:1000x750?qlt=100&resMode=sharp2 1400w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing1:992x744?qlt=100&resMode=sharp2 992w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing1:768x576?qlt=100&resMode=sharp2 768w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing1:576x432?qlt=100&resMode=sharp2 576w", "https://s7d1.scene7.com/is/image/wbcollab/timor-leste-port:750x422?qlt=100&resMode=sharp2 1400w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-port:652x367?qlt=100&resMode=sharp2 992w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-port:768x432?qlt=100&resMode=sharp2 768w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-port:458x258?qlt=100&resMode=sharp2 576w", "https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing2:750x422?qlt=100&resMode=sharp2 1400w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing2:652x367?qlt=100&resMode=sharp2 992w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing2:768x432?qlt=100&resMode=sharp2 768w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing2:458x258?qlt=100&resMode=sharp2 576w", "https://s7d1.scene7.com/is/image/wbcollab/ccs-direct:750x422?qlt=100&resMode=sharp2 1400w,https://s7d1.scene7.com/is/image/wbcollab/ccs-direct:652x367?qlt=100&resMode=sharp2 992w,https://s7d1.scene7.com/is/image/wbcollab/ccs-direct:768x432?qlt=100&resMode=sharp2 768w,https://s7d1.scene7.com/is/image/wbcollab/ccs-direct:458x258?qlt=100&resMode=sharp2 576w", "https://www.ifc.org/content/dam/ifc/corporate/logo/WBG-Horizontal-white-web.png", "https://www.ifc.org/content/dam/ifc/corporate/logo/WBG-Horizontal-white-web.png" ]	[]	[]	[ "Timor-Leste(TL)", "East Asia and Pacific(EAP)" ]	null	[]	null	required	en	/content/dam/ifc/migration/favicon.ico	IFC	https://www.ifc.org/en/where-we-work/country/timor-leste	IFC was the transaction adviser for the Tibar Bay Port, Timor-Leste’s first public-private partnership (PPP). This ambitious project to develop a new deep-water port to the West of Dili opened in 2022. The project will help support economic activity and improve Timor-Leste’s competitiveness by boosting connectivity to international markets. IFC also serves as transaction adviser for several other major PPPs, including expansion of the President Nicolau Lobato International Airport, upgrading of the national medical diagnostics system and an affordable housing project in Dili. IFC has played a key role in the growth and formalization of microfinance in Timor-Leste, investing $4.5 million of its own funds in Kaebauk Investimentu no Financas (KIF), helping KIF become the nation’s first fully licensed micro-lender. IFC’s work with KIF has increased people’s access to credit, including in rural areas, supporting small businesses and helping to drive economic activity. IFC’s advisory services have also helped the government cut red tape and significantly reduce the time it takes to register a business. IFC remains focused on helping Timor-Leste recover from the economic shock and social impacts caused by the COVID-19 pandemic, and build toward a green, resilient and inclusive recovery. We are especially focused on improving overall competitiveness and promoting gender equity. Our current priorities in Timor-Leste are job creation, green growth, and improved access to finance. We help boost sustainable economic growth in the region by supporting infrastructure building and improvements to logistics, expanding the use of renewable energy, promoting cleaner production.
wrong_mix_range_leader_00122	FactBench	3	98	https://www.mcc.gov/where-we-work/country/timor-leste/	en	Timor	https://assets.mcc.gov/c…img-mcc-star.png	https://assets.mcc.gov/c…img-mcc-star.png	[ "https://www.mcc.gov/assets/uswds/img/us_flag_small.png", "https://www.mcc.gov/assets/uswds/img/icon-dot-gov.svg", "https://www.mcc.gov/assets/uswds/img/icon-https.svg", "https://assets.mcc.gov/content/themes/mcc-2016/img/sig-20th-anniv-horz-name.svg", "https://www.mcc.gov/assets/uswds/img/usa-icons/close.svg", "https://www.mcc.gov/assets/uswds/img/usa-icons-bg/search--white.svg", "https://assets.mcc.gov/content/uploads/2016/06/2011-017-0894-02_-_flag_btn_-_timor-leste-01.png", "https://assets.mcc.gov/content/uploads/2016/06/flag-timor-leste.png" ]	[]	[]	[ "" ]	null	[]	null	MCC is an independent U.S. Government foreign aid agency based on the principle that aid is most effective when it reinforces good governance, economic freedom and investments in people.	en	https://assets.mcc.gov/c…h-icon-57x57.png	Millennium Challenge Corporation	https://www.mcc.gov/where-we-work/country/timor-leste/	The program aimed to reduce corruption by building a network of functioning and effective anti-corruption institutions and actors, and improve access to immunization services by creating a more capable and effective community health system. The Timor-Leste Compact aims to improve the health and skills of the Timorese people for a more sustainable economy.
wrong_mix_range_leader_00122	FactBench	0	23	https://oefdatascience.github.io/REIGN.github.io/menu/AUDIT_CHANGES.html	en				[]	[]	[]	[ "" ]	null	[]	null					null	Guatemala 1/19/1958 victory to N This election was held after the assasination of Carlos Castillo de Armas, founder of the National Liberation Movement. In this election, the victor, Miguel Ydigoras, ran against the coalition that included the National Liberation Movement. As such, the incumbent party lost here. Guatemala 3/6/1966 victory to N Prior to election the founder of the Institutional Democratic Party Enrique Peralta Azurdia stages a coup and becomes head of state. His party and the Revolutionary Party were supposed to cooperate in election but founder of former dies and throws a wrench in that whole plan. The PID then loses, resulting in a loss for the incumbent. Guatemala 3/5/1978 victory to N Coalition that supported previous candidate broke up so no incumbent for this election Guatemala 1/7/1996 victory to N Previous office holder was independent former human rights ombudsman and he didn't run so there was no incumbent to contest election Haiti 1/17/1988 victory to N Henri Namphy was leader of previous post-Duvalier Council of Government, this election was to choose a successor. As far as I can tell, Namphy wasn't affiliated with a political party, so there's no incumbent that ran. Honduras 9/22/1957 changed date; victory to N Current date listed is for legislative elections. The election by the constituent assembly that elected Ramon Villeda Morales was on 11/16/1957, while he also took over for the military junta so there was no incumbent in this race Honduras 11/29/2009 victory to N interim president Roberto Micheletti was of the liberal party while the winner Porfirio Lobo Sosa was of the national party Panama 5/9/1948 victory to Y Although Arnulfo Arias Madrid was the last elected president and ran again in 1948, he was formally deposed from office in sept 1941. Following this, there were three interim presidents, the last of which was a member of the same party as our 1948 winner, Domingo Diaz Arosemena. As such, this would technically be a case of incumbent victory. Panama 5/11/1952 victory to N incumbent was interim president Alcibiades Arosemena of the authentic revolutionary party, and victor was Jose Antonia Remon Cantera of an electoral alliance the CPN. The CPN included the incumbent's party but obviously it's a much broader coalition and can't be said to be representative of the incumbent. Panama 5/4/2014 victory to N Though the victor was the incumbent vice president, he broke from the incumbent's party and challenged them and won. St. Kitts and Nevis 7/3/1995 victory to N People's Action Movement leader Simmonds was incumbent PM and the PAM lost this election, with the Labor Party leader becoming PM afterwards St. Vincent 12/9/1974 victory to N A PPP government was formed in the previous election with an independent MP breaking the tie between the PPP and SVLP in the former's favor. Then the SVLP won this election. Bolivia 1/5/1947 change to Y Head of state transferred from Tomas Monje Gutierrez to Enrique Hertzog Garaizabal Bolivia 5/6/1951 victory to N So incumbent regime resigns in favor of a military junta when it looked like the opposition party was going to win Bolivia post 1985 Brazil 10/3/1955 victory to Y Nereu Ramos of the Social Democratic Party was incumbent and Jusceline K. of Social Democratic Party won, so technically counts as victory. Brazil 4/14/1964 victory to N; added day Post 1964 coup, Mazilli was elevated from president to chamber of deputies to presidency on interim basis but upon this election the military government gets installed so no incumbent really ran or won Brazil post 2002 added missing election rounds; altered elecnumbers accordingly Chile 1946-1970 added missing indirect election rounds, altered elecnumbers accordingly Ecuador 6/2/1968 victory to N; change to Y Otto Arosemena Gomez was interim incumbent after coup, Jose Maria Velasco Ibarra was victor, both were from different parties Ecuador 5/25/1997 victory to Y This took place after Abdala Bucaram was removed from office by the congress and Fabian Alarcon took office. The referendum was meant to confirm these actions that had already been taken and so it passing was a victory for the then-incumbent (Alarcon) Guyana 7/10/1978 type to R This was miscoded as a legislative election, the date was that of a referendum Peru 6/10/1945 change to Y power shifted between manuel prado ugarteche and jose bustamante y rivero, both of different parties Peru 6/17/1956 victory to N power shifted between manuel odria and manuel prado ugarteche, both of different parties Uruguay 10/31/1999 victory to Y power switched from Julio Sanguinetti to Jorge Battle but both are from the Colorado Party and Sanguinetti didn't run again Uruguay 10/31/2004 victory to N; change to Y power shifted from Jorge Battle to Tabare Vazquez so incumbent lost and there was a change in power Bhutan 5/31/2013 added missing election rounds Sri Lanka 12/19/1988 change to Y PM Ranasinghe Premadasa was elected to succeed incumbent president Jayawardene South Korea 12/18/1997 victory to N; change to Y power switched from incumbent Kim Young Sam to Kim Dae Jung Philippines 2/7/1986 victory to Y; change to N Ferdinand Marcos technically "won" the election despite it being rigged, he was forced out 19 days after the election took place which is a separate event from the election. The outcome of the election was victory with no change North Korea all elections changed type to L from X These should all be parliamentary elections and the dates correspond to legislative election dates in Nohlen. Presidential elections did take place from 1972 until 1990. The office was vacant from 1994 until 1998 and was thereafter abolished as Kim Jong-Il was given title of Eternal President. Myanmar 11/8/2015 victory to N Thein Sein of the USDP ended up losing the presidency after Htin Kyaw of the NLD was elected president by the legislature� after which he approves the bill that allows Aung San Suu Kyi to become State Chancellor or whatever Mongolia 7/9/2017 victory to Y newly elected president and professional sambo wrestler Khaltmagiin Battulga of the DP succeeded his fellow DP member Tsakhiagiin Elbegdorj Kyrgyz Republic 12/11/2016 change to N the referendum expanded executive power at the expense of the legislature and judiciary so would be considered a victory, but president Atambayev stayed in office until November of the following year Japan 6/22/1980 change to Y leadership changed from interim PM Masayoshi Ito to Zendo Suzuki, both within the LDP Indonesia 9/20/2004 victory to N power shifted from president Megawati of the Indonesian Democratic Party to president Yudhoyono of the Democrat Party, pretty easy to see how those got confused East Timor 5/9/2007 victory to N power shifted from Xanana Gusmao to Jose Ramos-Horta. While it would seem that Ramos-Horta was a political ally of Gusmao, this was in an informal sense as Ramos-Horta was an independent and Gusmao founded a new party just ahead of general elections to try and become PM. As such, it doesn't appear to me that there was any incumbent running for the presidency at least. Algeria 2004-2014 change to N all changes to N. Bouteflika was in power during this time so there obviously wasn't a change in head of state Egypt 9/11/1971 victory to Y This referendum passing was an important step in solidifying Sadat's rule after he assumed power following Nasser's death and didn't appreciably diminish his power as ruler. Egypt 10/2/1976 date from 9/16/1976 to 10/2/1976 In the Noehlen book the date of the presidential election this year is Oct 2, though in the political handbook it says that Sadat "accepted" a second term on Sept 16. Not sure what "accepted" means but I assume that means he agreed to run again since it's not like he was going to lose, but can't be exactly sure. In any case, the actual election certainly took place on Oct 2. Egypt 1976-1981 added elec_day values For referendums in this period added elec_day for date actual election took place, but not announcement days Egypt 10/13/1981 type to X Another presidential referendum that was coded as a referendum Egypt 3/26/2007 type to R miscoded as a presidential election, was a constitutional referendum Egypt 5/26/2014 type to X miscoded as a referendum, was the election of Sisi Iran 7/28/1989 victory to Y; added elec_day this referendum changed the requirements to become supreme leader which Khamenei obviously wanted since he wanted to occupy that office, also expanded powers of presidency which he passed to his ally Rafsanjani as well. I feel like this ammounts to an electoral victory. Also added date of voting for referendum (28). Iran 6/17/2005 added second round of voting altered elecnumber stuff and what have you to reflect second round of voting Libya 7/7/2012 changed date; deleted Announced row the date wasn't for the indirect presidential election being referenced here, it was for the parliamentary election that preceded it. Entered the corrected date and deleted the announced row since it was the announcement date for the wrong election. Sudan 4/21/1968 victory to Y; change to N Mahjoub remained in office through this election until he was removed in a coup the following year Syria 9/1/1961 type to X; direct to N; elec_day changed This was mistakenly coded as as a constitutional referendum while the actual election of interest was the indirect presidential one that occurred two weeks after the referendum. Syria 12/3/1971 change to Y Presidency switched to Hafez al-Assad from Ahmad al-Khatib Tunisia 12/21/2014 victory to N Winner Beji Caid Essebsi ran directly against the incumbent Moncef Marzouki, who was caretaker president Turkey 5/2/1954 change to N Adnan Menderes remained PM from 1950 to 1960 uninterrupted, was also during a time when one party rule was being solidified. Turkey 6/5/1977 victory to N; change to Y though no party won a majority, Demirel's government fell in mid-June and he was replaced by Ecevit as PM even though Ecevit's government also fell in early July and then Demirel came back to power. This is obviously a short tenure but the sequence of event is election, incumbent loses office, and opposition takes power so I feel this is the correct coding Cape Verde 12/17/1995 change to N PM Carlos Veiga was first came to power as PM on April 4, 1990 and stayed in that office until July 2000, so there was no change in the PM's office due to this election Guinea-Bissau 1972/1989 date changes for actual elections that took place changed election dates to reflect the actual dates which indirect voting took place, not the legislative elections that preceded such votes Equatorial Guinea 9/22/1968 added second round of voting altered elecnumber stuff and what have you to reflect second round of voting Equatorial Guinea 11/13/2011 victory to Y This referendum was speculated to be a step in the president handpicking his son to succeed him. But either way the government fixed the election in order to get the plebiscite to pass so it doesn't make sense to list victory as N Mali 4/12/1992 added first round of voting only listed the second round of voting, which actually had the date for the first round of voting. Adjusted elecnumbers and what have you accordingly Senegal 3/22/1959 date to 9/5/1960 the original 1959 date was when Senegal was part of the Federation of Mali, while the election date was that of a legislative election. The next indirect presidential election was on 9/5/1960 which took place after Senegal left the union in August and was the same day the country declared itself the Republic of Senegal Benin 1/19/1964 type to X type was originally R but the date for the referendum that year was on Jan 5 not Jan 19 Benin 7/28/1968 type to X; change to N this was a presidential referendum but as was decided with Egypt these are presidential elections not referendums. Also change to N because the president was appointed by the military prior to the election and this election was just a confirmation of this appointment Benin 1/5/1964 added referendum election, previously missing added this election, see 1/19/1964 entry for issue with previous referendum coding and date Benin 3/31/1968 change to N this referendum was on establishing a presidential system with no term limits and a unicameral legislature. The next leadership change that took place was following the appointment of Zinsou as president following the annulled elections on 5/5/1968 Benin 3/9/1970 victory to N the incumbent government was military and the three candidates were civilians, so no incumbent could have won to make victory Y. in addition, the election results were annulled and all three candidates put into a rotating presidency type of thing Mauritania 3/11/2007 added first round of voting Guinea 1/27/1961 victory to Y; change to N (both in announcement row) fixed typo where the announcement row had the victory and change reversed Liberia 7/19/1997 added victory and change codings victory and change were just missing for some reason, coded N and Y, respectively. Interim president Ruth Perry was replaced by National Patriotic Party leader and all around lovely guy Charles Taylor Liberia 10/11/2005 victory to N; change to Y Interim president Charles Gyude Bryant did not run nor was he the same party as the ultimate victor, Ellen Johnson Sirleaf Sierra Leone 5/3/1957 change to N Sir Milton Margai had been initially been made chief minister in 1953-54 according to Britannica so he would already have been the incumbent technically Sierra Leone 3/7/2018 added victory and change codings Ghana 12/7/2008 added second round of voting second round of voting was missing Gabon 8/30/2009 change to Y after president bongo died, rose francine rogombe took over as interim president and then in this election ali ben bongo won, so there was change in the individual Central African Republic 12/28/1994 type to R this was incorrectly coded as a presidential election, was the date of a referendum and no presidential election was held this year Congo 6/2/1992 added second round of voting Burkina Faso 5/14/1978 added second round of voting Democratic Republic of Congo 6/24/1973 deleted record this was a duplicate of the referendum held in Congo-Brazzaville. No referendum was held in DRC on this date Kenya 12/27/2007 victory to Y; change to N Though he ran under another party banner, President Mwai Kibaki was reelected as a result of this election. I think the confusion might have been that Raila Odinga was made the first ever prime minister after post-election negotiations. Djibouti 4/9/1999 change to Y power switched from Gouled to Guelleh Ethiopia 6/14/1987 date to 9/10/1987 previous date was that of the legislative election, september date is that of the actual indirect presidential election, which took place one day after the new legislature convened. Ethiopia 5/15/2005 change to N leadership remained with Meles Zenawi following this election South Africa 5/26/1948 change to Y The UP-DP-SALP government of Jans Smuts fell to the NP in this election, resulting in a change of power from Jans Smuts to Daniel F. Malan Namibia 11/7/1989 date to 2/16/1990; direct to N the date originally listed (11/7/1989) was that of the constituent assembly elections that took place after the UN-brokered deal for Namibian independence, the first elections of Sam Nujoma took place on the revised date and were indirect, with the majority SWAPO assembly electing him rather than direct vote Namibia 11/30/1999 change to N Sujoma remained in power following this election Namibia 11/15/2004 change to Y SWAPO retained presidency but Sujoma opted not to run and the party nominated Pohamba in his stead Cuba 10/xx/1990 deleted change and victory coding this election was voided, victory and change codings should be blank Egypt 9/xx/2011 deleted change and victory coding this election was voided, victory and change codings should be blank Lesotho 1/27/1970 type to Voided; deleted change and victory coding incumbent anulled election before results could be certified and declared state of emergency Lesotho 5/26/2012 victory to N; change to Y incumbent PM not reelected while Tom Thabane of the opposition ABC managed to create a coalition and took over as PM. Probably mistaken cause incumbent party won a majority and was initially reported they had "won" Comoros general added all second voting rounds; adjusted elecnumbers accordingly almost all second round codings were missing Mauritius 8/7/1967 victory to Y; change to N prior to winning this election Seewoosagur Ramgoolam was chief minister and premier under British controlled Mauritius so he would be the incumbent Mauritius 7/3/2005 victory to N; change to Y Berenger of the MMM/MSM alliance was defeated by the MLP-led coalition and replaced by Navin Ramgoolam Australia 5/9/1953 deleted record This was an off election for part of the Senate, however this does not result in a renewed competition for the PM's office, which makes coding victory/defeat meaningless so this isn't an appropriate election to include in the data Papua New Guinea 5/6/1982 victory to N Julius Chan of the PPP knocked Somare out of power in 1980 with a vote of no confidence and was the incumbent for this election, which Somare's Pangu party won, returning Somare to power Samoa 5/10/1961 date to 2/4/1961 the original date listed was that of the countries independence/constitutional referendum, not parliamentary elections Micronesia general removed leg elections that did not coincide with prez elections see justification document Palau 9/22/1992 added first round of voting Palau 11/4/2008 added first round of voting Nauru 12/6/1980 victory to Y; change to N; added day Hammer DeRoburt was reelected, also added the day of the month Netherlands 5/25/1977 victory to N Incumbent PM was Joop Den Uyl of the Labor party, but his govt collapsed after his party and the CDA had a falling out. But after the elections CDA leader Andreas Van Agt formed a minority government with the VVD, so the incumbent was replaced by former governing partner Belgium 11/8/1981 change to Y On April 8, 1981 Wilfried Martens of the CVP resigns in favor of Mark Eyskens. Then Eyskens triggers calling of elections on Sept 21 1981, after which Martens then forms government which receives approval on Dec 17, 1981. All this to say, there was change in the HOG after this election Luxembourg 6/7/2015 victory to N The incumbent pushed for all three provisions in this referendum, including the introduction of term limits. All three were rejected by voters, meaning this was a loss France 12/5/1965 runoff to [1,2] Everything was formatted and dated correctly to reflect the two rounds of voting, runoff just got left with N on accident it appears Switzerland 10/25/1959 victory to N due to tie in number of seats changed victory to N, see coding justification Switzerland 10/27/1963 victory to N b/c the last election resulted in a tie, there was no incumbent here Switzerland 10/29/1967 victory to N due to tie in number of seats changed victory to N, see coding justification Switzerland 10/31/1971 victory to N b/c the last election resulted in a tie, there was no incumbent here Switzerland 10/21/1979 victory to N due to tie in number of seats changed victory to N, see coding justification Switzerland 10/18/1987 change to N Free Democratic Party retained plurality in Federal Assembly Switzerland 10/20/1991 change to N Free Democratic Party retained plurality in Federal Assembly Switzerland 10/22/1995 victory to Y; change to N Free Democratic Party retained plurality in Federal Assembly Switzerland 10/24/1999 change to N Free Democratic Party retained plurality in Federal Assembly Switzerland 10/21/2007 change to N Swiss People's Party retained plurality in the Federal Assembly Switzerland 10/23/2011 change to N Swiss People's Party retained plurality in the Federal Assembly Switzerland 10/18/2015 change to N Swiss People's Party retained plurality in the Federal Assembly Spain 12/15/1976 victory to Y; added elec_day This referendum was heavily pushed for by the newly appointed PM Adolfo Suarez Gonzalez and the fairly new king Juan Carlos de Borbon Spain 12/6/1978 victory to Y Again this referendum was part of the project for democratization pushed by Adolfo Suarez Gonzalez and the king so it's approval is a victory for the government Poland 11/5/1995 added first round of voting Poland 10/8/2000 runoff to N runoff was listed as 2, but no runoff ocurred Poland 10/9/2005 added first round of voting Poland 5/25/2015 added first round of voting Hungary 1949-1985 added change values Czechoslovakia 6/8/1990 altered victory and change in "Announced" row to reflect those in "Vote, Early" row for some reason the victory and change values were opposite of what was in the Vote, Early row Serbia 9/29/2002 date for second round to 10/13/2002; event to "Anulled" the date was for the separate elections held in December, election got anulled due to low turnout Serbia 12/8/2002 added observation this had erroneously been listed as the second round of the previous election. Added here, was anulled due to low turnout again Serbia 5/6/2012 victory to N; change to Y the incumbent PM Mirko Cvetkovic was a compromise independent while the winner was from a coalition of several parties. So there wasn't an incument and the victor ran in a new coalition of several parties. Denmark 1/10/1984 date for "Announced" to 12/16/1983 a typo had the month for the Announced record at 0, so I put the date that the previous parliament was dissolved which triggered these early elections San Marino Sep-51 victory to Y the communist-socialist governing alliance continued after this election. It lasted between 1945 and 1957 San Marino 12/8/2019 victory to N; change to Y coding was missing here Kosovo 6/8/2014 victory to N; change to Y following 6 months of negotiations Isa Mustafa of the LDK became PM, taking over from Hashim Thaci of the PDK who remained in the government as foreign minister Greece 7/29/1973 victory to Y; change to N The junta of papadopoulos had pushed for this referendum in order to put the nail in the coffin of the monarchy, and would therefore be a victory since it passed. But there was also no change in leadership due to the referendum so change is N. Cyprus 2/14/1988 added second round of voting Cyprus 2/7/1993 added second round of voting Cyprus 2/8/1998 added second round of voting Cyprus 1/28/2018 victory for first round to Y changed victory in first round to match outcome in second round of voting Bulgaria 1/24/2017 in "Announced" victory to N; change to Y the victory and change values were the opposite in the "Announced" row, changed to match the Vote row Romania Mar-74 deleted victory and change this was a Deadline Not Met event so the victory and change should be blank Romania 1992-2000 type to X these dates corresponded to runoffs for presidential elections Romania 11/16/2014 added first round of voting Romania 5/2/2017 deleted record this date corresponded to no legislative or presidential election that I was able to locate Russia 3/17/1991 victory to Y Referendum. Gorbachev pushed for this referendum in the hopes that voters would give him a mandate to keep the Soviet Union together. Though this ultimately failed, he did win the referendum so this should be counted as victory Russia 7/3/1996 added runoff numbers runoff columns had Y instead of the actual runoff numbers Lithuania 6/13/2004 added second round of voting; victory to N prior to election Rolandas Paksas was impeached and the speaker of the Seimas Paulauksas was sworn in as president. Paksas was not allowed to run in the election and Adamkas, a rival of Paksas, won the election. Lithuania 5/17/2009 victory to N incumbent Adamkus was an independent as was the victor of this election Dalia Grybauskaite so it's impossible to say that there was incumbent victory Lithuania 5/11/2014 added first round of voting Ukraine 6/26/1994 victory to N incumbent Leonid Kravchuk ran against and lost to Leonid Kuchma Ukraine 10/31/2004 event to Voided this was the first attempt to hold a second round of voting but the Supreme Council refused to certify the results so another was held. I also changed the sequence to 3 for the second round of voting that actually got held Ukraine 5/25/2014 runoff to N runoff was listed as 2, but no runoff ocurred Armenia 3/16/1998 added first round of voting Armenia 11/1/2018 added victory and change codings to "Announced" event Georgia 11/5/1995 victory to Y; change to N Eduard Shevardnandze, who had been in power since 1992, handily won this election with over 70% of the vote and continued as president Finland 3/9/1946 direct to N After Marshal Mannerheim resigned in the middle of his term the parliament elected Paasikivi to finish out his term
wrong_mix_range_leader_00122	FactBench	1	43	https://guides.library.illinois.edu/timor-leste/history	en	LibGuides at University of Illinois at Urbana	https://d2jv02qf7xgjwx.c…avicon-32x32.png	https://d2jv02qf7xgjwx.c…avicon-32x32.png	[ "https://syndetics.com/index.aspx?isbn=0786415711/LC.GIF&client=springshare", "https://syndetics.com/index.aspx?isbn=1860644082/LC.GIF&client=springshare", "https://syndetics.com/index.aspx?isbn=0896085414/LC.GIF&client=springshare", "https://books.google.com/books/content?id=GwdxAAAAMAAJ&printsec=frontcover&img=1&zoom=1", "https://syndetics.com/index.aspx?isbn=9780415582131/LC.GIF&client=springshare", "https://syndetics.com/index.aspx?isbn=9789089648044/LC.GIF&client=springshare", "https://syndetics.com/index.aspx?isbn=9789280812244/LC.GIF&client=springshare", "https://syndetics.com/index.aspx?isbn=9780877277897/LC.GIF&client=springshare", "https://syndetics.com/index.aspx?isbn=9781876924492/LC.GIF&client=springshare", "https://syndetics.com/index.aspx?isbn=0333987160/LC.GIF&client=springshare", "https://www.library.illinois.edu/funkaces/wp-content/themes/main-theme/assets/images/fdlp-emblem-logo-text-invert.png" ]	[]	[]	[ "" ]	null	[ "Area Studies Library" ]	null	This guide provides resources on the country's history, languages, and government.	en	//d2jv02qf7xgjwx.cloudfront.net/apps/common/favicon/apple-touch-icon.png		https://guides.library.illinois.edu/timor-leste/history	For the purposes of this guide, the history of Timor-Leste has been broken down into three parts: Portuguese Colonialism, Indonesian Control, and Independence. Below are lists of books from the University Library that correspond to each moment in Timorese history. Timor-Leste became a Portuguese territory in the 16th century. It was known as "Timor Português" back then. In 1975, Portugal decolonized Timor-Leste. In late-1975, Indonesia invaded Timor-Leste and took control of it. In 1999, there was a referendum on autonomy or independence, and 78.5 percent of Timorese favored independence. Shortly after, the United Nations Transitional Administration in East Timor was established. Timor-Leste became fully independent on May 20, 2002. It is one of the youngest countries in the world and is considered to be the first new sovereign state of the 21st century.
wrong_mix_range_leader_00122	FactBench	1	1	https://www.embassy-worldwide.com/country/east-timor/	en	Embassies and Consulates Worldwide			[ "https://www.embassy-worldwide.com/wp-content/uploads/2014/11/embassy-worldwide.png", "https://www.embassy-worldwide.com/wp-content/uploads/2014/11/embassy-worldwide.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/East Timor.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Australia.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Belgium.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/China.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Finland.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Indonesia.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Malaysia.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Mozambique.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Philippines.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Portugal.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/United States.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Australia.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Brazil.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/China.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Cuba.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Indonesia.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Ireland.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Japan.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Philippines.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/South Korea.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/Thailand.png", "https://www.embassy-worldwide.com/wp-content/plugins/embassy/images/flags/United States.png" ]	[]	[]	[ "" ]	null	[]	null		en		Embassy WorldWide	https://www.embassy-worldwide.com/country/east-timor/	List of Diplomatic Missions in East Timor & East Timorese Diplomatic Missions abroad The East Timor Embassy Worldwide page indicates the comprehensive list of Foreign Embassies and Consulates from around the world located in East Timor as well as East Timorese Embassies, Consulates and other East Timorese representations worldwide. There are about 10 Foreign Embassies and 1 Consulates placed in the territory of East Timor. East Timor itself in total counts near 9 Embassies and 4 Consulates spread all over the world. In the list below, you can connect with any of indicated specific Embassy or Consulate in East Timor or East Timorese Embassy or Consulate in specific foreign country to get the complete information as regards of contact details and services offered by that particular diplomatic or consular office.
wrong_mix_range_leader_00122	FactBench	1	55	https://chomsky.info/199910__02/	en	East Timor Questions & Answers			[]	[]	[]	[ "noam", "chomsky", "foreign", "policy", "media", "linguistics", "info", "life", "articles", "books" ]	null	[]	null	The Noam Chomsky Website.	en	https://chomsky.info/favicon.ico		null	Stephen R. Shalom, Noam Chomsky, & Michael Albert Z Magazine, October, 1999 1. What was U.S. policy toward Indonesia In the aftermath of World War II, U.S. policy toward the Asian colonies of the European powers followed a simple rule: where the nationalists in a territory were leftist (as in Vietnam), Washington would support the re-imposition of European colonial rule, while in those places where the nationalist movement was safely non-leftist (India, for example), Washington would support their independence as a way to remove them from the exclusive jurisdiction of a rival power. At first, Indonesian nationalists were not deemed sufficiently pliable, so U.S.-armed British troops (assisted by Japanese soldiers) went into action against the Indonesians to pave the way for the return of Dutch troops, also armed by the United States. In 1948, however, moderate Indonesian nationalists under Sukarno crushed a left-wing coup attempt, and Washington then decided that the Dutch should be encouraged to settle with Sukarno, accepting Indonesian independence. It wasn’t long, however, before the United States concluded that Sukarno was a dangerous neutralist, and under the Eisenhower administration Washington attempted to subvert Indonesia’s fragile democratic government. These efforts—the largest U.S. covert operation since World War II—were unsuccessful, so the United States shifted its strategy to building up the Indonesian military as a counter-weight to the mass-based Indonesian Communist Party. In 1965, this approach bore fruit when a military coup, accompanied by the slaughter of somewhere between half a million and a million communists, suspected leftists, and ordinary peasants, deposed Sukarno and installed General Suharto in his place. Washington cheered the coup, rushed weapons to Jakarta, and even provided a list of Communist Party members to the army, which then rounded up and slaughtered them. According to a CIA study, “in terms of numbers killed” the 1965-66 massacres in Indonesia “rank as one of the worst mass murders of the 20th century.” The United States established close military, economic, and political ties with the Suharto regime. 2. What was East Timor before Indonesia invaded? From the 17th century, the Netherlands and Portuguese fought over Timor, a small Southeast Asian island slightly larger than the state of Maryland located 1,000 miles south of the Philippines and about 400 miles northwest of Australia. Ultimately the two colonial powers divided the island, with the western half going to the Netherlands and becoming part of the Dutch East Indies and the eastern half going to Portugal. When the Dutch East Indies became independent following World War II, under the name Indonesia, west Timor was part of the new nation. East Timor, however, remained under Portuguese rule until the mid-1970s, when Portugal finally moved to dismantle its colonial empire. East Timor differs from Indonesia in terms of religion, language, and several hundred years of colonial history. 3. How did Indonesia become involved in East Timor? As long as Portugal controlled East Timor, Indonesia did not consider attacking it, but once Lisbon declared its intention to withdraw, the Suharto regime saw an opportunity to add to its territory and resources. East Timor seemed like an easy target, given that in 1975 Indonesia had a population of 136 million compared to East Timor’s 700,000 people. Indonesia first tried to block Timorese independence by backing a coup in the territory, but when this failed it launched a full-scale invasion of East Timor in December 1975, using the pretext that it was maintaining order. A standard propaganda line out of Jakarta—often repeated by the western media—is that the fighting in East Timor represents a “civil war.” In fact, there had been a very brief civil war before the Indonesians invaded. For the last 25 years, however, it has been as much a civil war as the Nazi conquests in Europe. 4. What was the United States role regarding Indonesia’s December 1975 invasion? On the eve of the invasion, U.S. President Gerald Ford and his Secretary of State, Henry Kissinger, were in Jakarta meeting with Suharto. Kissinger later claimed that East Timor wasn’t even discussed, but this claim has been exposed as a lie. In fact, Washington gave Suharto a green light to invade. Ninety percent of the weaponry used by the Indonesian forces in their invasion was from the United States (despite a U.S. law that bans the use of its military aid for offensive purposes) and the flow of arms, including counterinsurgency equipment, was secretly increased (a point that should be borne in mind in interpreting what is going on today). The United States also lent diplomatic support to the invaders. In the United Nations, U.S. ambassador Daniel Patrick Moynihan successfully worked, as he boasted in his memoirs, to make sure that the international organization was ineffective in challenging Jakarta’s aggression. Under the presidency of Jimmy Carter, the self-proclaimed champion of human rights, there was a further increase in U.S. military aid to Indonesia. Since 1975, the United States has sold Jakarta over $1 billion worth of military equipment. 5. What was the effect of Indonesia’s invasion? The Indonesian invasion and subsequent ruthless pacification campaign led to the deaths—by massacre, forced starvation, and disease—of some 200,000 East Timorese, more than a quarter of the territory’s people, making it one of the greatest bloodlettings in modern history compared to total population. In addition, Indonesian forces have engaged in torture, rape, and forced relocation on a massive scale. 6.How did the international community respond to the 1975 Indonesian invasion? On the one hand, the Indonesian aggression so clearly violated international law and the right of self-determination that the United Nations Security Council condemned the invasion, calling on Indonesia to withdraw its armed forces from East Timor, and the General Assembly rejected Indonesia’s annexation of East Timor as its 27th province, demanding that the people of East Timor be allowed to determine their own fate. With a single exception, Australia, no country has legally recognized Indonesian sovereignty over East Timor. On the other hand, for many countries considerations of morality and decency were outweighed by the profits to be had from close economic ties with Indonesia and its huge population (“When I think of Indonesia—a country on the equator with 180 million people, a median age of 18, and a Muslim ban on alcohol—I feel like I know what heaven looks like,” gushed the president of Coca-Cola in 1992), by the prospects of selling arms to the Indonesian armed forces, and by the geopolitical advantages of allying with the largest nation in Southeast Asia, instead of one of the smallest. Washington’s support for Jakarta has already been noted. Australia has provided military aid to Indonesia and formally recognized Indonesian sovereignty over East Timor, hoping to divide up East Timor’s offshore oil resources. Britain recently was Indonesia’s largest arms supplier, and Japan its largest source of economic aid and foreign investment. Canada has provided Jakarta with both economic and military aid, while the Netherlands and Germany have also been major weapons suppliers. 7. How have the Timorese resisted over the years? The people of East Timor have waged a truly inspiring and courageous struggle. They have undertaken guerrilla warfare against overwhelming odds, organized non-violent protests, and carried out passive resistance. Students, the Catholic church, and many others have been involved in the struggle in one way or another: whether taking up arms, providing food for guerrillas, participating in demonstrations, or hiding organizers. Remarkably, despite the horrendous repression, and despite Jakarta’s importation of large numbers of Indonesian settlers into the territory, the East Timorese have retained their passionate commitment to self-determination and freedom. 8. What solidarity has there been outside East Timor, over the years? For a while, only a few lone voices spoke up. Arnold Kohen, for example, has been at the center of East Timor activism since the beginning. There were small groups in Australia and in England trying to draw attention to the issue. Through the 1980s, the numbers and activism increased. There was a considerable upsurge following the Dili massacre in 1991—when Indonesian troops attacked a peaceful funeral procession, slaughtering more than 270—the massacre was publicized by U.S. free-lance journalists Amy Goodman and Alan Nairn (who were nearly killed by Indonesian troops) and a British TV photojournalist who secretly filmed the atrocities. Church and human rights groups became active, and Charlie Scheiner formed the East Timor Action Network. By the mid-1990s there were substantial organizations in many countries, and they were beginning to have an impact. The issue was finally being covered in the mainstream media, if not always accurately. Intensely lobbied by East Timor activists, the U.S. Congress was increasingly placing restrictions on U.S. military aid to Indonesia, often evaded, however, by the Administration. In 1996, Jose Ramos Horta, East Timor’s chief foreign representative, and Bishop Carlos Filipe Ximenes Belo, East Timor’s spiritual leader, were awarded the Nobel Peace Prize, focusing further attention on the situation. 9. How did the recent referendum come about and what were its results? Mass demonstrations in Indonesia, financial crisis, and massive corruption combined in 1998 to force Suharto from office. His successor, B. J. Habibie agreed to call elections for Indonesia and to hold a referendum on the future of East Timor. The Indonesian election was won by Megawati Sukarno- putri, the main opposition leader, but even if she is allowed to become president in November it is doubtful that she will move to dismantle the national security apparatus, which dominates the state. In the negotiations over the terms of the referendum on the future of East Timor, the international community essentially accepted Indonesia’s ground rules. The referendum would be run by Indonesia, the occupying power. The UN was permitted to send a few hundred unarmed monitors, but they had no means of stopping the paramilitary forces (“militias”) that had been organized by the Indonesian army and were carrying out large-scale terror under its direction and with its direct involvement, particularly by its special forces (Kopassus), trained by the United States and Australia, and noted for their extreme violence and brutality. Rather than pressing for a more substantial UN presence, the Clinton administration actually delayed the dispatch of the monitors. The referendum was postponed several times by the UN because of the ongoing terror, which was clearly intended by the army to intimidate the population into voting for incorporation within Indonesia. On August 30, 1999, in an astonishing display of courage, virtually the entire population of East Timor went to the polls, about four out of five voting for independence. Having failed to cow the Timorese people into accepting Indonesian rule, the army and its militias then proceeded to unleash a ferocious attack on the civilian population, displacing hundreds of thousands, killing an unknown number, but certainly thousands, burning, and looting. 10. What are the likely motives of Indonesia and the militias now, after the referendum? For the Indonesian army the motives are probably to demonstrate to people within Indonesia who may raise their heads that the cost will be extremely severe. The army demonstrated this same point during the massacres of 1965-66 when Suharto came to power, intimidating the country for years, and many times subsequently—and always with enthusiastic support from the United States and the West generally. There are now secessionist movements in several parts of Indonesia (though, while the East Timorese independence movement is commonly called “separatist,” that makes as much sense as calling the French resistance to the Nazi occupation “separatist”), and the army presumably fears that independence for East Timor may encourage other breakaway movements. Other motives probably include undermining civilian authority in Jakarta and placing the military in the dominant position in the post-Suharto succession. Pure revenge is also a likely motive: the East Timorese have resisted with enormous courage and integrity for 25 years and so they are being punished by massacre and destruction. It is also worth bearing in mind that the military, and the Suharto family, have taken over most of the resources of East Timor, and do not want to relinquish them. And in the background is the important question of the oil wealth of the Timor Gap, and who will control it. 11. What is the role of the United Nations? It is a little misleading to speak of the role of the UN. The UN is nearly powerless as an abstract entity or even as a representative of the world’s nations. It can act, instead, only insofar as it is given authorization by the great powers, which means primarily the United States. The UN has no standing peacekeeping force and thus is dependent on finding countries willing to contribute troops for any particular mission. The organization suffers as well from an extreme shortage of funds because of the continual U.S. refusal to pay its dues. Any peacekeepers sent to East Timor will probably not be a UN force because the U.S. Congress has required that there be a 15-day delay before the U.S. government can approve any UN peacekeeping operation and has forbidden Washington from paying its authorized share of the costs of any such operation. U.S. influence is greatest in the Security Council, but some organs of the UN, such as the General Assembly or bodies dealing with economic and social issues have had a Third World majority ever since the era of decolonization. Accordingly, U.S. policy has been to undermine and marginalize the UN. The United Nations should have an important role in world affairs, but U.S. policy, and the policies of other leading states, severely limits the international organization. From the point of view of U.S. policymakers, however, there is one crucial role played by the UN: it serves as a convenient scapegoat when something goes wrong. For example, the current catastrophe in East Timor is directly attributable to the refusal of the United States and other Western powers to deter the atrocities there over a period of a quarter century, yet the UN will probably take the blame. 12. What are the likely motives of the United States now, after the referendum? U.S. motives now are the same as always: to pursue those policies that will enhance the power and economic returns of U.S. corporate and political elites with as few dangers of disrupting existing relations of power as possible, and especially as few disturbing effects in the form of enlarging public awareness and dissidence. The United States has a long history of cozying up to ruthless dictators, being indifferent to if not enthusiastic about their atrocities, and disengaging only when Washington concludes that the dictator has provoked so much instability and dissidence that U.S. interests are threatened. Thus, President Jimmy Carter backed the Shah of Iran until it seemed as if the army would fall apart in trying to suppress mass demonstrations; President Reagan embraced Marcos in the Philippines until splits in the armed forces and huge numbers of people in the streets put U.S. interests at risk. So in Indonesia, the United States supported Suharto until a popular explosion seemed to imperil U.S. economic and geopolitical interests. The United States supported Indonesian policy in East Timor—with weapons, training, and diplomatic support—as long as doing so seemed to further U.S. interests. As long as East Timor could be kept off the front page, Washington was happy to give Jakarta a free hand. But news of the latest atrocities could not be suppressed. Some courageous journalists and independent observers, some UN workers who refused to abandon the Timorese, and networks of activists have all spread the word. This has raised the costs to the U.S. government of continuing to tolerate Indonesian terrorism in East Timor. Washington still hopes, however, to protect its economic stake in Indonesia and maintain close ties with that country’s military. 13. What could the United States do that would be positive in East Timor? The United States and its major allies have tremendous leverage over the Indonesian government. Indonesia doesn’t have much of a military industry, and relies heavily on its suppliers: the United States, Britain, Australia, and others. Indonesian troops receive training and participate in joint exercises with U.S. troops, the most recent just a week before the August 30, 1999 referendum. Indonesia’s economy is also totally dependent on financial aid from the United States and other rich nations and from the International Monetary Fund whose policies are controlled by these same rich nations. Without funds from these sources, Indonesia will find foreign investment drying up and domestic capital flight as well. In short, Indonesia cannot act without the approval of Washington and the leading Western nations. The same sort of pressure that seems in the past few days to have forced Jakarta to accept international peacekeeping troops could have been used—and could still be used—to compel the Indonesians to call off the slaughter and destruction in East Timor, something that would have a far more critical and immediate effect on the lives of East Timorese than the dispatch of peacekeepers. Peacekeepers, if they get there in time, can play a useful role in facilitating the distribution of humanitarian aid and in restraining any of the militias that refuse an Indonesian order to disband. Of course, the same pressure that got Jakarta to buckle today could have been employed immediately to stop the atrocities. It could have been used six months ago to force Indonesia to disband the militias and call off its terror forces. And it could have been used at any point over the past quarter century to get Indonesia to withdraw from East Timor. And it could have been used in December 1975 to forestall the Indonesia invasion in the first place. 14. Will the United States do something positive in East Timor? The United States government does not act out of humanitarian concern. U.S. political and economic elites pursue their own interests and are willing to tolerate—and even welcome—incredible brutality in the furtherance of those interests. Sometimes, however, U.S. elites can be pressured into following a positive course of action if the social costs of their not doing so can be significantly raised. The U.S. government didn’t wind down the Vietnam War because a burst of humanitarianism entered the calculation of policymakers. Rather, it ended the war because the resistance of the Vietnamese and the social disruptions at home made the costs of continuing the war too high. The U.S. government will do something positive—more accurately, it will stop doing something horribly negative—with regard to East Timor only if public pressure raises the social costs of continuing to abet the massacre. The strategy, then, for those who wish to change U.S. policy on East Timor is the same as for those who want to change U.S. policy more generally. U.S. elites respond not to moral persuasion but, instead, to a calculus of interests. When one wants to influence their choices, therefore, it is necessary to create conditions that change the calculus they confront. The only way to do that is to raise consciousness of true conditions and organize dissent that threatens things they hold dear. If pursuing or permitting genocidal activity in Timor strengthens elite positions and enriches their coffers, and if there is no offsetting cost to the behavior, it will continue. If popular activism threatens business as usual, if it threatens to grow, and not only address Timor, but the basic institutions behind events like these—that is a real and dangerous cost that elites very well understand. So what does a morally concerned person do? Try to become knowledgeable, try to educate others, try to facilitate efforts to make dissent visible—whether financially, via donations to worthy projects and institutions, or with one’s time and labors given to organizing. It is the same answer for Timor as for Kosovo as for the Gulf War as for Nicaragua as for Vietnam. It is the same answer for foreign policy pursuits as it is for trying to win strikes against corporations, reverse NAFTA, and preserve affirmative action (or win it in the first place). To impact elites it is necessary to raise social costs so high that elites have no choice but to relent.
wrong_mix_range_leader_00122	FactBench	0	19	https://www.epc.eu/en/contributions	en		https://www.epc.eu/conte…ogo__small_1.jpg		[ "https://www.epc.eu/content/EPC_logos/EPC_logo__small_1.jpg", "https://wms.flexious.be/editor/plugins/imagemanager/content/2140/icons/search-menu-icon.jpg", "https://wms.flexious.be/editor/plugins/imagemanager/content/2140/sponsors/partner_king_baudouin.jpg", "https://wms.flexious.be/editor/plugins/imagemanager/content/2140/sponsors/partner_siftung_mercator.jpg", "https://my.enjin.be/editor/plugins/imagemanager/content/2140/EPC_logos/EPC_logo__small_1.jpg", "https://wms.flexious.be/editor/plugins/imagemanager/content/2140/EPC_logos/EU_logo_funding.jpg", "https://wms.flexious.be/editor/plugins/imagemanager/content/2140/icons/expert-twitter.png", "https://wms.flexious.be/editor/plugins/imagemanager/content/2140/icons/expert-facebook.png", "https://wms.flexious.be/editor/plugins/imagemanager/content/2140/icons/expert-linkedin.png", "https://www.flexious.be/images/flexious-website.png", "https://www.epc.eu/images/mobile/mobile_phone.png", "https://www.epc.eu/images/mobile/mobile_email.png" ]	[]	[]	[ "" ]	null	[]	null					null	France / INTERVIEW Les Patriotes pour l’Europe n’auront pas le poids qu’ils espèrent au Parlement européen Eric Maurice was quoted in Geneva daily Le Temps about the new far-right group in the European Parliament and the influence it could have. Read here! 11 July 2024 - , France / INTERVIEW What's next for France after unprecedented legislative elections Eric Maurice was interviewed by The Parliament Magazine on the outcome of the French elections and what that might mean for the country. Read here! 10 July 2024 - , Transatlantic affairs / VIDEO A roadmap with clear deadlines for joining NATO is unlikely Maria Martisiute gave an interview with the “Voice of America” about the topic of what to expect for Ukraine from NATO’s Washington Summit 2024. Watch here! 09 July 2024 - , Ukraine / INTERVIEW EU:s försvarssatsningar skapar oro inom Nato Maria Martisiute gives an interview with Swedish Radio on the topic of “EU and NATO cooperation and competition.” Listen here! 07 July 2024 - , European Union / INTERVIEW Janis Emmanouilidis quote 'We are being led into a state of confusion' Janis Emmanouilidis gave an interview to Kathimerini on the rise of Le Pen and how this could weaken France and makes the situation in Europe even more complex. Read here! 07 July 2024 - , European Union France / INTERVIEW Far-right tenants in the apartment building Eric Maurice was quoted in a piece by Greek daily Kathimerini on how a Macron-Bardela "co-habitation" would affect developments in the European Union. Read here! 07 July 2024 - , France / VIDEO French elections second round: special coverage Eric Maurice was live on Euronews’ French elections night to comment and analyse the results. Watch here! 07 July 2024 - , France / VIDEO French elections 2024: far-right National Rally comes top, first results suggest Elizabeth Kuiper gave a live-interview to euronews about the impact of the french elections in the EU. Watch it here! 06 July 2024 - , European Union France / INTERVIEW RTÉ Nine O'Clock News Eric Maurice was interviewed by Ireland’s RTÉ ahead of the second round of the French elections about the impact on the EU of a possible victory of the far-right (report from 18’’35’). Watch here!: 04 July 2024 - , Electoral participation / QUOTE Already scandal-hit, new far-right Dutch government assumes office Elizabeth Kuiper gave a quote to EU Observer about the challenges ahead for the new Dutch government. Read here! 03 July 2024 - , France / QUOTE El ascenso ultra amenaza a la UE: "Quieren debilitarla desde dentro" Elizabeth Kuiper gave a quote to EL Mundo in the context of the french elections and the rise of the far-right. Read it here! 01 July 2024 - , European Union / INTERVIEW Countries reveal their hands on Big Pharma incentives Elizabeth Kuiper gave an interview to POLITICO about the EU's pharmaceutical legislation. Read it here! 21 June 2024 - , France / INTERVIEW Un coup de Poker "à la française" In a report by European TV channel Arte, Eric Maurice talks about the possible consequences of Emmanuel Macron's decision to call a snap election. Watch it here! 15 June 2024 - , France / Stormy Politics: Macron’s Snap Elections and the Future of the EU Eric Maurice was interviewed for Euronews' daily podcast about what a far-right government in France would mean for the EU and how political developments will influence the reappointment of Ursula von der Leyen as Commission president. Read it here! 11 June 2024 - , European elections / INTERVIEW Europe veers right but centre-ground resists Eric Maurice analysed the results of the European elections and what they mean for the next EU leadership On Euronews. Read it here! 10 June 2024 - , Migration / INTERVIEW Euronews’s live coverage of the European Parliamentary elections Helena Hahn was invited to join Euronews’s live coverage of the European Parliamentary elections on June 10 to speak about the election results, the rise of the far-right, and the next European Commission President. 10 June 2024 - , Belgique/Belgie Lithuania / INTERVIEW The big division of posts: who will govern the EU and whether Lithuania's ambitions will come true Maria Maritsiute gave an interview with Lithuanian TV and Radio on “Projections of the outcome of 2024 European Parliament elections”. Read it here! Watch it here! 30 May 2024 - , EU enlargement / QUOTE La ampliación de la UE, uno de los retos de la siguiente legislatura Berta López Domenèch gives a quote to the spanish Euro EFE about EU enlargement. 26 May 2024 - , Belgique/Belgie Azerbaijan France / VIDEO Fransa əksinə, Ermənistana dəstəyi artıracaq”. Makron Yeni Kaledoniyada Philipp Lausberg commented on the role of Azerbaijan in the uprisings in New Caledonia for Radio Free Europe (Azeri service). Watch it here! 25 May 2024 - , Belgique/Belgie Economic governance / QUOTE Warum Europa nur noch Mittelmaß ist Philipp Lausberg gives a quote to Der Spiegel on the ongoing debate on Capital Markets Union. Read it here! 21 May 2024 - , Belgique/Belgie EU enlargement / QUOTE El dilema de la UE: la guerra d'Ucraïna renova l'interès per ampliar-se a més països Berta López Domenèch appeared in an article quote to 3CAT about the war in Ukraine and what it means for EU enlargement. 21 May 2024 - , Belgique/Belgie Health / INTERVIEW How should countries deal with falling birth rates? Elizabeth Kuiper gave a quote to the BBC about falling birth rates across europe. Read here! 20 May 2024 - , Migration / INTERVIEW Die Route der Schlepper verschiebt sich einfach weiter Helena Hahn was interviewed by Der Spiegel about the effectiveness of the new EU-Lebanon migration deal. Read the interview here (in German). 13 May 2024 - , Belgique/Belgie Disinformation / INTERVIEW EU Commission Probe in to Russian Disinformation on Meta Juraj Majcin on the Voice of America Russian Service on EU Commission probe into Russian disinformation on Meta's networksk. (In Russian) 09 May 2024 - , Rossiya Russia / INTERVIEW Putin fosters nuclear fear as fifth term starts \| Euronews Maria Martisiute did an interview with Euronews on Russian nuclear drills announcement. Read it here! 07 May 2024 - , Italy / INTERVIEW The black sheep that now takes on the role of regulator Elizabeth Kuiper gave a quote to Kathimerini on the rise of Meloni. Read here! 05 May 2024 - , Migration / OP-ED Die Schwachstellen des EU-Migrationspakts Helena Hahn published an op-ed on how the EU’s increased push to conclude migration cooperation agreements with non-EU countries risks heightening its strategic dependencies and undermining the implementation of the New Pact reforms. Read the op-ed here (in German). 03 May 2024 - , EU enlargement / QUOTE 20 anos do "big bang": UE pondera abrir portas a novas adesões Berta López Domenèch appeared in SicNoticias 's article about EU enlargement, Ukraine, and the waiting list for Western Balkan countries. 01 May 2024 - , Belgique/Belgie European Union Azerbaijan / QUOTE Əliyev Blinkenə deyib ki, get işinlə məşğul ol..." J.Assanc, yoxsa Q.İbadoğlu siyasi məhbusdur Philipp Lausberg commented on how regimes such as Ilham Aliyev’s of Azerbaijan use whataboutism to deflect Western criticism of their authoritarian practices for Radio Free Europe/Radio Liberty. Watch it here! 29 April 2024 - , Belgique/Belgie Germany / QUOTE The alternative to the alternative? How Germany's far left could limit far-right gains in the European elections Philipp Lausberg commented on the new left party in Germany “Block Sahra Wagenknecht” and its possible effects on the EU elections for The Parliament. Read it here! 26 April 2024 - , Belgique/Belgie Migration / INTERVIEW EU elections: What have lawmakers achieved since 2019? Helena Hahn was interviewed by Deutsche Welle about the legacy of the outgoing European Parliament on migration and asylum policy. Read the article here. 25 April 2024 - , Belgique/Belgie Migration / INTERVIEW Gestion des migrants : la tentation croissante de l'externalisation Helena Hahn was interviewed by Les Echos about the EU’s increasing push to externalize responsibility over asylum-seekers and border control through migration deals. Read the article here (in French). 23 April 2024 - , Belgique/Belgie Economic governance / QUOTE Brüssel, meine Liebe? Nach Lettas Weckruf: Was wird aus dem Binnenmarkt? Philipp Lausberg has been mentionned in Euronews regarding the future of the single market and european competitiveness. Read it here! 20 April 2024 - , Belgique/Belgie Migration / INTERVIEW After Tunisia and Egypt, will the EU strike a new anti-migration deal with Lebanon? Helena Hahn was interviewed by The New Arab on the prospects of a new EU-Lebanon migration deal. Read the article here. 16 April 2024 - , Belgique/Belgie Migration / VIDEO Brüssel, meine Liebe? Der Migrationspakt kommt - und was danach? Helena Hahn participated in Euronews’ weekly show “Brussels, my love?” to discuss the adoption of the New Pact on Migration and Asylum by the European Parliament and what it means for the future of EU migration and asylum policy alongside MEPs from The Left and ECR groups. Watch the show here (in German). 13 April 2024 - , Belgique/Belgie Economic Security / QUOTE Eurozone finance chiefs fear trade jitters could get in the way of EU competitiveness plans Philipp Lausberg commented on EU economic security and competitiveness in face of geo-political challenges for Euractiv. Read it here! 11 April 2024 - , Belgique/Belgie Security & defence / INTERVIEW Putin reaviva el alma de la OTAN en su 75 aniversario Maria Martisiute gave an interview for the Spanish newspaper “ARA” about NATO’s 75th Anniversary. Read it here! 07 April 2024 - , Europe European Union China / QUOTE Who’s afraid of non-market policies? Philipp Lausberg commented on transatlantic trade and technology council and the EU’s stance on trade with China for Euractiv. Read it here! 05 April 2024 - , Belgique/Belgie Security & defence / QUOTE Majority of EU voters in favour of Ukraine joining the EU, exclusive IPSOS/Euronews poll finds Berta López Domènech spoke with Euronews about EU voters and Ukraine accession. Read it here! 04 April 2024 - , Belgique/Belgie EU enlargement / INTERVIEW Video. Bruselas, ¿te quiero? ¿Una Unión Europea de hasta 35 países? Berta López Domenèch appeared on the Spanish Language version of Brussels My Love (Bruselas, ¿te Quiero?) 30 March 2024 - , Belgique/Belgie European Union Azerbaijan / QUOTE Azerbejdżan rozgrywa Europę. Dyplomacja kawiorowa przeżywa kryzys Philipp Lausberg commented on EU Azerbaijan relations for Nowa Europa Wschodnia. Read it here! 28 March 2024 - , Belgique/Belgie Trade China / QUOTE China’s ‘de-risking’ from West worsens EU industrial decline, experts say Philipp Lausberg commented on Chinese trade policy’s effects on the EU for Euractiv. Read it here! 25 March 2024 - , Belgique/Belgie EU enlargement / QUOTE EU expansion: How close are the nine candidate states to membership? Berta López Domenèch gives a quote to The Parliament about Ukraine, EU enlargement and accession. 25 March 2024 - , Belgique/Belgie Bosnia-Herzegovina Western Balkans / QUOTE The EU pursues make-believe in Bosnia Berta López Dómenech quoted in FT on the need for constitutional reform in Bosnia. 23 March 2024 - , United Kingdom EU enlargement / QUOTE The EU pursues make-believe in Bosnia Berta López Domènech quoted in FT on constitutional reform and ethnic separatism in Bosnia-Hercegovina. 23 March 2024 - , United Kingdom Migration / INTERVIEW Europe finds appeal in border fences once again Helena Hahn was interviewed about EU member states’ growing interest in preventing migrant arrivals through strengthening border controls and fences. Read the article here. 21 March 2024 - , Belgique/Belgie Migration / INTERVIEW EU unterzeichnet Migrationsabkommen mit Ägypten Helena Hahn was provided comments on the new migration deal between the EU and Egypt on Deutschlandfunk Kultur’s Studio 9 program. Listen to the interview here (in German). 17 March 2024 - , Belgique/Belgie Migration / INTERVIEW EU-Egypt migration deal Helena Hahn was on WDR5’s Morgenecho radio show to discuss the EU’s efforts to conclude a new migration deal with Egypt. 16 March 2024 - , Belgique/Belgie European Union / QUOTE EU push to make private sector finance key investments is misguided, analysts warn Philipp Lausberg commented on EU leaders’ proposals to complete the EU Capital Markets Union for Euractiv. Read it here! 14 March 2024 - , Belgique/Belgie Bosnia-Herzegovina / QUOTE La Commission européenne propose d’ouvrir les négociations d’adhésion avec la Bosnie-Herzégovine Berta López Domènech was quoted in an article by Le Monde on the European Commission's suggestion to open up accession talks with Bosnia and Herzegovina. Read it here. (In French) 13 March 2024 - , Le Monde Recep Tayyip Erdoğan / QUOTE Erdogan belooft in 2028 op te stappen. Kan hij dat wel? Amanda Paul was quoted in an article by Knack on Turkish President Recep Tayyip Erdoğan's bid for re-election. Read it here. (In Dutch) 13 March 2024 - , Knack Economic governance / QUOTE The Brief – Inflated debate: Why won’t the ECB cut rates? Philipp Lausberg was quoted by Euractiv on the ECB discussions around interest-rate cuts. Read it here. 07 March 2024 - , Euractiv Ukraine / QUOTE Janis Emmanouilidis was quoted in an article by Kathimerini. Janis Emmanouilidis was quoted in an article by Kathimerini on Macron's oracle interpretations of NATO troops in Ukraine and Putin's return to nuclear fear. Read it here. (In Greek) 06 March 2024 - , Kathimerini Security & defence / INTERVIEW Mittagsmagazin: Brüssel: Wie die EU-Kommission die Rüstungsindustrie stärken will Maria Mirtisiute was interviewed by ARD on Europe’s defence industry. Watch it here. (Only available in Germany) 05 March 2024 - , ARD China / QUOTE EU-China trade slips as Beijing ‘de-risks’ from the West Philipp Lausberg was quoted by Euractiv on the EU’s trade deficit with China. Read it here. 04 March 2024 - , Euractiv Armenia Azerbaijan Germany / INTERVIEW Philipp Lausberg interview for Radio Free Europe/Radio Liberty Philipp Lausberg was interviewed by Radio Free Europe/Radio Liberty on Germany's efforts to broker lasting peace between Armenia and Azerbaijan. Watch it here. 01 March 2024 - , Radio Free Europe/Radio Liberty Eurozone governance / QUOTE Eurozone inflation drops to lowest in 2 years, spurring talk of ECB rate cut Philipp Lausberg was quoted by Euractiv on Eurozone inflation and the discussions around ECB interest-rate cuts. Read it here. 01 March 2024 - , Euractiv Eurasia & Russia / QUOTE Почему Шольц не поздравит Путина с победой, или Как итоги выборов приблизили Россию к Северной Корее Philipp Lausberg commented on the Russian presidential elections in Russian for Deutsche Welle Russian Service. Watch the video here! 01 March 2024 - , Belgique/Belgie Vladimir Putin / INTERVIEW Philipp Lausberg was interviewed by DW on Putin’s annual address Philipp Lausberg was interviewed by Deutsche Welle’s Russian Service on Russian President Vladimir Putin’s annual address to the nation. Watch the interview here. (In Russian) 29 February 2024 - , Deutsche Welle (Russian Service) Migration / INTERVIEW Europe hopes barbed wire will keep migrants out. It won’t Helena Hahn was interviewed by The Economist on EU governments’ increasing efforts to prevent and reduce migrant arrivals by building border fences. Read the article here. 29 February 2024 - , Belgique/Belgie EU enlargement / QUOTE Is there a realistic possibility of Ukraine overtaking the Western Balkans on the EU path? Teona Lavrelashvili was quoted by European Western Balkans in an article on Ukrainian and Western Balkan EU accession. Read it here. 27 February 2024 - , European Western Balkans Social policies / QUOTE Europe must urgently tackle its housing crisis, warn EU officials Philipp Lausberg provided a quote for a Euractiv article on the need to address Europe’s shortage of affordable housing to tackling the continent’s cost of living crisis and establish a viable social market economy. Read it here. 22 February 2024 - , Euractiv Cohesion policy / QUOTE Cohesion policy must be revamped ‘to ensure Europe’s survival’, EU report finds Philipp Lausberg was quoted in an article by Euractiv on the need to revamp the EU's Cohesion Policy to stem the rise of Eurosceptic parties. Read it here. 20 February 2024 - , Euractiv EU sanctions / INTERVIEW Yulia Navalnaya in Brussels: Could more EU sanctions be coming Russia's way? \| DW News Maria Martisiute did an interview with Deutsche Welle on Yulia Navalnaya's message to the European Union following the death of her husband Alexei Navalny, and potential new EU sanctions for Russia. Watch it here. 20 February 2024 - , Deutsche Welle Fiscal union / QUOTE European Left party vows to slash EU fiscal rules ahead of elections Philipp Lausberg was quoted in an article by Euractiv on the European Left party's push to slash EU fiscal rules ahead of the European elections. Read it here. 19 February 2024 - , Euractiv EU sanctions / INTERVIEW EU mulls fresh sanctions over Navalny death Maria Martisiute did an interview with Deutsche Welle on new EU sanctions on Russia following the death of Alexei Navalny. Read it here. 19 February 2024 - , Deutsche Welle European Commission / INTERVIEW Von der Leyen will EU-Kommissionschefin bleiben Janis Emmanouilidis was interviewed by Deutsche Welle on Ursula Von der Leyen's bid for a second presidency of the European Commission. Read it here. (In German) 19 February 2024 - , Deutsche Welle Eurasia & Russia / INTERVIEW “Əliyevin və Putinin dünyaya baxışı çox yaxındır” Müttəfiqlik bəyannaməsinin 2 ili #İzahla Philipp Lausberg commented on the current relations between Russia and Azerbaijan for AzadliqRadiosu (Radio Free Europe/Radio Liberty). Watch the video here. (In Azeri) 15 February 2024 - , AzadliqRadiosu (Radio Free Europe/Radio Liberty) Security & defence / INTERVIEW Interview with Euronews Mihai Sebastian Chihaia was interviewed by Euronews on the EU's defence budget and its dependency on the United States. Watch it here. 14 February 2024 - , Euronews Security & defence / INTERVIEW Après les menaces de Donald Trump, l'Europe de la défense se fait toujours attendre Mihai Sebastian Chihaia was interviewed by Euronews on Europe's defence and its continuing dependency on the United States. Read it here. (In French) 13 February 2024 - , Euronews Economic governance / QUOTE New EU fiscal reforms will impede critical investments, experts warn Philipp Lausberg was interviewed by Euractiv on the new EU fiscal reforms. Read the article here. 13 February 2024 - , Euractiv European elections / EXTERNAL PUBLICATION Why an ascendant German AfD will move the next European Parliament further to the right Philipp Lausberg wrote an article for The Parliament on the rise of the German AfD and its influence on the European Parliament. Read it here. 12 February 2024 - , The Parliament Industrial policy / QUOTE Unions issue ‘urgent’ call for EU industrial policy to respect workers’ rights Laura Rayner was interviewed by Euractiv on trade unions' call for EU industrial policy to respect workers’ rights. Read the article here. 09 February 2024 - , Euractiv Industrial policy / QUOTE Unions issue ‘urgent’ call for EU industrial policy to respect workers’ rights Philipp Lausberg was interviewed by Euractiv on trade unions' call for EU industrial policy to respect workers’ rights. Read the article here. 09 February 2024 - , Euractiv Middle East / INTERVIEW Gaza war exposes dissent on EU Israel policy Mihai Chihaia was interviewed by Deutsche Welle on the war in the Middle East and the EU's position and potential role in the region. Read the article here. 07 February 2024 - , Deutsche Welle Ukraine / INTERVIEW The EU’s €50B for Ukraine is basically nothing Svitlana Taran was asked by POLITICO to comment on the significance and potential impact of the EU's 50 billion EUR package to support Ukraine. Read the article here. 06 February 2024 - , POLITICO European elections / INTERVIEW Almost 20 names in running for EU top jobs Eric Maurice was asked by EUobserver to comment on the prospects and expectations for the upcoming European elections. Read the article here. 06 February 2024 - , EUobserver Agriculture / INTERVIEW Partout en Europe, les agriculteurs restent mobilisés Eric Maurice was interviewed by Les Echos on the causes and potential impact of the farmers' protests in Europe. Read the article here. (In French) 06 February 2024 - , Les Echos European Union Hungary / INTERVIEW EU responds to “persistent problem” with threat and Orbán finally gives in Maria Martisiute gave an interview for Expresso on Hungary's block of EU's aid to Ukraine. Read it here! 02 February 2024 - , European Parliament (EP) / INTERVIEW O čem odloča in o čem ne odloča evropski parlament? In an interview for the Slovenian daily newspaper, Delo, Eric Maurice explained the role of the European Parliament and its power as an institution of the European Union. Read the article here. (In Slovenian) 01 February 2024 - , Delo Brexit / INTERVIEW Labour wants to make Brexit work better. What does the EU think? Fabian Zuleeg was interviewed by The Economist on the potential impact of a Starmer-led government on EU-UK relations. Read the article here. 01 February 2024 - , The Economist Agriculture / INTERVIEW Interview with Lusa Eric Maurice was interviewed by Lusa on the farmers' protests taking place in Europe and their implications for the European elections. Read the article here. (In Portuguese) 31 January 2024 - , Lusa Economic governance / INTERVIEW ‘The outlook is not so good’: IMF cuts eurozone growth forecast Philipp Lausberg provided Euractiv with comments on the eurozone's economic outlook and the state of the German economy. Read the article here. 31 January 2024 - , Euractiv Migration / INTERVIEW Hell or high water: Tackling Europe's migration dilemma Alberto-Horst Neidhardt was interviewed by RTE on how the EU has dealt with previous migration crises and the potential impact of the New Pact on Migration and Asylum. Read the article here. 31 January 2024 - , RTE Ukraine / QUOTE EU leaders to press Hungary on Ukraine funding deal Janis Emmanouilidis was quoted in an article by Deutsche Welle on Hungary's delay in approving long-term aid for Ukraine. Read it here. 31 January 2024 - , Deutsche Welle Hungary / INTERVIEW EU unlikely to follow through on Hungary funding threat Maria Martisiute provided comments to Euractiv on the EU's threat of cutting funding to Hungary if Budapest does not approve the 50 billion EUR aid package to Ukraine. Read the article here. 29 January 2024 - , Euractiv European elections / INTERVIEW Interview with BNT Teona Lavrelashvili was asked by BNT, Bulgaria's National Television, to comment on the rise of the far right ahead of the European elections. Watch the report here. (In Bulgarian) 28 January 2024 - , BNT European Central Bank (ECB) / INTERVIEW ‘Very damaging’: ECB policy fuels fears for German economy Philipp Lausberg provided Euractiv with a comment on the ECB's decision to keep interest rates at their record high levels and its implications for Germany. Read the article here. 27 January 2024 - , Euractiv European elections / INTERVIEW Second term?: Why von der Leyen waits until the last minute Fabian Zuleeg was interviewed by Tagesspiegel on the possibility that Ursula von der Leyen will run in the next European elections. Read the article here. (In German) 25 January 2024 - , Tagesspiegel Migration / INTERVIEW In France and Elsewhere in Europe, Far Right Feeds on Anti-Migrant Sentiments Eric Maurice was interviewed by Voice of America on the rise of anti-migrant sentiments in Europe. Read the article here. 25 January 2024 - , Voice of America Ukraine / OP-ED Economic security: A strategic argument for Ukraine’s EU membership Svitlana Taran and Philipp Lausberg wrote an Op-Ed showcasing how Ukraine's EU accession could benefit the Union's economic security. The article was published by Euractiv. Read the article here. 24 January 2024 - , Euractiv European elections / INTERVIEW France’s Valérie Hayer to be president of EU liberal group Renew Eric Maurice was interviewed by Euractiv on the future of Renew Europe ahead of the European elections. Read the article here. 24 January 2024 - , Euractiv Industrial policy / INTERVIEW EU should ‘cut red tape’ to halt industrial slump, Belgian FM says Philipp Lausberg was interviewed by Euractiv on the need for an Industrial Deal at the EU level to make the European economy more competitive. Read the article here. 24 January 2024 - , Euractiv EU sanctions / INTERVIEW Russia buys Western microchips through Kyrgyzstan. Can the EU put an end to this? Svitlana Taran was interviewed by RFE/RL on the EU's sanction packages against Russia and their impact on Russian economy. Read the article here. (In Ukrainian) 23 January 2024 - , RFE/RL European elections / INTERVIEW Helping Ukraine in its war with Russia Teona Lavrelashvili was interviewed by the Czech Television on the implications of the European elections for the future of Europe and enlargement. Watch the report here. (In Czech and English) 21 January 2024 - , Czech Television Middle East / INTERVIEW Europe faces ‘Groundhog Day’ in Middle East peace efforts Ricardo Borges de Castro was interviewed by Euractiv on the EU's efforts to revive the peace process in the Middle East. Read the article here. 21 January 2024 - , Euractiv Health & healthcare / INTERVIEW EU’s health workforce ‘without a doubt’ worse off than before COVID-19 Elizabeth Kuiper was interviewed by Euractiv on the Belgian Presidency's plan for an EU health workforce strategy. Read the article here. 19 January 2024 - , Euractiv Economic governance / INTERVIEW ‘A new normal’: ECB’s Lagarde and Germany’s Lindner forecast deep shifts in global economy In an interview for Euractiv, Philipp Lausberg provided an assessment of the global economy, commenting on Christine Lagarde and Christian Lindner's forecasts. Read the article here. 19 January 2024 - , Euractiv Economic governance / INTERVIEW World Economic Forum: Is it still relevant? Philipp Lausberg participated in a talk show organised by TRT on the World Economic Forum taking place in Davos in January 2024. Watch the programme here. 17 January 2024 - , TRT European Council / INTERVIEW Interview with Le Soir Eric Maurice was interviewed by Le Soir on Charles Michel's decision to run in the European elections and quit his position in the European Council. Read the article here. (In French) 17 January 2024 - , Le Soir EU Governance / INTERVIEW Debate over EU liberals’ leadership heats up Euric Maurice was interviewed by Euractiv on the fate of Renew Europe after Séjourné’s departure. Read the article here. 17 January 2024 - , Euractiv European elections / INTERVIEW Michel's demise in the European Council is not a catastrophe. Leaders won't let Orbán lead summits, says Brussels expert Eric Maurice was interviewed by Cesky Rozhlas, the Czech public radio, on Charles Michel's decision to run in the EU elections and the process of renewing the EU top jobs. Listen to the report here. (In Czech) 15 January 2024 - , Cesky Rozhlas European elections / INTERVIEW Interview with Altinget Eric Maurice was interviewed by Altinget on the legislative proposals that must be ready before the 2024 European elections in June. Read the article here. (In Swedish) 15 January 2024 - , Altinget Future of Europe / PANEL DISCUSSION Brussels, my love? Fabian Zuleeg participated in the English episode of "Brussels, my love?", Euronews' talkshow on EU affairs. The episode focused on Germany's farmers movement, the EU fiscal rules reforms, and Charles Michel's decision to run in the EU elections. Watch the episode here. 12 January 2024 - , Euronews Hungary / INTERVIEW EU and Hungary working on solution that will secure money for Ukraine Maria Martisiute was interviewed by Ritzau on Orban's proposal to divide the EU's Ukraine Facility into tranches. The interview was featured in articles by Kristelgt Dagblad and Bornholms Tridende. 10 January 2024 - , Ritzau European elections / INTERVIEW Farmers back on political scene, putting pressure on governments Fabian Zuleeg was interviewed by Euractiv on the rise of farmers' movements in Europe and their implications for the upcoming European Elections. Read the article here. 09 January 2024 - , Euractiv Bosnia-Herzegovina / INTERVIEW Brussels warns of 'serious consequences' as Bosnian Serbs celebrate breakaway anniversary Berta Lopez Domenech gave an interview for Euronews on the situation in the Republika Srpska and its impact on Bosnia's prospects for enlargement. Read the article here. 09 January 2024 - , Euronews European Council / INTERVIEW Viktor Orbán instead of Charles Michel? Teona Lavrelashvili spoke with RFE/RL about Charles Michel's decision to run in the European elections and the possibility that Orban will replace him in the European Council. Read the article here. (In Ukrainian) 08 January 2024 - , RFE/RL Cohesion policy / PUBLICATION Strengthening Civic Cohesion in Europe Danielle Brady co-authored the publication 'Strengthening Civic Cohesion in Europe - Recommendations for an EU policy upgrade.' Read it here. 08 January 2024 - , Sofia Platform Foundation Serbia / QUOTE Contested election and brutal attack on opposition leader in Serbia cannot be ignored Berta Lopez Domenech's commentary on Serbia's elections and Vucic's victory was quoted in an article by bne Intellinews. Read the article here. 05 January 2024 - , bne Intellinews Energy / INTERVIEW Interview with POLITICO Philipp Lausberg was interviewed by POLITICO on France and Germany's energy subsidies and how they might endanger the Single Market. Read the article here. 04 January 2024 - , POLITICO Azerbaijan / INTERVIEW Interview with RFE/RL RFE/RL interviewed Philipp Lausberg on the differences between the Azerbaijani and German government systems and Azerbaijan's president Ilham Aliev. Watch the report here. (In Azeri) 03 January 2024 - , RFE/RL European Council / INTERVIEW Belgium's bold EU Council agenda Janis Emmanouilidis was interviewed by Deutsche Welle on Belgium's agenda and priorities for the EU Council Presidency. Read the article here. 01 January 2024 - , Deutsche Welle Energy / INTERVIEW The EU Is Much Less Dependent On Russian Gas But Still Isn't Ready To Give It Up Philipp Lausberg gave interview for RFE/RL on the future of Russian gas imports in Europe, following Moscow's full-scale invasion of Ukraine. Read the article here. 31 December 2023 - , RFE/RL Netherlands / QUOTE Far right rise could bring Europe to a standstill Euranet Plus quoted Elizabeth Kuiper and her flash analysis in a video on the impact of Geert Wilder's victory in the Dutch elections. Watch the video here. 30 December 2023 - , Euranet Plus European elections / INTERVIEW Mørkeblå valgvind over Europa Elizabeth Kuiper was interviewed by the Norwegian News Agency on the upcoming European elections and the rise of the far-right in Europe. Read the article here. (In Norwegian) 21 December 2023 - , Norwegian News Agency Future of Europe / INTERVIEW Interview with Altinget Berta Lopez Domenech was interviewed by Altinget on the Spanish Presidency of the European Council. Read the article here. (In Swedish) 21 December 2023 - , Altinget EU Presidency / WORKSHOP Spain’s Presidency of the Council of the EU: A Strategic Assessment Maria Martisiute participated in a high-level panel taking stock of the Spanish Presidency of the European Council. The workshop was organised by the Elcano Royal Institute in cooperation with the European Policy Centre. For more information on the event, please consult this page. 19 December 2023 - , Elcano European Council / INTERVIEW Interview with Voice of America Fabian Zuleeg was interviewed by Voice of America on the December EUCO summit, Orban's position towards Ukraine, and enlargement. Read the article here. (In Russian) Watch the interview here. (In Russian) 14 December 2023 - , Voice of America European Council / INTERVIEW Interview with Voice of America Maria Martisiute was interviewed by Voice of America on the December EUCO summit and Orban's position towards opening accession negotiations with Ukraine. Read the article here. (In Russian) Watch the interview here. (In Russian) 14 December 2023 - , Voice of America European Council / INTERVIEW Groundbreaking summit or historic fiasco? Maria Martisiute was interviewed by LRT.lt on the December EUCO summit and starting accession negotiations with Ukraine. Read the article here. Watch the interview here. (In Lithuanian) 14 December 2023 - , LRT.lt Structural reforms / INTERVIEW Interview with Berria Teona Lavrelashvili was interviewed by Berria on enlargement and the need for structural reforms at the EU level. Read the article here. (In Basque) 14 December 2023 - , Berria European Council / INTERVIEW EU wants to expand - but this strategy against Putin also carries risks Fabian Zuleeg was interviewed by Frankfurter Rundschau on the December EUCO summit, enlargement, and the implications of opening accession negotiations with Ukraine. Read the article here. (In German) 14 December 2023 - , Frankfurter Rundschau European Council / INTERVIEW Interview with CNN Ricardo Borges de Castro was interviewed by CNN Portugal on the EUCO summit, enlargement, and opening accession negotiations with Ukraine. Watch the interview here. (In Portuguese) 14 December 2023 - , CNN Portugal European Council / INTERVIEW Une Europe « élargie » à l’Ukraine : quand, et surtout comment? Teona Lavrelashvili was interviewed by La Croix on the EUCO summit, enlargement, and opening accession negotiations with Ukraine. Read the article here. (In French) 13 December 2023 - , La Croix Ukraine / INTERVIEW Interview with NIKKEI Maria Martisiute was interviewed by NIKKEI on the EU's decision to open accession negotiations with Ukraine and its economic and political implications. Read the article here. (In Japanese) 12 December 2023 - , NIKKEI Research and Innovation / INTERVIEW EU launches new pact on quantum technologies Andrea G. Rodriguez was interviewed by Euractiv on the EU Quantum Pact and the need for a European quantum technology ecosystem. Read the article here. 07 December 2023 - , Euractiv Ukraine / QUOTE Shock and blockade of trucks: what is happening now on the border of Poland and Ukraine Svitlana Taran was quoted by Deutsche Welle (Russian language service) on the consequences and implications of the blockade at the Polish-Ukrainian border. Watch the recording here. (In Russian) 05 December 2023 - , Deutsche Wellle (Russian language service) European Parliament (EP) / INTERVIEW Interview with Voice of America Fabian Zuleeg was interviewed by Voice of America on the implications of changing the EU treaty and switching from unanimity to QMV. Watch the interview here. (In Russian) 05 December 2023 - , Voice of America Brexit / OP-ED Why Sir Keir Starmer may regret not being even bolder on the EU Fabian Zuleeg was interviewed by inews on the EU-UK relationship ahead of the upcoming general elections. Read the article here. 02 December 2023 - , inews Western Balkans / WORKSHOP Migration in Europe: the role of the Western BalkansMigration in Europe: the role of the Western Balkans Helena Hahn led a session on “Migration in Europe: the role of the Western Balkans” as part of a Dialogue Programme for young experts and decision-makers from the Western Balkans. The session focused on the theme of “EU accession perspectives for the Western Balkans in a changed geopolitical environment and chances of membership by 2030“. Hahn discussed the trajectory of EU-Western Balkan migration cooperation and the balance of EU versus Balkan interests against the background of enlargement. She also shed light on the need to focus on longer-term common priorities, such as legal labour migration and climate mobility. 30 November 2023 - , Hanns Seidel Foundation Future of Europe / INTERVIEW Changes in the political scene of the European Union Teona Lavrelashvili was interviewed by the Latvian Television on the rise of the right in EU member states and its impact on European politics. Watch the interview here. (In Latvian) 30 November 2023 - , Latvian Television Netherlands / INTERVIEW Wilders' victory strikes fear in Brussels Elizabeth Kuiper was interviewed by Dagens industri on the Dutch election's results and their implications for the future of the EU. Read the article here. (In Swedish) 23 November 2023 - , Dagens industri Netherlands / INTERVIEW Brussels Dutch the day after: 'I didn't think Wilders would become so big' Elizabeth Kuiper was interviewed by Bruzz on the Dutch election's results and the threat of 'Nexit'. Read the article here. (In Dutch) 23 November 2023 - , Bruzz EU sanctions / INTERVIEW Interview with POLITICO Svitlana Taran was interviewed by POLITICO on the latest proposal by the European Commission to sanction those who took control of Russia-based branches of EU firms. Read the article here. 23 November 2023 - , POLITICO EU sanctions / QUOTE EU Russian sanctions stymied by complexity, poor enforcement Svitlana Taran was mentioned in an artilce by Euronews on the EU's sanctions against Russia and the issue of circumvention. Read the article here. 20 November 2023 - , Euronews Netherlands / INTERVIEW Interview with Lusa Elizabeth Kuiper was interviewed by Lusa on the upcoming Dutch Elections and its implications for the EU. Read the article here. (In Portuguese) 17 November 2023 - , Lusa EU enlargement / QUOTE Stratulat: Paket proširenja EU je šizofren Corina Stratulat's contribution to the EPC's Round Up on the 2023 Enlargement Package was mentioned in an article by Beta News Agency. Read the article here. (In Serbian) 15 November 2023 - , Beta News Agency Industrial transformations / INTERVIEW Interview with ijiwei.com Philipp Lausberg was interviewed by ijiwei.com, a Shanghai-based technology news agency, on the European chips industry and the "Chips Act". Read the article here. (In Chinese) Watch the interview here. 14 November 2023 - , ijiwei.com Migration / ROUNDTABLE Migration and Domestic Security Helena Hahn participated in a session on “Migration and Domestic Security” at the Central Europe Forum organised by the Konrad-Adenauer-Stiftung in Brussels, which brought together experts from Central European countries. 14 November 2023 - , Konrad-Adenauer-Stiftung EU enlargement / EPC ROUND-UP Enlargement Package marks a turn in policy to the East Svitlana Taran contributed to the EPC Round-Up on the 2023 Enlargement Package with a comment Ukraine's efforts to become a member of the European Union. Read the Round-Up here. 14 November 2023 - , European Policy Centre Georgia / INTERVIEW Georgia's candidate status Teona Lavrelashvili was interviewed by TV Formula on the Commission's recommendation to grant Georgia candidate status. Watch the interview here. (In Georgian) 12 November 2023 - , TV Formula Future of Europe / PANEL DISCUSSION Brussels, my love? Philipp Lausberg participated in the German version of Euronews' show "Brussels, my love?" The episode focused on Ukraine's path to EU accession, the Enlargement Package and the gig economy. Watch the episode here. (In German) 11 November 2023 - , Euronews Future of Europe / PANEL DISCUSSION Brussels, my love? Maria Martisiute participated in the English episode of Euronews' show "Brusses, my love?". Panellists discussed the implications of Ukraine's accession to the EU and the "uberisation" of the economy. Watch the episode here. 11 November 2023 - , Euronews Eurozone governance / INTERVIEW The Eurozone's economic growth Philipp Lausberg was interviewed by Chinese Televesion Channel, CCTV, on the Eurozone's economic growth in the third quarter and the prospects for a technical recession. The interview was featured in two reports. Watch the first report here. (In Chinese and English) Watch the second report here. (In Chinese and English) 11 November 2023 - , CCTV Spain / INTERVIEW Interview with Euractiv Berta Lopez Domenech was quoted in an article by Euractiv on the Spanish Presidency of the European Council and Spain's leadership in the Union. Read the article here. 08 November 2023 - , Euractiv Economic governance / INTERVIEW Interview with The Guardian Philipp Lausberg was interviewed by The Guardian on the main challenges for the EU's economy in the current geo-economic global environment. Read the article here. 06 November 2023 - , The Guardian Future of Europe / PANEL DISCUSSION Brussels, my love? Teona Lavrelashvili participated in the English episode of "Brussels, my love?", Euronews' show on EU affairs. The episode focused on the worrying rise of racism in Europe as well as the need and potential for enlargement. Watch the episode here. 04 November 2023 - , Euronews Future of Europe / PANEL DISCUSSION Brussels, my love? Berta Lopez Domenech participated in the Spanish episode of "Brussels, my love", Euronews' weekly news show. The programme focused on the situation in the Middle East, the rise of anti-semitism in Europe, and the prospects for enlargement. Watch the episode here. (In Spanish) 04 November 2023 - , Euronews Economic governance / DISCUSSION PAPER Revised EU economic governance: Are the European Commission’s proposals socially just and environmentally sustainable? Tommaso Grossi, Laura Rayner and Alessandro Liscai published a paper with SOLIDAR on the need to revise the EU's economic governance for a more just and environmentally sustainable Union. Read the paper here. 02 November 2023 - , SOLIDAR Serbia / INTERVIEW Interview with the Guardian Corina Stratulat's statement on Serbia's snap elections and the country's prospects for enlargement was featured in an article by the Guardian. Read the article here. 01 November 2023 - , The Guardian Georgia / REPORT rtbf report A report by rtbf narrates Teona's personal and professional experience and her journey from Georgia to Brussels. Read the article here. (In French) Listen to the report here. (In French) 27 October 2023 - , rtbf Migration / INTERVIEW Interview with Le Monde Helena Hahn was interviewed by Le Monde about the EU’s plans to conclude more migration partnerships with third countries. Read the article here. (In French) 26 October 2023 - , Le Monde Cybersecurity / QUOTE The Race to Save Our Secrets From the Computers of the Future Andrea G. Rodríguez's Discussion Paper "A quantum cybersecurity agenda for Europe" was quoted in an article by The New York Times on the risks posed by the development of quantum technology. Read the article here. 22 October 2023 - , The New York Times Migration / INTERVIEW Interview with Tagesschau Helena Hahn was interviewed by Tagesschau on the EU's migration deal with Tunisia and whether these deals can be successful. Read the article here. (In German) 19 October 2023 - , Tagesschau Italy / INTERVIEW Italy’s far-right Premier Meloni defies fears of harming democracy and clashing with the EU Tommaso Grossi was interviewed by the Associated Press on Meloni's government in Italy and her role in the EU. Read the article here. 18 October 2023 - , Associated Press Middle East / QUOTE EU struggles to bridge its Middle East divide Ricardo Borges de Castro's Op-Ed "From a geopolitical to a ‘geo-damaged’ Commission" was quoted in an article by Euractiv on the situation in the Middle East and the role of the EU. Read the article here. 16 October 2023 - , Euractiv Poland / INTERVIEW Poland-EU relations heading for reset as new government expected following elections Teona Lavrelashvili was interviewed by Euronews on the Polish election result and its implications for EU policies. Watch the report here. 16 October 2023 - , Euronews Migration / INTERVIEW Interview with Channel 4 Helena Hahn gave an interview for Channel 4 reflecting on the UK and Italy's stance on migration at the meeting of the European Political Community in Granada. Watch the interview here. 06 October 2023 - , Channel 4 Migration / EPC FLASH ANALYSIS Interview with Al Jazeera Helena Hahn joined Al Jazeera’s live Scenarios programme alongside Khaled Chaouki, former Italian MP and Malek Khaldi, a Tunisian journalist specialised on migration, to discuss the EU’s efforts to advance negotiations on the New Pact on Migration and Asylum ahead of the informal meeting of heads of state on 6 October. Watch the programme here. (In Arabic) 05 October 2023 - , Al Jazeera EU enlargement / INTERVIEW Interview with LN24 Teona Lavrelashvili was interviewed by LN24 on the EU's enlargement policy and the challenges and opportunities of an enlarged Union. Watch the interview here. (In French) 05 October 2023 - , LN24 Future of Europe / INTERVIEW Interview with the Washington Post Teona Lavrelashvili was interviewed by the Washington Post on the European Political Community and the informal EUCO summit, taking place in Granada. Read the interview here. 05 October 2023 - , The Washington Post Slovakia / INTERVIEW As Russia’s war grinds on, is global support for Ukraine waning? Teona Lavrelashvili gave an interview for Al Jazeera on the results of Slovakia's elections and how Fico's victory might impact the EU's support for Ukraine. Read the article here. 04 October 2023 - , Al Jazeera Italy / COMMENTARY Meloni and the EU align on the Mediterranean pivot Eleonora Milazzo wrote a Commentary in cooperation with Maria Gargano on Meloni's more pragmatic stance towards migration and the impact of this 'Mediterannean pivot' on the New Pact on Migration and Asylum. The Commentary was published by Egmont Institute and is available here. 04 October 2023 - , Egmont Institute Slovakia / INTERVIEW Interview with Reuters Teona Lavrelashvili was interviewed by Reuters on Slovakia's elections, Robert Fico's victory and its implications for the EU's support for Ukraine. Watch the report here. 03 October 2023 - , Reuters Slovakia / INTERVIEW The West’s united pro-Ukraine front is showing cracks Teona Lavrelashvili was interviewed by Vox on Slovakia's election result and its potential impact on the EU's support for Ukraine. Read the interview here. 03 October 2023 - , Vox Schengen / INTERVIEW Schengen Zone: Are border controls making a comeback? Alberto-Horst Neidhardt gave an interview for Euronews on why certain countries have resumed checks at internal European borders and the implications for Schengen. Read the article and watch the report here. 02 October 2023 - , Euronews Migration / INTERVIEW Interview with France24 Helena Hahn was interviewed by France24 on the meeting of the EU Med Group taking place in Malta and its implications for EU migration policy. Watch the interview here. 29 September 2023 - , France24 Migration / INTERVIEW Interview for ZIB2 Helena Hahn was featured in the ZIB2 news program of the Austrian ORF following the JHA meeting on 29 September to discuss the outcomes and future of the New Pact. 29 September 2023 - , ORF Energy / INTERVIEW Decarbonisation slated to redefine strategic relationships Philipp Lausberg was interviewed by El Mercantil on the geopolitical impact of decarbonisation. Read the full article here. (In Spanish and English) 27 September 2023 - , El Mercantil China / INTERVIEW Interview with the BBC Philipp Lausberg gave an interview for the BBC on the EU's anti-subsidy investigation into China's electric vehicles. The interview was featured in the BBC's programme 'World Business Report'. Watch the Programme here. 25 September 2023 - , BBC China / INTERVIEW EU anti-subsidy investigation Philipp Lausberg was interviewed by CCTV on the EU's anti-subsidy investigation into Chinese electric vehicles. The interview was featured in a report (in Chinese) and video (in English). Available here. 23 September 2023 - , CCTV Poland / INTERVIEW Why is Poland no longer sending arms to Ukraine? Svitlana Taran was interviewed by Deutsche Welle on the implications of Polish Prime Minister Mateusz Morawiecki's announcement that Warsaw would no longer be transferring weapons to Ukraine. Read the article here. 22 September 2023 - , Deutsche Welle Migration / INTERVIEW Interview with Expresso Eleonora Milazzo was interviewed by Expresso on the current migration crisis and its impact on the approval of the New Pact on Migration and Asylum. Read the article here. (In Portuguese) 21 September 2023 - , Expresso Citizen participation / INTERVIEW EU Parliament pushes for more participatory tools for Europeans Corina Stratulat was interviewed by Euractiv on the implications of the latest European Parliament report calling for more participatory tools at the EU level. Read the full article here. 18 September 2023 - , Euractiv EU enlargement / INTERVIEW Interview with Les Echos Teona Lavrelashvili was interviewed by Les Echos on the challenges that an enlarged European Union will have to face. Read the article here. (In French) 18 September 2023 - , Les Echos Migration / INTERVIEW «Les discussions autour de la migration manquent souvent de bon sens» Alberto Neidhardt was interviewed by Alter Echos on his work at the European Policy Centre, the EU's migration policy and the New Pact on Migration and Asylum. Read the article here. (In French) 13 September 2023 - , Alter Echos Ukraine / INTERVIEW Will the EU extend the grain blockade? Svitlana Taran was interviewed by Channel 24 on the import bans against Ukraine's grain and their impact on the country's wartime economy. Read the article here. (In Ukrainian) 12 September 2023 - , Channel 24 Georgia / INTERVIEW Interview with Formula Teona Lavrelashvili gave an interview for Georgia's TV Formula on HRVP Josep Borrell's visit to Georgia in September 2023. Watch the report here. (In Georgian) 10 September 2023 - , Formula TV Eurozone governance / INTERVIEW Interview for CCTV Philipp Lausberg gave an interview for China Central Television (CCTV) on the Eurozone money supply shrink and the impact on the EU's economy. Watch the Report here: Report 1 Report 2 10 September 2023 - , China Central Television Cybersecurity / QUOTE Revista SIC Andrea G. Rodriguez's Discussion Paper on the need for an EU quantum cybersecurity agenda was mentioned in Revista SIC (n. 156). Read the Issue here. (In Spanish) 08 September 2023 - , Revista SIC Security & defence / INTERVIEW Interview with AlJazeera Philipp Lausberg was interviewed by AlJazeera on Russia's war in Ukraine and its implications for Belgium and the EU. Watch the report here. (In Arabic) 07 September 2023 - , Al Jazeera European Commission / INTERVIEW Interview with RND Teona Lavrelashvili was interviewed by RND on the reasons behind the recent staffing problems at the European Commission. Read the article here. (In German) 06 September 2023 - , RND Refugees / INTERVIEW EU temporary protection for Ukrainians will end in 2025: what to do next Anastasia Karatzas was interviewed by RFI on what will happen if the EU temporary protection for Ukrainian refugees expires in 2025. Read the full article here. (In Ukrainian) 06 September 2023 - , RFI Future of Europe / INTERVIEW Interview with ACN Teona Lavrelashvili was interviewed by the Catalan News Agency on the EU's new political course ahead of the Parliament elections. Read the article here. (In Catalan) 03 September 2023 - , ACN EU enlargement / INTERVIEW Interview with TV Pirveli Teona Lavrelashvili was interviewed by TV Pirveli on the EU enlargement policy, the visit of the Georgian President to Brussels, and the potential procedures for her impeachment. Watch the recording here. (In Georgian) 02 September 2023 - , TV Pirveli Future of Europe / PANEL DISCUSSION Brussels, My Love? EU climate chief quits Brussels for national politics Stefan Sipka participated Euronews' talk show "Brussels, my love?". The episode focused on the EU's climate plans after Frans Timmerman's departure and whether Spanish regional languages can become official EU languages. Watch the full episode here. 02 September 2023 - , Euronews Ukraine / INTERVIEW Interview with RFE/RL Svitlana Taran was interviewed by RFE/RL on the Eastern European countries' ban on certain Ukrainian imports and its implications for Ukraine's wartime trade. Read the article here. (In Ukrainian) 01 September 2023 - , RFE/RL EU enlargement / INTERVIEW Ukraine and the Balkans knock on the door of an EU in full debate on whether it is ready for an enlargement bloc Corina Stratulat was interviewed by 20minutos on whether the EU is ready for enlargement by 2030. Read the full article here. (In Spanish) 01 September 2023 - , 20minutos Russia / INTERVIEW Interview with RFE/RL Philipp Lausberg was interviewed by RFE/RL on the EU's gas purchases from Russia. The interview was featured in an article and on Current Time TV. Read the article here. (In Ukrainian) Watch the interview here. (In Russian) 01 September 2023 - , RFE/RL China / ARTICLE Cina e Indo-Pacifico: lo specchio di un mondo che cambia Ivano di Carlo wrote a chapter on EU-China relations, entitled "Relazione UE-Cina: alla ricerca di un nuovo equilibrio" for ISPI's focus publication "Cina e Indo-Pacifico: lo specchio di un mondo che cambia". Read the chapter here. (In Italian) 01 September 2023 - , ISPI EU sanctions / INTERVIEW Interview with Channel 24 Svitlana Taran was interviewed by Channel 24 for an article on the EU's sanctions against Russia, how to stregthen enforcement and avoid circumvention. Read the article here. (In Ukrainian) 31 August 2023 - , Channel 24 EU enlargement / INTERVIEW Interview with Radio Slobodna Evropa Corina Stratulat was interviewed by Radio Slobodna Evropa on Charles Michel's position regarding EU enlargement by 2030. Read the article here. 30 August 2023 - , Radio Slobodna Evropa EU enlargement / INTERVIEW Interview with CNN Ricardo Borges de Castro was interviewed by CNN Portugal on need that the European Commission felt to correct the position taken by the President of the European Council regarding EU enlargement by 2030. Watch the interview here. (In Portuguese) 29 August 2023 - , CNN Portugal Turkey / INTERVIEW Türkiye seeks progress on visa liberalisation Amanda Paul was interviewed by AA on Türkiye's progress in advancing visa liberalisation dialogues with the EU. Read the full article here. (In Turkish) 21 August 2023 - , AA Spain / INTERVIEW Interview with Altinget Berta López Domènech was interviewed by Altinget on how political uncertainty in Spain following the national elections could influence the country's EU Council Presidency. Read the article here. (In Swedish) 20 August 2023 - , Altinget Cybersecurity / QUOTE EU Late to the Quantum Party, Report Warns Andrea G. Rodriguez's Discussion Paper was quoted in an article by IEEE Spectrum on the need for an EU quantum cybersecurity agenda. Read the article here. 06 August 2023 - , IEEE Spectrum Tunisia / INTERVIEW Interview with AlJazeera Eleonora Milazzo was interviewed by AlJazeera on the criticism of the EU migration deal with Tunisia. Read the article here. 02 August 2023 - , AlJazeera European Commission / INTERVIEW Ritt auf der Rasierklinge Fabian Zuleeg was quoted in an article by Welt Am Sonntag, assessing the current European Commission and Ursula von der Leyen's achievements. The article was published on 30 July in German. 30 July 2023 - , Welt Am Sonntag Political parties / INTERVIEW Interview with Augsburger Allgemeine Fabian Zuleeg was interviewed by Augsburger Allgemeine on the role the German right-wing party AFD plays in the European Union. Read the full article here. (In German) 29 July 2023 - , Augsburger Allgemeine Industrial policy / INTERVIEW Shortage of funding and lack of scale are holding back EU industrial policy Philipp Lausberg was interviewed by Science\|Business on the EU's steps towards improving Europe's industrial competitiveness. Read the article here. 27 July 2023 - , Science\|Business Industrial policy / INTERVIEW Shortage of funding and lack of scale are holding back EU industrial policy Philipp Lausberg was interviewed by Science Business on what the EU needs to do to improve its industrial policy competitiveness. Read the article here. 27 July 2023 - , Science Business Russia / INTERVIEW Interview with De Tijd Philipp Lausberg was interviewed by De Tijd on Russia's appropriation of Western Companies during the war in Ukraine. Read the article here. (In Dutch) 26 July 2023 - , De Tijd Air pollution / ARTICLE Clean air in the EU: the basis for healthier societies, social justice and sustainable prosperity Annika Hedberg and Stefan Šipka wrote a blog post, published by the Clean Air Fund, on how to achieve cleaner air in Europe. The post is based on the EPC's Discussion Paper, "Towards a cleaner air in Europe: Time for a stronger vision and more action". Read the blog post here. 26 July 2023 - , Clean Air Fund Migration / INTERVIEW What is the ‘Rome Process’, Giorgia Meloni’s new plan to tackle irregular migration? Eleonora Milazzo was interviewed by Euronews on the 'Rome Process' and its implications for tackling illegal migration to the EU. Read the full article here. 25 July 2023 - , Euronews China / CONTRIBUTION EUCO Experts' Debrief Ivano di Carlo contributed to TEPSA's EUCO Experts' Debrief by writing a chapter on "the art of de-risking: priorities, goals, and hopes". Read the Debrief here. 23 July 2023 - , TEPSA Spain / QUOTE Covering climate and energy policy during Spain’s EU Council presidency Berta López Domènech was quoted in an article by Clean Energy Wire on the implications of the Spanish elections for the Presidency's priorities. Read the full article here. 21 July 2023 - , Clean Energy Wire Spain / INTERVIEW Spain’s election spells trouble for EU and Macron if government swings to Right Berta López Domènech was interviewed by the Telegraph on the potential impact of the Spanish elections on the EU's political landscape. Read the article here. 21 July 2023 - , Telegraph Health / POLICY DIALOGUE Putting Health on the Agenda: Practitioner Perspectives from Elizabeth Kuiper Elizabeth Kuiper participated in EUHealthGov's third Practitioner Perspective to discuss the evolving place of health on policy agendas. Watch the recording here. Read the summary here. 19 July 2023 - , EUHealthGov Ukraine / INTERVIEW Ukraine’s NATO Push Hit a Bump. Joining the EU Will Also Be Tough. Fabian Zuleeg was interviewed by the Wall Street Journal on the prospects of Ukraine's accession to the EU and NATO. Read the article here. 17 July 2023 - , Wall Street Journal Industrial policy / INTERVIEW A global subsidy war? Keeping up with the Americans Fabian Zuleeg was interviewed by the FinancialTimes on how the EU should respond to the US Inflation Reduction Act (IRA). Read the article here. 14 July 2023 - , Financial Times China / INTERVIEW Interview with WirtschaftsWoche Fabian Zuleeg was interviewed by WirtschaftsWoche on EU-China geoeconomic relations, with a particular focus on the auto industry. Read the article here. (In German) 13 July 2023 - , WirtschaftsWoche Security & defence / INTERVIEW NATO looks to strengthen its capability in Europe Mihai Sebastian Chihaia was interviewed by Deutsche Welle on NATO's ability to advance military mobility in Europe. Watch the full report here. 07 July 2023 - , Deutsche Welle Protests / INTERVIEW Interview with Lusa Marta Mucznik was interviewed by Lusa on the protests in France and the effects of the growing normalisation of far-right narratives. Read the full article here. (In Portuguese) 05 July 2023 - , Lusa Eurozone governance / INTERVIEW What’s next for the eurozone? Predictions and uncertainties Philipp Lausberg was interviewed by Business Leader on the future and main challenges of the Eurozone. Read the article here. 03 July 2023 - , Business Leader General news / QUOTE EPC - What's in a name? Marta Mucznik's comment on why the European Political Community should be referred to as 'EPoC' and not 'EPC' was featured in POLITICO's renowned newsletter, "Brussels Playbook". Read the newsletter here. 02 July 2023 - , POLITICO Sweden / INTERVIEW Experter om det svenska EU-ordförandeskapet: ”En framgång” Elizabeth Kuiper was asked by Altinget to provide an evaluation of the Swedish Council Presidency, its priorities and achievements. Read the article here. (In Swedish) 30 June 2023 - , Altinget Political parties / INTERVIEW Why Pro-Putin parties are on the march again in Europe Fabian Zuleeg was interviewed by The Telegraph on the rise of pro-Putin parties in Europe. Read the article here. 27 June 2023 - , The Telegraph Sweden / INTERVIEW Interview with Sveriges Radio Elizabeth Kuiper was interviewed by Sveriges Radio on the Swedish Presidency of the European Council. The interview provided an evaluation on the Presidency's achievements and priorities. Listen to the report here. (In Sweden) 26 June 2023 - , Sveriges Radio Future of Europe / INTERVIEW Why the far-right is increasingly getting into power across Europe Janis Emmanouilidis was interviewed by Euronews on the rise of far-right parties in Europe. The interviewed was also shown on Greek National TV. Watch the recording here. 19 June 2023 - , Euronews Ukraine / INTERVIEW Interview with Delo Philipp Lausberg was interviewed by Delo on the possible opportunities and challenges of Ukraine's integration into the EU Single Market. Read the article here. (In Slovenian) 18 June 2023 - , Delo Health / PODCAST Burden of disease - The economic and societal impact of acute respiratory viruses Elizabeth Kuiper participated in ESWI podcast episode on the social and economic impact of acute respiratory viruses with a focus on RSV. Listen to the podcast here. 07 June 2023 - , ESWI Migration / INTERVIEW Interview with inews Fabian Zuleeg was interviewed by inews on the EU-UK relations in the context of migration and asylum policies. Read the article here. 06 June 2023 - , inews Western Balkans / INTERVIEW Ethnic violence in Kosovo plays into the Kremlin’s hands Berta López Domènech was interviewed by Coda on the implications of the recent escalation of tensions between Serbia and Kosovo. Read the article here. 05 June 2023 - , Coda Republic of Moldova / INTERVIEW Interview with Yle Marta Mucznik was interviewed by Yle on the significance and implications of the second Summit of the European Political Community, taking place in Moldova on 1 June 2023. Read the article here. (In Finnish) 31 May 2023 - , Yle Russia / INTERVIEW Is Another Cuban Missile Crisis in Our Future? Philipp Lausberg was interviewed by The New York Sun on Russia-Cuba relations and whether there could be another missile crisis. Read the article here. 31 May 2023 - , The New York Sun Migration / INTERVIEW Interview with Handelsblatt Anastasia Karatzas was interviewed by Handelsblatt on how the Turkish elections' results can impact the EU's migration policy. Read the article here. (In German) 30 May 2023 - , Handelsblatt Transatlantic affairs / INTERVIEW Interview with the BBC On 30 May 2023, Philipp Lausberg was interviewed during the BBC's World Business Report programme. The interview focused on the US-EU Trade and Technology Council (TTC) meeting, taking place in Luleå, Sweden. Watch the episode here. 30 May 2023 - , BBC EU enlargement / INTERVIEW Is the EU preparing for new members? Fabian Zuleeg was interviewed by the Radio Television of Serbia on the prospects for EU enlargement and Ukraine's accession process. Watch the interview here. (In Serbian) 26 May 2023 - , RTS Health / QUOTE POLITICO Pro Morning Health Care POLITICO Pro Morning Health Care newsletter cited Elizabeth Kuiper's Flash Analysis on the EU's pharmaceutical strategy. Read the newsletter here. 25 May 2023 - , POLITICO Turkey / INTERVIEW Le mani di Erdogan (ancora) sulla Turchia Amanda Paul was interviewed by Europa Today on the elections in Türkiye and their implications for EU-Türkiye relations. Read the full article here. (In Italian) 24 May 2023 - , Europa Today EU sanctions / INTERVIEW Zelenskyy calls on G7 to ensure Russia is ‘last aggressor’ Philipp Lausberg was interviewed by Al Jazeera on the G7 Summit in Hiroshima and the countries' efforts to strengthen sanctions against Russia. Read the full article here. 21 May 2023 - , Al Jazeera European Union / PANEL DISCUSSION Brussels, my love? What Brussels think about the Turkish elections and the EU flag debate Ricardo Borges de Castro participated in Euronews' talk show, "Brussels, my love?". The episode focused on EU/Turkish relations in light of Türkiye's recent elections and the EU's Spring Economic Forecast. Watch the full episode here. 20 May 2023 - , Euronews Serbia / INTERVIEW Serbia's heart beats for Russia even during the war in Ukraine Marta Mucznik was interviewed by Yle on Serbia's stance towards Russia in the context of the war in Ukraine and EU-Serbia relations. The interview was included in Yle's Finnish podcast series, Maailmanpolitiikan arkipäivää. Listen to the episode here. 20 May 2023 - , Yle EU sanctions / INTERVIEW Interview with Suspilne Philipp Lausberg was interviewed by the Ukrainian national television, Suspilne, on the EU's 11th package of sanctions against Russia. Read the full article here. (In Ukrainian) 16 May 2023 - , Suspilne Foreign policy / EPC FLASH ANALYSIS Today’s Gymnich menu: Russia for lunch; China for afternoon tea When EU ministers for foreign affairs meet today in Sweden, they have a full menu: Russia and its aggression on Ukraine for lunch; EU-China relations for the afternoon tea or coffee. While there is greater convergence and unity on how Brussels and the EU27 should respond to Moscow’s armed geopolitical revisionism, future relations with Beijing are harder to digest. Clearly, there has been a gradual European hardening on China over the last few years, but the several dimensions and layers of EU-China ties make it a much harder challenge to address in a fully coherent and coordinated way. Hence, it should not come as a surprise if what comes out of the informal Gymnich meeting is a sharper reiteration of current China as a ‘partner,’ ‘competitor,’ and ‘rival’ policy. Commission President von der Leyen’s ‘de-risking-not-decoupling’ compass is also likely to feature high, but the basic tenets of the EU’s China strategy are unlikely to change fundamentally. Besides, calling China a ‘rival’ is already a sunk diplomatic cost: Beijing rejects that characterisation, and unless the EU scraps the term altogether, it is pointless for policymakers to devise a synonym that is likely to equally annoy the Chinese. China and Russia are on today’s menu, but they are not the only countries with which the EU needs to grapple with. Apart from these two big players, a key relationship is the one with the United States. Although transatlantic relations are presently on a better path despite known irritants, 2024 may take the two sides of the Atlantic back to the future if Mr Trump or a Trumpian candidate is elected. Before the upcoming election cycle starts, the EU and the US should rapidly set up ‘transatlantic guardrails’ to keep the relationship on track irrespective of the outcome of the US presidential elections. As the world becomes geopolitically more fragmented and competitive, the EU needs to think more deliberately about its global relations and devise a policy of ‘strategic diversification’ across all policy areas, also assessing and mapping countries that can advance or hinder the objectives of the Union, from economic security and military defence to the green and digital transitions. This represents a large swath of nations worldwide – like-minded and not. Indeed, ‘strategic diversification’ would allow the EU, in the long-term, to act autonomously when it needs to do so to defend or advance its values or interests and in partnership when its aims are better served by acting together with other countries that share the same values and/or interests. EU autonomy through diversification may be better than pursuing the current ambivalent path that risks alienating friends and competitors. Maybe ministers can have ‘strategic diversification’ with brännvin for a nightcap? P.S. – President Macron’s “Made in Europe” doctrine published today in the media is also a good weekend reading. 12 May 2023 - , Single market / EPC FLASH ANALYSIS The Commission must defend the EU’s biggest asset – the Single Market Commission actions against internal market infringements fell by 80 per cent from 2020 to 2022 in the first three years of von der Leyen’s term as president, compared with the corresponding period under her predecessor Jean-Claude Juncker. At the same time, companies have reported an increasingly skewed playing field, with varying sourcing prices across countries and local exceptions to European rules, which constitute internal trade barriers at the expense of consumers and European competitiveness. This comes on top of a consecutive liberalisation of state aid rules over the last few years, which threatens to fragment the Single Market. Germany and France have spent 80 per cent of the 672 billion euros in state aid granted since the Russian invasion of Ukraine, leaving businesses in smaller and fiscally weaker states at a competitive disadvantage. A recent settlement prohibiting the sale of Ukrainian grain in Eastern EU member states has further strained the Single Market. The Single Market is thus acutely threatened on its 30th anniversary and just a month after a Commission communication celebrating its achievements. The Commission has had to invest significant resources to deal with a set of crises since von der Leyen took office in late 2019. And overall, it has delivered an impressive policy response to the Covid crisis, Russia’s invasion of Ukraine and the competitiveness challenge of the American IRA. But compromising the internal market, which constitutes the backbone of the EU economy, is not something the EU can afford in times of permacrisis. This is because a functioning Single Market is essential for the EU’s triple transition goals: the green and digital transition as well as the objective to reach greater economic security in an increasingly confrontational geo-economic environment. The Single Market has increased competition, labour specialisation and economies of scale and pushed the efficiency of the EU’s economy to unprecedented levels over the past 30 years. It could facilitate the development of new European industries or value chains, especially in the key green and digital fields in the future. The Commission should therefore focus its resources on stronger enforcement of Single Market rules across all member states. It should also further harmonise rules in fields where the Single Market has been underdeveloped, particularly in services, energy and financial markets. The liberalisation of state aid should be limited in time and scope, and instead, more European-level financing should be mobilised, which would not undermine the Single Market. 11 May 2023 - , EU sanctions / INTERVIEW Interview with Deutschlandfunk Philipp Lausberg was interviewed by Deutschlandfunk on the EU's 11th sanctions package against Russia and how it addresses loopholes in the sanctions regime. The recording is available here. (In German) 11 May 2023 - , Deutschlandfunk Israel / QUOTE Meeting in Brussels opens new page in EU-Israel relations amid constitutional crisis Marta Mucznik and Carmiel Arbit's Commentary on the significance and impact of the protests in Israel was quoted in an article by The Brussels Times reflecting on Josep Borell and Eli Cohen's meeting on Tuesday, 2 May. Read the article here. 05 May 2023 - , The Brussels Times European Union / PANEL DISCUSSION Brussels my love?: New EU medicine rules, artificial intelligence and fast fashion Danielle Brady participated in Euronews' talk show, "Brussels, my love?". The programme focused on the Pharma Package, the EU's strategy towards Artificial Intelligence, and the issue of fast fashion. Watch the full episode here. 29 April 2023 - , Euronews China / CONTRIBUTION Towards a Sustainable Security for Asia and Europe Ivano di Carlo co-wrote a chapter with Dylan M. Crosson and Natalia Martin on "structuring EU engagement with ASEAN and regional partners". The chapter was featured in the publication "Towards a Sustainable Security for Asia and Europe", published by KAS, AVI and DAV. Download the publication here. 24 April 2023 - , KAS, AVI, DAV Italy / ARTICLE Can Elly Schlein Pull Italy to the Left? Tommaso Grossi wrote an article with Niccolò Barca on the leader of Italy's Democratic Party (PD), Elly Schlein, her political agenda, and prospects for success in Italian politics. The article was published by The Nation and is available here. 17 April 2023 - , The Nation Nuclear / INTERVIEW Germany Poised to Close Remaining Nuclear Reactors Philipp Lausberg was interviewed by Energy Intelligence on the consequences and risks of Germany's nuclear phase out. Read the article here. 13 April 2023 - , Energy Intelligence Industrial transformations / INTERVIEW Is the EU's industrial strategy up to the task? Philipp Lausberg gave an interview for Euronet Plus evaluating the EU's Net-Zero Industry Act and considering the benefits of a Sovereignty Fund. Listen to the recording and read the transcript here. 13 April 2023 - , Euronet Plus Citizen participation / INTERVIEW EU citizens’ panels likely to stay, but need to be adapted Perle Petit was interviewed by Euractiv on how the EU citizens' panel can be improved and adapted to citizens' expectations. Read the full article here. 28 March 2023 - , Euractiv Nuclear / INTERVIEW EU debates use of nuclear as part of renewable energy goals Philipp Lausberg gave an interview on The World radio on the debate in Brussels around the EU's classification of nuclear energy. Listen to the recording here. 28 March 2023 - , The World Single market / INTERVIEW How is the European single market doing 30 years after its creation? On the occasion of the 30th anniversary of the Single Market, Philipp Lausberg was asked by Euronews to assess its performance and provide recommendations for its improvement. Read the full article here. (In French) 27 March 2023 - , Euronews Economic governance / INTERVIEW Interview with Deutsche Welle Fabian Zuleeg was interviewed by Deutsche Welle on the March EU Summit and its implications for the European economy. Read the full article here. (In German) 24 March 2023 - , Deutsche Welle Digital Agenda / ARTICLE The evolution of the EU strategic autonomy debate: a vision for the governance of emerging technologies Andrea G. Rodríguez wrote an article entitled "The evolution of the EU strategic autonomy debate: a vision for the governance of emerging technologies", published in the European Public Mosaic journal. Read the article here. 19 March 2023 - , European Public Mosaic Migration / PANEL DISCUSSION Brussels, my love? The growing ban on TikTok for government employees across the EU Alberto-Horst Neidhardt participated in Euronews' talk show, "Brussels, my love?". The episode focused on the recent proposals of the EU Commission to increase returns of rejected asylum requests in Europe. The panellists also discussed the EU institutions' decision to ban the social media app Tik Tok from their employees' work devices citing security concerns. Watch the full episode here. 18 March 2023 - , Euronews Digital Agenda / PANEL DISCUSSION Untangling the Mysteries of Quantum Technologies Andrea G. Rodríguez moderated the panel “Untangling the mysteries of quantum technologies” at the UK Innovation & Tech Show. See the full programme here. 15 March 2023 - , UK Mission to the European Union Digital Agenda / PANEL DISCUSSION Quantum Communications: Policy Considerations Andrea G. Rodríguez was a speaker on the panel “Quantum Communications: Policy Considerations” at the Inside Quantum Technology conference in the Hague. More information on the conference here. 15 March 2023 - , 3DR Holdings, IQT Research, QuTech, QIA (Quantum Internet Alliance of Europe) and Quantum Delta EU sanctions / OP-ED Tragen Sanktionen zu einem Ende des Kriegs bei? Philipp Lausberg wrote an op-ed for the German daily Frankfurter Rundschau on how the EU can step up sanctions against Russia. Read the full article here. (In German) 06 March 2023 - , Frankfurter Rundschau Social EU / PUBLICATION Study for BUDG Committee - Social tracking methodology for the EU budget EPC analysts Tommaso Grossi and Laura Rayner conducted a study for the BUDG Committee of the European Parliament on the evolving approach to tracking the effectiveness and impact of social expenditure from the EU budget. In the last decade, there has been a shift toward performance-based budgeting, putting emphasis on the outputs and results of expenditure programmes. Despite these changes, ascertaining whether policies are achieving their underlying goals and contributing to the realisation of the European Pillar of Social Rights (EPSR) remains difficult. The study analyses the strengths and weaknesses of the current system for monitoring and evaluating EU social spending and proposes improvements. The study is available here. 03 March 2023 - , BUDG Committee of the European Parliament China / OP-ED What China's gamble to back Moscow means for EU Annika Hedberg wrote an op-ed for EUobserver on China's current approach to the war in Ukraine and its implications for EU-China relations. Read the article here. 03 March 2023 - , EUobserver Transatlantic affairs / INTERVIEW Interview with the BBC Philipp Lausberg gave an interview for the BBC's programme World Business Report on German Chancellor Olaf Scholz's meeting with US President Joe Biden. The interview focused on the deepening of the countries' economic relations and the impact of the Inflation Reduction Act. This episode is available on BBC iPlayer. 03 March 2023 - , BBC World Business Report Energy / INTERVIEW Europe: Why analysts are so worried about energy security next winter Philipp Lausberg was interviewed by Energy Monitor on Europe's concerns about next winter's energy security. Read the full article here. 02 March 2023 - , Energy monitor Populism / INTERVIEW União Europeia cede a Giorgia Meloni e aperta (ainda mais) o cerco aos migrantes Marta Mucznik was interviewed by Expresso on the far-right in the European Parliament and the populist surge across Europe. Read the article here. (In Portuguese) 02 March 2023 - , Expresso Climate / ARTICLE The role of European Union policies in accelerating the green transition Annika Hedberg and Stefan Sipka wrote an article published by Veolia Institute on the EU's role in accelerating the green transition. The authors analysed key EU directives, the European Green Deal objectives, and the challenges and prospects for moving forward. The article is available in English and in French. 01 March 2023 - , Veolia Institute Central Europe / INTERVIEW How Russia's War In Ukraine Changed Europe Philipp Lausberg was interviewed by HuffPost on the prominent role of Central and Eastern Europe in the context of Russia's war in Ukraine. Read the full article here. 24 February 2023 - , HuffPost EU sanctions / INTERVIEW Interview with Euronews Philipp Lausberg was interviewed by Euronews on the impact of the EU's sanctions against Russia. Watch the full report here. 21 February 2023 - , Euronews Ukraine / INTERVIEW Interview with KBS Fabian Zuleeg was interviewed by the South Korean broadcasting service KBS on how Russia's war in Ukraine has changed the world. Watch the full episode here. (In English and Korean) 18 February 2023 - , KBS Finland / INTERVIEW Marin's new role in foreign policy Ricardo Borges de Castro was interviewed by YLE on Prime Minister Sanna Marin's role in shaping Finland's foreign policy. Read the full article here. (In Finnish) 15 February 2023 - , YLE Security & defence / INTERVIEW Guerre en Ukraine, un an au coeur de la diplomatie française : "Emmanuel, ils sont dans nos rues…" Ricardo Borges de Castro was interviewed by L'Express on France-Ukraine relations in the context of Russia's war on Ukraine. Read the article here. (In French) 12 February 2023 - , L'Express Energy security / INTERVIEW Interview with Channel News Asia Philipp Lausberg was interviewed by Channel News Asia on the potential impact of China's reopening on European energy security. Watch the full report here. 10 February 2023 - , Channel News Asia Transatlantic affairs / INTERVIEW Industrie verte : l’Europe cherche à rassurer ses entreprises Philipp Lausberg was interviewed by La Croix on the EU's response to the US Inflation Reduction Act (IRA). Read the article here. (In French) 09 February 2023 - , La Croix Ukraine / INTERVIEW Zelensky arrisca segurança para vir pedir mais armas à Europa Ricardo Borges de Castro was interviewed by the Portuguese newspaper Publico on President Zelensky's visit to Brussels and his request for additional military support for Ukraine in light of the new Russian offensive. Read the article here. (In Portuguese) 09 February 2023 - , Publico Climate & energy / INTERVIEW Interview with Sustainable Views Philipp Lausberg was interviewed by Sustainable Views on the Greek aid package to prevent 'carbon leakage' that partially compensates companies for the higher electricity prices related to the Emission Trading System. Read the article here. 09 February 2023 - , Sustainable Views Foreign policy / SPEECH Hanalys 2023 - A foreign policy forum Ricardo Borges de Castro gave the keynote speech at the foreign policy forum 'Hanalys 2023', taking place at Hanaholmen, the Swedish - Finnish Cultural Centre. In his remarks, Ricardo Borges de Castro questioned Europe's role in the current geopolitical arena and the EU's ability to be a global player. You can find more information here. (In Swedish) 07 February 2023 - , Hanaholmen Agriculture / PANEL DISCUSSION European Agricultural Policy and Food Security Annika Hedberg spoke at a panel discussion on ‘European Agricultural Policy and Food Security – Do We Need a Change of Direction?’ with Marlene Mortler, MEP, Member and Rapporteur in the Committee on Agriculture and Rural Development in the European Parliament and Michael Niejahr, Deputy Director General for Agriculture and Rural Development at the European Commission. The discussion focused on global and European food security and the needed measures to make the European food system more resilient and sustainable. The event was organised by the Representation of the Free State of Bavaria and the Hanns Seidel Foundation. 07 February 2023 - , Representation of the Free State of Bavaria and the Hands Seidel Foundation China / INTERVIEW What happens to Europe when the balloon goes up? Ricardo Borges de Castro was interviewed by POLITICO on the US-China rivalry following the spy balloon crisis and the EU's approach to China. Read the full article here. 06 February 2023 - , POLITICO Migration / INTERVIEW EU leaders to focus on migration at summit Helena Hahn was interviewed by RTE radio Dublin on the Special European Council meeting, taking place on 9/10 February 2023, and the asylum situation in Europe in the context of Russia's war in Ukraine. Listen to the interview here. 06 February 2023 - , RTE radio Dublin Future of Europe / PANEL DISCUSSION Brussels, my love? The EU’s migration muddle and tanks for Ukraine Helena Hahn participated in Euronews' talk show, "Brussels, my love?" The episode focused on the EU's migration challenges, the negotiations on the New Pact on Migration and Asylum and the Union's position on sending weapons to Ukraine. Watch the full episode here. 06 February 2023 - , Euronews Energy / INTERVIEW Així va guanyant la UE la guerra energètica contra Rússia Philipp Lausberg was interviewed by the Catalan newspaper ARA on how the EU is winning the energy war against Russia. Read the article here. 05 February 2023 - , ARA Ukraine / INTERVIEW Ukraine's prospects for EU accession Marta Mucznik was interviewed on the EU-Ukraine summit and Ukraine's prospects for a speedy accession to the European Union. The interview was featured in China Plus' podcast series "The Beijing Hour" and Channel News Asia's morning show "The World Report". Listen to the podcast here. 03 February 2023 - , China Plus and Channel News Asia Climate & energy targets / SPEECH State of the EU Annika Hedberg gave a keynote speech about the state of the EU, including the prospects for climate action and the energy transition, at an event organised by the Tampere Region Office and West Finland European Office. 01 February 2023 - , Tampere Region Office and West Finland European Office Transatlantic affairs / INTERVIEW Bruxelles cherche la réponse à «l’électrochoc» de l’IRA américain Philipp Lausberg was interviewed by the French magazine L'Usine Nouvelle on the EU's response to the US Inflation Reduction Act (IRA). Read the article here. (In French) 30 January 2023 - , L'Usine Nouvelle Transatlantic affairs / INTERVIEW Interview with ARA Philipp Lausberg was interviewed by the Catalan daily newspaper ARA on the European Union's reaction to the US Inflation Reduction Act (IRA). Read the article here. (In Catalan) 26 January 2023 - , ARA Cambodia / ARTICLE Cambodian election in 2023: No space for the opposition Perle Petit wrote an article for 9DASHLINE on the upcoming election in Cambodia and the reasons behind the lack of opposition in the country's politics. Read the article here. 19 January 2023 - , 9DASHLINE Future of Europe / INTERVIEW A united Europe weathers crises, but deeper challenges remain Fabian Zuleeg was interviewed by The New York Times on the EU's response to Russia's invasion of Ukraine and the challenges facing the Union in the year ahead. Read the article here. 14 January 2023 - , The New York Times Climate / INTERVIEW As Europe experiences record temperatures, are lawmakers feeling the heat? Annika Hedberg was interviewed by Ends Europe on the need for an effective implementation of EU climate policies. Read the article here. 13 January 2023 - , Ends Europe Future of Europe / INTERVIEW Interview with Handelsblatt Fabian Zuleeg was interviewed by Handelsblatt on the Swedish Council Presidency and the potential impact of the country's shift to right-wing politics on the EU's race to future technologies. Read the full article here. (In German) 12 January 2023 - , Handelsblatt Energy / INTERVIEW Natural gas prices haven’t been this low since Russia went to war Philipp Lausberg was interviewed by CNN Business on the decrease in Europe's natural gas prices and its effects on consumers. Read the full article here. 06 January 2023 - , CNN Business Energy / INTERVIEW Germany's energy crisis Philipp Lausberg was interviewed by Al Jazeera on the energy crisis in Germany and the future of nuclear power. Watch the full report here. 03 January 2023 - , Al Jazeera English EU economic outlook / INTERVIEW The shadow of recession threatens the European economy at the start of 2023 El Periodico de España interviewed Philipp Lausberg on the European economic outlook for 2023. Read the article here. (In Spanish) 01 January 2023 - , El Periodico de España EU Governance / INTERVIEW Seja bem-vindo à era da crise permanente In March 2021, Fabian Zuleeg, Janis Emmanouilidis and Ricardo Borges de Castro introduced the concept of "permacrisis" to describe the environment in which Europe will have to operate for the foreseeable future. In 2022, Collins Dictionary elected "permacrisis" as the word of the year. In this article, Ricardo Borges de Castro explains the term's meaning and how it relates to the challenges facing Europe today. Read the full article here. (In Portuguese) 01 January 2023 - , Expresso Transatlantic affairs / QUOTE Welke Europese bedrijven vallen voor de groene miljarden van Joe Biden? The Dutch newspaper NRC quoted Philipp Lausberg in an article on the effects of the US Inflation Reduction Act on the EU economy. Read the full article here. (In Dutch) 30 December 2022 - , NRC Energy / INTERVIEW Interview with Trend News Agency Philipp Lausberg was interviewed by Trend News Agency on the EU restrictions on Russian oil and their effects on the demand for Azerbaijani crude. Read the full article here. 29 December 2022 - , Trend News Agency Energy / INTERVIEW Kazakhstan may increase oil exports through Azerbaijan Philipp Lausberg was interviewed by Trend News Agency on the consequences of the EU-proposed price cap on Russian oil and its effects on Kazakhstan's oil exports through Azerbaijan. Read the full article here. 27 December 2022 - , Trend News Agency EU enlargement / ARTICLE Ucrânia na UE: política de alargamento não pode ignorar Balcãs Marta Mucznik wrote an article on the impact of Russia's war in Ukraine on EU enlargement policies. In the article, published in the Expresso, the author argues that the war and the accession applications made by Ukraine, Moldova and Georgia have accelerated the EU's action on enlargement, breaking a decade of stagnation. However, Mucznik warns that EU enlargement policies should not move at different speeds and should avoid prioritising one country over others. Read the article here. (In Portuguese) 21 December 2022 - , Expresso Schengen / INTERVIEW Interview with ORF Helena Hahn was invited to comment on the outcomes of the final European Council summit of the year on Austria’s main television news programme. Prior to the EUCO, the Austrian government had vetoed Romania’s and Bulgaria’s bid to join the Schengen area while calling for reinforced EU borders and additional support from the European Commission to stem migrant arrivals. Her contribution focused on the limited effectiveness of border walls and the implications that an expanded Schengen area would have on reducing secondary movements within the EU. 16 December 2022 - , ZIB 2 News, ORF Energy / INTERVIEW Las sanciones contra el petróleo ruso abren incógnitas sobre su efecto global The Argentinian national news agency Télam interviewed Philipp Lausberg on the G7 price cap on Russian oil and its effects on the global economy and the international order. Read the full article here. (In Spanish) 11 December 2022 - , Télam Energy / INTERVIEW What if we cap the price of Russian oil? The Moroccan radio station Medi1 interviewed Philipp Lausberg on the G7 price cap on Russian oil and its impact on Russia's economy. Listen to the interview here. (In French) 07 December 2022 - , Medi1 Radio Transatlantic affairs / INTERVIEW Biden’s climate plan strains trade ties with Europe Georg Riekeles was interviewed by CNN Business on the transatlantic economic partnership, the impact of the Inflation Reduction Act, and the likelihood of a US - EU trade war. Read the full article here. 06 December 2022 - , CNN Business Energy / INTERVIEW Russian oil price cap: Five things you need to know EPC Policy Analyst Philipp Lausberg helps Al Jazeera answer five key questions on the effects of the EU oil embargo on Russia and the G7 price cap on Russian oil. Read the full article here. 05 December 2022 - , Al Jazeera Energy / INTERVIEW Will the EU embargo on Russian oil break the Russian economy? Philipp Lausberg was interviewed by Deutsche Welle (Russian language service) on the impact of the EU oil embargo on Russia and the G7 price cap on Russian oil. Read the full article here. (In Russian) 05 December 2022 - , Deutsche Welle (Russian language service) Western Balkans / INTERVIEW Will the war in Ukraine accelerate the enlargement of the EU? EPC policy analyst Marta Mucznik was interviewed by YLE on Russia's war in Ukraine and its impact on the prospects of EU enlargement to the Western Balkans. The interview was featured in YLE's podcast series, Maailmanpolitiikan arkipäivää. Listen to the podcast here. (In Finnish) 03 December 2022 - , YLE Energy / INTERVIEW Interview with Deutsche Welle Philipp Lausberg was interviewed by Deutsche Welle (Russian language service) on the gas price cap proposed by the EU Commission, the G7's proposal for a price cap on Russian oil, and the EU embargo on Russian oil. Read the full article here. (In Russian) 25 November 2022 - , Deutsche Welle (Russian language service) EU enlargement / SPEECH Twentieth meeting of JCC North Macedonia – the first after the opening of EU accession negotiations EPC Policy Analyst Marta Mucznik addressed the twentieth Joint Consultative Committee (JCC) of the European Committee of the Regions and North Macedonia. The meeting, held in Skopje on 24 November 2022, was the first JCC meeting after the opening of the EU accession negotiations with North Macedonia. You can find more information here. 24 November 2022 - , Joint Consultative Committee of the European Committee of the Regions and North Macedonia Energy / INTERVIEW Interview with El Mercurio Philipp Lausberg was interviewed by El Mercurio on the member states' responses to the rising energy prices and Germany's energy susbsidy plan. Read the full article here. (In Spanish) 20 November 2022 - , El Mercurio Energy / INTERVIEW Europe's coldest winter Philipp Lausberg was interviewed by the Chinese magazine Caijing on Europe's energy crisis and the challenges facing the EU in the upcoming winter. Read the full article here. (In Chinese) 19 November 2022 - , Caijing Transatlantic affairs / INTERVIEW Interview with AFP Marta Mucznik was interviewed by AFP (German service) on the notion of a geopolitical European Union and the effects of the US midterm elections on transatlantic affairs. 18 November 2022 - , AFP (German service) Economic governance / INTERVIEW As Ukraine War Hits Pocketbooks, European Discontent Grows Philipp Lausberg was interviewed by Voice of America on the winter of discontent and the cost-of-living crisis. Read the full article here. 17 November 2022 - , Voice of America Economic governance / PANEL DISCUSSION Global Inflation and its Implications for Multinational Employers on Pay Strategy and Union Relations Philipp Lausberg participated in a panel discussion organised by HR Policy Association and gave a presentation on inflation in the EU and how to reduce it, with a particular focus on wages and energy. 17 November 2022 - , HR Policy Association Health / PANEL DISCUSSION POLITICO's Spotlight Elizabeth Kuiper participated in the panel discussion 'POLITICO's Spotlight: Chronically underserved – bridging the gap in chronic care'. The discussion focused on the rise of chronic diseases and the inequalities in chronic care. Watch the recording here. 09 November 2022 - , POLITICO Economic governance / PANEL DISCUSSION Europe’s answer to the war in Ukraine Philipp Lausberg moderated a session on economic policy in the context of the Baden-Baden Entrepreneur Talks, held at the State Representation of Baden-Württemberg. See the programme and full list of participants here. 27 October 2022 - , State Representation of Baden-Württemberg Migration / PANEL DISCUSSION Baden-Baden Entrepreneur Talks (BBUG) Helena Hahn moderated a session on the impact of the war in Ukraine on EU migration and asylum policy in the context of the Baden-Baden Entrepreneur Talks, held at the State Representation of Baden-Württemberg. Panelists included Marie De Somer, Head of Programme and Senior Policy Analyst at the EPC and Teresa Hornung, Senior Adviser on European Affairs at the Brussels office of the Confederation of German Employers’ Associations (BDA). 27 October 2022 - Brussels, Belgium, State Representation of Baden-Württemberg Eurozone governance / INTERVIEW Interview with ERR Francesco De Angelis was interviewed by the Estonian Public Broadcasting ERR on the ECB's announcement of a new interest rate hike and its effects on inflationary pressures in Europe. Watch the full report here. (In Estonian) 27 October 2022 - , ERR Energy / INTERVIEW Interview with CNBC CNBC interviewed Simon Dekeyrel on how the European Commission deals with issues such as the gas price cap and natural gas procurement. Watch the full interview here. 24 October 2022 - , CNBC International TV Energy / INTERVIEW Countering soaring energy prices in the EU Philipp Lausberg was interviewed by Deutsche Welle on possible measures the EU can take to tackle the energy crisis. Watch the interview here. 20 October 2022 - , Deutsche Welle Migration / CONFERENCE European Think Tank Conference Helena Hahn participated in the first annual European Think Tank Conference in Berlin, organized by the Think Tank Lab. She presented her Discussion Paper “Keeping a cool head: How to improve the EU migration crisis response”, which was developed as part of the 6-month Think Tank School, a professional development program organized by the Think Tank Lab. 19 October 2022 - Berlin, Germany, Think Tank Lab Energy / INTERVIEW Wirken die Sanktionen gegen Russland? Philipp Lausberg was interviewed by the German newspaper Augsburger Allgemeine Zeitung on the EU’s sanctions against Russia, how effective they are and what to expect next. Read the full article here. (In German) 15 October 2022 - , Augsburger Allgemeine Zeitung Energy / INTERVIEW Europe's Energy Trauma Philipp Lausberg was interviewed on the EU’s measures to fight the energy crisis by Energy Intelligence, a leading energy information company. Read the article here. 13 October 2022 - , Energy Intelligence Health & healthcare / QUOTE Europe's hospitals enter 'permacrisis' mode ahead of winter Elizabeth Kuiper was quoted in an article by Politico Europe on the “permacrisis” and how it is leading to more health inequalities, with vulnerable populations suffering the most. Read the article here. 13 October 2022 - , POLITICO Europe Future of Europe / PODCAST A Europa precisa de amigos? In this episode of Café Europa, Marta Mucznik discussed the outcomes of the Prague Summit and the beginning of the European Political Community. Listen to the episode here. (In Portuguese) 12 October 2022 - , Radio Observador Migration / CONTRIBUTION Study visit in Jordan Helena Hahn participated in a study visit on “An EU Toolbox to Deal with the Climate Change-
wrong_mix_range_leader_00122	FactBench	1	75	https://cchr.uu.nl/between-the-paradigms-youth-representatives-and-local-governance-in-timor-leste/	en	Between the Paradigms: Youth Representatives and Local Governance in Timor-Leste	https://cchr.uu.nl/wp-co…/10/timor320.png	https://cchr.uu.nl/wp-co…/10/timor320.png	[ "https://cchr.uu.nl/wp-content/themes/UU2014/images/uu-logo-en.svg", "https://cchr.uu.nl/wp-content/uploads/sites/271/2016/07/cropped-cchr.jpg", "https://cchr.uu.nl/wp-content/uploads/sites/271/2016/10/Sara-ten-Brinke.jpg", "https://cchr.uu.nl/wp-content/uploads/sites/271/2016/10/map.jpg", "https://cchr.uu.nl/wp-content/uploads/sites/271/2016/10/P1120408.jpg", "https://cchr.uu.nl/wp-content/themes/UU2014/images/uu-logo-footer-en.svg" ]	[]	[]	[ "" ]	null	[]	null	Simão[1] is twenty-seven years old, lives in Dili (the capital city) and his family comes from Viqueque, one of the three eastern-most districts of Timor-Leste (East Timor[2]). After finishing high school he participated in a few vocational trainings and so he learned a thing or two about computers and about construction. Then, in 2009, the candidate running for the position of xefe suku (village[3] leader) asked him to become part…	en	/wp-content/themes/UU2014/images/favicon.ico	Cultures, Citizenship and Human Rights	https://cchr.uu.nl/between-the-paradigms-youth-representatives-and-local-governance-in-timor-leste/	Simão[1] is twenty-seven years old, lives in Dili (the capital city) and his family comes from Viqueque, one of the three eastern-most districts of Timor-Leste (East Timor[2]). After finishing high school he participated in a few vocational trainings and so he learned a thing or two about computers and about construction. Then, in 2009, the candidate running for the position of xefe suku (village[3] leader) asked him to become part of his team as a youth representative. Simão agreed for various reasons. Firstly, the xefe suku was running as a candidate for the political party FRETILIN[4] and Simão’s family is also a FRETILIN family. As he told me “I am with the FRETILIN because that comes with the family. Both my father and my mother belong to it so I have to belong to it too, I cannot go to another one. (…) Because my parents taught me that the FRETILIN was the only party that really wanted independence for Timor, so I follow those words”. Secondly, he wanted “to create unity and friendship, help our suku in order to improve our nation, from the suku to the nation”. And thirdly, Simão was already active in his suku anyway, so why not make it official. Simão tells me all of this sitting on a green wooden bench in the gardens of the faculty of education of the National University of Timor-Leste. Although at first confused that a white European academic wants to interview him – a mere youth representative – he gradually gains confidence and paints an increasingly detailed picture of his experiences as a youth representative in an urban suku in Timor-Leste. Timor-Leste has been an independent nation-state since 2002 and occupies the eastern half of the Timor Island which was divided into two parts by Portuguese and Dutch colonial administrations in the nineteenth century. The western half became Indonesian territory upon Indonesian independence from the Netherlands while the eastern half remained under Portuguese colonial administration until the end of the Salazar-Caetano dictatorship in Portugal in 1974. After a brief but bloody conflict between three Timorese parties that envisioned different solutions for the East Timorese independence, the FRETILIN (Revolutionary Front for an Independent East Timor) declared unilateral independence in 1975. A few days later, Indonesian forces invaded East Timorese territory ensuing an occupation that was brutal and alienating. The occupation would only end, after twenty-four years of resistance, with a referendum coordinated by the United Nations in 1999 in which 78.5% of the population voted for independence from Indonesia. During its occupation of East Timor, Indonesia invested heavily in building up infrastructure and an educational system. Therefore it relied heavily however, on immigrated Indonesian officials to run state affairs. The vote for independence triggered the departure and flight of these Indonesian bureaucrats together with rampaging, destruction, looting and burning of 70% of the country’s infrastructure by Indonesian military and pro-Indonesia militias. This led the incoming United Nations transitional administration to assume that no institutions of governance were left standing and to adopt a tabula rasa approach to East Timorese state-building. Contrary to the assumption of the UN and other international state-builders that were involved in the early years of East Timorese independence, Timor-Leste was by no means a governmental tabula rasa. During the early years of state-building, different systems of governance – customary and new, indigenous and foreign – were interwoven, resulting in a complex hybrid system. This hybridity and the place young adults have in it, constitute the focus of my qualitative and ethnographic PhD research. My purpose here is to show what it means for youth representatives like Simão, to navigate the messy entanglement of diverse forms of governance in a post-conflict momentum of democratization and state-building. Let us go back for that, to the suku, the governmental entity at the level of which Simão represents youth. The suku in Timor-Leste is much more than the lowest level of governance. It is both a territorial and a social unit of belonging. One suku is mostly composed by a number of families and their respective descent lines that are intimately connected through relationships of reciprocal exchange and intermarriage. Each descent line is connected to an Uma Lulik (‘sacred house’) that connects them with the other members of the extended family and with the spirits of their ancestors. It is the Uma Lulik, and one’s position in it, that defines the relationship of the individual with the other individuals in the suku. Hence, when Simão introduced himself to me, it was important to add that, although he has been living in Dili most of his life, his family comes from the Viqueque district. Because it is in the Viqueque district that his Uma Lulik stands. The (mostly rural) suku of origin of the family is mostly considered by people to be their ‘true’ suku, even if they are second-generation Dili inhabitants. Although for a considerable part of the young and urban East Timorese population the kinship relationships no longer define who they choose as a marriage partner, the Uma Lulik and its related family interconnections do play an important role in young adult’s social and economic lives. The Uma Lulik and its family relationships not only defines kinship belonging, it also defines who are entitled to solve conflicts in the community according to customary law. These are mostly elderly men respected in the community.[5] Despite co-optation, marginalization or even destruction of higher-order political structures by both the Portuguese and Indonesian occupying forces, systems of customary law and kinship relationships were a basis for continuity under colonial oppression and these customary structures often played a much more significant role in the daily life of the community than the colonial administrations did.[6] Hence, the overlooking of these local systems of customary law by international state-builders and the erroneous assumption that Timor-Leste was a governmental tabula rasa, added the UN and other international agencies to the list of foreign state-building forces over the centuries that would be unable to grasp, let alone permeate local power structures and governance. There were, however, over the course of state-building, various attempts to incorporate the local level of governance into the national liberal-democratic system. These efforts resulted in the creation and election of suku councils such as the one Simão was part of. Simão was not the only one asked by the candidate xefe suku to be part of the council. In 2009, when Simão’s xefe suku was elected, the suku law ordered the creation of pakotes (packages) in which the xefe suku gathered one xefe for each aldeia (sub-division of the suku) in his suku, as well as two women’s representatives, two youth representatives (one man and one woman) and one community elder. Citizens then elected one out of the presented pakotes to become their suku council. Suku councils became an interesting and hybrid form of local governance composed by leaders who fit local customary understandings of governing legitimacy[7] (male seniority, often from ‘royal’ descent), leaders who fit post-conflict national political legitimacy (being veterans of the (armed) resistance against Indonesia) and ‘modern’ democratic representatives for women and youth (groups often disadvantaged in customary governance). The stories that Simão and other youth representatives told me, both in urban and in rural suku, showed that to be what Cummins[8] calls a ‘new institutional figure’ among ‘old institutional figures’ is all but just a position in a local body of governance. It is a complicated position between paradigms that requires a complex set of skills and that brings about high expectations and strong disappointments, making the position of youth representative in an East Timorese suku a challenging at best, and demotivating and disempowering position at worst. To illustrate this point, let us return, once more to Simão. As a youth representative, Simão receives a small fee to compensate him for his activities. This fee is conditional on attending the suku council meetings. The fact that youth representatives and other suku council members receive money from the state, makes them, in the eyes of many people, part of the state. The idea that youth representatives ‘eat from the state’ was mentioned a few times in my presence. This money is, however, not in any way comparable to a salary and hence many youth representatives take up jobs next to their suku council function. It happens that these jobs are so demanding that they do no longer have time for their youth representative activities. Thus, when I visited the suku council of the suku I lived in and asked to speak to the youth representatives, the secretary had to consult a list, as she had no idea who the youth representatives were. This situation leads to frustrations on both sides. Simão told me he addressed national leaders telling them that the limited compensation discourages youth representatives to engage and he reported “they say: ‘when there is a meeting you go, that is what we give you the money for, not for you to do work’”. On the other hand, the youth in the suku and partly also the other suku council members expect youth representatives to be engaged full-time for the good of the youth population. A xefe suku of a rural village I came to know well always complained that the youth representatives never took any initiative. Youth in that same village complained that the youth representatives never did anything for them. Urban youth whom I asked to introduce me to their youth representatives told me they had no idea who they were. My friend Rafael was a local NGO’s youth volunteer coordinator for one of Dili’s sub-districts and that is why he knew many youth representatives, including Simão. Rafael was not very positive about suku youth representatives either. When I narrated to him the incident with the secretary who had to look up the names of the youth representatives of my own suku he told me: It is a very big problem…they do not work! And the problems among youth, it has to be the xefe suku going there directly himself. Like recently the youth at the Comoro Market. It was the xefe suku going there. So I asked him where the youth representatives were. And he told me that they were afraid, because these are youth who make problems, who commit crimes, so the youth representative, what was he going to do? Now this xefe suku likes to talk with me in such a funny way. So I don’t know whether it was true. Maybe they just did not have time to come. But still, the responsibility is theirs…so at that time they were not there. This account contrasts sharply with what Simão told me about his own possibilities to participate in the resolution of problems between youth. Simão: we recently had a problem with youth, they had a problem, they were drunk and I called the police. The police came and calmed the situation and after the situation we sat in the suku office. I had informed the xefe suku and the Lia Nain (elder). Because it was youth from our suku with youth from another suku, I informed the xefe suku and he proposed to make a letter in order to call the others to come to our suku office. So I prepared a letter and called them, from both sides. I managed both groups to come and sit together. I do not have the power to handle it so I gave it to the xefe suku and the Lia Nain. They looked for a solution and made peace. Sara: but so in these kind of situations, the role of the youth representative is to call everybody to come together but when it comes to solving the problem it is the xefe suku and the Lia Nain who do that? Simão: yes Sara: why? Simão: because they are the ones who have power. They know how to talk with power. I can only send the letter to call people together. Because in our structure, the biggest power is with the xefe suku and then the Lia Nain. If there is a problem in the aldeia, I first check with the xefe aldeia, then de xefe aldeia checks with the youth who made problems and brings them to the suku office and then the xefe suku comes to investigate them. Sara: yes, and are there problems that the youth representative can solve alone? Simão: no Sara: so you always have to call the xefe suku? Simão: yes What Simão and Rafael show us here is the profound disjuncture between what is expected from youth representatives from ‘above’ and from ‘below’. On a higher level they illustrate the disjuncture between the two paradigms at work in the sphere of local governance and the precarious place youth representatives occupy in this disjuncture. As ‘new institutional figures’ brought in by a paradigm of liberal-democratic horizontal representation in which all citizens have the right to be treated equally, they are confronted with customary hierarchies in which they occupy the very bottom of the legitimacy ladder. I do not mean to present liberal democracy here as ‘modern’ and contrast it to customary governance as ‘traditional’ and ‘backward’. The complex and fascinating hybrids created in East Timorese local governance show that they can be simultaneous and profoundly enmeshed processes. However, what the case of East Timorese local governance also shows is that the blind implementation of liberal-democratic forms of representation in presumed tabula rasa situations might create disjointed and frustrating positions for those who are supposedly empowered by it. [1] All names of research participants are pseudonyms to guarantee their anonymity. Quotes are translated from Tetun to English by the author. [2] Although officially Timor-Leste can also be referred to as East Timor, for the sake of clarity I use Timor-Leste when referring to the independent nation-state and East Timor when referring to the territory occupied by Indonesia, previous to independence. I use East Timorese to refer to nationality. [3] Although suku translates roughly as village it is also used in the urban sphere – constituting governmental sub-divisions of the city. This was the case for the urban suku in which Simão lived. [4] FRETILIN: Revolutionary Front for an Independent East Timor. One of the major political parties in Timor-Leste today. [5] Although in some (matrilineal) communities elderly women also play a role in customary law, the public domain of politics is mostly regarded as the arena of men (see for example Cummins, Deborah. 2011. ‘The problem of gender quotas: women’s representatives on Timor-Leste’s suku councils’. Development in Practice 21(1): 85-95). [6] McWilliam, Andrew. 2005. ‘Houses of Resistance in East Timor: Structuring Sociality in the New Nation’. Anthropological Forum 15(1): 27-44. Page 38. [7] See for example Cummins, Deborah and Michael Leach. 2012. ‘Democracy Old and New: The Interaction of Modern and Traditional Authority in East Timorese Local Government’. Asian Politics and Policy 4(1): 89-104.
wrong_mix_range_leader_00122	FactBench	1	63	https://www.thecandytrail.com/un-east-timor-ainaro/	en	Life in East Timor (with the United Nations)	https://www.thecandytrai…t-timor-2000.jpg	https://www.thecandytrai…t-timor-2000.jpg	[ "https://www.thecandytrail.com/wp-content/uploads/2023/03/the-candy-trail-travels-LOGO-200px-MOB.jpg", "https://www.thecandytrail.com/wp-content/uploads/2023/03/the-candy-trail-travels-LOGO-500px.jpg", "https://www.thecandytrail.com/wp-content/uploads/2023/04/THE-CANDY-TRAIL-logo-menu-200.png", "https://www.thecandytrail.com/wp-content/uploads/2021/07/girl-ainaro-east-timor-2000.jpg", "https://www.thecandytrail.com/wp-content/uploads/2021/07/playing-guitar-ainaro-east-timor-2000.jpg", "https://www.thecandytrail.com/wp-content/uploads/2021/07/family-ainaro-east-timor-2000.jpg", "https://www.thecandytrail.com/wp-content/uploads/2021/07/girl-ainaro-east-timor-2000.jpg", "https://www.thecandytrail.com/wp-content/uploads/2021/07/mountains-ainaro-east-timor-2000.jpg", "https://www.thecandytrail.com/wp-content/uploads/2021/07/ainaro-east-timor-2000.jpg", "https://www.thecandytrail.com/wp-content/uploads/2021/09/united-nations-logo.jpg", "https://www.thecandytrail.com/wp-content/uploads/2021/07/australian-un-peace-keepers-east-timor-2001.jpg", "https://www.thecandytrail.com/wp-content/uploads/2021/07/east-timor-blog-comment-by-johnny-ward-THE-CANDY-TRAIL.jpg", "https://www.thecandytrail.com/wp-content/uploads/2021/03/girls-walking-street-keren-eritrea-1995-770x513.jpg", "https://www.thecandytrail.com/wp-content/uploads/2020/05/sarong-beach-sunset-papua-indonesia-770x513.jpg", "https://www.thecandytrail.com/wp-content/uploads/2023/03/the-candy-trail-travels-LOGO-200px-MOB.jpg", "https://www.thecandytrail.com/wp-content/uploads/2023/03/the-candy-trail-travels-LOGO-200px-MOB.jpg" ]	[]	[]	[ "ainaro" ]	null	[ "THE CANDY TRAIL" ]	2021-07-25T15:11:10+00:00	A letter home from my time in Ainaro in the mountains of East Timor, living with a local family and working for the United Nations in 2000.	en	https://www.thecandytrai…avicon-32x32.png	THE CANDY TRAIL	https://www.thecandytrail.com/un-east-timor-ainaro/	AUTHOR’S NOTE: I was fortunate to work – and travel – for the United Nations in East Timor during 2000-2002. I worked with the Language & Training Unit attached to the Peace-Keeping Forces (PKF). What follows is a – lightly edited – letter to family in New Zealand sent in November 2000 while living in the mountains of Ainaro. Grab a cup of coffee. It’s a long read covering my experiences amid a concise slice of East Timorese history. A single bulb glows over a wooden table, and the kitchen is smoky. Yanti, the teenage daughter, is washing dishes. A small white and brown puppy on hind legs tries to f*ck a hairy gray piglet; that often wanders inside – but gets chased out. (It seems to think it’s a member of the family.) Outside, its fat, mud-caked mother is tied up and periodically squeals in the most horrendous manner. The kitchen consists of a few plastic chairs, bottles of cooking oil and water and spices, and a gas burner with wok, sits amid the bare concrete walls and floor, the empty window frames patched with old roof iron. Kids from neighboring houses wander in and out and say: “Bo-tar-de”—Good Afternoon. Smoke from a fire wafts inside to my eyes, for the other half of the kitchen is on a floor of dirt within a bamboo and iron-sheet shelter, outside. In this outer area is a rack with plates and pots and cutlery, where water streams along a shallow ditch, overflowing from leaking pipes. Young Johnny, aged 3, sits on the concrete floor awaiting lunch; his younger sister, Jana, cries hungrily. Mother-pig is screaming again, as has the puppy—a high-pitched yelp! But calm returns as soon as the chaos has erupted. My lunch has arrived. Today, I have it very good: chunks of fried buffalo, with steamed white rice and a spicy, tomato and onion mix, fried potatoes, and a small salad of onion, tomato, lettuce. Washed down with Coke. Sometimes there’s very little food choice at the market and so my hosts, a young Timorese family—Adriano & Carmelita—parents my age, haven’t much to offer apart from fried rice or noodles or soup or a veg curry, sometimes supplemented with canned tuna. Sometimes I eat freshly slaughtered, fried chicken (the other day, I watched as 7-and-13-year-old daughters cut the hen’s throat then plucked and cooked it, as their mum wasn’t feeling well). Mostly, I eat rice with-something for lunch and dinner. For breakfast it’s strong black – local – coffee and a bread roll, with my no-refrigeration-needed-processed Aussie cheese bought in Dili, which is a treat. Life is basic in Ainaro and across East Timor Entertainment and socializing—as we know it – is virtually non-existent, while female intimacy is zero. (The Catholic East Timorese women are often beautiful but always untouchable—unless you want to face marriage or a riot of angry machete-welding threats. UN policy officially banned UN international staff from such liaisons and offenders can face dismissal; although, in practice there have been some indiscretions by international staff). For company each evening, I listen to my short-wave radio to the BBC, or listen to music on my portable player or read a book. Sometimes muck around with the kids, or drink beer with my host family and their friends. Mosquitoes and moths and slug-like leeches and spiders and mice and cockroaches are the only visitors to my room (once another uninvited guest, the puppy, took a shit on the floor as I was reading by candlelight). I sleep on my inflatable rubber mattress under a blanket under a mosquito dome on the floor of a dark, concrete-box room, with an iron sheet ceiling/roof, a single wooden-shutter—no glass—window looking out to the veranda. At night, candles are essential during frequent power cuts, and also function as small heaters to fight off the damp when the rains continue too long. Leaks in the iron-roof hit the floor, collecting in puddles outside my bedroom door. I wash and shit in an outside shed—the mandi: washing room—scooping water over my body and also to flush the squat toilet (- where I had to kill a small brown scorpion the other day). The kids are laughing as I let out a series of Coke-induced burps. We make animal noises and roar with silliness. Natalia, freshly shampooed long dark hair, aged 7, blows bubble gum. Johnny walks around with a joker face, then pouts his lips and sucks in his cheeks and wiggles his puckered lips. We call him Johnny Ikan (= Ikan means fish.) Jana laughs a funny baby giggle. Last night, we jumped around on the veranda beneath the solitary dangling bulb as hundreds of La-loo—fat, flying insects—swarmed around the light. We were knocking them down; me waving my T-shirt about, getting dozens of La-loo into a tub of water to drown as we collected more to fry up. They tasted squashy and fatty. Watching them play or playing with the kids is a constant amusement. Mostly, they are cheerful. The homemade toys they make and the way they entertain themselves – with nothing, is really amazing. So where am I? Ainaro: in the south-central mountains of East Timor From the capital – Dili, it’s a 100 km drive or 3 or 4 hours, traveling through awesome mountains on sometimes broken, always winding roads, overlooking huge ravines and passing traditional villages. Ainaro’s weather is mostly warm / cool—but not cold, hot with a light breeze in the mid-day, wet, misty, a touch humid and usually raining heavily most afternoons (the wet season has begun). I enjoy walking the kilometer back and forth from my temporary home to the UNTAET office, admiring the blue sky morning and surrounding mountains—clad with grass, forest and rock. Across this silence floats the hum of cicadas and birds and distant roosters. I pass a boy leading a horse. Church bells, sometimes, are chiming. Always the cheerful calls of “Hello Mister!” or “How are you?” or “Where are you going?” from kids greeting me every morning, and again, every afternoon. The scenery here is a hybrid of past places visited. The shape and clusters of the large spacious trees recall the rain forests of southern Cameroon. While they evoke the highlands of central Vietnam, with afternoon mists clouding around the old Catholic church, with its tall towers and pitched roof. Behind the church rises a picture of the Scottish highlands, circling mountains of cliffs and craggy, odd-shaped peaks and humps. Upon the gentle slopes beyond town, villages climb amid rice paddies and ravines with rushing rivers, reminding me of the Himalayan foothills, say, in India or Nepal. The town of Ainaro still shows signs of last year’s destruction and violence—when 95% of the town was destroyed by militias. However, there’s been much rebuilding since—new iron-zinc-sheet roofs on simple concrete-block homes or plastic sheet on huts, wooden boards covering empty window frames. Tin-shack kiosks that sell limited goods. But still there remain rows of burnt-out concrete shells or twisted iron upon bare foundations, fresh weeds sprouting amid the ruins. Regular electricity supply continues to be a problem. Some nights there’s nothing; other evenings just a few hours of power, between 6.30 to10 pm. (Generators power the UNTAET (United Nations Transitional Authority in East Timor) office, the UN CivPol—civilian police—station, and the Portuguese UN PKF: Peace-Keeping Force – military base here in Ainaro.) In last year’s violence, my students lost most of their belongings—TVs, motorbikes, houses, everything; and some lost family members and friends. They are now rebuilding shattered lives. I teach two English classes Monday to Friday for the UN Timorese staff The one in the morning is intermediate level and comprises of translators and interpreters for CivPol and UNMOs (United Nations Military Observers) and also UNTAET staff. There are 13 in this class. In the afternoon, the Beginner class is much bigger and we can’t fit them all into the small meeting room at the UNTAET building, so we use a broken building across the road. It has no windows, no doors, but it has a concrete roof remaining, which doesn’t leak, as it’s always raining about class time: 4 to 5.30 pm. Unfortunately, it’s also a local toilet for kids, and so the stench of fresh urine or shit can sometimes prevail. The class has no chairs nor tables, but at class-time students carry over office chairs and a portable white-board, to return them to the office each day, often in the rain. Yet, the students are keen and are fun to teach. The afternoon class has 33 students, aged 22 to 45. Most are UNTAET: security, drivers, cleaners, electricians, water supply engineers, mechanics, admin & office workers of various fields—health, education, land & property, agriculture, etc. For UNTAET is presently rebuilding the country and attempting to train thousands of Timorese to be ready for self-government mid-2002, when UNTAET leaves and the first-ever free elections will take place in East Timor. However, there is concern that this UN mission, the first of its kind where the UN takes over as a temporary government to build a new civil service, all within 2 years, will be only partially successful. Control of the country will soon be back in Timorese hands—for the first time in 500 years. There are questions being asked already about what may happen with the elections—fighting between the main political parties with the old, pre-1975 rivalries returning… we’ll see. Hope not, for the sake of a new East Timor. (1) East Timor – A Brutal Recent History It’s only one half—the eastern half—of a small mountainous island wedged between Asia & the Pacific. The faces of the Timorese reflect Melanesia—mostly Pacific-Island-looking, but often blended with Indonesian—Javanese or Chinese or Portuguese blood, for Portugal controlled East Timor over for 400 years, that was, before the Indonesian Army invaded East Timor in 1975 to counter the communist threat. Suppression of Timorese culture. Repression of basic human rights and a forced Indonesianization of East Timor began under Indonesian occupation. They transplanted immigrants here from overcrowded Java, given the best land and jobs at the expense of the locals. There were decades of brutal Indonesian military campaigns during the 1970s & 80s, which devastated populations but failed to wipe-out the East Timorese resistance. But by the early ‘90s, isolated from the support of the outside world and with the Indonesians finally capturing Xanana Gusmao, the leader of Falintil—the guerrilla army, Timorese resistance steadily decreased. (Xanana will probably become East Timor’s first elected President next year.) (2) During the Indonesian occupation of 1975 – 1999, about 200,000 East Timorese—a ¼ of the population – were killed; often blatant massacres and wipe-spread torture and policies which led to the mass starvation of civilians during the early years of occupation. On the other hand, the Indonesians spent a ton of money in East Timor, making it a model province (colony). They built good roads. In fact, they built all the infrastructure: bridges, electricity and water supply, modern buildings and communications; provided schools, TV, wealth, and jobs. Indonesia gave Timor all the things that the Portuguese had not (when the Portuguese fled in 1975 there was only 1 km of paved road in the entire country, that being outside the Governor’s Palace in Dili). It’s fair to say that many Timorese, particularly the younger generations, were influenced by the Indonesian presence: the ‘progress’ towards modernity, the economic growth, some had been to universities in Java and most liked Indonesian pop music and TV, etc. Not all Timorese are anti-Indonesian, only hard feelings against the Indonesian military and the most brutal members of the local militias. The East Timorese are a very forgiving people. Following the fall in 1998 of the military dictator, Sukharto, the new Indonesian government, offered the Timorese a chance for independence. A referendum – the popular consultation, as it was called—was organized and supervised by UNAMET—United Nations Assistance Mission in East Timor, for September 1999. In the months leading up to the referendum there was much violence and intimidation against the population by militias—armed gangs of pro-Indonesian Timorese and Indonesian civilians who were organized by the Indonesian military to scare people into voting for Autonomy, which would’ve meant East Timor would remain part of Indonesia. Despite the threats and violence, East Timorese turned out to vote in their masses (some in isolated villages walking for days to get to an UNAMET polling station). The vote for independence was overwhelming. Following the Independence vote, waves of violence swept East Timor Without protection, they evacuated UNAMET staff to Darwin, while the militia—and some elements of the Indonesian army—burnt down entire towns and looted belongings, from TVs to the iron-roofing from houses. The militias, sympathetic to the Indonesian cause, some paid, some under the influence of drugs and drink, committed many atrocities including raping and torturing women, hacking to death nuns and children with machetes. There were two large massacres of entire congregations within churches in Suai and Liquica. Numbers are uncertain, but the bodies found number around 1000+ and many remain missing. And they forced two hundred thousand people to flee across the border into West Timor (INDONESIA); where 100,000 remain as refugees today (mostly ex-Indonesian migrants and militia members). While their homes were destroyed, village and towns people hid in the mountains—for a month, with little food; before a military force—INTERFET: International Forces for East Timor, led by Australia, approved by the UN and Indonesia, entered a completely devastated East Timor to restore calm. In most towns and cities across the country, the damage was 95% complete. A war zone. This was the Indonesian military’s revenge on the Timorese vote for separation and independence: to destroy all that they had given East Timor. Since first arriving in East Timor during January of this year, as a traveler / escapee from Indonesia (a crazy story for another time), things have changed a lot. But nothing changed in the first few months. Now reconstruction and commercial activity is happening, particularly in Dili, where there’s has been rapid changes over the past 6 months, while much slower in the regions, such as Ainaro. As you’ve probably concluded after reading this letter, my East Timor experience has been varied: interesting as a UN employee, fulfilling as a traveler, rewarding as a teacher. I’ve been living among the people, attending birthdays, funerals, weddings, religious and official ceremonies. I’ve met many friendly folks from dozens of countries worldwide—UN international civilian staff, police and military. I’ve traveled across mountains and along rugged, lonely coasts by helicopter, plane and 4WD. Made some serious money and suffered malaria and had the odd dose of the shits. Was sometimes lonely or bored, but more often this country and its proud, friendly people intoxicated me. Had an awesome party this past Sunday in Ainaro My students organized it, and I financed it. The female students and family spent half the day cooking at our place, over fires, beef sate sticks, rice, noodles, etc. Great food. Meantime, the male students got chairs from all over town and firewood and helped skewer the pork sate. There were my 40+ students and friends and my Timorese family and neighbors and kids and some UN international staff and police and the commander and officers of the UN PKF—Portuguese paratroopers; cool guys—who bought a big sound system. Wild dancing to techno, and toasting a speech or two, guitar sing-songs. I was given 5 thais—traditional woven shawls, by students and family. About 80 people attended and extras later on, partied from 4pm to 1am. We drank 20 dozen cans of beer—240 cans (bought from the UN military), 70 coca colas, 30 litres of mineral water, 6 bottles of whiskey and 1 bottle of tequila—which, we did as shooters around the dance floor around midnight, during the most manic disco moments. Sad to have left today, Timorese family and friends came out to see me off at the helicopter. FOOTNOTES: (1) A reactionary insurgency did happen later after independence but was short-lived. (2) He did, in fact, become East Timor’s first President; reprising a version of Nelson Mandela’s heroic role. These photographs are from film scans. Unfortunately, many are yet to be scanned and remain in my Mother’s attic in NZ. One day, this post will get an image update.
wrong_mix_range_leader_00122	FactBench	0	4	https://www.iri.org/news/luminaries-join-iris-international-advisory-council/	en	Luminaries Join IRI’s International Advisory Council	https://www.iri.org/wp-c…-Media-Logo.webp	https://www.iri.org/wp-c…-Media-Logo.webp	[]	[]	[]	[ "" ]	null	[ "migrate" ]	2015-12-21T00:00:00+00:00	Washington, DC – At a time when individual freedoms are being challenged in so many places, the International Republican Institute (IRI) has established	en	https://www.iri.org/wp-c…vicon-1.png?w=32	International Republican Institute	https://www.iri.org/news/luminaries-join-iris-international-advisory-council/	Washington, DC – At a time when individual freedoms are being challenged in so many places, the International Republican Institute (IRI) has established an International Advisory Council of recognized leaders from around the world who share IRI’s vision of democracy and freedom. The Council, which includes three former presidents, two former prime ministers and luminaries in the fields of human rights, governance, philanthropy and business, will advise and support IRI in its strategic direction; provide advice and perspectives on regional and world developments; and provide international expertise to ensure excellence in and enhance the relevance of democracy and governance programming. “IRI’s Council, along with its Board of Directors, demonstrates that there are strong voices who believe in promoting democracy and citizen-oriented government,” said Senator John McCain, chairman if IRI’s Board of Directors. “From former prime ministers and presidents, to a Nobel Laureate, and leading advocates in good governance and human rights, the members of IRI’s International Advisory Council bring a wealth of experience to the Institute and its work.” Members of IRI’s International Advisory Council Sihem Bensedrine Human Rights Activist and Journalist from Tunisia Sihem Bensedrine has worked for more than two decades to expose human rights violations in Tunisia and defend freedom of expression. Under the autocratic rule of President Ben Ali, ousted in early 2011, she was jailed, subjected to smear campaigns and endured persecution. Her fight for human rights, women’s rights and press freedom has not ended with the revolution. She continues to lobby for free elections and democracy as spokesperson for the National Council for Liberties in Tunisia and as president of the Tunisian Center for Transitional Justice. In June 2014, she was appointed as president of the Tunisian Truth and Dignity Commission, which is responsible for implementing Tunisia’s law on transitional justice. Anna Cabral U.S. Treasurer (2005-2009) Anna Escobedo Cabral served as the 42nd treasurer of the United States, the highest-ranking Latina in the George W. Bush administration. She currently serves as the senior advisor in the external relations department of the Inter-American Development Bank. During her career she has served as the deputy staff director for the United States Senate Judiciary Committee, the executive director of the U.S. Senate Republican Conference Task Force on Hispanic Affairs, as president and chief executive officer of the Hispanic Association on Corporate Responsibility, and as director of the Smithsonian Institution’s Center for Latino Initiatives. Cabral has also served on numerous boards including the Council on the 21st Century Workplace, the Diversity Council of the Premier Automotive Group, Sewall-Belmont House and Museum, and she currently serves on the Diversity Advisory Group for Comcast/NBC Universal/Telemundo. Lucinda Creighton Member of Dáil Éireann and Vice President, European People’s Party (2012-2014) Lucinda Creighton has served as a member of the Irish Parliament since May 2007, representing the people of the Dublin Bay South constituency. In March 2015 she founded Renua Ireland and was elected its leader. From 2011-2013 she served as minister for European affairs where she travelled to 28 different European Union member states and represented the continent in bilateral trade discussions in the United States. From 2012-2014, she served as vice president of the European People’s Party, the first candidate to be elected to the position from the ranks of the Youth of the European People’s Party. Stockwell Day Minister, International Trade Canada (2008-2010) Stockwell Day was successfully elected to serve the citizens of Canada nine times over 25 years and has held a number of cabinet positions over his career. From 1986 to 2000, he served in the Alberta Legislature as government house leader, minister of labour, minister of social services and minister of finance. In 2000, he won the leadership of the newly-formed Canadian Alliance and became leader of Canada’s official opposition. He was foreign affairs critic as well as chair of the Subcommittee on Human Rights in 2002. In 2006, Day was appointed minister of public safety and to the Cabinet Committee on Priorities and Planning. Upon his re-election in 2008, he was named minister of international trade, minister for the Asia-Pacific gateway and chair of the Cabinet Committee on Afghanistan and in 2010 he was appointed president of the Treasury Board. He decided to not stand for re-election in 2011 and today, in addition to his business ventures, serves as vice chair of the Canada-China Business Council, the Canada India Business Council, and as a distinguished fellow at the Asia Pacific Foundation. Mikuláš Dzurinda Prime Minister of Slovakia (1998-2006) Mikuláš Dzurinda currently serves as president of the Wilfried Martens Centre for European Studies and is a member of the Slovakia Parliament, serving on the Committee for Foreign Relations. A strong proponent of democracy building programs, he served as prime minister of Slovakia from 1998-2006 and has held various positions in government since first entering politics in 1990. During his time as prime minister, Dzurinda introduced a number of far-reaching reforms which enabled Slovakia to join the European Union in 2004. He also served as minister of transportation and minister for foreign affairs. A founding member of the Slovak Democratic and Christian Union–Democratic Party, Dzurinda served as party chair from 2000 to 2012. Luis Fortuño Governor of Puerto Rico (2009-2013) Luis Fortuño served as governor of Puerto Rico from 2009-2013. During that time he also served as president of the Council of State Governments, chair of the Southern Governors Association and sat on the Board of Directors of the Center for Best Practices of the National Governors Association. He also served on the Council of Governors. Prior to serving as governor, Fortuño was elected as Puerto Rico’s sole representative in the U.S. House of Representatives. While in Congress he served as the vice-chair of the Congressional Hispanic Conference during the 109th Congress and as chair during the 110th Congress. He also served as ranking member on the Subcommittee on Insular Affairs; on the Transportation and Infrastructure Committee; the Natural Resources Committee, International Relations; and the Education and Workforce Committee. John Howard Prime Minister of Australia (1996-2007) John Howard was Australia’s second longest serving prime minister, a member of Parliament for 33 years and served as the country’s treasurer (1977-1983). Under his leadership, Australia led an international peace-keeping force to Timor-Leste ending Indonesia’s “scorched-earth” campaign, which was launched in retaliation for Timor’s overwhelming vote in favor of independence. Howard is a Companion of the Order of Australia and was awarded the Presidential Medal of Freedom, the highest civilian award in the United States by President George W. Bush. In January 2012, Queen Elizabeth II appointed Howard to the Order of Merit. Mo Ibrahim Founder and Chair, Mo Ibrahim Foundation Mo Ibrahim is a leading voice for good governance, government accountability and transparency in Africa. As the founder and chair of the Mo Ibrahim Foundation, which he established in 2006 to support good governance and leadership in Africa, he has worked tirelessly to improve and strengthen democratic governance. In October 2015, Bloomberg Business named him one of the 50 Most Influential People saying, “The Ibrahim Index of African Governance is an unequaled tool for assessing the investing environment on the second-most-populous continent.” Through the Ibrahim Foundation African leaders are gaining the tools needed to govern more effectively and the recognition they deserve for governing democratically. Yong-Hi Kim Secretary General, Association of World Election Bodies Secretary General, National Election Commission of the Republic of Korea Yong-Hi Kim has served on the National Election Commission for the Republic of Korea since 1988. Prior to being named secretary general, he served as director general of the elections in 2005, task force head of the electronic voting system in 2006 and director general of the political party bureau in 2009. He has also served as chief election officer in 2010, before serving as the deputy secretary general. In October 2013, he was elected as the secretary general of the Association of World Election Bodies at its inaugural assembly. A recognized author he has written numerous papers on elections, including Improvement of Parliamentarian Election Law to Ease Regionalism in Korea, Improvement of Interparty Election System, A Study on the Improvement of Transparency and Equity in the Political Funds in Korea and Easy Local Council Member Elections. Vitali Klitschko Mayor of the City of Kyiv, Ukraine A former heavyweight boxing champion, Vitali Klitschko entered the public service arena in 2004 as an advisor to then-President Viktor Yushchenko. He made his first run for mayor of Kyiv, Ukraine in 2006 in which he came in second; however, his party’s strong showing in the elections earned him a seat on the Kyiv City Council. In April 2010, he launched a new political party in Ukraine, the Ukrainian Democratic Alliance for Reform (UDAR) and in 2012 he was elected to the Verkhovna Rada and served as UDAR’s leader in parliament. Following the Euro-Maidan protests, Klitschko ran again for mayor of Kyiv and was elected in May 2014. He was also appointed the Head of Kyiv City State Administration. Klitschko also is a representative on UNESCO’s Education of Children in Difficult Circumstances program and is a member of Ukraine’s National Olympic Committee. John Agyekum Kufuor President of the Republic of Ghana (2001-2009) John Kufuor is the former president of Ghana. While in office he chaired the Economic Community of West African State for two terms (2003 and 2004) and the African Union from 2007-2008. Since leaving office he was named the joint winner of the World Food Prize with former Brazilian President Lula da Silva in 2011 and he currently serves as the United Nations special envoy and co-chairs the Global Panel on Climate Change and Global Panel on Agriculture and Food Systems for Nutrition. He has also served as global ambassador against hunger for the UN World Food Program, chairman of the Sanitation and Water for All Partnership, global envoy for the Neglected Tropical Diseases Alliance, and lead advocate for the Partnership for Child Development. In 2010 he established the John Agyekum Kufuor Foundation to promote and advance effective leadership, democratic governance and socioeconomic development in Ghana and Africa. Brian Loughnane Federal Director, Liberal Party of Australia Brian Loughnane was federal director of the Liberal Party of Australia from February 2003 – January 2016. He has been actively involved at all levels of the Liberal Party for more than 30 years. He served as the party’s national campaign director for the 2004, 2007, 2010 and 2013 federal elections. Previously, Loughnane served as chief of staff to Hon John Howard in Opposition prior to the 1996 election, and subsequently as chief of staff to the Industry and Defence Minister. He has extensive international political experience and has been actively involved with the International Democrat Union for more than a decade. Mel Martinez U.S. Senator (2005-2009) Secretary, U.S. Department of Housing and Urban Development (2001-2003) Mel Martinez was elected to the United States Senate in 2004, where he served on several committees including Banking, Housing and Urban Affairs, Armed Services and Foreign Affairs. While serving in the Senate, Martinez led efforts to reform Fannie Mae and Freddie Mac and was a trusted voice on foreign policy issues throughout the Western Hemisphere. Prior to his time in the Senate, Martinez served as secretary of the United States Department of Housing and Urban Development and was the first Cuban-American to serve in a president’s cabinet. Martinez has also served as mayor of Orange County (Orlando, FL) and prior to entering public service, he practiced law for 25 years. Today, he is chairman of the Southeast U.S. and Latin America for JPMorgan Chase and Company. Andrés Pastrana President of Colombia (1998-2002) Andrés Pastrana is a journalist and politician who served as president of Colombia from 1998-2002. Prior to entering politics, Pastrana was co-founder and general manager of Guión Magazine and later the TV Hoy television news program, for which he won the King of Spain journalism award. In 1982 he was elected to the Bogotá City Council, becoming one of the youngest city council members to hold the presidency of the council. He was first elected mayor of Bogotá in 1988. In 1991, he founded the New Democratic Force movement and was elected to the Senate where he served until 1993. As president of Colombia, Pastrana made important progress in negotiating peace with the Revolutionary Armed Forces of Colombia (FARC) and the National Liberation Army (ELN) guerrilla groups. His administration also proposed and implemented Plan Colombia, a multimillion U.S. aid package to combat illegal non-state actors and to strengthen Colombia’s institution and the rule of law. José Ramos-Horta Nobel Laureate and President of Timor-Leste (2007-2012) José Ramos-Horta was one of the leaders of Timor-Leste’s independence movement and its democratic transition. A vocal human rights activist, he has spent his career first advocating for the rights of the Timorese and later for the rights of those oppressed around the world. In 1996 he, and Bishop Carlos Filipe Ximenes Belo, were awarded the Nobel Peace Prize for their “work towards a just and peaceful solution to the conflict in East Timor.” Following the 1999 referendum on independence and the withdrawal of Indonesian troops, Ramos-Horta was named to the cabinet of the United Nations Transition Administration for East Timor. He served as the new country’s first foreign minister from 2002-2006 and, following the resignation of Prime Minister Mari Alkatiri, served as prime minister until 2007 when he was elected the country’s second president since independence. Since leaving office, he has worked and advocated for human rights around the world, stressing the rights of indigenous peoples, and minorities and for the mutual respect and tolerance among different faiths. Oyun Sanjaasuren Member of Parliament of Mongolia Oyun Sanjaasuren is a member of the Mongolian Parliament where she has served since first being elected in 1998. During her time in Parliament she has served as the minister of foreign affairs (2007-2008) and minister of environment and green development (2012-2014). She has also served as vice-speaker of the Parliament, leader of the Democratic Coalition Parliamentary Caucus and chair of the Sub-Committee on Millennium Development Goals and poverty reduction. A strong proponent of protecting the environment, Sanjaasuren is president of the Environment Assembly of the United Nations Environment Program and is the founder and leader of the Civil Will Green Party of Mongolia. In addition to her duties in Parliament, Sanjaasuren heads the Zorig Foundation, a prominent Mongolian nongovernmental organization that is known for advancing good governance, youth and education, as well as community development projects in the country. She is also the chair of Special Olympics Committee of Mongolia. ###
wrong_mix_range_leader_00122	FactBench	0	42	https://unfccc.int/resource/docs/2009/cop15/eng/inf01p02.pdf	en				[]	[]	[]	[ "" ]	null	[]	null					null
wrong_mix_range_leader_00122	FactBench	0	15	https://www.linkedin.com/posts/iep-berlin_spinelli-forum-2024-alumni-testimonials-activity-7187033615120113664-FA9B	en	Institut für Europäische Politik e.V. on LinkedIn: Spinelli Forum 2024	https://static.licdn.com/aero-v1/sc/h/c45fy346jw096z9pbphyyhdz7	https://static.licdn.com/aero-v1/sc/h/c45fy346jw096z9pbphyyhdz7	[ "https://media.licdn.com/dms/image/C4D1BAQHJVrnD7zKfxg/company-background_10000/0/1638953681848/institut_fr_europische_politik_e_v__cover?e=2147483647&v=beta&t=ugLQh-_2MI60Fplo1STYcxI7t7vPS4cDUx3gd0ir8lI" ]	[]	[]	[ "" ]	null	[ "Institut für Europäische Politik e.V" ]	2024-04-19T10:25:42.454000+00:00	Next on our #SpinelliForum 2024 agenda: Intense discussions in today's virtual workshop. Spinelli alumni redefine their ideas and develop proposals on…	en	https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca		https://www.linkedin.com/posts/iep-berlin_spinelli-forum-2024-alumni-testimonials-activity-7187033615120113664-FA9B	That’s it for our #UATransformationLab Study Trip 2024 to Berlin. Over the course of the past week, together with a group of 12 representatives of Ukrainian #thinktanks and NGOs from #Kyiv and different UA regions, we explored various facets of the #Berlin think tank landscape, visited civil society organisations and the German #Bundestag. The trip focused on German-Ukrainian relations, intercultural communication as well as policy advice and advocacy in an international context. We extend our special thanks to Stephan Bischoff and the office of MP Robin Wagener; Marco Gaj, office of MP Armin Laschet; Dr Susan Stewart, Stiftung Wissenschaft und Politik (SWP); Eva Yakubovska, Kateryna Tarabukina, Vitsche, Krista-Marija L., Ukrainian Embassy; Nadja Sieffert, Mariia Vorotilina, Coopera e.V.; Prof Dr Heiko Pleines, Universität Bremen; Garry Poluschkin, Pavel Bilek, Berlin Economics; Rafael Loss, Gabriele Valodskaite, European Council on Foreign Relations; Teresa Becher, Merritt Fedzin, Polis180 e.V. - Grassroots-Thinktank für Außen- und Europapolitik; Oleksandra Keudel, Ph.D., Freie Universität Berlin (Free University of Berlin). We would also like to thank Yaryna Bushchak, Oleksandra Cholovska, Viktoriia Dovbnia, Anastasiia Hachkevych, Khrystyna Horna, Yuliia Kabanets, Oksana Kozlovska, Polina Saiutina, Bohdana Syniakevych, Valentyna Triukhan, Olga Volkhina, Tetiana Zheriobkina for joining us for the study trip, for their active participation and their important work in Ukraine. Special thanks to Yuliia Kabanets and Cedos for the collaboration. The Study Trip is part of the #UATransformationLab, a joint project by IEP, New Europe Center, Cedos, and Ilko Kucheriv Democratic Initiatives Foundation, kindly supported by Auswärtiges Amt (Federal Foreign Office) Germany. #Ukraine On 11 July, IEP & New Europe Center hosted a German-Ukrainian #BreakfastDebate 🥐☕️ in Berlin on Ukraine's current economic situation, macroeconomically & in the regions, as well as priorities for resilience. The event was held in collaboration with CES Ukraine. After IEP Director Prof Dr Funda Tekin welcomed our guests, speakers Nadiya Bihun, Deputy Minister of Economy of Ukraine & Maria Repko, Deputy Executive Director at CES Ukraine shared their expertise. The debate was moderated by our Research Associate Laura Christoph. Key challenges & developments identified in the debate: 👉Ukraine's GDP is forecast to increase by 3% in 2024 (EBRD) 👉91% of businesses, which had to cease operations in 2022, have resumed their work 👉Ukrainians remain resilient & creative under given circumstances 👉Human capital crisis is the most pressing issue for the economy: Ukraine is facing 30% population loss & massive internal displacement 👉Ukraine's energy sector is severely impacted by the war 👉A free Black Sea corridor & safe energy infrastructure are crucial for economic stability 👉 To make it harder for Russia to attack the energy grid, Ukraine focuses on more small-scale and distributed generation systems 👉#Ukraine aims at more efficient & sustainable energy systems, high demand for relevant components & investors 👉Budget gaps have flattened out Ukrainian defence spending, while #Russia is increasing military budget. International support at this level will not bring success but make the war longer & more expensive 👉Lack of private investments could be addressed with the 50 bn in 🇷🇺 frozen assets 👉Russia must be prevented from obtaining Western cutting-edge military technology 👉Open EU market to export UA goods like metal or agricultural products crucial for Ukraine 👉With a view to EU accession, Ukraine's lithium & rare earth deposits should be emphasised more strongly The present expert guests also raised the questions of electricity imports, the resilience of #Kharkiv's economy despite attacks, and the outcomes of the Ukraine Recovery Conference with regard to the economy. Thank you to everyone who contributed to the discussion, to our speakers for their valuable inputs & our guests for their comments and questions! This was our last #BreakfastDebate for the foreseeable future, but we hope to continue the format in 2025. The German-Ukrainian #BreakfastDebates are part of the #UATransformationLab, a joint project by Institut für Europäische Politik e.V., New Europe Center, Cedos & Ilko Kucheriv Democratic Initiatives Foundation, kindly supported by Auswärtiges Amt (Federal Foreign Office) Germany. #BreakfastDebate #CivilSocietyCooperation #URC2024 Photos by Pavlo Slobodnychenko.
wrong_mix_range_leader_00122	FactBench	2	6	https://armenpress.am/en/article/736999	en	Armenia's President to depart for Brussels	https://armenpress.am/st…13/10/736999.jpg	https://armenpress.am/st…13/10/736999.jpg	[ "https://armenpress.am/assets/icons/listRestartIcon.svg", "https://armenpress.am/assets/weather/10d.svg", "https://armenpress.am/assets/icons/statisticsArrowIcon.svg", "https://armenpress.am/assets/companies/armenpress-indigo.svg", "https://armenpress.am/assets/companies/armenpress-small.svg", "https://armenpress.am/assets/icons/globusIcon.svg", "https://armenpress.am/assets/icons/sunIcon.svg", "https://armenpress.am/assets/icons/userCircleIcon.svg", "https://armenpress.am/assets/icons/newsPaperIcon.svg", "https://armenpress.am/assets/icons/saveIcon.svg", "https://armenpress.am/assets/icons/shareIcon.svg", "https://armenpress.am/assets/icons/player-volume.svg", "https://armenpress.am/resized/480/static/news/b/2013/10/736999.jpg", "https://armenpress.am/resized/480/storage/images/articles/2024/07/18/j3XEnUoASljr1nMOqVRcJ51tFJPhNj4Ib2R3whMj.webp", "https://armenpress.am/resized/480/storage/images/articles/2024/07/18/PAG8wXcenfpapd4oEvCGaBQAxRSqeYVCLE8N397G.webp", "https://armenpress.am/resized/480/storage/images/articles/2024/07/18/yKeJsP6s99JnOX8S8cqeuepCGANlrxG8ND80qOZ6.webp", "https://armenpress.am/resized/480/storage/images/articles/2024/07/18/FgxNXYoGeuVT1t1hHtrVq05Fb2mGJuPPlLsTsp4Z.webp", "https://armenpress.am/resized/480/storage/images/articles/2024/07/15/18Htg7B9JdB2OR9iavREEFwCC7KN2t2JmZQJ8mGV.webp", "https://armenpress.am/resized/480/storage/images/articles/2024/06/26/6O4nxdG7HRBpOTnfdiT0TjzZnrPJuMyOmPbNN5hV.webp", "https://armenpress.am/resized/480/storage/images/articles/2024/06/13/dhihy5JSwd5lM2FpYGZIv2BDiq9CUqQG80MDbMet.webp", "https://armenpress.am/resized/480/storage/images/articles/2024/06/12/qxY69tyzHqGQMyAmjL4bYxeEDCLIjBdosI6jUXff.webp", "https://armenpress.am/resized/480/storage/images/articles/2024/06/12/WHUf4bewusFy7j7pM9IAtmO1Q9hwegJktQ8vT5Ej.webp", "https://armenpress.am/resized/480/static/news/b/2024/06/1139312.jpg", "https://armenpress.am/resized/480/static/news/b/2024/06/1139301.jpg", "https://armenpress.am/assets/companies/armenpress.svg", "https://armenpress.am/assets/icons/qrIcon.svg", "https://armenpress.am/assets/social/fb.svg", "https://armenpress.am/assets/social/telegram.svg", "https://armenpress.am/assets/social/youtube.svg", "https://armenpress.am/assets/social/x.svg", "https://armenpress.am/assets/social/instagram.svg", "https://armenpress.am/assets/social/tiktok.svg", "https://armenpress.am/assets/social/dzen.svg", "https://armenpress.am/assets/social/spotify.svg", "https://armenpress.am/assets/icons/listRestartIcon.svg", "https://armenpress.am/assets/icons/newsPaperIcon.svg" ]	[]	[]	[ "" ]	null	[]	2013-10-18T10:40:38+04:00	YEREVAN, OCTOBER 18, ARMENPRESS. The President of the Republic of Armenia Serzh Sargsyan will depart for Brussels (the Kingdom of Belgium) in the evening o...	en	/assets/fav/web/favicon.ico	ARMENPRESS Armenian News Agency	https://armenpress.am/en/article/736999
wrong_mix_range_leader_00122	FactBench	1	59	https://www.e-ir.info/2020/02/27/the-united-nations-and-self-determination-in-the-case-of-east-timor/	en	The United Nations and Self-Determination in the Case of East Timor	https://www.e-ir.info/wp…by-David-Axe.jpg	https://www.e-ir.info/wp…by-David-Axe.jpg	[ "https://www.e-ir.info/wp-content/uploads/fly-images/81021/Image-by-David-Axe-807x455-c.jpg", "https://www.e-ir.info/wp-content/themes/yamidoo-child/images/logo--symbol-core@2x.png", "https://www.e-ir.info/wp-content/themes/yamidoo-child/images/icon-w315-h398-pdf-file.png" ]	[]	[]	[ "Colonialism", "International Court of Justice", "Self-Determination", "United Nations", "" ]	null	[ "Jakob R. Avgustin" ]	2020-02-27T00:00:00	In the case of East Timor, one can argue that the UN was definitely not a friend to the people of East Timor even without the right to self-determination in the equation.	en	http://www.e-ir.info/wp-content/uploads/2014/01/favicon.png	E-International Relations	https://www.e-ir.info/2020/02/27/the-united-nations-and-self-determination-in-the-case-of-east-timor/	This is an excerpt from The United Nations: Friend or Foe of Self-Determination? Get your free copy here. This chapter will look at a case study of self-determination which became prominent in the UN in the 1970s and was only indirectly linked to the process of decolonisation as such. Portugal as a colonial power either neglected East Timor[1] or ruled with a heavy hand, leaving its people to eventually gain independence from decades of violence under Indonesian occupation. This chapter will not discuss the different definitions of self-determination or the historic development of this legal right. However, it will discuss the story of East Timor, highlighting the practice of the UN, particularly through the resolutions of the Security Council (SC), and assess the role of the UN from that perspective. Self-determination is understood in this chapter purely normatively – as a right of any people to declare and establish a sovereign and independent political entity. The underlying assumption being that given the UN, and the SC especially, is a political organisation, the road to the eventual outcome for East Timor is not expected to even appear straightforward. In fact, as this chapter will show, at times the UN actively obstructed the claim of the East Timorese people for their sovereignty, casting serious doubt on the organisation’s supposedly favourable stance towards self-determination of peoples. Short History The small island of Timor, situated only about 500km north of Australia, has spent most of its history at the crossroads between major powers dominating maritime southeast Asia; it was first used as a trading post for China and India, and then in the seventeenth century the western part became colonised by the Dutch while the Portuguese took over the eastern part of the island. The Portuguese were not very efficient in establishing governance which resulted in two parallel systems of rule – the colonial and the indigenous one (Taylor 1994, 12). Even though the Sentenca Arbitral codified the border between the eastern and the western part of the island in 1915, the Timorese people all over the island fought the occupation by Japan in World War II with guerrilla tactics under the leadership of Australian commandos (Taylor 1994, 12–13). Even though Australia left the island in 1943, the Timorese continued their guerrilla fighting on the side of the Allies until the end of the war and at a high human life cost (Taylor 1994, 13). Despite their efforts and sacrifice, the island remained divided between two foreign masters after the war – the western part was incorporated into Indonesia while the eastern part remained under rather uninterested Portuguese administration which nonetheless used violence to rule. In the 1970s, as a civil war broke out between the pro-Portuguese and pro-independence movements in their Timorese colony, the Portuguese simply left, burdened by the coup d’état in their homeland (Calvocoressi 2001, 561). Despite official assurances in April 1974 that they would not interfere with the Portuguese Timor (Taylor 1994, 25), Indonesia took advantage of the opportunity and annexed the eastern part of the island, although neither the UN nor Portugal ever recognised this annexation. It is at that point that the situation of East Timor appears in the UN SC documents for the first time. In fact, in its very first resolution on East Timor S/RES/384 (1975) the UN SC recognises ‘the inalienable right of the people of East Timor to self-determination and independence in accordance with the principles of the Charter of the United Nations and the Declaration on the Granting of Independence to Colonial Countries and Peoples, contained in the General Assembly (GA) Resolution 1514 (XV) of 14 December 1960’. The UN SC was also ‘gravely concerned about the deterioration of the situation’ and the loss of life in East Timor, and deplored the ‘intervention of the armed forces of Indonesia in East Timor’. It even regretted that ‘the government of Portugal did not discharge fully its responsibilities as administering Power in the Territory’. The UN SC at that point called ‘all States to respect the territorial integrity of East Timor as well as the inalienable right of its people to self-determination’, and called upon Indonesia to withdraw and upon Portugal to cooperate fully with the UN so as to enable the people of East Timor to exercise freely their right to self-determination’. It also requested the UN Secretary-General to send a to East Timor for on-spot assessment. The UN GA also adopted its first resolution on East Timor in 1975 and then adopted a further resolution each year, all of which basically echoed the UN SC resolutions, but only until 1982. Clear and unequivocal support of the UN SC for recognising the inalienable right of the people of East Timor to self-determination and independence continued in the following year with S/RES/389 (1976) reaffirming the previous resolution. The UN SC again called upon ‘all States to respect the territorial integrity of East Timor as well as the inalienable right of its people to self-determination’ and called upon ‘Indonesia to withdraw without further delay all its forces from the Territory’. It also requested that the Special Representative of the UN Secretary-General continue their assignment. However, it is important to note at this point that S/RES/384 was adopted unanimously while S/RES/389 was adopted with Japan and the US abstaining, signalling their alliance with the strategically positioned Indonesia. The next time the UN SC or the UN GA addressed the issue of East Timor wasn’t until 1999. In the two decades of Indonesian rule, the people of East Timor were subjected to violence and isolation with about 80% of the male population killed in the first months of the occupation (Taylor 1994, 68) and almost a quarter of the population dying of disease or hunger according to the Commission for Reception, Truth and Reconciliation in East Timor (Chega! 2008). It seems as if the international community with all its institutions simply forgot about East Timor, even though in 1979 the president and his deputy were killed (Calvocoressi 2001, 561) and the agriculture economy and infrastructure in East Timor were practically destroyed (Taylor 1994, ix). Even the International Committee of the Red Cross didn’t conduct any operations in East Timor until 2002. Even more, the UN Secretary-General Special Representative was denied access to areas in question and it seems as if there was an active effort of the West to support Indonesia and Suharto’s regime and keep East Timor off the agenda (Calvocoressi 2001; Wheeler and Dunne 2001) despite incredible human rights violations and violence against the Timorese people. Suharto, President of Indonesia from 1967 to 1998, was determined to quash any resistance in East Timor and was implicitly supported by the West with the US and the UK regularly supplying the Indonesian military (Calvocoressi 2001, 561). The international community definitely played a role in keeping East Timor off the agenda in terms of maintaining international peace and security for more than 20 years. Indonesia was an important strategic ally of the West during the Cold War and half of a small island in Southeast Asia and its people were not. Australia, its closest Western neighbour, was fully aware of Indonesia’s plans to invade (Wheeler and Dunne 2008, 806) and in fact accepted the legitimacy of Indonesia’s rule and even used its influence to smooth out criticism of Indonesia in the UN (Wheeler and Dunne 2001, 810). Even more, it seems Australia actively prevented the UN Secretary-General Special Representative to establish contact with the ‘rebel’ areas by seizing the radio transmitter with the order coming directly from the Australian Prime Minister (Taylor 1994, 72). Nonetheless, many efforts were being undertaken in the background, particularly towards resolving the role of Portugal and its relationship with Indonesia. Even though Indonesia de facto administered the territory, Portugal still felt it had a right in deciding the destiny of East Timor despite the decision of the International Court of Justice in the Case Concerning East Timor (Portugal V. Australia) in 1995 which found that East Timor is a territory without self-government and the East Timorese are a people with a right to self-determination. The Road to the Referendum With Suharto’s resignation in 1998, the ideas of independence gained new ground among the East Timorese and the new Indonesian President Habibie turned out to be a proponent of the idea of more autonomy for East Timor, even if not sovereignty. Further discussions between Indonesia and Portugal resulted in an agreement for an independence referendum to be organised under the auspices of the UN. However, it wasn’t until May 1999 that Indonesia and Portugal signed the so-called General Agreement on the question of East Timor which then led to the report from the UN Secretary-General proposing an independence referendum and a UN observer mission which the UN SC enacted in the S/RES/1246 on 11 June 1999 with the establishment of the UN Assistance Mission in East Timor (UNAMET) which was established to assist with the organisation, implementation and supervision of the referendum on 8 August 1999. After 23 years of not having had the question of East Timor on its agenda, the UN SC suddenly became much more responsive to the developments in East Timor, adopting five further resolutions in that year. Despite threats and intimidation, 98% of registered voters took part and 78.5% voted in favour of independence (Chesterman 2007, 194). What followed immediately however was a repetition of old behaviour from Indonesia – militias wreaked havoc in waves of violence, which might have indeed been coordinated from Indonesian governmental circles (Chesterman 2007, 195). Approximately 30,000 people were killed with thousands fleeing for their lives (Calvocoressi 2001, 562). It must be pointed out that the UN, i.e. the international observers, in fact expected and warned of unrest and conflict following the referendum, yet the UN sent only a small force of 300 military troops and 400 police officers to that end (Paris 2001, 773). With this in mind, one could argue that the UN had indeed not learned much from the tragic experience in Rwanda, nor applied any of these lessons when it came to future cases of self-determination, for example in Sudan/South Sudan. After the Referendum Discussing why such grave failures in organising, observing and safeguarding the independence referendum process have occurred and whose responsibility they were, is beyond the scope of this chapter. However, they must be acknowledged as despite all the paperwork adopted via the UN, i.e. reports by the UN Secretary-General, and UN SC and UN GA resolutions, tens of thousands of East Timorese died as a result of those failures before and shortly after the independence referendum in August 1999. Some claim that this inability or even incapability of UN Secretariat bureaucrats to foresee and prevent such violence constitutes gross neglect (Bolton 2001, 142). With the UN SC permanent members tired of sending their troops all over the world throughout the 1990s, it was almost miraculous and indeed unprecedented that within three weeks of the referendum being held, a peace enforcement mission led by Australia had been established by the UN SC with S/RES/1264 (1999), and had indeed already been marching into the East Timor capital of Dili. What is even more impressive about this case is that the peace enforcement operation was undertaken with agreement of the ‘aggressor’ – even though Indonesia’s agreement would not have been necessary for such action with UN SC authorisation. The International Force for East Timor (INTERFET) was authorised under Chapter VII of the UN Charter and was authorised to use all necessary means to fulfil its mandate ‘to restore peace and security in East Timor, to protect and support UNAMET in carrying out its tasks and, within force capabilities, to facilitate humanitarian assistance operations’. To demonstrate how acute the situation in East Timor was in terms of the UN SC response, it must be explained that the case of East Timor is one in only four instances where the UN SC determined under Chapter VII of the Charter that the situation constituted a threat to international peace and security, established a multinational military peace enforcement operation (not conducted under the UN flag), and authorised the use of all necessary means – all in the first resolution addressing the outburst of violence (R. Avgustin 2016).[2] In six weeks, INTERFET took charge of all critical points with Indonesian military retreating even before INTERFET units reached all parts of the territory. It took, however, two further UN missions – UN Transitional Administration in East Timor (UNTAET) and UN Mission of Support in East Timor (UNMISET) – and almost three more years for East Timor to become an independent and sovereign country on 20 May 2002. In the same month, the UN GA also adopted a resolution with which it removed East Timor from its list of non-self-governing territories (A/RES/56/282). In September 2002, East Timor became a Member State of the UN (A/RES/57/3). UNMISET was replaced by the UN Office in Timor-Leste (UNOTIL) in 2005 which was replaced by the UN Integrated Mission in Timor-Leste (UNMIT) in 2006. Importantly, when new outbursts of violence occurred in 2006, East Timor did not make a plea for help at the UN but went directly to Australia, which again obliged with a new and, again, successful military operation. Operation Astute which completed its mission in 2013 included Portuguese troops which interestingly remained under their own chained command. The operation was not directly authorised by the UN SC, however it was given full support and acknowledgment post festum in 2006 with S/RES/1690. From Independence to Sovereignty In the process of declaring independence from effectively two masters, it would seem that East Timor gained a third one – the UN itself. The UN SC and all the missions it authorised practically took over the country and ran it for another decade after the independence referendum. UNTAET which was authorised to use all necessary means to fulfil its mandate was granted power and authority over the entire legislative and executive branches as well as administration over the judiciary. Since UNTAET completed its mandate in a territory where there was no effective governance, or at least none that could satisfy the UN expectations, there might be room to understand the UNTAET mandate. Yet, UNMISET which took over in 2002 had a similarly broad mandate and was also authorised to use all necessary means. UN bureaucrats even negotiated internationally on behalf of East Timor (Chesterman 2007, 19). However, one should also take into account numerous pleas of East Timor’s representatives for UN missions to be prolonged and/or strengthened; for example the Foreign Minister’s February 2004 request that the UN SC extend the mandate of UNMISET, or the letter from the Prime Minister in January 2005 in which he requested the continued presence of the UN. In fact, UNOTIL was established in 2005 following a proposal from the Prime Minister – it was then that this de facto UN administration softened into a political mission which supports further development of state institutions, democratic values, rule of law, and the promotion of human rights. This mandate continued with UNMIT until 2012 when it completed its mandate. It was in 2012 that the UN SC and the UN GA also adopted the last of their resolutions regarding East Timor. From 1999 to 2012 the UN SC adopted 25 resolutions[3] regarding East Timor, the Secretary-General wrote more than 40 reports for the UN SC, and the UN GA adopted 36 resolutions. Evaluating the Role of the UN Analysis of the UN and its role in the international community can often be reduced to debates on its legitimacy and legality (De Wet 2004; Blokker 2005; Manusama 2006; Thakur 2006; Hurd 2007; Cronin and Hurd 2008; Dedring 2008) which lie at the heart of the debate on whether the UN is indeed merely a sum of its members. The theoretical frameworks underpinning explanations on both sides of that debate nonetheless do not provide any practical guidelines on how to evaluate the role of the UN and its actions. In fact, it would seem that up until the moment an action is discussed, most will argue about positions of certain member states, particularly the permanent members of the UN SC. It is only at the point when an action, i.e. resolution, is adopted that opinions begin referring to the effectiveness, purpose, responsibility, and even cost-efficiency of the UN as such. Reasons for the prevalently unfavourable opinions vary widely; increasing membership (Snow and Brown 1996; Ziring et al. 2005), more complex notions of security (Roper 1993; Rothgeb 1993; Cortright and Lopez 2002; Smillie and Minear 2004; Thakur 2006; Trent 2007; Roberts and Zaum 2008), changed international relations due to new/different actors (Rothgeb 1993; Rupesinghe and Anderlini 1998; Hirst 2001; Malone 2004; Schoenbaum 2006; Trent 2007; Richmond 2008), changes regarding the nature of armed conflict (Snow and Brown 1996; Galtung et al. 2002; Roberts and Zaum 2008), a non-functioning UN SC during the Cold War (Roper 1993; Kegley and Raymond 1994; Snow and Brown 1996; Ryan 2000; Weiss and Collins 2000; Cortright and Lopez 2002; Malone 2004; Roberts and Zaum 2008), and even unclear provisions of the UN Charter (Bailey and Daws 1998). Discussions on cases of self-determination inherently expose the internal clash of the UN Charter between the principles of sovereignty and self-determination. That in itself makes for a troubling starting point in evaluating the role of the UN in such cases as favouring one principle inevitably makes the UN deny the other, almost as if it were a zero-sum game. Evaluating the case of East Timor through the perspective of the UN SC permanent members is interesting as this tiny island really hasn’t been of strategic interest to any of them. However, Indonesia was very much a strategic ally, particularly for the West and Australia. That state of affairs was important enough that the UN as well as the UN SC permanent members turned a blind eye to blatant human rights violations and suffering. Then, in the late 1990s, the balance shifted – first with Suharto’s departure, but more importantly, with a significant change in Australia’s public opinion. Indonesia’s new President Habibie was going to consider increased autonomy for East Timor, but then-Australian Prime Minister Howard suggested postponing a referendum for another decade (McDougall 2007, 872). Australia hadn’t been a big proponent of self-determination as such until that point anyway (Woodard 1999, 9), but the Australian public was appalled and consequently demonstrated enough pressure to have the Australian Government offer to lead INTERFET (McDougall 2007, 873). Due to media exposure even the US ended up contributing some troops and logistical support (Strobel 2001, 684). Notably however, Australian foreign policy shifted from a clear strategic and trade interest with Indonesia to connecting humanitarian and legal norms with concepts of national interest (Woodard 1999, 10). However, one shouldn’t forget that East Timor most likely remains very interesting to Australia also because of its oil reserves. Concluding Remarks The case of East Timor does not provide a clear and definitive answer as to whether the UN has been a friend or foe overall. The UN definitely counts East Timor as one of its most successful cases and East Timor is a peaceful and stable country today, but one should understand that the UN became successful only after the people of East Timor finally voted for their own independence and due to a member state, whose own people demanded a significant change and military action. Now, it is important that the UN SC or any of the permanent members didn’t stand in the way of that action – this is where East Timor could be counted as ‘lucky’ to have been of no strategic interest to any of them. That position was also extremely unfortunate for the people of East Timor in the decades of Portuguese violent neglect and Indonesian brutality. In those years, the UN definitely was not upholding the right to self-determination for East Timorese, nor was it upholding any of the several (universal) declarations, resolutions and practices which were applied in several other situations, more or less successfully. It would seem that from the standpoint of the UN SC permanent members, East Timor just never quite made it to the top of the priorities list, particularly after the end of the Cold War when so many threats to international peace and security were dealt with. For example, the military action in Kosovo was taking place at roughly the same time. The French Ambassador to the UN at the time stated that the conflict over East Timor is an “orphan of the Cold War, where the interests of the major powers are circumstantial at best” (Carey and Walsh 2008, 355). However, even in 1999 with all the lessons of Somalia, Rwanda, former Yugoslavia, and others, the UN went to East Timor practically blind and deaf to all the warning signs. Once again, even though the referendum indeed took place, the UN failed the people of East Timor. Was it because the UN was pre-occupied with more ‘important’ events around the world once again, or was it because the UN SC permanent members were getting tired of policing those events around the world? It would seem that the UN cannot be a friend or a foe to self-determination as such until its members, particularly the UN SC permanent members, or a strong enough ‘outsider’ like Australia in the case of East Timor, make it one or the other. Importantly though in the case of East Timor, it could be argued that the UN was definitely not a friend to the people of East Timor even without the right to self-determination in the equation. It is in this conclusion that the true incapability of the UN lies and continues to be present around the world. Notes [1] Officially the Democratic Republic of Timor-Leste since 2002, however this chapter will use East Timor throughout. [2] The other three in the period till 2012 were Operation Uphold Democracy led by the US in Haiti in 1994, Multi-National Force – Iraq led by the US in Iraq in 2003, and Multinational Interim Force led by the US in Haiti in 2004 (R. Avgustin 2016, 95). [3] For comparison, the UN SC adopted altogether 23 resolutions regarding Rwanda (excluding the ones referring to the International Criminal Tribunal for Rwanda). References Bailey, Sydney D., and Sam Daws. 1998. The Procedure of the UN Security Council. 3rd edition. Oxford: Oxford University Press. Blokker, Niels. 2005. “The Security Council and the use of force: On recent practice.” In The Security Council and the Use of Force. Theory and Reality – A Need for Change?, edited by Niels Blokker and Nico Schrijver, 1–31. Leiden: Martinues Nijhoff Publishers. Bolton, John R. 2001. “United States Policy on United Nations Peacekeeping: Case Studies in the Congo, Sierra Leone, Ethiopia-Eritrea, Kosovo, and East Timor.” World Affairs 163(3): 129–147. Calvocoressi, Peter. 2001. World Politics 1945–2000. 8th edition. Essex: Pearson Education Limited. Carey, Peter, and Pat Walsh. 2008. “The Security Council and East Timor.” In The United Nations Security Council and War: The Evolution of Thought and Practice since 1945, edited by Vaughan Lowe, Adam Roberts, Jennifer Welsh, and Dominik Zaum, 346–368. Oxford: Oxford University Press. Chega!. 2008. “Conflict-related deaths in Timor-Leste 1974–1999.” Last modified April 2008. http://www.cavr-timorleste.org/en/chegaReport.htm. Chesterman, Simon. 2007. “East Timor.” In United Nations Interventionism 1991–2004, edited by Mats Berdal and Sypros Economides, 192–217. Cambridge: Cambridge University Press. Cortright, David, and George A. Lopez. 2002. Sanctions and the Search for Security: Challenges to UN Action. Boulder: Lynne Rienner Publishers. Cronin, Bruce, and Ian Hurd. 2008. The UN Security Council and the Politics of International Authority. Oxon: Routledge. De Wet, Erika. 2004. The Chapter VII Powers of the United Nations Security Council. Portland: Hart Publishing. Dedring, Juergen. 2008. The United Nations Security Council in the 1990s: Resurgence and Renewal. Albany: State University of New York. Galtung, Johan, Carl G. Jacobsen, and Kai Frithjof Brand-Jacobsen. 2002. Searching for Peace: The Road to Transcend. 2nd edition. London: Pluto Press. Hirst, Paul. 2001. War and Power in the 21st Century: The State, Military Conflict and the International System. Cambridge: Polity Press. Hurd, Ian. 2007. After Anarchy: Legitimacy and Power in the United Nations Security Council. Princeton: Princeton University Press. Kegley, Charles W. Jr., and Gregory Raymond. 1994. A Multipolar Peace? Great-Power Politics in the Twenty-first Century. New York: St. Martin’s Press. Malone, David M. 2004. The UN Security Council: From the Cold War to the 21st Century. London: Lynne Rienner Publishers. Manusama, Kenneth. 2006. The United Nations Security Council in the Post-Cold War Era: Applying the Principle of Legality. Leiden: Martinus Nijhoff Publishers. McDougall, Derek. 2007. “‘Intervening’ in the Neighbourhood: Comparing Australia’s Role in East Timor and the Southwest Pacific.” International Journal 62(4): 867–885. Paris, Roland. 2001. “Wilson’s Ghost: The Faulty Assumptions of Postconflict Peacebuilding.” In Turbulent Peace: The Challenges of Managing International Conflict, edited by Chester A. Crocker, Fen Osler Hampson, and Pamela Aall, 765–785. Washington: United States Institute of Peace Press. Avgustin, J. 2016. “Analysis of the UN SC authorization of the use of force: Challenging the realistic approach.” Ph.D. Diss., University of Ljubljana. Richmond, Oliver P. 2008. Peace in International Relations. New York: Routledge, Taylor & Francis Group. Roberts, Adam, and Dominik Zaum. 2008. Selective Security: War and the United Nations Security Council since 1945. London: Routledge za The International Institute for Strategic Studies. Roper, John. 1993. Keeping the Peace in the Post-Cold War Era: Strengthening Multilateral Peacekeeping: a report to the Trilateral Commission. New York: The Trilateral Commission. Rothgeb, John M. Jr. 1993. Defining Power: Influence and Force in the Contemporary International System. New York: St. Martin’s Press. Rupesinghe, Kumar, and Sanam Naraghu Anderlini. 1998. Civil Wars, Civil Peace: An Introduction to Conflict Resolution. London: Pluto Press. Ryan, Stephen. 2000. The United Nations and International Politics. New York: St. Martin’s Press. Schoenbaum, Thomas J. 2006. International Relations – The Path Not Taken: Using International Law to Promote World Peace and Security. Cambridge: Cambridge University Press. Smillie, Ian, and Larry Minear. 2004. The Charity of Nations: Humanitarian Action in a Calculating World. Bloomfield: Kumarian Press. Snow, Donald M., and Eugene Brown. 1996. The Contours of Power: An Introduction to Contemporary International Relations. New York: St. Martin’s Press. Strobel, Warren P. 2001. “Information and Conflict.” In Turbulent Peace: The Challenges of Managing International Conflict, edited by Chester A. Crocker, Fen Osler Hampson, and Pamela Aall, 677–695. Washington: United States Institute of Peace Press. Taylor, John G. 1994. Indonesia’s Forgotten War: The Hidden History of East Timor. London: Zed Books. Thakur, Ramesh. 2006. The United Nations, Peace and Security: From Collective Security to Responsibility to Protect. Cambridge: Cambridge University Press. Trent, John E. 2007. Modernizing the United Nations System: Civil Society’s Role in Moving from International Relations to Global Governance. Leverkusen Opladen: Barbara Budrich Publishers. United Nations General Assembly resolutions. Available at: https://www.un.org/en/sections/documents/general-assembly-resolutions/index.html. United Nations Security Council resolutions. Available at: https://www.un.org/securitycouncil/content/resolutions-0. Weiss, Thomas G., and Cindy Collins. 2000. Humanitarian Challenges and Intervention. 2nd edition. Boulder: Westview Press, Perseus Books Group. Wheeler, Nicholas J., and Tim Dunne. 2001. “East Timor and the New Humanitarian Interventionism.” International Affairs 77(4): 805–827. Woodard, Garry. 1999. “Australia’s foreign policy after Timor.” International Journal 55(1): 1–14. Ziring, Lawrence, Robert E. Riggs, and Jack C. Plano. 2005. The United Nations: International Organization and World Politics. 4th edition. Belmont: Thomson Learning, Wadsworth. Further Reading on E-International Relations
wrong_mix_range_leader_00122	FactBench	3	40	https://www.journalofdemocracy.org/articles/east-timor-elections-in-the-worlds-newest-nation/	en	East Timor: Elections in the World’s Newest Nation	https://www.journalofdem…avicon-32x32.png	https://www.journalofdem…avicon-32x32.png	[ "https://www.journalofdemocracy.org/wp-content/themes/jod/assets/img/logo.png", "https://www.journalofdemocracy.org/wp-content/themes/jod/assets/img/logo-footer.png" ]	[]	[]	[ "" ]	null	[ "elenak" ]	2012-07-24T00:00:00	East Timor, which emerged from a tragic and bloody past to gain full independence in 2002, offers a factinating case of democratization in a small developing…	en	https://www.journalofdem…h-icon-57x57.png	Journal of Democracy	https://www.journalofdemocracy.org/articles/east-timor-elections-in-the-worlds-newest-nation/	East Timor has emerged as the world’s newest nation-state after belatedly achieving its full independence on 20 May 2002. Transition to statehood has also been accompanied by a transition to democracy. Since the 1999 Referendum in East Timor, in which the vast majority of East Timorese opted to leave the Indonesian state, East Timor has experienced elections for a Constituent Assembly and for a President. East Timor has adopted a semi-presidential model of government similar to that of Portugal or Mozambique. A much commented on political rivalry between East Timor’s President, Xanana Gusmão, and the ruling party, Fretilin, need not be threatening to democratic practice within East Timor if it remains in the realm of policy debate—which it has so far. Despite the paucity of free and fair elections in East Timor in the past, the general public, still largely without formal education, appear to have embraced democratic practice. As with any newly democratizing country, especially one that faces the myriad of development obstacles that East Timor does, this fledging democracy will continue to face challenges in its development.
wrong_mix_range_leader_00122	FactBench	1	52	https://www.gov.uk/foreign-travel-advice/timor-leste	en	East Timor (Timor-Leste) travel advice	https://www.gov.uk/asset…4411658c7635.png	https://www.gov.uk/asset…4411658c7635.png	[]	[]	[]	[ "" ]	null	[ "Foreign, Commonwealth & Development Office" ]	2013-01-21T00:00:00+00:00	FCDO travel advice for Timor-Leste. Includes safety and security, insurance, entry requirements and legal differences.	en	/assets/static/favicon-f54816fc15997bd42cd90e4c50b896a1fc098c0c32957d4e5effbfa9f9b35e53.ico	GOV.UK	https://www.gov.uk/foreign-travel-advice/timor-leste	We use some essential cookies to make this website work. We’d like to set additional cookies to understand how you use GOV.UK, remember your settings and improve government services. We also use cookies set by other sites to help us deliver content from their services.
wrong_mix_range_leader_00122	FactBench	1	44	https://freedomhouse.org/country/timor-leste/freedom-world/2023	en	Timor-Leste: Freedom in the World 2023 Country Report	https://freedomhouse.org…d6&itok=9PezKOBX	https://freedomhouse.org…d6&itok=9PezKOBX	[ "https://freedomhouse.org/themes/custom/ts_freedomhouse/logo.svg", "https://freedomhouse.org/sites/default/files/styles/768x400_fp_scale_crop_/public/2020-02/Timor_leste_countryportal_shutterstock_1585821004-12.jpg?h=462ab2d6&itok=lGF8WCO5", "https://freedomhouse.org/themes/custom/ts_freedomhouse/img/share-facebook.svg", "https://freedomhouse.org/themes/custom/ts_freedomhouse/img/share-twitter.svg", "https://freedomhouse.org/themes/custom/ts_freedomhouse/img/share-email.svg", "https://freedomhouse.org/sites/default/files/styles/medium/public/flags/TLS.png?itok=2z9S8Jui", "https://freedomhouse.org/sites/default/files/styles/medium/public/country-outlines/TLS.png?itok=0qOotmkq" ]	[]	[]	[ "" ]	null	[ "Freedom House" ]	2023-03-08T18:17:00	See the Freedom in the World 2023 score and learn about democracy and freedom in Timor-Leste.	en	/sites/default/files/favicon.ico	Freedom House	https://freedomhouse.org/country/timor-leste/freedom-world/2023	The directly elected president is a largely symbolic figure, with formal powers limited to the right to veto legislation and make certain appointments. The president may serve up to two five-year terms. Timorese participated in a two-round presidential election in 2022. Sixteen candidates competed in first round, a record. Former president José Ramos-Horta defeated the incumbent, Lú-Olo of Fretilin, in the April run-off with 62.1 percent of the vote. Turnout stood at 77.3 percent in the first round and 75.2 percent in the second. Ramos-Horta was supported by Xanana Gusmão of the CNRT. The leader of the majority party or coalition in Parliament becomes prime minister and serves as head of government. In June 2018, former independence fighter and former president José Maria Vasconcelos, popularly known as Taur Matan Ruak, was sworn in as prime minister. He remained in that post when Fretilin, the People’s Liberation Party (PLP), and the Party for the Enhancement of Timorese National Unity (KHUNTO) formed a governing coalition in May 2020. Members of the 65-seat, unicameral Parliament are directly elected and serve five-year terms. Following a minority government’s failure to pass a budget, the president dissolved Parliament in January 2018. Polls were held that May. The sitting opposition parties—the CNRT, KHUNTO, and the PLP—formed the Change for Progress Alliance (AMP) coalition and won an outright majority of 34 seats. Fretilin won 23, the Democratic Party won 5, and the Democratic Development Front won 3. European Union (EU) observers called elections “transparent, well-managed and credible.” Polls were generally peaceful and orderly, despite a few violent incidents during the campaign period. A new governing coalition of the PLP, KHUNTO, and Fretilin was formed in May 2020, three months after Parliament failed to approve a budget. The CNRT triggered that failure by abstaining but was ultimately unable to muster a new coalition of its own. EU observers present for the 2022 presidential election noted that the National Election Commission (CNE) benefited from legal changes introduced after the last parliamentary election. The observers also reported that local stakeholders viewed the CNE and the Technical Secretariat for Electoral Administration as professional and independent. Provisions governing elections are found across several pieces of legislation. EU observers reported that some of these laws “are not organised coherently” and that some of the framework is ambiguous in practice. Political parties are generally free to operate. Some campaign-finance regulations favor larger parties. These include a lack of spending caps and a system in which government campaign subsidies are awarded after elections, according to the number of votes a party has won. Two new parties, youth-aligned KHUNTO and the PLP, won 13 parliamentary seats between them in 2017. They joined AMP in the 2018 elections and formed a governing coalition with Fretilin in 2020. Ethnic minorities are generally well represented in politics. While male independence leaders often hold key political roles and dominate elite political circles, 40 percent of parliamentarians are women. Four women ran for president in the 2022 elections. One-third of electoral-list candidates must be female. Women are massively underrepresented at the local level. Observers suggest that few women would seek office except for the existence of gender-parity legislation. Anticorruption bodies lack enough funding to operate effectively. The independent Anti-Corruption Commission (CAC) was established in 2009 with no powers of arrest or prosecution. It relies on the prosecutor general, with input from police and the courts, to prosecute corruption cases. An anticorruption law including protections for whistleblowers and witnesses came into force in 2021. That same year, the UN Office on Drugs and Crime provided manuals for the CAC to help it enforce the new law. While media freedom is constitutionally protected, domestic media outlets are vulnerable to political pressure and self-censorship due to the small media market with limited nongovernmental sources of support. However, journalists still produce articles critical of the government. In May 2022, government minister Francisco Martins da Costa Pereira Jerónimo filed a defamation claim against Francisco Belo Simões da Costa, editor in chief of the Hatutan news outlet. Hatutan had published an article alleging that a government project was affected by corruption. In October, the national police summoned the editor in chief and another journalist at the Jornal Independente after it published articles discussing misconduct allegations against National Intelligence Service official Gastão Pereira. Journalists reporting on allegations of abuse within the Roman Catholic Church have faced official scrutiny. In January 2022, the Tempo Timor outlet said it was subpoenaed over its coverage of a Roman Catholic priest’s report on abuse which openly identified victims. In June, journalist Raimundos Oki was placed under investigation for violating judicial secrecy after he interviewed girls who said they were abused by defrocked priest Richard Daschbach; Daschbach was convicted of child sexual abuse in 2021. While freedom of assembly is constitutionally guaranteed and generally respected in practice, some laws can be invoked to restrict peaceful gatherings. Demonstrations must be authorized in advance, and those deemed to be “questioning constitutional order” or disparaging the reputations of the head of state and other government officials are prohibited. In November 2022, the National Maubere Alliance began holding regular protests in front of Parliament, calling for increased spending for public services. Police detained 37 protesters in mid-November; 26 were later charged with a penal-code violation, but they were reportedly acquitted. Workers may form and join labor unions and bargain collectively, though a 2011 law requires written notification of demands and a response from employers in advance of striking. If employers do not respond or if an agreement is not reached within 20 days, then five days’ notice is required for a strike. In practice, few workers are unionized due to high unemployment and informal economic activity. Due process rights are often restricted or denied, owing in part to a dearth of resources and personnel leading to case backlogs. Use of Portuguese for court administration poses an obstacle, and shortages of interpreters have sometimes forced adjournment of trials. Cases involving past human rights abuses require a panel including two international judges. The 2014 dismissals of international judges interrupted these cases and no new cases have been brought since. Alternative methods of dispute resolution and customary law are widely used, though they lack enforcement mechanisms and have other shortcomings, including gender discrimination. Many municipalities have no fixed courts and rely on mobile services established as an interim measure. Plans for a hybrid justice system, with more harmonization between formal and customary dispute resolution mechanisms, have been announced. While hate crimes based on sexual orientation are considered an aggravating circumstance in the penal code, other protections against discrimination for LGBT+ people are lacking. Gay men and transgender women have trouble accessing employment opportunities due to low rates of access to education and discrimination. Lesbian, bisexual, and transgender individuals report cases of extreme physical violence from strangers and relatives, including cases of “corrective” rape and forced marriage. Equal rights for women are constitutionally guaranteed, but discrimination and gender inequality persist in practice and in customary law. Religious minorities have reported difficulties in authorities’ acceptance of marriage and birth certificates issued by religious entities. Muslims have reported discrimination in civil service hiring. Timor-Leste is a signatory to the 1951 Refugee Convention. However, asylum seekers must apply for asylum within 72 hours of arriving under the 2017 Migration and Asylum Law.
wrong_mix_range_leader_00122	FactBench	1	68	https://www.ifc.org/en/where-we-work/country/timor-leste	en	IFC in Timor-Leste	https://www.ifc.org/cont…r-leste-port.jpg	https://www.ifc.org/cont…r-leste-port.jpg	[ "https://www.ifc.org/content/dam/ifc/corporate/logo/IFC-Logo.svg", "https://www.ifc.org/content/dam/ifc/corporate/logo/IFC-Logo.svg", "https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing1:1000x750?qlt=100&resMode=sharp2 1400w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing1:992x744?qlt=100&resMode=sharp2 992w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing1:768x576?qlt=100&resMode=sharp2 768w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing1:576x432?qlt=100&resMode=sharp2 576w", "https://s7d1.scene7.com/is/image/wbcollab/timor-leste-port:750x422?qlt=100&resMode=sharp2 1400w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-port:652x367?qlt=100&resMode=sharp2 992w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-port:768x432?qlt=100&resMode=sharp2 768w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-port:458x258?qlt=100&resMode=sharp2 576w", "https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing2:750x422?qlt=100&resMode=sharp2 1400w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing2:652x367?qlt=100&resMode=sharp2 992w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing2:768x432?qlt=100&resMode=sharp2 768w,https://s7d1.scene7.com/is/image/wbcollab/timor-leste-housing2:458x258?qlt=100&resMode=sharp2 576w", "https://s7d1.scene7.com/is/image/wbcollab/ccs-direct:750x422?qlt=100&resMode=sharp2 1400w,https://s7d1.scene7.com/is/image/wbcollab/ccs-direct:652x367?qlt=100&resMode=sharp2 992w,https://s7d1.scene7.com/is/image/wbcollab/ccs-direct:768x432?qlt=100&resMode=sharp2 768w,https://s7d1.scene7.com/is/image/wbcollab/ccs-direct:458x258?qlt=100&resMode=sharp2 576w", "https://www.ifc.org/content/dam/ifc/corporate/logo/WBG-Horizontal-white-web.png", "https://www.ifc.org/content/dam/ifc/corporate/logo/WBG-Horizontal-white-web.png" ]	[]	[]	[ "Timor-Leste(TL)", "East Asia and Pacific(EAP)" ]	null	[]	null	required	en	/content/dam/ifc/migration/favicon.ico	IFC	https://www.ifc.org/en/where-we-work/country/timor-leste	IFC was the transaction adviser for the Tibar Bay Port, Timor-Leste’s first public-private partnership (PPP). This ambitious project to develop a new deep-water port to the West of Dili opened in 2022. The project will help support economic activity and improve Timor-Leste’s competitiveness by boosting connectivity to international markets. IFC also serves as transaction adviser for several other major PPPs, including expansion of the President Nicolau Lobato International Airport, upgrading of the national medical diagnostics system and an affordable housing project in Dili. IFC has played a key role in the growth and formalization of microfinance in Timor-Leste, investing $4.5 million of its own funds in Kaebauk Investimentu no Financas (KIF), helping KIF become the nation’s first fully licensed micro-lender. IFC’s work with KIF has increased people’s access to credit, including in rural areas, supporting small businesses and helping to drive economic activity. IFC’s advisory services have also helped the government cut red tape and significantly reduce the time it takes to register a business. IFC remains focused on helping Timor-Leste recover from the economic shock and social impacts caused by the COVID-19 pandemic, and build toward a green, resilient and inclusive recovery. We are especially focused on improving overall competitiveness and promoting gender equity. Our current priorities in Timor-Leste are job creation, green growth, and improved access to finance. We help boost sustainable economic growth in the region by supporting infrastructure building and improvements to logistics, expanding the use of renewable energy, promoting cleaner production.
wrong_mix_range_leader_00122	FactBench	3	67	https://www.gov.uk/foreign-travel-advice/timor-leste	en	East Timor (Timor-Leste) travel advice	https://www.gov.uk/asset…4411658c7635.png	https://www.gov.uk/asset…4411658c7635.png	[]	[]	[]	[ "" ]	null	[ "Foreign, Commonwealth & Development Office" ]	2013-01-21T00:00:00+00:00	FCDO travel advice for Timor-Leste. Includes safety and security, insurance, entry requirements and legal differences.	en	/assets/static/favicon-f54816fc15997bd42cd90e4c50b896a1fc098c0c32957d4e5effbfa9f9b35e53.ico	GOV.UK	https://www.gov.uk/foreign-travel-advice/timor-leste	We use some essential cookies to make this website work. We’d like to set additional cookies to understand how you use GOV.UK, remember your settings and improve government services. We also use cookies set by other sites to help us deliver content from their services.
wrong_mix_range_leader_00122	FactBench	1	29	https://www.journalofdemocracy.org/articles/east-timor-elections-in-the-worlds-newest-nation/	en	East Timor: Elections in the World’s Newest Nation	https://www.journalofdem…avicon-32x32.png	https://www.journalofdem…avicon-32x32.png	[ "https://www.journalofdemocracy.org/wp-content/themes/jod/assets/img/logo.png", "https://www.journalofdemocracy.org/wp-content/themes/jod/assets/img/logo-footer.png" ]	[]	[]	[ "" ]	null	[ "elenak" ]	2012-07-24T00:00:00	East Timor, which emerged from a tragic and bloody past to gain full independence in 2002, offers a factinating case of democratization in a small developing…	en	https://www.journalofdem…h-icon-57x57.png	Journal of Democracy	https://www.journalofdemocracy.org/articles/east-timor-elections-in-the-worlds-newest-nation/	East Timor has emerged as the world’s newest nation-state after belatedly achieving its full independence on 20 May 2002. Transition to statehood has also been accompanied by a transition to democracy. Since the 1999 Referendum in East Timor, in which the vast majority of East Timorese opted to leave the Indonesian state, East Timor has experienced elections for a Constituent Assembly and for a President. East Timor has adopted a semi-presidential model of government similar to that of Portugal or Mozambique. A much commented on political rivalry between East Timor’s President, Xanana Gusmão, and the ruling party, Fretilin, need not be threatening to democratic practice within East Timor if it remains in the realm of policy debate—which it has so far. Despite the paucity of free and fair elections in East Timor in the past, the general public, still largely without formal education, appear to have embraced democratic practice. As with any newly democratizing country, especially one that faces the myriad of development obstacles that East Timor does, this fledging democracy will continue to face challenges in its development.
wrong_mix_range_leader_00122	FactBench	2	1	https://multimedia.europarl.europa.eu/en/photo/recently-opened-wim-wilfried-martens-building-located-at-corner-of-rue-belliard-and-rue-de-treves_20180409_EP-069042A_DBA_010	en	Recently opened WIM (Wilfried Martens) Building located at the corner of Rue Belliard and Rue de Trèves	https://api.multimedia.e…A_010_MOBILE.jpg	https://api.multimedia.e…A_010_MOBILE.jpg	[ "https://multimedia.europarl.europa.eu/e881614bb398ced9d93c7127e634876b/pixel.gif", "https://multimedia.europarl.europa.eu/images/content/search.svg", "https://multimedia.europarl.europa.eu/images/content/menu.svg", "https://multimedia.europarl.europa.eu/images/content/search.svg", "https://api.multimedia.europarl.europa.eu/documents/20125/43793222/1655694626115_20180409_EP-069042A_DBA_010_MOBILE.jpg", "https://multimedia.europarl.europa.eu/images/content/arrow-big-right-grey.svg" ]	[]	[]	[ "" ]	null	[]	null	The multimedia platform of the European Parliament is the official public available repository of the media production of the Secretariat of the European Parliament, managed by the Directorate-General for Communication (DG COMM).	en	/favicon.ico?v=1	Multimedia Centre	https://multimedia.europarl.europa.eu/photo/recently-opened-wim-wilfried-martens-building-located-at-corner-of-rue-belliard-and-rue-de-treves_20180409_EP-069042A_DBA_010	Recently opened WIM (Wilfried Martens) Building located at the corner of Rue Belliard and Rue de Trèves
wrong_mix_range_leader_00122	FactBench	0	3	https://www.usip.org/people/philippe-leroux-martin	en	United States Institute of Peace	https://www.usip.org/sit…efault-image.png	https://www.usip.org/sit…efault-image.png	[ "https://www.usip.org/sites/default/files/styles/headshot/public/2016-12/Philippe-Leroux-Martin.png?itok=nb1VJYpH", "https://www.usip.org/sites/default/files/2017-01/JusticeSecurityandRuleofLaw_0.svg", "https://www.usip.org/sites/default/files/styles/summary_image/public/2022-04/42122-nyt-russia-brutality-2-ac.jpg?itok=cTQF3j_e", "https://www.usip.org/sites/default/files/styles/summary_image/public/2019-08/pw_133-systems_thinking_for_peacebuilding_and_rule_of_law-feature.jpg?itok=VXb5aPQh", "https://www.usip.org/sites/default/files/styles/summary_image/public/2018-11/20181126-ny_veterans_parade_3-ac.jpg?itok=SZNAPd5j", "https://www.usip.org/sites/default/files/styles/summary_image/public/2018-02/usip-sirius-on-peace-podcast-logo.jpg?itok=P6tKk4cz", "https://www.usip.org/sites/default/files/styles/summary_image/public/2018-04/20180418-pl-m_on_hill_01614-testimony.jpg?itok=GBimRLtu" ]	[]	[]	[ "" ]	null	[]	2021-06-15T10:15:54-04:00	Philippe Leroux-Martin is the director of governance, justice & security at the U.S. Institute of Peace.	en	/themes/custom/usip/favicon.ico	United States Institute of Peace	https://www.usip.org/people/philippe-leroux-martin	Philippe Leroux-Martin is the director of governance, justice & security at the U.S. Institute of Peace. Before joining USIP, Leroux-Martin was a fellow with the Future of Diplomacy Project at the Belfer Center for Science and International Affairs at the Harvard Kennedy School. Prior to his fellowship, he headed the legal department of the International Civilian Office in Kosovo, the organization responsible to support and supervise Kosovo’s accession to independence. He also headed the public law unit of the Office of the High Representative in Sarajevo and acted as chief legal advisor to former Belgian Prime Minister Wilfried Martens during his tenure as chair of the Police Restructuring Commission of Bosnia and Herzegovina. Leroux-Martin is a member of the Québec Bar. He holds a law degree from the Université de Montréal, a master’s degree in public law from the London School of Economics and Political Science and a master’s degree in public administration from the John F. Kennedy School of Government, Harvard University. He is the author of Diplomatic Counterinsurgency: Lessons from Bosnia and Herzegovina (Cambridge University press, 2014). He has been a contributor on BBC World News, BBC Radio, CBC Radio, Al Jazeera, Radio-Canada and the New York Times.
wrong_mix_range_leader_00122	FactBench	1	72	https://www.imf.org/external/np/et/2000/eng/113000.htm	en	Recent Developments and Macroeconomic Assessment			[ "https://www.imf.org/external/07/images/imf.gif", "https://www.imf.org/external/12/images/header/feedback_x10.png", "https://www.imf.org/external/gifs/space.gif", "https://www.imf.org/external/gifs/space.gif", "https://www.imf.org/external/gifs/space.gif", "https://www.imf.org/external/gifs/space.gif", "https://www.imf.org/external/np/et/2000/eng/figure1.gif", "https://www.imf.org/external/np/et/2000/eng/figure2a.gif", "https://www.imf.org/external/np/et/2000/eng/figure2b.gif" ]	[]	[]	[ "" ]	null	[]	2000-11-30T00:00:00		en			null	Acronyms and Abbreviations AsDBAsian Development Bank BNUBanco Nacional Ultramarino CFA Central Fiscal Authority CFETConsolidated Fund for East Timor CPOCentral Payments Office DCUDonor Coordination Unit EPDAEconomic Planning and Development Agency ETRSEast Timor Revenue Service ETTAEast Timor Transitional Administration FADIMF Fiscal Affairs Department IFIInternational Financial Institutions MAEIMF Monetary and Exchange Affairs Department NCBANational Cooperative Business Association NCCNational Consultative CouncilNGOnongovernmental organization RpIndonesian rupiah TFETTrust Fund for East Timor UNTAET United Nations Transitional Administration in East Timor UNTFUnited Nations Trust Fund for East Timor I. Introduction 1. This paper presents an overview of recent developments and an assessment of macroeconomic conditions in East Timor as of mid November 2000.1 There is little doubt that there have been many positive developments so far, but there also are questions about their sustainability over time. Favorable developments in output growth, consumer prices, trade and bank deposit flows, are in sharp contrast with the prevailing sizable unemployment, emerging wage distortions and a lagging response of private sector longer term investment. Domestic saving is beginning to rise slowly but there will be a need for continued, albeit declining, generous external financial support in the years to come. A basic economic institutional and legal framework has been established, but much remains to be done to create an enabling environment for private sector development. There is an encouraging measure of fiscal control and the foundations for the development of the financial sector have been established. However, there is growing political uncertainty as independence approaches, and there is a need to develop soon a commercial legal framework, land and property laws, a foreign investment law, a labor code, bankruptcy proceedings, and a mechanism for dispute resolution. Building an indigenous capacity in macroeconomic management will also be critical to ensure sustainability. Continued comprehensive technical assistance will be required as well as intensive training and skills development. II. Growth and Inflation 2. There is an ongoing strong revival of economic activity, led by growth in construction, commerce and trade, and basic services.2 Real GDP growth is likely to reach at least 15 percent in 2000 (Table 1). The revival is largely driven by the demand created by the large UN and expatriate presence which has stimulated consumption and some private investment, mostly in the services sector. However, there is little evidence of permanent businesses being established outside the services sector. Private sector representatives have confirmed their preference for engaging in activities in which investments are recovered in the shortest possible period. The main factors underlying this behavior include political uncertainty on the road towards independence and a number of impediments, including the lack of a commercial legal framework, a land and property rights law, a labor code, mechanisms for the resolution and arbitration of disputes, proceedings for the bankruptcy of businesses, and a legal framework for foreign investment.3 The creation of an enabling environment for private sector activity is an essential complement to the effort being made at setting up an efficient public administration. The income effect of a favorable supply response of non-services sectors will also make it easier to absorb the decline in demand that will emerge as the large expatriate presence starts winding down after independence. 3. Consumer price inflation appears to have slowed down and regional price differences for key staples have narrowed. Following an 8 percent increase in May, rupiah denominated consumer prices in Dili increased at a very low average monthly rate between June and October (an annualized rate of about 2 percent) (Figure 1). Over the same six month period, the rupiah depreciated by 13 percent in relation to the U.S. dollar. There is evidence that rice prices have converged across and within East Timor regions and rice is now being sold at levels close to or below those prevailing in mid 1999 throughout the territory.4 The favorable price performance reflects the increased availability of goods in domestic markets, despite the persistence of supply shortages for certain products. III. Employment and Wages 4. In the absence of comprehensive estimates of employment, the consensus view is that the agricultural sector continues to provide most of the employment in East Timor. In addition, about 6,000 full time jobs are currently provided by East Timor Transitional Administration (ETTA) and there are several programs providing temporary employment, including those financed through the Trust Fund for East Timor (TFET). Finally, although there is no information on employment provided by the emerging private sector, indications are that a large number of temporary positions have been created by construction and transport companies, as well as by restaurants and hotels. There is no information available on unemployment. There are also renewed doubts about the estimated size of the total population, following the completion of the recent registration of 240,000 students for the 2000/01 school year, compared to an estimate of 175,000 used for preparing the budgetary estimates for the education sector.5 Deficiencies in the information about population and employment need to be addressed; to this end, efforts are being made to ensure that the household survey to be jointly conducted by the World Bank and AsDB and ETTA's Economic Planning and Development Agency (EPDA) will be completed before the end of the current fiscal year.6 5. Wages paid to the locally hired employees of the UN, the International Financial Institutions (IFIs), and to those working in the provision of services to the large group of expatriates and foreign representations have been putting upward pressure on wages in the rest of the economy. The pressure to raise wages seems to be more acute in urban areas, but there are also indications that wages in the coffee sector for the 2000 harvest trebled in U.S. dollars compared to the minimum daily wage of about $1 paid under the Indonesian administration. As envisaged in the June IMF report,7 the emerging labor market distortions are making it difficult to recruit civil servants not only because of sizable average wage differentials compared to UN and IFIs wages, but also due to the lack of flexibility in ETTA's current wage scale which does not permit extending differential wages to workers with various levels of experience within each skill category. This issue requires urgent attention, and a comprehensive review is planned for early next year.8 IV. Public Finance 6. The execution of the ETTA budget (CFET) for FY00/01 has proceeded at a slower pace than anticipated. During the first quarter of FY 2000/01, the deficit amounted to $1 million, compared with a pro-rata estimate of about $11 million (Table 2). Over the same period, the collection of tax revenues and user fees has been weaker than anticipated but has since started to pick up rapidly. Collections on custom duties, excise taxes, and the sales tax on imported goods were robust, despite a larger than anticipated level of exemptions from taxes on imported goods. Collection from the newly-introduced service tax on restaurants, hotels, and car rentals was initially low, but rose faster in September and October. User fees for power and water have not been collected at all, mostly due to long delays in the installation of power meters (see box 1). Port and airport fee collections commenced in September. Expenditure has also fallen short of the pro-rata target. In terms of commitments, around 60 percent of the target has been reached. However, in cash terms, outlays were only 20 percent of the target. Underspending reflects delays in making the spending agencies operational as well as management problems (many agencies have not yet produced detailed work plans for FY00/01). Only few agencies have overspent, the largest being the power sector. 7. The ETTA budget for FY00/01 was revised in November to introduce new revenue measures to strengthen revenue performance. The National Council has recently endorsed the Cabinet's proposal to introduce a wage withholding tax and an income tax, to reduce exemptions from customs duty, excise, and sales tax, and to increase the number of goods subject to excise taxes. Pending final approval by the legal department of the UN, the corresponding regulations will be issued shortly.9 The main revenue measures include: The wage income tax, which would become effective January 1, 2001 and would be withheld by the employer. Monthly wage income below $100 would be tax exempt; between $100 to $650 would be subject to a 10 percent tax rate; and above $650 would be subject to a 30 percent tax rate. The projected annual yield, assuming that UN locally hired employees will be exempt from paying this tax, would range between $0.5 and 0.7 million. The income tax, which adapts the Indonesian income tax law to the limited administrative capacities in East Timor, would apply to all other taxable income. The income tax rates will vary according to the source of income, and range from 20 percent on the income earned by non-residents, and 15 percent for dividends, interest, and royalties, to 2 percent for income from construction and building activities. The revenue generating capacity of the income tax is difficult to project as a business register is only expected to be compiled at the end of 2000. The income tax does not apply to income associated with Timor Gap activities, which remain subject to production sharing agreements and the Indonesian tax regime as applicable in October 1999. These arrangements affecting Timor Gap activities should be seen as transitory and are part of the ongoing discussions with Australia (See section VIII below). The reduction in exemptions from customs duties, excises, and the sales tax would be implemented through a more limited list of exempt persons and organizations. Charitable organizations will be asked to register in order to be eligible for an exemption. This measure may yield as much as $2 million for every 5 percentage points reduction in the level of exempted imports. No significant additional revenue is expected from the increase in the number of goods that will be subject to excise taxes. 8. On the expenditure side, the budget revision endorsed by the National Council will increase overall expenditure in FY00/01 by a small amount (Table 3). The proposed revisions change the structure of expenditure in favor of the power sector (higher than anticipated consumption and oil prices), police and security (hiring police trainees at a faster rate and establishing the Timor Lorosa'e Defense Force), and public administration (increases for cabinet of the transitional administration, central administration, and foreign affairs). To offset these increases, the remaining unallocated budgetary funds were appropriated, and expenditure for roads, agriculture, health, border service, environment protection and census and research were reduced, among others. The expenditure cuts either reflect expenditure items that should have been carried out in the first four months but were not (e.g. improvement of roads before the rainy season), or tasks being taken over by the UNTAET's (United Nations Transitional Administration in East Timor) assessed contribution budget (e.g., border control). 9. As a result of the revenue and expenditure measures, the cash deficit for FY00/01 is now projected at about $36 million, compared with $42 million in the original budget. Revenue is projected at $25 million, of which $6 million will come from royalties and taxes associated with the Timor Gap. Expenditures are budgeted at $61 million. The budget deficit is expected to be fully financed by grants and assumes that $14 million in pledges will be disbursed in the remainder of the year. There is, however, a need to clarify further the financing available to the budget, as the UN has not provided yet a full and detailed accounting of the United Nations Trust Fund for East Timor (UNTF). If the projected revenues materialize and the budget is fully executed, which requires speedy resolution of operational and management problems in spending agencies,10 the CFA will close FY00/01 with total assets of $10 million, of which $6 million would be held in the special sub-account for the Timor Gap. A cabinet decision provides that any Timor Gap revenue in excess of the $2 million allocated to the budget be saved until a policy on the utilization of those revenues is defined after independence. 10. For FY01/02 and FY02/03, the overall expenditure targets have so far been revised upwards only marginally. Expenditure is now targeted at $57 million in FY01/02 and $59 million in FY02/03. Consistent with the budget document presented in Lisbon, the CFA still targets revenue collection at $30 million in FY01/02 and $40 million in FY02/03. However, on current policies, domestic tax and non-tax revenues (excluding Timor Gap revenue) are expected to fall short of these targets by $8 million in FY01/02 and $18 million in FY02/03, indicating that additional measures would be needed. If the original revenue targets were not met, the projected financing requirements would reach $31 million in FY01/02 and $34 million in FY02/03. Moreover, if the policy of not using Timor Gap revenue in excess of $2 million to fund budget expenditures is pursued, the budgetary financing requirements would reach $33 million in FY01/02 and $37 million in FY02/03. In view of the above, it will be very important that revenue estimates be updated before the budget discussion for FY01/02 and if needed, steps be taken to raise revenues. In this context, it will be also important to define the medium-term policy on the use of Timor Gap revenues. 11. The expenditure revisions have implications for future fiscal sustainability. While current projections are based on the original appropriations, the introduction of new agencies and spending priorities has led to an increase in public sector employment by more than 2,000 workers this fiscal year.11 Maintaining the new agencies and the higher level of public servants in coming years will require spending cuts, if overall spending is to remain in line with the projected expenditure targets. For FY01/02, the CFA estimates that expenditure on wages and salaries would need to be cut by 6.5 percent for all agencies in existence before the November revisions. Likewise, expenditure on goods and services would need to be cut by 13 percent. Similar expenditure cuts will need to be made for FY02/03. In the budget process for FY01/02, ETTA should introduce a sustainable wage level and structure, consider options for increasing domestic revenue (including to offset the impact that a reduction in the UN led foreign presence may have on the tax base), and assess possible grant flows. V. The Combined Sources Budget 12. The combined sources budget attempts to summarize all fiscal and quasi-fiscal activities carried out in East Timor directly by the ETTA budget, and with the financial support of TFET, UNTAET's assessed contributions budget,12 and bilateral donors whether directly or through implementing agencies, including from the UN(Table 4). The objective is to provide a comprehensive view of the current level of public spending on goods and services. This exercise requires some judgment to determine what is quasi-fiscal expenditure, but serves as a good starting point for a discussion of long-term fiscal sustainability. In particular, it will be important to determine as a matter of some urgency the current level of public goods and services that an independent East Timorese government will be able to afford as the provision of external financial assistance by donors starts declining. The combined sources budget is intended to serve as background information for the FY01/02 budget exercise, allowing the National Council to get a better picture of sectoral expenditure priorities. 13. In the early stages, all entities engaged in East Timor drew up their individual budgets independently. At the Lisbon meeting, a CFET current and capital budget was presented, together with a projection for the Reconstruction and Development Program. The IMF presented a preliminary estimate of a combined sources budget and there was agreement that efforts should be made to move toward a comprehensive budget format, to facilitate internal discussions and decision making, as well as Donors' reviews. More recently, the CFA has started to integrate the CFET and the TFET as well as the assessed contribution budget and individual donor projects.13 Completion of this task requires detailed information from bilateral donors, regarding spending plans and execution. The bulk of non-CFET quasi-fiscal expenditure has been classified as capital expenditure. However, some expenditure items are of a recurrent nature, and future budget exercises should identify their likely impact on the path and composition of expenditures. 14. Based on existing information from various sources of external financial assistance, the capital expenditure that could be supported for FY00/01 would amount to $130 million (or about 45 percent of GDP), of which $15 million would be executed through the ETTA budget and about $70 million under the TFET.14 The expenditure levels are expected to decline gradually in FY01/02 and FY01/02 and FY02/03, reflecting a winding down of UNTAET quasi-fiscal operations and a decline in bilateral support in the form of quasi-fiscal expenditures. For the three fiscal years under review, the deficit is expected to be fully financed by grants. VI. Banking Sector and Foreign Exchange Market 15. Financial intermediation is yet to be restored. Bank current account deposits as of end June 2000 have been estimated at about $14 million (a level similar to that held by Indonesian banks in September 1999), but there has not been any build up of time or savings deposits yet, except for some TFET deposits.15 Despite the favorable evolution of current bank deposits, no commercial bank credit has been extended due to the lack of adequate collateral. The only loans extended so far are those under the Small Enterprise Project funded by the TFET. Loans fully processed as of end September were equivalent to $0.8 million16 and carried an interest rate of 10 percent per year. Most loans have been extended with a maturity of 36 months and a three-month grace period. Loan performance has been good so far, but it is still too early to draw definite conclusions. In addition, three microfinance institutions have started operating, one of which has already made 350 small loans-ranging between US$50 and US$100-70 percent of which have been repaid. 16. There is growing interest among foreign banks to start operating in East Timor. Banco Nacional Ultramarino (BNU) is the only bank offering payment services and a wide range of banking facilities. Westpac Bank, which until recently had been engaged in foreign exchange operations only, is now in the process of formalizing a broadening of its operations to include banking activities. The licensing procedures for another Australian bank (ANZ) are in the final stages and there have been recent inquiries by an Indonesian bank to reestablish operations in Dili. In addition, a foreign exchange dealer license has been recently granted to an Australian firm. 17. The Dili foreign exchange market is growing rapidly and the exchange rate of the U.S. dollar vis-à-vis the Indonesian Rupiah has continued to track developments in the Jakarta market closely, albeit with a lag(Figure 2). Between September 15 and October 30, the foreign exchange market turnover (i.e., the total value of sales and purchases of foreign exchange) was close to $19 million, of which 60 percent was settled in U.S. dollars, 25 percent in Australian dollars and the rest in Indonesian rupiah and Portuguese escudos. In Dili, the buying rate for dollars offered by street vendors tends to be consistently higher than the rate offered by financial institutions. The spread between the buy/sell rate of the rupiah vis-à-vis the U.S. dollar has remained stable (at around 6 percent), whereas the margin between the mid-point exchange rate in Dili and that in Jakarta has continued to display some volatility.17 Figure 2. EAST TIMOR: Indonesian Rupiah/U.S. Dollar exchange Rate Developments in dili 18. The use of the U.S. dollar, although still low, is gradually starting to pick up in line with rising domestic fiscal outlays, continued efforts at educating the population in the use of the legal tender, and improved availability of low denomination notes and coins. Executing agencies of TFET projects are increasingly making payments in U.S. dollars and there is evidence that employees in the private sector (including in agriculture) are requesting their salaries to be set and paid in U.S. dollars. Anecdotal evidence also suggests that the use of the U.S. dollar as a store of value is rapidly becoming important. The Central Payment Office (CPO) needs to continue to encourage NGOs, Diplomatic Missions, UN agencies, and other institutions to make their disbursements/payments in U.S. dollars, without prejudice for the freedom of private parties to settle contracts in the currency of their choice. 19. The Indonesian Rupiah continues to be widely used as a means of payment throughout the territory, while the Australian dollar circulates mainly in Dili. In August, demonetization by Bank Indonesia of certain rupiah notes led some businesses in East Timor to stop accepting the demonetized rupiah notes which were still in circulation in the territory and a secondary market for such notes with a steep discount soon emerged. As a result, the CPO negotiated temporary arrangements with BNU to exchange the demonetized notes and a potential disruption of the payments system was avoided. A permanent arrangement for exchanging old and demonetized rupiah notes between CPO and Bank Indonesia should be sought as soon as possible. VII. External Sector and External Financial Assistance 20. One year into its post-conflict recovery, East Timor's trade flows are dominated by the substantial official aid flows (including UNTAET). These have assisted in the rehabilitation and reconstruction of the economy but, because of the large import component, have also resulted in a substantial deterioration in the trade and current account deficits. The current account deficit, excluding transfers, is expected to deteriorate sharply in 2000 and to peak at around $166 million (55 percent of GDP) in 2001 (Table 5). Merchandise imports are expected to reach about $126 million in 2000, despite an expected cessation of imports related to humanitarian assistance and a moderation of other aid-related flows, including from UNTAET. The surge in imports, however, is not likely to be reflected in border tax revenues since the bulk of them will continue to be aid-related and, as such, are tax-exempt. 21. Private sector imports are beginning to rise steadily. Private sector imports, which had been running at about $2-3 million per month in the second quarter of 2000, rose to about $5-6 million per month thereafter. It is not clear to what extent stronger private imports reflect a strengthening of the local economy rather than the increased activity of temporary businesses, mostly run by expatriates, servicing the large international community. Rice imports have increased rapidly reflecting in part a decline in the cost competitiveness of domestic rice producers following the discontinuation of production subsidies. 22. Exports have weakened further and export earnings in 2000 are likely to be well below the pre-conflict average. Limited data suggests that earnings from coffee, the main export commodity, are likely to reach about $8 million in 2000, significantly lower than the average of about $25 million recorded before the conflict. The weak coffee export values reflects both the 30 percent decline in world coffee prices this year as well as a sharp drop in recorded export volumes to a third (2.5 thousand tons) of the pre-conflict average.18 The recovery of exports will depend critically on the rehabilitation of the transportation and processing infrastructure since damage in these sectors has led to significant crop spoilage, sharply reducing income especially for the high quality segment of the export crop. For a large proportion of the coffee crop, which is of lower quality, exports have remained hampered by the continued disruption of distribution channels, especially to Indonesia, East Timor's traditional market.19 23. At the Lisbon meeting, donor pledges to the UN Trust Fund totaled $43 million. The administration of the UN Trust Fund was transferred to the CFA in October 2000, at which time contributions to the fund totaled $40.6 million. However, a full accounting of the Trust Fund remains to be received from the UN trustees in New York. Donors are currently committed to make further contributions for a cumulative total of $55.4 million by the end of FY00/01. 24. Donors also pledged $166 million to the Trust Fund for East Timor (TFET). The level of project spending commitments for FY00/01 is fully funded. However, commitments by the end of FY02/03 are projected to reach $218 million, which given the expected level of donor contributions of about $172 million, would leave TFET with unmet financing needs of about $46 million. 25. Bilateral donors were expected to pledge $149 million for the three year period ending in FY02/03 to fund capital expenditure needs identified in May 2000 by UNTAET and the NCC in May, 2000 with the cooperation of the World Bank. A recent review of bilateral donors spending commitments has served to confirm bilaterals' commitments for about $173 million through to end-FY02/03 and $191 million through to end-FY03/04. However, the Donor Coordinating Unit of the National Planning and Development Agency (DCU/NPDA) needs to clarify whether these spending commitments match the amounts and types of needs identified by the NCC. As a result, it is not possible yet to determine whether or not the capital expenditure needs identified by the NCC are fully funded. Moreover, many projects to be funded by bilateral sources are of a quasi-fiscal nature and have longer-term fiscal implications which need to be evaluated. This evaluation has not been done in a number of cases and needs to be pursued. In future, it will be important that the signing of bilateral agreements be preceded by a careful evaluation of its medium term fiscal implications. To this end, a clear line of authority for signing bilateral agreements must be established and a formal institutional process developed. VIII. International Negotiations 26. Discussions with Indonesia have continued on a wide range of issues.Discussions have proceeded slowly on the settlement of financial claims and liabilities of the banking sector, on ensuring a transit corridor between Oecussi and the main territory of East Timor, and on maintaining educational opportunities for East Timorese in Indonesia. Negotiations on the delineation of land and maritime borders have been more successful and a Joint Border Committee has been established. In addition, some progress has been made on rebuilding East Timor's archives and records, including restoring information on land and property. Progress also has been made on the regularization of payment of state pensions to retired East Timorese public employees. UNTAET officials expect a lump sum transfer of about $2.5 million in December 2000, covering pensions that should have been paid since August 1999, as well as benefits under the Indonesian housing saving scheme. Payments will be made in U.S. dollars and are expected to continue until independence. The payment of pensions after independence is a matter for future negotiations. Although residual pension obligations owed to former civil servants are likely to be sizeable (at least $20 million), no understanding has been reached on the amount to be paid and on the modalities for the payment of these benefits. 27. Formal negotiations between East Timor, represented by UNTAET, and Australia on the Timor Gap have been initiated. The first round of negotiations took place in early October and focused on the tax regime and product sharing agreements. The calendar for future discussions has not been decided. IX. Economic Institutions and Regulatory Framework 28. Work to establish the institutional and regulatory framework in the financial sector has progressed on schedule. The CFA and the CPO are close to being fully operational. Regulations for a budget and taxation framework were adopted, allowing the budget to be developed and executed in an accountable and transparent manner, and empowering the East Timor Revenue Service (ETRS) to collect taxes and fees. In addition, the treasury has made significant progress in completing the first stage of computerizing budget execution, which should facilitate the monitoring and control of cash and commitment expenditures. With respect to the CPO, a prudential regulatory framework for the banking system is being finalized, based on the Basel Core Principles. Instructions on bank licensing, capital requirements and liquidity have recently been adopted. Additional instructions are expected to be approved before the end of the year, including instructions on qualifications of administrators, large credit exposures, credit to employees of banks, on bank reporting and publication of balance sheets, on audits and publication of auditor's opinion and annual report, and on transactions with related persons, related banks and financial institutions and affiliates. Credit unions and several microfinance institutions that are accepting deposits will be allowed to operate under the current banking regulation. A specific regulation for non-bank financial institutions is under preparation, but is not expected to be ready for approval until early next year. Although there were delays in filling international staff positions for the CFA and the CPO early in the year, key managerial positions are now filled, but the process of building up East Timorese managerial capacity has been slow. Eighty East Timorese staff are being trained to fill positions in the CFA and 14 to fill positions in the CPO (with 23 more to be hired soon). 29. The financial autonomy of the CPO is a matter that needs to be addressed in the near term. The CPO is dependent on budget resources to carry out its operations. While these resources appear to be consistent with the CPO's role of fiscal agent (including carrying out some functions typically done by a Treasury Department), serious thought should be given to making available funds to permit it to develop the payments system, regulate and supervise the financial system, and address unanticipated problems which may put at risk the credibility and stability of the payments and banking system. Because CPO's financial autonomy is a key step towards the development of an independent central bank, options to provide such autonomy should start to be explored as soon as possible, in case the East Timorese government decides to create a central bank after independence. 30. The rationalization of Economic Institutions requires urgent attention. The recent creation of a National Planning and Development Agency has raised concerns of duplication in regard to the economic analysis and policy advice functions of existing agencies such as CFA and CPO, as well as the Department of Economic Affairs. In a severely human-resource-constrained situation such as that of East Timor, it is crucial that each institution's role be clearly defined, so as to avoid costly duplication of services. X. Technical Assistance 31. The requirements for technical assistance and training in the macroeconomic management area are expected to remain high in the foreseeable future.Coordinated assistance between the World Bank and the IMF in the area of statistics is expected to begin shortly. Training in basic macroeconomic policy and analysis will intensify, and the first course especially designed for 12 Timorese civil servants will be delivered by the IMF Institute in January 2001 at the IMF-Singapore Regional Training Institute. IMF technical assistance by FAD and MAE to the CFA and the CPO, respectively, will also continue, including advice on taxation of oil and gas (starting in early December 2000) and further training of CFA and CPO officials. The World Bank's Economic Institutions Capacity Building project will provide training and skills development in economic management and will generate a baseline set of macroeconomic aggregates. This project also will provide assistance in setting up an integrated accounting system which will help with budget management. The needs for technical assistance on macroeconomic management, policy design and analysis, and the creation of economic databases are very large so additional efforts at meeting these needs will be also coordinated with the AsDB and other bilateral providers of technical assistance.
wrong_mix_range_leader_00122	FactBench	1	25	https://guides.library.illinois.edu/timor-leste	en	LibGuides at University of Illinois at Urbana	https://d2jv02qf7xgjwx.c…avicon-32x32.png	https://d2jv02qf7xgjwx.c…avicon-32x32.png	[ "https://libapps.s3.amazonaws.com/accounts/57150/images/LocationEastTimorNamed.svg.png", "https://d2jv02qf7xgjwx.cloudfront.net/accounts/327917/profiles/334195/IMG_0224-294x300.jpg", "https://www.library.illinois.edu/funkaces/wp-content/themes/main-theme/assets/images/fdlp-emblem-logo-text-invert.png" ]	[]	[]	[ "" ]	null	[ "Area Studies Library" ]	null	This guide provides resources on the country's history, languages, and government.	en	//d2jv02qf7xgjwx.cloudfront.net/apps/common/favicon/apple-touch-icon.png		https://guides.library.illinois.edu/timor-leste/overview	This guide was created to highlight resources that could be useful to someone conducting research on Timor-Leste (East Timor); however, it is not a comprehensive review of sources. Instead of being organized by type of resource, this guide is divided into three tabs—history, languages, and government—that feature resources relevant to each topic. The history tab lists several books about the periods of Portuguese colonialism, Indonesian control, and independence. The languages tab showcases six articles about the linguistic makeup of Timor-Leste. In addition, it features links to relevant databases and a 1907 Tetum-Portuguese dictionary. Lastly, the government tab gives a brief description of Timor-Leste's government structure and has links to some of the country's government entities, such as the Ministry of Finance. It also provides information on Timor-Leste's cultural heritage institutions and statistics office. All resources provided in this guide come from or can be accessed through the University Library at the University of Illinois at Urbana-Champaign.
wrong_mix_range_leader_00122	FactBench	0	86	https://oac.cdlib.org/findaid/ark:/13030/c8959k7m/dsc/	en	Collection of the Center for the Study of Political Graphics			[ "https://oac.cdlib.org/images/logos/oac_logo.gif", "https://oac.cdlib.org/images/icons/no-online-available.gif", "https://oac.cdlib.org/images/icons/car_icon.gif", "https://oac.cdlib.org/images/icons/questionmark_purple_bg.gif", "https://oac.cdlib.org/images/icons/web-page-icon.gif", "https://oac.cdlib.org/images/icons/questionmark_blue_bg.gif" ]	[]	[]	[ "" ]	null	[]	null					https://oac.cdlib.org/findaid/ark:/13030/c8959k7m/dsc/	Labor: Unions - The American Federation of Labor and Congress of Industrial Organizations (AFL-CIO) - Events 1981-2009 Physical Description: 22 Scope and Content Note related topics include labor history, anniversaries, centennials, education, prison, demilitarization, labor demands, jobs, employment, leisure, justice, exhibitions, marches and demonstrations, parades, solidarity, unions, advocacy, voting, occupational health and safety, safety hazards, working conditions, child labor, human trafficking, children, girls, photography, arts and culture, solidarity, mobilization, organizing, community, conferemces. conventions, ; makers include The American Federation of Labor and Congress of Industrial Organizations (AFL-CIO), Marilyn Anderson, Rochester Labor Council, Jount Council 11 SEIU, Solidarity Center, public holidays, Chicago Federal of Labor, Jenny W. McDaniel, Midtlantic Arts Foundation, Tony Masso, ; referenced individuals include Samuel Gompers, John J. Sweeney, Gus Bevona, Sandra Feldman, John Lawe, William Bowe, Harry Avrutin, Harry Van Arsdale, Jr., Mike Alewitz, ; references or specifically about Labor's Centennial, Labor Day, Rochester (New York, USA), Worker's Memorial Day, "fight for the living", Service Employees International Union (SEIU), International Workers Memorial Day, "good jobs safe jobs", World Day Against Child Labor, International Migrants Day, International Human Rights Day, United Nations, nurses, construction workers, American flag, National Conference on Workplace Rihgts, Organizing & Coalition Building, ; places made include Rochester (New York, USA), Chicago (Illinois, USA),; languages include English, Spanish, Chinese, Korean, Hmong, Vietnamese Labor: Unions - The American Federation of Labor and Congress of Industrial Organizations (AFL-CIO) - Various Topics [1938][1823] 1970's; 1981-1998; 2000-2009; 2016 Physical Description: 12 Note bracket range represents dates of original items reproduced Scope and Content Note related topics include unfair labor practices, working families, jobs, justtice, social progress, communities, marches and demonstrations, voting, North American Free Trade Agreement (NAFTA), voting, elections, gender equality, living wages, freedom of speech, civil rights, corporate greed, social change, social justice, job safety, occupational safety, immigrants, education, military budget, prisons, solidarity, U.S. flag; makers include Jennie Nemcek, American Federation of Labor and Congress of Industrial Organizations (AFL-CIO) State Federations, Kelly Press, Inc. Laborers' International Union of North America, Federation of Retired Union Members, I Arte, Zach Fine, Jeanne Nemcek, J. McDaniel, Food and Beverage Trades Department AFL-CIO, California Labor COuncil on Political Education, ; referenced individuals include William Green, Marilyn Anderson, Diane Cutrone, Pat Olson, Margaret Lanterman, Delores Huerta, Nancy Plotkin, Robert Gadomski, Carol Luc, Layne Jackson, Ruthanne Godollei, Steven Carrelli, Nancy Parkinson Albrecht, Mariam Romais, James S. Rousonelos, Richard M. Daley, Michael Nevin, Kathleen Scarboro, Charles Maier, Mae Connor, Simone Bouyer, J. Prisoc, Brian Warling, Robert Drea, ; references or specifically about American Federation of Labor Weekly News Service, union retirees, Chicago Federation of Labor, Solidarity Center, Monroe Doctrine, Spain, Portugal, Russian Imperial Government, United States Senate and House of Representatives, Solidarity Day; places made include Rochester (New York, USA), Los Angeles (California, USA), Chicago (Illinois, USA), New York (New York, USA), Washington, D.C. (USA), San Francisco (California, USA) ; languages include English, Spanish, Labor: Unions - The American Federation of State, County and Municipal Employees (AFSCME) 1982-2001 Physical Description: 12 Scope and Content Note related topics include propositions, California state elections, health benefits, work schedules, workload, retirement, occupational safety, occupational hazards, Workers Memorial Day, Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ), pride, children, classism, tax cuts for the rich; makers include Mike Mitchell, Sabina Parks, Local 2620, Union for State Health and Social Services Professionals, Workers Solidarity Legal Defense Fund, American Federation State County Municipal Employees (AFSCME), ; referenced individuals include Arnold Schwarzenegger, Jerry Wurf, Fred Wright, Gerald McEntee, Mark Moretti, Ed Mann, Donald Trump, Leona Helmsle, Stanley Hill, Frank Morelli; references or specifically about April 28 Workers Memorial Day, Rosie the Riveter, Proposition 75 (Union Dues - Political Contributions), Proposition 76 (State Spending Limits), pink triangle, Massachusetts 93, Lesbian and Gay Issues Committee,; places made include Washington, D.C. (USA), California (USA), Ohio (USA), (Massachusets, USA) Race / Racism: Government and Politics / Propositions and Campaigns 1976-2015 Physical Description: 20 Scope and Content Note related topics include Christian fundamentalists, right wing politicians, Middle East wars, dragon, women, people of color, Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ), birth control, U.S. slavery, academia, police brutality, San Francisco police, corporate profits, Constitutional rights, military spending, tax breaks, Socialist Workers Party, diversity, ethnic cleansing, ethnic studies programs, Arizona HB 2281 (Ethnic Studies / Mexican-American Studies ban), Black Lives Matter, racism, imperialism, meltdown, education, intellectualism, socialism, Chicano/Latino, immigration; makers include The National Project to Defend Dissent and Critical Thinking in Academia, Free Mythology, Mere One, Socialist Worker, Hugo Gallert, Communist Party USA, National Black Liberation Commission, Stanley Forman, Socialist Workers 1976 National Campaign Committee, Inkworks Press, Javier Gallegos, Val Cañez, Councilmember Kshama Sawant, Socialist Workers 1976 National Campaign Committee; referenced individuals include Ann Coulter, Michael Ledeen, Rick Santorum, David Horowitz, Ronald Reagan, Newt Gingrich, Peter Camejo, Willie Mae Reid, Fred Halstead, Kshama Sawant, Daniel Patrick Moynihan, Governor Pete WIlson; references or specifically about, California Civil White Initiative, talking heads Islamo-Fascism Awareness Week, Proposition 54 ("Racial Privacy Initiative"), California Proposition 226 (Political Contributions by Employees, Union Members, Foreign Entities Statute), crimes against the people, intellectual thug, punk, United Nations, ambassador, India, Harvard, mouthpiece, "No on Prop 54", No on Prop 209 (California), Affirmative Action, Klu Klux Klan, desegregation, Spacial Proximity Index, segregation, SP-1, SP-2, Black Lives Matter, Socialist Workers Party, 1976 Presidential Election, deportations, "raza si migra no", Libreria Pathfinder Bookstore; places made include New York (New York, USA), Seattle (Washington, USA), Chicago (Illinois, USA); languages include English, Spanish World Health Organization (WHO): 2003 Global Campaign for Violence Prevention - Oversize 2003 Physical Description: 8 Scope and Content Note related topics include youth, children, injuries, alcohol, drugs, weapons, child abuse, violence against women, domestic violence, sexual violence, prostitution, human trafficking, elder abuse, elderly people, seniors, health, anti-war, collective violence, self-directed violence, attempted suicide, self-inflicted injuries; makers include Fabrica; places made include Venice (Italy); languages include English, French World Health Organization (WHO): 2003 Global Campaign for Violence Prevention - Red Paint Campaign - Oversize 2003 Physical Description: 8 Scope and Content Note related topics include violence against women, domestic violence, elderly people, seniors, suicide, children, child abuse, youth; makers include Fabrica; places made include Venice (Italy); languages include English, French World Health Organization (WHO): 2004 Global Campaign for Violence Prevention - Oversize 2004 Physical Description: 10 Scope and Content Note related topics include people with disabilities, automobile injuries, road crashes, road safety, domestic violence, violence against women, elderly people, seniors, abuse, child abuse, children, suicide, anti-war; makers include Fabrica, World Health Organization; references or specifically about developing countries, pedestrian, bicyclists, disabled for life; places made include Venice (Italy); languages include English, French Prisons: Center for the Study of Political Graphics (CSPG) Poster - Making Workshops 2013 Physical Description: 12 Note includes cardstock Scope and Content Note related topics include divestment, environmentalism, anarchism, feminism, consumerism, youth; makers include Anarcho, Mauro Carrera, Abigail Janzan; places made include Los Angeles (California, USA) Police Brutality: Night Out for Safety and Liberation (NOSL) 2000-2019 Physical Description: 15 Scope and Content Note related topics include self-determination, safety, racism, immigration, migrants, empowerment, community, independence, disabilities, liberation, profiling, identity, education, funding, policing, caring, housing, fear, liberation, ; makers include Center for Human Rights, Oree Originol, Community Partners, Ella Baker, Micah Bazant, Irene Juarez O'Connell, Matice Moore, Inkworks, Amaryllis DeJesus Moleski,; referenced individuals include Donald Trump,; references or specifically about Caravana Viracruzis Migrante 2018, restorative justice, mass incarceration, hijab, islamophobia, marginalized people,; places made include Oakland (California, USA), Berkeley (California, USA); languages include Spanish, English Police Brutality: Black Lives Matter / Police Reform and Alternatives 2014-2022 Physical Description: 17 Scope and Content Note related topics include community safety, justice, assault, violence, fist, climate justice, housing, education, police divestment, prison divestment, workers' rights, urban, city, racial solidarity, slavery, segregation, strike, lynching, rule of law, prosecution, vigilantes, systemic racism, Ferguson (Missouri, USA), police brutality, black lives matter, street art, graffiti style, organizers, protestors, Black Lives Matter (BLM) hate, ; makers include Doug Woodhouse, Adam Abada, Danica Novgorodoff, Black Lives Matter, Alicia Nauta, Eric Junker, Salsedo Press, Black Youth Project 100; referenced individuals include Barack Obama, Eric Junker, Michael Brown, Jasmine Richards, David Mcatee, Amaddov Diallo, Trayvon Martin, Ahmaud Arbery, Alton Sterling, George Floyd, Eric Garner, Breonna Taylor, Tammie Vinson, Tamir Rice, Freddie Gray, Eric Garner, Sandra Bland, Tyre King, Daunte Wright, John Crawford III, Amber Monroe, Phillip White, Rumain Brisbon, Tanisha Anderson, ; references or specifically about New York Police Department (NYPD), Los Angeles Polcie Department (LAPD), Communities United for Police Reform, RESIST HATE, changethenypd.org, Community Safety Act, #freedomcities, raised fists, building skyline, strike for black lives matter, freedomcities.org, no justice no peace, black flags, blacklivesmatter.com, Senate Bill 1421 (SB 1421), flashlight, police badge, burning police cars, George Floyd protests, George Floyd uprising, "no justice no peace", "say her name/say his name", upside down American flag, the White House, community forum on police accountability, ; places made include New York (USA), Los Feliz (California, USA), California (USA), Los Angeles (California, USA), Richmond (Virginia, USA), Chicago (Illinois, USA); languages include Spanish, English Women: Arts and Culture - 10 x 10 Ten Women Ten Prints Series 1995 Physical Description: 11 Scope and Content Note related topics include International Women's Day, women's suffrage, diversity, education, African Americans, Chinese Americans, China; makers include Berkeley Art Center, Jos Sances, Alliance Graphics, Faith Ringgold, Juana Alicia, Hung Liu, Ruth Morgan, Kim Anno, Mildred Howard, Mary Lovelace O'Neal, Claudia Bernardi, Carrie Mae Weems; referenced individuals include Carol Goldman, Robbin Légère Henderson; places made include California (USA); languages include English, Spanish Women: This is an Emergency! A Reproductive Rights and Gender Justice Portfolio 2012 Physical Description: 32; 2 stitched booklets Note Includes 2 portfolios Scope and Content Note related topics include Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ), marriage equality, consensual sex, education, safe sex, violence against abortion providers, pro-choice, equality, contraception, birth control, reproductive rights, self-empowerment, community building, gender oppression, abolitionism, trans & queer movements, oppression, sonogram, privacy, health care access, self-determination; makers include Arley-Rose Torsone, Bec Young, Delia Kovac & Emmy Bright, Erin Rosenthal & Laura Rosenthal, Favianna Rodriguez, Ian G. Cozzens, Katrina Silander Clark, Kristina Brown, Lois Harada, Mary Tremonte, Melanie Cervantes, Meredith Stern, Gina Glantz, Molly Fair, Olivia Horvath, Sam Merritt, Thea Gahr, Ladyfingers Letterpress, Third Termite; referenced individuals include Monique Wittig, Leanne Nichols, John Bayard Britton, Shannon Lowney, David Gunn, James H. Rarrert, George Tiller, Barnett Slepian, Robert Sanderson, Pema Chödrön, Morgan Bassichis, Alexander Lee, Dean Spade, Sylvia Rivera, Marshal P Johnson, Brandy Martell, Paige Clay, Coko Williams, Mark Aguhar, Cherrie Moraga; references or specifically about secret door projects, war on women, statue of liberty; places made include Providence (Rhode Island, USA) Ecology: People's Climate March (2014 & 2017) 2014; 2017 Physical Description: Note includes laminated poster Scope and Content Note related topics include environmentalism, climate change, marches and demonstrations, rally, international solidarity, racism, poverty, economics, public health, statistics, community, change, science, colonialism, activism, class, oppression, immigration, housing, sustainability, innovation, capitalism, corporatism, labor health, biological diversity, climate justice, flags, jobs, justice, diversity, summit, reality, water, the globe, labor, religion, education, occupation, spirituality, harmony, unity, children, ideology, politics, rejection, ; makers include People's Climate March, U prose, Design Action Collective, Climate Justice Alliance, extend climate, Rachel Choragi, Natural Resources Defense Council (NORDIC), Center for Biological Diversity, Center for Inquiry, Nicolas Lampert, Josiah Werning, Josh MacPhee, Favianna Rodriguez, Shepard Fairey, Laurie Dougherty, Indian Country Media Network, Seattle University, People's Climate Movement, Collin Matthes, Crystal Clarity, Chris Stain; references or specifically about Statue of Liberty, children, balloon, New York (New York, USA), fossil fuels, United Nations, rescue, crossroads, social injustice, economic injustice, Bangladesh, carbon dioxide, emissions, oil, hydraulic fracturing (fracking), frontline communities, indigenous peoples, pipelines, coal mining, asthma, cancer, crime, sea level, storm surge zones, Hurricane Sandy, Manhattan (New York City, NY, USA), privatization of resources, labor, Charles Darwin Day, clean water, fossils, bones, skeleton, carbon, coal, farm workers, domestic workers, parents, elders, future, political parties, green business, non-profits, mental health, rising tides, Columbus Circle (Manhattan, New York City, NY, USA), "Defiende Nuestra Madre", healthy communities and justice, Hollywood disaster films, floods, hurricanes, drought, tornados, shrinking ice caps, vanishing glaciers, United Nations 2014 Summit on Climate Change, yoga, meditation, healing, yoginis, Hindi phrase: "Lokah Samastah Sukhino Bhavantu (People: Samasta: Suchino Bhavantu)"; places made include New York City (New York, USA), Seattle (Washington, USA), Los Angeles (California, USA), Berkeley (California, USA); referenced individuals include James Montgomery Flagg, Ban Ki-moon, Charles Darwin, Margaret Mead, Dr. Martin Luther King, Jr., Robert G. Fingerstall, Albert Einstein, Marie Curie, Stephen Hawking, Nicola Tesla, Rosalind Franklin, Dara Herman Zierlein; languages include Spanish, English, Hindi Animal Rights: People for the Ethical Treatment of Animals (PETA) - Research and Fur 2003 Physical Description: 40 Scope and Content Note related topics include animal rights, death, experiments, injustice; makers include PETA; references and specifically about naked bodies, electrocution, drowning, gas, beauty, fur coats, coyotes, traps, skinning, models, raccoons, fashion, cows, leather, beavers, rabbits, medical experiments, cosmetics, vivisection, household products, military training, monkeys, cats, sheet, pigs, animal cruelty, March of Dimes, dogs, horses, premarin, menopause, horse urine, Procter & Gamble, poisons, research laboratories, rodents, primates; referenced individuals include Christy Turlington, Kim Basinger, Oscar de la Renta, Karl Lagerfeld, Anna Wintour; places made include Norfolk (Virginia, U.S.A.); languages include English Animal Rights: People for the Ethical Treatment of Animals (PETA) - Entertainment 2003-2008 Physical Description: 32 Scope and Content Note related topics include animal cruelty, liberation, vegetarianism, boycotts, commerce, death; makers include People for the Ethical Treatment of Animals (P.E.T.A.); references and specifically about elephants, circuses, apes, fences, tigers, ring of fire, dogs, bears, bicycle, entertainment, torture, horses, performing, chains, animal shelters, pet stores, horse racing, traffic accidents, Ringling, training, rodeos, steers, cages; referenced individuals include Dick Gregory, Jane Goodall, Gloria Steinman, Cesar Chavez, Mahatma Gandhi, Martin Luther King, Jr.; places made include Norfolk (VA, USA), Washington, DC (USA); languages include English Animal Rights: People for the Ethical Treatment of Animals (PETA) - Made in Germany 2000s Physical Description: 15 Scope and Content Note related topics include nudity, boycotts, circus industry, fur industry, fashion industry, vegetarianism, veganism, environmentalism, leather, corporatism, animal testing; makers include Carlos Anthony, Mary McCartney Donald, Jim Rakete, Tibor Bogun, Holger Scheibe, Giuseppe Fassino, Sebastian Schmidt; referenced individuals include Amelie Fried, Mola Adebisi, Charlotte Karlinder Kusmagk, Carsten Spengemann; references or specifically about slavery, Procter & Gamble (P&G); places made include Stuttgart (Germany), USA; languages include German, English U.S. Government and Politics: 2000 Shadow Convention 2000 Physical Description: 27 Note includes cardstock and newsprint Scope and Content Note related topics include democracy, capitalism, citizens' intervention, assasination, presidency; references or specifically about U.S. flag, Democratic Party Convention, soft money; referenced individuals include Thomas Jefferson, Andrew Jackson, Alexander Hamilton, John Hinkley Jr, Ronald Reagan, Jodie; places made include San Francisco (California, USA) U.S. Government and Politics: Arts and Culture 1976-1988; 1990-1993; 2006-2007; 2017 Physical Description: 20 Scope and Content Note related topics include progressive presses, political cartoons, dictatorships, dictators, Hollywood films, voting, art exhibitions, anniversaries, marches and demonstrations, maps, racism, religion, heritage, media; makers include Ragged Edge Press, Akashic, Impact Visuals, Michael Marks, Rudi Bass, Pratt Graphics Center, Texas Observer, Tom Ballenge, NOLO Press, Phil Frank, Alejandro De Muns, Musuem of American Politcal Life, University of Hartford, Dr. Gaston Baquero, Carlton Sprague Smith, Luis Lopez Ballesteros, University of Hartford, Museum of American Political Life, ; references or specifically about Playing President, The Third of May 1808, fine arts, Women's March 2017, 2016 USA presidential election, Voices of the Left, "The Influence of the Left on American Politics and Culture", The Making of America, U.S. flag, Dallas (Texas, USA), Houston (Texas, USA), unions, unemployment, lobbyists, blind justice, bankruptcy, divorce, wills, lawyer profiteers, Cronus, Spanish history, missions, explorers,colonists ; referenced individuals include Eric Drooker, Robert Scheer, Gore Vidal, Ronald Reagan, Francisco Goya, Robert Redford, Dustin Hoffman, Bob Woodward, Carl Bernstein, Jon Stewart, Paula Scher, Ben Karlin, Charles Fletcher Lunnis, George Washington, Benjamin Franklin; places made include Brooklyn (New York, USA), San Francisco (California, USA), Austin (Texas, USA), Oakland (California, USA), Berkeley (California, USA), Madrid, SPAIN, ; languages include English, Spanish U.S. Government and Politics: California Politicians - Arnold Schwarzenegger 2003-2006 Physical Description: 16 Note Includes cardstock Scope and Content Note related topics include subvertisements, democracy, fascism, Republican politicians, corporatism, nurses, public interest, comic strip, democrats ; makers include Bill Pierce, California Nurses Association, Lloyd Dangle, California Labor Federation; references or specifically about True Lies (film), Pinocchio, Marilyn Monroe, Limp Wrist, The Terminator, California Governor, Wal-Mart, Workers' Comp, Disability Comp, tax breaks, pensions, 8-hour work day; referenced individuals include Arnold Schwarzenegger, Maria Schriver, Rich Mann, Darryl Issa, Pete Wilson, George W. Bush, Lloyd Dangle, California Labor Federation; places made include Long Beach (California, USA), Berkeley (California, USA); languages include U.S. Government and Politics: California Politicians - National Elections 1976-1980; 1992; 2004; 2008-2016 Physical Description: 25 Note includes cardstock Scope and Content Note related topics include U.S. Congress, U.S. Senate, voting, Democratic Party politicians, nuclear power plants, military budget, solar energy, Green Party, U.S. military spending, presidential election, debate, healthcare, the environnment, policy, corporatism, nuclear war, civil liberties, labor budgets; makers include Kamala for U.S. Senate Committee, Harris Colby Poster Printing, Co., Barbara Boxer for U.S. Senate Committee, Tom Hayden for U.S. Senate, Diane Feinstein for United States Senate Committee, Brothers Printing Co., Omega Press, Barbara Lee for Congress, Brown for U.S. Senate Committee, Brown for President, COGS, Peace and Freedom party; referenced individuals include John George, Barbara Boxer, Diane Feinstein, Tom Hayden, Jane Fonda, Barbara Lee, Henry Gardner, Kamala Harris, Jerry Brown, Jerry Zerg, Alan Cranston, Blase Bonpane, Ralph Nader, John Kerry, George W. Bush, Peter Camejo, Matt Gonzalez; references or specifically about 1979 Sane Peace Award, 2004 Presidential Election, single-payer healthcare, offshore drilling, Middle East politics, corporate crime, no nukes, solar power, living wage, military budget; places made include El Monte (California, USA), Santa Cruz (California USA), California USA U.S. Government and Politics: Democratic Party / Democratic National Convention (DNC) 1980-2000 Physical Description: 31 Scope and Content Note related topics include 1980 Democratic National Convention, 2000 Democratic National Convention, marches and demonstrations, affinity groups, mass actions, Spoke Council, corporatism, direct actions, nonviolence, globalization, civil disobedience, U.S. Republican Party (GOP), corporate power over government, environmental pollution, U'wa people, Colombia, Occidental Corporation, false promises, slums, people's demonstration; makers include Tim Timmermans, David G. Bragin, Coalition For a People's Alternative in 1980, Tom Cushwa, Filmadora, Direct Action Network, Inkworks Press, Democratic National Convention, Moscone Center, Vote Peace in '84; referenced individuals include John Kerry, Eleanor Roosevelt, Dr. Martin Luther King, Jr., Franklin D. Roosevelt, Cesar Chavez, Al Gore, Berito Kuwaru'wa, Ronald Reagan; references or specifically about "Scarface" (Mexican Film), 2004 U.S. presidential elections, Apple Co., political buttons, Center for the Study of Political Graphics (CSPG), UNconvention 2000, police brutality, education, public services, World Trade Organization (WTO), International Monetary Fund (IMF), The Day the Earth Stood Still (film), elections, voting, arms race, foreign policy, no intervention, Reagan era, Pershing II, missiles, nuclear war policy, weapons manufacturing, troops, military aid, U.S. intervention in Central America, El Salvador, Guatemala, Honduras, Nicaragua, Middle East, South Africa, apartheid, military budget, equality, rally; places made include Los Angeles (California, USA), New York (New York, USA), San Francisco (California, USA); languages include English, Spanish U.S. Government and Politics: Democratic Presidential/ Vice - Presidential Candidates 1968; 1980-1992; 2000-2008; 2016-2021 Physical Description: 57 Note includes cardstock Scope and Content Note related topics include Equal Rights Amendment (ERA), formally incarcerated individuals, discrimination, police abuse, LGBTQ+, pride, political prisoners, U'wa people, civil rights, labor, housing, the aged, education, socialism, media, elections, poverty, revolt, the future, crusade, power, the good, human rights, coup d'état, foreign policy, women faux candidates, racism; makers include Berkeley Students for Kennedy, Sea Dog Press, Leslie Evans, California Draft Gore Movement, Gore 2000, Michael Bloomberg for President, Jesse Jackson For President '88, New Yorkers for Jesse Jackson for President, Chubasco Press, Jesse Jackson For President Committee, United Food and Commercial Workers International Union, American Federation of Labor and Congress of Industrial Organizations (AFL-CIO), Biden for President, Asian Pacific Islander Americans For Dukakis, Operating Engineers Union, Kid Overton, Montana Citizens for Liberty, MBFALA, Kennedy for President, Cowles Communications, Committee to Elect Arthur S. Jones, William E. Kelly, Mondale for President Committee, Commission to Investigate Human Rights Violations, Democrats for Economic Recovery, LaRouche in 92, Lisa Rowan, Democratic National Committee, Citizens for Humphrey, Benedict Rugar, Jacobin Magazine, Bernie Saunders for President, Mondale-Ferraro Committee, Syndicated Graphics, The COmmittee to Put Russell Hirshon in the Big House, Joyce R. Walker, ; references or specifically about Chilean coup (1973), Uruguay, stop-and-frisk, minority communities, CNN, Selma (Alabama, USA), Feel the Bern, Russell Hirshon for President 1992, disappeared people, political prisoners, Iran hostage crisis, Uncle Sam, Liberty Leading the People, fine arts, U.S. flag, Robert F. Kennedy funeral train, Upton Sinclair's campaign for President of the United States(1930's), Jacob Binman's campaign President of the United States (2019), Paraguay, Alfredo Stroessner Matiauda, Jacobin Magazine, windmills, stop-and-frisk policing, ; referenced individuals include Al Gore, Dennis Kucinich, Tulsi Gabbard, Bernie Saunders, MIchael Bloomberg, Jarrett Wold, Bill Clinton, Hadassah Lieberman, William Jefferson Clinton, Al Gore,Russell Hirshon, Barbara Boxer, Diane Feinstein, Lloyd Bentsen, Frank Church, Jesse Jackson, Geraldine Ferraro, Walter Mondale, Michael Dukakis, Augusto Pinochet, Lloyd Bentsen, Eugene Delacroix, Robert F. Kennedy, Paul Fusco, Norman Rockwell, John Kerry, George W. Bush, Lyndon Larouche, George H. W. Bush, David Rockefeller, Jimmy Carter, Lane Kirkland, Henry Kissinger, Joe Biden, Theodore Roosevelt, John Edwards, Dr. Martin Luther King, Jr., Nelson Rockefeller, Eugene McCarthy, Upton Sinclair, Jacob Binman, Joe Biden, Kamala Harris, George McGovern, Edward Kennedy (Ted Kennedy), Richard Nixon, Michael Bloomberg; places made include Los Angeles (California, USA),Watertown (Massachusetts, USA), Missoula (Montana, USA), Washington, D.C. (USA), New York (New York, USA), Brooklyn (New York, USA), Newark (New Jersey, USA), Leesburg (Virginia, USA), Berkeley (California, USA); languages include Tagalog (Filipino), Korean, Chinese, Japanese, Vietnamese, English, Hmong U.S. Government and Politics: Federal Agencies 1974-1992; 2002-2014 Physical Description: 34 Scope and Content Note related topics include Central Intelligence Agency (CIA), democratization, Pentagon, political cartoons, tax breaks for the rich, renewable energy, war profiteers, global warming, human rights abuses, U.S. Congress, secrecy, Federal Bureau of Investigation (FBI), police, grand jury, FBI Terrorist Task Force, U.S. Imperialism, armed clandestine movements, foreign service, statistics, volunteerism, alumni, Statue of Liberty, U.S. flag, surveillance, truth, spies, intelligence, counter-intelligence, counterspying, police state, workshops, conference, foreign intelligence strategy; makers include Liberty Maniacs, Joan Carl, Duan Kellum, Tom Toles, John D. Olsen, Sandy Moore, Environmental Action, Tom Chalkley, Geri Lucas, Covert Action Information Bulletin, A Coalition Effort to Resist CIA Recruitment, Resistance, Advertising Council, Pirate Printing, KPFA radio ; references or specifically about The Third World, State Capitol, Polyticks, Ronnie the Raygun, rich old men, 1985 The Year of the SPY, The 1974 Dirty Dozen, Community in Action, Earth First!, COINTELPRO (COunter INTELligence PROgram), New Afrikan Freedom Fighter, irrigation, Peace Corps, Nepal, fishing, Jamaica, whistleblowers, Center for National Security Studies, American Civil Liberties Union (ACLU), Black Caucus, Intelligence Committee; referenced individuals Edward Snowden, include Burt Talcott, Earl Landgrebe, Glenn Davis, Dale Milford, William Hudnut, Roger Zion, Sam Streiger, Samuel Devine, Robert Mathias, John Hunt, William Scherle, Frank Stubblefield, Jesse Helms, Ray Roberts, William Armstrong, Strom Thurmond, Garry Brown, Jamie Whitten, George Hansen, Jerry Huckaby, Theodore Risenhoover, Willis Gradison, John Myers, Ronald Reagan, Ann Gorsuch, James Watt, John Crowell, Jeane Kirkpatrick, Caspar Weinberger, William Ruckelahaus, Nunzio Palladino, Ford B. Ford, Joseph Coors, William Coors, Peter Grace, Raymond Donovan, Donald Hodel, Big Brother, Uncle Sam, David Stockman, John Block, Judi Bari, Darryl Cherney, Evan Johnson, Patrick Murphy, Kenneth Walkton, Carlos Valentine, Elmer Toro,, John Finnegan, Robert J. Cordier, Mtayari Shabaka Sundiata, Michael Harrington, John Marks, Philip Agee, Tom Hayden, Ron Dellums, Richard Nixon, Gerald Ford, Rob High, Bob Borasage, David Harris, Lowell Bergman, Tom Hayden, Philip Agee, Ron Dellums, Michael Harrington, John Marks, ; places made include Washington, DC (USA), New York (New York, USA), Los Angeles (California, USA), San Francisco (California, USA) U.S. Government and Politics: Elections (Not Presidential) 1952; 1970; 1982-1996; 2007-2022 Physical Description: 34 Scope and Content Note related topics include U.S. Senate, Governor Arkansas, New York mayors, mayor of Washington DC, Democratic Committeeman; makers include The Committee for David Dinkins, Gore Vidal for U.S. Senate, George P. Mahoney for US Senate, Citizens for Jesus Garcia, Phil Dixon, Davis for Congress ; references or specifically about The People's Campaign, 22nd Ward, bartenders, Alderman, 26th Ward, Congressional 7th District, State Representative 25th District, Independent Progressive Party, 7th Ward, Korea, Progressive Party, ; referenced individuals include Bernie Sanders, David Dinkins, Russell Hirshon, George P. Mahoney, Raphael Warnock, Jon Osoff, Gore Vidal, Marcos Munoz, Jesus Garcia, Luis V. Gutierrez, Alice Palmer, Vincent Hallinan, Rahm Emanuel ; places made include New York (New York, USA), Chicago (Illinois, USA), Washington DC, Baltimore (Maryland, USA) Texarcana (Arkansas, USA), Watertown (Massachusetts, USA); languages include Spanish, English U.S. Government and Politics: Political Organizations 1982-1992; 2009-2011; 2016-2019 Physical Description: 26 Scope and Content Note related topics include grassroots organizing, Americans for Democratic Action (ADA), anniversaries, conferences, democracy, voting, Human Rights, family separation, human rights, the environment, socialist feminism, corruption, ; makers include Samuel Martin, democracy is for people, The Fund for Public Interest Research New York Public Interest Group (NYPIRG), Democratic Socialists of America (DSA), Human Rights campaign, Socialist Alternative, rootstrike.org, , references or specifically about The People's Fund, Sierra Club, Citizens United, Greenpeace, Eleanor Roosevelt Award, power of elections, Women's March 2018, Muslim Public Affairs Council (MPAC), The Green New Deal, crook, Citizens United, Dark Money, Lobbying, revolving door, campaign money, iceberg, Federal Election Committee (FEC), ; referenced individuals include Eleanor Roosevelt, Franklin D. Roosevelt, Laurette Spingarn, Donald J. Trump; places made include New York (USA), Washington, D. C. (USA), Los Angeles (California, USA), Seattle (Washington, USA), U.S. Government and Politics: Republican Party / Republican National Convention (RNC) 2003-2008 Physical Description: 8 Scope and Content Note related topics include maps, September 11 (2001), homelessness, marches and demonstrations, activist websites, protests, performance;makers include Counter Convention, Will Etundi, United for Peace and Justice, Vincent Ramos, Colby Poster Printing Co.; references or specifically about the Bush agenda, the end, 2008 Republican Convention, Minneapolis (Minnesota, USA), protest sign; referenced individuals include George W. Bush, Abbie Hoffman; places made include New York (New York, USA), Los Angeles (California, USA) U.S. Government and Politics: Republican Presidential / Vice-Presidential Candidates 2008- 2017 Physical Description: 17 Scope and Content Note related topics include female politicians, Tea Party, self-deportation, Bain Capital, union busting, outsourcing, Federal Emergency Management Agency (FEMA), women's right to choose, wealth, oil, obedience, pacification, elections, labor, political parties, environment, racism, socialism, communism, terrorism, fear, hate, labor, healthcare, taxes, economy, funding, corporatism; makers include Kevin Tong, J. Bentley, Most Ofus, MoveOn.org, T.S. Rogers; referenced individuals include Sarah Palin, Mitt Romney, Barack Obama, Hillary Clinton, Donald Trump; references or specifically about Rosie the Riveter, Pitbull With Lipstick, 1% / 99%, Occupy Movement, Guy Fawkes, "drill baby drill", Planned Parenthood, Of Mice and Men, tax cuts, Bush-McCain Challenge, Lennie (character in "Of Mice and Men"), Big Bird, "and I can tend the rabbits", Public Broadcasting System (PBS), China, Silver Fox, Shell Corporation, Exxon, General Electric (GE), Procter & Gamble (P&G); places made include USA African Americans: National Association for the Advancement of Colored People (NAACP) 1988 Physical Description: 7 Note includes one double-sided poster with same graphic Scope and Content Note related topics include racial profiling, stop and frisk practices, racism, police, voting registration, campaigns, Civil Rights Movement, equal opportunity, student votes, college students, youth; makers include Voter Education Department of the NAACP; references or specifically about fair housing, education, labor, healthcare; referenced individuals include Medgar W. Evers; places made include USA African Americans: Individuals - Dr. Martin Luther King Jr. - "I have a dream" 1963;1983-1987; 2003-2012 Physical Description: 25 Note Includes Cardstock, Includes one double-sided poster Scope and Content Note related topics include dreams, character, racism, solidarity, equality, legality, imprisonment, community, love, hate, revenge, aggression, retaliation, morality, segregation, injustice, death, brotherhood, truth, spirituality, religion, anniversary, civil rights, calendar, integration, education, students, portraiture, holidays, equality; makers include Avery Clayton, Creative Concepts International, Community Printers, Bob Fitch, Resource Center for Nonviolence, Flip Schulker, Corbis- Bettman, Moving Parts Press, Dancing Man Imagery, The Redwood Nonviolence Community, Pacific Bell, Pacific Telesis Group, Southern Christian Leadership Conference of Greater Los Angeles, Pyramid Posters, Caitlin Dundon, Sagebrush Fine Arts, Inc., African-America n Art International Publishing Company, Culture Task Force, The School of African-American Arts, Freedom Medium, Blackness Incorporated, Mighty Afrikan Kings and Queens Great Great Grandchildren Publishing Company, Robert Sengstacke, occupy, amscam, Postive Productions,Pigment and Hue, E.F.Swinney & Red Bridge Schools, Bruce McGaw Graphics; referenced individuals include Mahatma Ghandi, Thomas Jefferson; references or specifically about American Flag, American dream, lynching, falsehoods, conscience, adultery, fools, radical actions, conservative, unconditional love, promised land, martyrdom, ignorance, stupidity, Nobel Peace Prize, March on Washington (1963), Martin Luther King Day, National Holiday Martin Luther King Day (MLK), The National Association for the Advancement of Colored People (NAACP), civil rights movement, the Lincoln Memorial, inalienable rights, Declaration of Independence, The Vision (I have a dream), sit down, social equality, economic equality, 2013 anniversary march on Washington, Project H.E.A.R.T.; places made include Santa Cruz (California, USA), California (USA), New York (New York, USA), Los Angeles (California, USA), Leicester (United Kingdom), Fairfield (Iowa, USA), Hong Kong; languages include French, English U.S. Government and Politics: California Elections - Cardstock - Oversize 1976 Physical Description: 4 Scope and Content Note related topics include U.S. Senate, national health insurance, U.S. Congress, U.S. Green Party, Los Angeles School Board, education, healthcare; makers include Blase Bonpane for U.S. Congress Committee, Colby Poster Printing Company; referenced individuals include Tom Hayden, John Tunney, Blase Bonpane, Mark Ridley-Thomas; places made include El Monte (California, USA), Los Angeles (California, USA) U.S. Government and Politics: Politicians and Political Figures - Oversize 1968; 1983-1990; 2009; 2019 Physical Description: 21 Scope and Content Note related topics include religion, Christianity, peace, tolerance, hunger, racism; makers include John Bryson, Kennedy for President, Josh Baran and Associates, Drivers for Free Trade, Laurie Selleck, Joel Pelletier, Nick Valentine, Pomegranate Publications, Jewish Voices for Peace,; references or specifically about American Fundamentalists, child hunger in America, Commando (1985 film); referenced individuals include Robert F. Kennedy, Joseph Gargan, J. Danforth Quayle (Dan Quayle), Jesse Helms, Robert Bork, Nathan Fain, Ilhan Omer, George H. W. Bush, Henry Ford, Joseph McCarthy, Edwin Meese, George Santayana, Dick Cheney, Diego Rivera, James Ensor, Daryl Gates, Richard Nixon, Ronald Ziegler, Marion M. Morrison, John Wayne, Arnold Schwarzenegger; places made include Washington, D.C. (USA), Los Angeles (California, USA), Petaluma (California, USA) U.S. Government and Politics: Propositions and Campaigns Cardstock - Oversize 1980; 2003; 2013-2018 Physical Description: 14 Scope and Content Note related topics include California budgets, tax revenue, California Proposition 54 (2003), Medicare, social security, oil companies, California Proposition 11: Surtax on Oil, Gas, Coal and Uranium (1980), Rent Control, gentrification, Proposition 10, Proposition 6, road safety, bridge safety, equity, equality, community, economics, H.R. 1579; makers include Colby Poster Printing Co., Citizens to Tax Big Oil, California Oil Profits Coalition, California Alliance for Jobs, State Building and Construction Trades Council of California; references or specifically about democracy, majority rule, Neighbor to Neighbor Action Fund, big oil, developers, Robin Hood tax, Wall Street, economic inequality; referenced individuals include Gray Davis, US Representative Keith Ellison, Martin Luther King, Jr; places made include Los Angeles (California, USA), Washington D.C. U.S. Government and Politics: U.S. Census - Oversize 2000 Physical Description: 7 Scope and Content Note related topics include education, African Americans, racial and ethnic diversity, economics, statistics, Native Americans, Asian Americans, Native Hawaiians, Pacific Islanders; makers include U.S. Department of Commerce, U.S. Census Bureau; references or specifically about Alaskan Native Heritage Center, Smithsonian Institution; referenced individuals include Jacob Lawrence, John Hoover, Romare Bearden, Hung Liu, Herb Kawainui Kane, Allan Houser U.S. Government and Politics: Various Topics - Oversize 1975-1985; 1991; 2003 Physical Description: 7 Scope and Content Note related topics include corporatism, public campaign, capitalism, campaign contributions, oil, war, ecology, sustainability; makers include Americans for Democratic Action, G. B. Trudeau, Chris Foss Design, J. Patrick O'Connell, Hawaii Bicentennial Commission, artfux, Robert Peak, Jack O-Grady Galleries, Ragged Edge Press; referenced individuals include General Custer, George Bush, Dick Cheney, George Washington, Benjamin Franklin, Thomas Jefferson, General Cornwallis, John Adams, Meriwether Lewis and William Clark (Lewis & Clark), General Ross, James Monroe, John Quincy Adams, Andrew Jackson, Martin Van Buren, Samuel Morse, John Tyler, William Harrison, George Brown, John Freemont, Zachary Taylor, Abraham Lincoln, General Beauregard, General Lee, General Grant, General Custer, Kamehameha, Captain Cook, Captain George Vancouver, James Montgomery Flagg, Kaumualii, Dr. Georg Scheffer, Don Francisco de Paula Marin, Elisha Loomis, Kamehameha II, Kamehameha III, Alexander Liholiho, David Kalakaua, Dr. Thomas Staley, Kamehameha IV, Emma Rooke, William Lunalilo, Father Damien, Kamehameha V; references or specifically about Wall Street, "Clean Money, Clean Elections", banking insurance industries, resource extracting industries, telecommunications, agribusiness, credit cards, food processing companies, pesticide manufacturers, pharmaceuticals, health products, accounting industry, healthcare, auto manufacturers, donor class, lobbying, Hawaiian Bicentennial 1976, Hawaiian Flag, United States Flag, American Revolution; places made include Washington, D.C. (USA), New York (New York, USA) U.S. Government and Politics: Voting - Oversize 1976; 1999-2004 Physical Description: 14 Scope and Content Note related topics include 2000 U.S. presidential election, Florida election recount, documentary films, youth, 2004 U.S. presidential election, voter registration, US Communist Party, 2 party system, peace, racism; makers include Rock The Vote Education Fund, Byll Williams, Lorin Shields, Roy Guzman, Bobbi Jankovich, Jeff Steelman, Jobs with Justice, Dennis DeToye, Music Television (MTV), James Victore, Bus Project (Oregon), Hall-Tyner-Flory Campaign; references or specifically about complacency; referenced individuals include Richard R. Perez, Gill Hall, Jarvis Tyner, Ishmael Flory, Angela Davis,; places made include Oregon (USA) U.S. Government and Politics: U.S. Census 1990; 2000-2010; 2020 Physical Description: 13 Note includes cardstock Scope and Content Note related topics include privacy, Native Americans, African Americans, completing forms, funding, data collection, racial and ethnic diversity, children, Chicano/Latino, seniors, elderly people, Asian Americans, 1990 Census, 2000 Census, 2010 Census, race, community needs; makers include U.S. Department of Commerce, Economics and Statistics Administration, U.S. Census Bureau, Donnell Lewis, Ethel Kessler, Salvador Bru; referenced individuals include Marian Anderson; places made include Washington, D.C. (USA); languages include English, Spanish U.S. Government and Politics: Various Topics 1969-1979; 1982; 1991, 2006-2012; 2015-2020 Physical Description: 41 Scope and Content Note related topics include constitution, American values, patriotism, nationalism, lobbyists, taxes, cultural critiques, Chicago Seven, bipartisanship, one-party system, bailouts, generation gap, corporatism, sex, fascism, elections, supply-side economics, unemployment, justice, militarization, dignity, border violence, murder, fascism, democracy, healthcare, homelessness, racism, police brutality, capitalism, United States Supreme Court, crime, women, Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ), separation church and state, unions, censorship, humanity, education, health care, Christianity, God, separation of church and state, evangelism, justice; makers include Knights of Columbus, Social and Public Art Resource Center (SPARC) Digital Mural Lab, refuse fascism, First National Let Them Eat Cake Sale, Rebellious Truths, Dave Loewenstein, M'Guiness, Egar Enterprises, revitalize not militarize, Southern Border Communities Coalition (SBCC), Goeffrey D. White, Tracie Ching, September 25 Coalition, Refuse Fascism, Anastasio Hernandez Rojas, Unite For Justice, Berkeley Law,; references or specifically about "Let them eat cake", U.S. flag, American flag, dissent, Reaganomics, refuse fascism, illegitimacy, the moral majority, 3-D, Republicrat, S & L Bailout, "S & L Robbery", United States Senate, Committee on Public Exercises, Stanford University, Statue of Liberty, 2016 presidential election, nightmare, Trump-Pence Regime, Tax Day March 2017, San Diego Border Patrol, congress of whores, democracy for $ale, assault rifles, clowns, Black Lives Matter, pigs, Spanish Oranges, "Kava Nope", "they lie, we die", crimes against humanity, hate crimes, gay bashing, misogeny, pledge of allegiance, under God, symbolism, department of justice,; referenced individuals include Pete Wilson, Adam Schiff, Julius Hoffman, Richard Nixon, Huey P. Newton, Marie Antoinette, Bill Clinton, Hillary Clinton, Ronald Reagan, Senator Mike Gravel, Mickey Mouse, Uncle Sam, Walt Disney, Donald Trump, Mike Pence (Michael Pence), Brett Kavanaugh, Roger Michael, Cardinal Mahony, George H.W. Bush; places made include Washington D.C. (USA), Bethesda (Maryland, USA), Irvine (California, USA), Berkeley (California, USA), Palo Alto (California USA), Los Angeles (California, USA), Pasadena (California, USA),San Diego (California, USA); languages include English, Korean, Spanish U.S. Government and Politics: Various Topics - Newsprint 1987-1990; 2000-2004 Physical Description: 40 Scope and Content Note related topics include direct action, economics, political prisoners, marches and demonstration, The Washington Possible, 2000 Democratic National Convention, 2000 Republican National Convention, fascism, 2000 U.S. Presidential Election, monopolies, capitalism, voting statistics, voting rights history, protest Republican and Democratic Conventions, nonviolent direct action; makers include Direct Action (publication), Enema Productions, Direct Action Network; references or specifically about prison industrial complex (PIC), corporatism, corporate war on the poor, swastikas, white supremacy, Ku Klux Klan (KKK), World War II, Nazi Germany, Vietnam War, Nicaragua, Iran-Contra Affair, My Lai Massacre; referenced individuals include Mumia Abu-Jamal, George W. Bush, Al Gore, Pat Buchanan, Bill Gates, Jesse Helms, Oliver North, Alfred Trzebinski, Abu Nidal, George H.W. Bush, Dan Quayle, Republican and Democratic Parties, Prison Industrial Complex; places made include USA; languages include English, Spanish, French, Portuguese U.S. Government and Politics: Voting 1984-2002; 2018 Physical Description: 54 Scope and Content Note related topics include peace, security, Washington, D.C. (USA), voter registration, Chicano/Latino, polling places, voting qualifications, 1996 U.S. presidential election, provisional ballots, absentee ballots, racism, African Americans, democracy, seniors, elderly people, youth, National Student Voter Education Day, people with disabilities, mayoral elections, race, immigration, women, human rights, the environment, equal rights, healthcare, LGBTQIA rights, solidarity, Strike, diversity, fascism, voter suppression, reproductive rights, budget, nuclear armament, guns, education, funding, abortion rights, felony convictions, probation, parole, qualifications, ; makers include Peace Action West, Salcedo Press, Facebook, V.O.T.E. community, National Student Campaign for Voter Registration, Public Interest Research Groups (PIRGs), Brian Fraley, Riverside Latino Voter Project, Inkworks, Albuquerque Voter Registration and Education Project, Southwest Voter Registration Education Project, Inkworks Press, Make Your Mark, PROCAN-REC Voter Registration Project, American Civil Liberties Union (ACLU), The Poor, the Bad and the Angry, Judith Selby, Trillium Fine Art Press, D Flat, Gwendolyn Wong, Richard Guindon, Frontlash, League of Women Voters Education Fund, Carmichael Lynch Advertising, Honsa Printing Co., National Civic League, Center for Policy Alternatives, Eli Balser, Americans With Disabilities Vote, Kayla Salisbury, CADEM, Syracuse Cultural Workers (SCW), voting rights for all, ; references or specifically about FTW(For The Win) taxation without representation, boycotting, informed choices, vote-smart.org, probation, parole, capitalism, Black Leadership Forum, STEM, Republicans, Medicare, Social Security, Black Lives Matter, single payer, Russia, National Rifle Association (NRA), Working Assets, ; referenced individuals include Jane Auer, Bob Dole, Bill Clinton, Curtis Mayfield, Donald Trump,; places made include Texas (USA), Oakland (California, USA), San Francisco (California, USA), Washington, D.C. (USA), Minnesota (USA), Massachusetts (USA); languages include English, Spanish U.S. Government and Politics: Voting - American Institute of Graphic Arts (AIGA) Campaign 2004 Physical Description: 67 Scope and Content Note related topics include democracy, 2004 U.S. presidential election, peace, participation, voter registration, voting statistics (1924-2000), sex, free speech, voting rights; makers include David Plunkert, Spur Design, Colorcraft of Virginia, Christine Taylor, Aya Akazawa, Tiffany Barber, Rafael Esquer, John Clark, Jim Stringer, Jennifer Morla, Frank Baseman, Antonio Alcala, Rafael Fajardo, Bruce Blackburn, Scott Hull, Terry Howe, Todd St. John, Carin Goldberg, Janelle Cataldo, Chaz Maviyane-Davies, Ken Miracle, Tom Hope, Grant Design Collaborative, Petrick Design, Jack Summer Ford, Sheila Hart, Fred Murrell, Joe Ray, Matt Dimmer, J. Walter Thompson, Larkin Werner; references or specifically about Kansas City Star, racial and ethnic diversity, U.S. Census Bureau, technology, U.S.-Mexican War of 1848, Twenty-sixth Amendment to the U.S. Constitution; referenced individuals include Bill Vaughan; places made include USA; languages include English, Spanish U.S. Government and Politics: Voting - Rock the Vote 1996 Physical Description: 12 Scope and Content Note related topics include 1996 U.S. presidential election, Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ), voter registration, stereotypes, women, youth; makers include National Association for the Advancement of Colored People (NAACP), Derek Shields, Van Evers; references or specifically about Gay & Lesbian Alliance Against Defamation (GLAAD), David Bohnett Foundation, hate crime legislation, same sex marriage, gay/straight alliances, The Murmurs, apathy; referenced individuals include Leisha Hailey, Heather Grody; places made include USA U.S. Government and Politics: Voting - Propositions and Campaigns 1977-1982,; 1990s; 2001-2017 Physical Description: 23 Scope and Content Note related topics include corporatism, Superivisor San Francisco district elections, , elections of supervisors, weapons regulation, civilian review, police, secret pacts, fair taxation, California Proposition 165, nuclear weapons freeze, Propostion 12 (California), drought, Prop 1, Government Accountability and Taxpayer Protection Act (1992), Pacific Gas and Electric Company (PG&E), monopolies,public controlled utilities, corporations, profiling, public health, research, data collection, hate crimes, civil rights, incumbency, corporatism, labor, Prop 32 (California),; makers include Northern California Alliance, John B. Jurnegan, Tax Justice Project, stop 54.org,Municipal Utilities District (MUD), Public Power Charter, University of California Student Association (UCSA). Working Californians to Oppose Prop 32, Prop A & B California, ; referenced individuals Surgeon General C. Everett Koop, Surgeon General, Jocelyn Elders, Surgeon General David Satcher; references or specifically about corporate profits, elected "at large" L.A. City Council 6th District, police accountability,Prop I, Prop F, Proposition H, responsibility, reform, Proposition 54, information ban, smoking, health data, race, ethnicity, national origin, cancer, women, schools, Tax Day March LA 2017, corporate giveaways, teachers, nurses, police, firefighters, ; places made include San Francisco (California, USA), Berkeley (California, USA), Los Angeles (California, USA), Washington, D.C. (USA) U.S. Government and Politics: Propositions and Campaigns 1976-2017 Physical Description: 14 Scope and Content Note related topics include elections, Immigration and Customs Enforcement (ICE), SB 54), human rights, employment, peace, death penalty, life sentences, class, power, immigration, corporatism, unity, profiteering, race, labor, arts and culture, homelessness, taxes, marches and demonstrations, freedom to protest, ; makers include San Franciscans for District Elections, Committee for Jobs with Peace Oakland, Too Much Graphics, Marc Huestis, Northern California Alliance, Yerba Buena, Coalition Against S-1,People for Economic Survival, Veterans Coalition, Commuter Collective, University of Massachussets Student Senate, NAM, Chile Solidarity Committee, American Asian Student Association, National Alliance Against Racism & Repression, The Union for Radical Political Economics (URPE), Coalition against S-1, ; referenced individuals include John Briggs, Angela Davis, Nancy Walker,; references or specifically about at large vs. district boundaries, Philip Morris USA, R.J. Reynolds Tobacco company, No on 29, Senate Bill 1, treason, incarceration, Stop Senate Bill 1 (Massachussetes 1984), Mayor, Treasurer, District Attorney, Sherrif, Proposition A (California 1976), Proposition B (San Francisco 1976,Prop 29 cigarette tax, Briggs Initiative, ICE out of California, Proposition 6, Briggs Initiative Proposition 7, life without parole, "If they come for me in the night, they'll come for you in the morning", board of Supervisors, working class, the poor, political power, at large candidacy, Proposition T, public health, childcare, highrise development; places made include San Francisco (California, USA), Oakland (California, USA) U.S. Government and Politics: Third Party - Party for Socialism and Liberation - Cardboard Early 2000s-2021 Physical Description: 8 Scope and Content Note related topics include anti-war, imperialism, bombing, housing, tenants rights, COVID-19 pandemic, racism, revolt, police brutality, environmentalism, climate change, greed, capitalism, anti-capitalism; makers include Party for Socialism and Liberation (PSL); references or specifically about Iraq, U.S. troops, soldiers, Iraq War, Syria, Afghanistan, War in Afghanistan, Syrian Civil War, ""Cancel the Rents!""; languages include English Freedom of Speech / Censorship: Arts and Culture - Books and Publications 1942; 1980-1990 Physical Description: 11 Scope and Content Note related topics include science and technology, access to information, Banned Books Week, alternative presses, government funding, independent publications, alternative and subterranean news, volunteer printers, writers, artists, publishers, Nazism, anniversaries, freedom to read, democracy, ; makers include Bay Area Alternative Press (BAAP), Public Media Center; Inkworks Press; Christopher Vail, U.S. Government Printing Office, S. Broder, Office of War Information, Glaubitz; referenced individuals include James Baldwin, William Shakespeare, Norma Klein, Joseph Heller, Judy Blume, Maya Angelou, Kurt Vonnegut, Samuel Clemens, Alexander Solzhenitsyn, Franklin Roosevelt, Richard Criley, Henry Steele Commager, Mikhail Gorbachev, Fidel Castro, John Peter Zenger, Inkworks, Public Media Center, ; references or specifically about Access to Scientific Technological Information: National Security versus the Freedom to Read Banned Books Week '86, The FBI v. The First Amendment, First Amendment Foundation, Berlin Wall, 1984 (publication), Mein Kampf (publication), Doctor Zhivago (publication), Gulliver's Travels (publication), The Age of Reason (publication), The Communist Manifesot (publication), The Odyssey (publication), The Grapes of Wrath, Our Bodies Ourselves, 1984, Brave New World, , Little House in the Deep Woods, The Twelve Days of Christmas, the first amendment to the constitution, Shasta County(california), Alameda County(California) ,; places made include Berkeley (California, USA), Washington, D.C. (USA) U.S. Government and Politics: California Politicians - California Elections - Bay Area 1973-1986; 1990-1999; 1994-2008; 2019-2021 Physical Description: 36 Note includes cardstock Scope and Content Note related topics include elections, California city councils, leftist, left-wing, anti-war, Vietnam War, LGBTQ activism, state assembly, businesses, state budget, education, affordable housing, rent stabilization, initiative Fraud, employment, healthcare, diversity, student activism; makers include April 17th Movement, Ammiano for Mayor, Dave Pine for Assembly, Socialist Workers Mayoral Campaign Committee, Avalos '08 Campaign Committee, Progressive Domocrats of the East Bay, Committee for Judicial Responsibility, Berkeley Citizens Action Campaign, Ammiano for Mayor, Gus Newport for Mayor, Committee for Ron Dellums, Inkworks, Berkeley Citizens Action; referenced individuals include WIlson RIles, Tom Bates, Don Jelinek, John George, Tom Ammiano, Barbara Lee, Sue Hone, Wilmont Sweeney, Henry Ramsey, Gus Newport, Joe Garrett, Ron Dellums, Loni Hancock, Peter Birdsall, Margot Dashiell, Lenny Goldberg,Kris Worthington, Ying Lee Kelley, Agar Jaicks, Tom Ammiano, Dave Pine, Sarah Lipson, Whitney Leigh, Wilson Riles, Jr., Warren Widener, Nick Petris, Zakiya Somburu, John Avalos, Bill Durson, Norman Solomon, Steve Perelson, Cassie Lopez, Nancy Skinner, Mary Selkirk; references or specifically about Berkeley city council, write-in campaigns, YES ON I, mayoral campaigns, Silicon Valley (California, USA), City Council District 7 (Berkeley), Yes on D, No on 10, affordable housing, San Francisco Bay Area Rapid Transit District (BART), Caltrain, transportation, infrastructure, San Francisco Board of Education, Socialist Workers Party, El Salvador, anti-imperialism, tax the rich, Atlanta Black community, busing, Supervisor 11, seniors, municipal court judges, Communist Party candidate, South Africa Boycott, criminalization of marijuana, East Bay Municipal Utility District (EBMUD); places made include Berkeley (California, USA), Oakland (California, USA), San Francisco (California, USA); languages include English, Chinese U.S. Government and Politics: California Politicians - California Elections 1967-1969; 1980-1998; 2001-2022 Physical Description: 51 Note includes cardstock Scope and Content Note related topics include California City Councils, voting, recall elections, California legislature, election years, unions, union busting, labor, Los Angeles mayors, Los Angeles Police Department (LAPD), California Lieutenant Governors, California governors, Peace and Freedom Party, Green Party, California school boards, peace, California controller, California State Assembly, jobs, economy, class, housing, health, education, equality, war, draft, Vietnam, El Salvador, campaign, rally, race, taxation, small businesses, retailers, Death Penalty, insurance, abortion rights; makers include Office of Secretary of the Senate, Konoa Packi, Operating Engineers, State Building and Construction Trades Council of California, CF Haines, United Teachers Los Angeles (UTLA), Green Party of Los Angeles County, Elizabeth Nakano for State Assembly, Jackie Goldberg for State Assembly, San Francisco Board of Education, Libertarian Party, Statewide Peace Electoral Action Campaign for McDonald (SPEAC), Inkworks Press, Bug Press, Personality Posters, Communities United for Bass for LA Mayor 2022; references or specifically about bill, law, California Senate, Kimberly Ellis California Democratic party Chair, The Terminator, Proposition 187, Proposition 186, Proposition 184, Workers World Party, fracking, police brutality, for profit prisons, drones, jobs for all, shorter work week, public works programs, taxes, war budget, education funding, unions, labor party, Atlanta (Georgia), Black community, Socialist Workers Party, Young Socialist Alliance, lawsuit, Federal Bureau of Investigation (FBI), U.S.government, public libraries, district attornies, ex-cops, arts and culture, homeless shelters, Prop 29, Philip Morris, R.J. Reynolds Tobacco Company, United Farmworkers, sentencing reform, political contributions, billionaires, anti-choice, Republicans, ; referenced individuals include Batman, Warren Widener, Nick Petris, Jerry Brown, John George, Pat Russell, Paula Kamena, Pete Wilson, Arnold Schwarzenegger, Jackie Goldberg, Cruz Bustamante, Sandi Burgis, Sam Yorty, Tom Ammiano, Norma Jean, Gloria La Riva, Kathleen Brown, Jackie Goldberg, Tom Hayden, Cindy Sheehan, Sarah Lipson, Marvin Braude, Whitney Leigh, Barry Hermanson, Florence McDonald, David Pine, Jerry Brown, Richard Gordon, Zakiyah Somburu, Mel Mason, Clifton DeBerry, Gray Davis, Peter Miguel Camejo, Donna Jo Warren, Daniel Frederick, Elizabeth Nakano, Mike Hannon, Nicholas McKeown, Reed Hastings, Dave Jones, Barbara Boxer, Donald Trump, Rick Caruso; places made include Sacramento (California, USA), San Francisco (California, USA), Oakland (California, USA), Los Angeles (California, USA); languages include Spanish, English U.S. Government and Politics: Third Party - Green Party / Peace and Freedom Party 2000-2016 Physical Description: 15 Scope and Content Note related topics include senate campaigns, senatorial campaigns, senators, Green Party, education, affordable housing, health care, employment, rallies, voting, presidential elections, presidential campaigns, gubernatorial campaigns, district attornies, Peace and Freedom Party, socialism, anti-war; makers include Dunston Gatehead Tyne, Grafik Werkstatt Bielefeld Medea for Senate Campaign, Steve Lyons, Nader2000 General Committee, Ragged Edge Press, Cobb/LaMarche; references or specifically about living wage, schools not prisons, electoral reform, universal health care, food security, health, AFSCME Local 1108, sunflowers, the Rose Garden (Oregon, USA), Democracy Rising, Madison Square Garden (New York, USA), UIC Pavilion (Illinois, USA), corporate welfare, universal healthcare, two party system, Statue of Liberty, stars, doves, chains, broken chains, trees, coalitions, California Peace and Freedom Party, Los Angeles Green Party, presidential campaing 2016, war machine; referenced individuals include Medea Benjamin, Ralph Nader, Angela Davis, Noam Chomsky, Roxanne Dunbar-Ortiz, Alice Walker, Eddie Vedder, Danny Glover, Jello Biafra, Patti Smith, Ani DiFranco, Bill Murray, Michael Moore, Phil Donahue, Tim Robbins, Susan Sarandon, David Cobb, Pat LaMarche, Gloria La Riva; places made include San Francisco (California, USA), Portland (Oregon, USA), New York (New York :London (UK), , USA), Chicago (Illinois, USA), Los Angeles (California, USA); languages include Spanish, English U.S. Government and Politics: Third Party 196`4; 1981-1984; 1992-2006 Physical Description: 36 Scope and Content Note related topics include voting, presidential candidate, the environment, oil, California State Assembly, Democratic Socialists of America (DSA), socialism, Black youth, Latino youth, prison expansion, California politics, Citizens Party, U.S. Senate, women's emancipation, labor, living wages, health care, corporatism, soldiers, Iraq war, capitalism, racism, peace, ; makers include President 2004 General Election Committee, The Print Shop, Peace Press, Cardiac Arrest, Workers World Party, Walter Mylecraine, Susan Anderson, Wendy Bauman, Nader for President 2004, General Election Committee, Minnesota Reform Party, Nartoinal Working Families Party, Rafael Shiminov, Andrews Daily World, Hall-Davis Campaign Committtee of California, ; referenced individuals include Frank Zappa, Ralph Nader, Studs Terkel, Barry Commoner, Ladonna Harris, Ross Perot, Dizzy Gillespie, Uncle Sam, Leon Waters, Gloria La Riva, Monica Moorehead, Robert Dole (Bob Dole), Bill Clinton, Kelley Ross, George W. Bush, John Kerry, Thomas Jefferson, Julius Hobson, Jesse Ventura,; references or specifically about Citizens Peace and Freedom Coalition, Pinocchio, Statue of Liberty, Revolutionary Political Organization (Marxist-Leninist), Libertarian Party of California, D.C. Statehood Party, Reform Party, National Working Familiies Party, Communist Party, Mr. Veto, people before profit, monopolies, military; places made include Los Angeles (California, USA), San Francisco (California, USA), New York (New York, USA); languages include English, Spanish U.S. Government and Politics: Republican National Convention (RNC) - Newsprint 2004 Physical Description: 57 Note 3 copies of the "Our City - Our Walls" publication protesting the 2004 RNC in New York City Scope and Content Note related topics include oil, gas prices, Iraq War, torture, marches and demonstrations, wealth, September 11 (2001), environmental regulations, anti-war, military deaths, quotations; makers include Counter Convention, Eric Drooker, Noah Apple, Molly Fair, Bronz, Emek, Hugh Gran, Melina Rodrigo, Erin Siegal, Glenn Brooks, John Emerson, Stephanie Chen, Frank Reynoso, Edmund Gravel, Gabriel Willow, Nicole Schulman, Swoon, Un Mundo Feliz Productions, Nik Moore, Noah Mayers; references or specifically about the Statue of Liberty, U.S. Flag, Pietà, fine art, Bald Eagle, Richie Rich, oligarchy, terrorism, war mongers, the Republicans Are Coming, Madison Square Garden, The Patriot Act, King Kong, Enron; referenced individuals include Michelangelo, George W. Bush, Donald Rumsfeld, Dick Cheney, Laura Bush, John Ashcroft, Bertolt Brecht; places made include New York (New York, USA); languages include English, Spanish U.S. Government and Politics: Right-Wing Politicians 1975-1991; 2001-2004 Physical Description: 39 Scope and Content Note related topics include infant mortality, right wing, Ku Klux Klan (KKK), criminalization of abortion, ultra-conservative, food stamps, right wing religious groups, Judaism, anti-Semitism, health care programs, El Salvador, right wing violence, government bailout, oil companies, crimes against humanity, televangelists, war crimes, patriotism, Latin America, presidential elections, racial integration, racial segregation, political cartoons, quincentennial, Persian Gulf War, First Gulf War, savings and Loan industry, jail, protest, communism, censorship, Attica, prisons; makers include Midwest Research Inc., Dolores Wilber, Ann Tyler, Starlin, JNB Productions, Peter Bralver, Jerry Kearns, Aktiongruppen Avvisa Kissinger, Republican Party for George Wallace, Magic, Rising Up Angry, ARTorneys at Work, Heartland Journal; referenced individuals include Neil Bush, George H.W. Bush, Jesse Helms, Joe McCarthy, George Santayana, Jimmy Swaggart, Tammy Faye, Jim Bakker, Henry Kissinger, Caspar Weinberger, Ed Koch, Augusto Pinochet, George Wallace, Marion Morrison (John Wayne), Ronald Ziegler, Daryl Gates, Donald Rumsfeld, Nelson Rockefeller, Gerald Ford, Ronald Reagan, June Jordan, Adolf Hitler, Joseph McCarthy, Ariel Sharon, Bill O'Reilly, Colin Powell; references or specifically about U.S. flag, moderate Republicans, University of Southern California (USC) alumni, pigs, history, savings and loan crisis (S&L crisis), crimes against humanity, Middle East, Greece, Latin America, Vietnam, Cyprus, Turkey, Cambodia, Chile, Indonesia; places made include Chicago (Illinois, USA), Sacramento (California, USA), New York (New York, USA), Sweden U.S. Government and Politics: California Elections - Cardstock 1992-2022 Physical Description: 33 Scope and Content Note related topics include elections, Lesbian Gay Bisexual Transgender Queer (LGBTQ), discrimination, homophobia, labor, taxes, the environment, healthcare insurance, education; makers include Barbara Boxer for US Senate Committee, LA Gay and Lesbian Center, Brown for Governor 2010, Tad Daley for Congress, Judy Chu for State Board of Equalization, Newsom for California-Lieutenant Governor 2010, Democratic party of the San Fernando Valley, Philip Morris USA, R.J. Reynolds Tobacco Company, CREDO Victory Fund against Prop 23, Service Employees International Union (SEIU), KeepLAstrong, Mark RIdley-Thomas for supervisor, Support our Cupertino District Schools, Save our Library Yes on Measure B (Santa Cruz), ; references or specifically about United States Senate, no O on Knight, marriage equality, the Knight initiative. recall Governor Newsom, Jerry Brown for Governor 2010, 32nd District, California Democratic Party (CDC), California State Board of Equalization, Chinese Americans, 1992 presidential campaign, Proposition 29, tobacco tax, small business, law enforcement, labor, cancer research, global warming, texas oil, LA City Council, city streets, potholes, broken boulevards, One Care Now, medicare for all, single payer, board of supervisors, 36th Congressional District. progressive democrats, jobs not war, education, Propostion O, Proposition L, funding, Measure B (Santa Cruz), library funding, Proposition I Safe Transportation seniors, ; referenced individuals Barbara Boxer, Senator William "Pete" Knight, Governor Gavin Newsom, Edmund Gerald (Jerry) Brown Jr., Tad Daley, Nancy Pelosi, Judy Chu, William Jefferson Clinton, Al Gore, Diane Feinstein, Phillip Nicholas Angelides, Mike Bonin, Mark Ridley-Thomas, Marcy Winograd; places made include (California, USA), Oakland (California, USA), Santa Cruz (California, USA), Los Angeles (Calfornia, USA), Belmont (California, USA), Oakland (California, USA); languages include English, Spanish Iraq War: Not In Our Name 2002-2009 Physical Description: 68 Scope and Content Note related topics include anti-war, detentions,benefit concerts, round-ups, racism, police state, marches and demonstrations, corporations, international solidarity, capitalism, U.S. occupation of Iraq, benefit events, police state, detentions and round-ups, military recruitment, military draft, globe, resistance, policy, war, immorality, revenge, mourning, immigrants, political prisoners, dissidence, search and seizure, imperialism, conscience, international solidarity, silence, repression; makers include Inkworks Press, Ecco Design, AWOL Magazine, Camille, Salsedo Press, Not In Our Name; references or specifically about Guernica, fine art, Lockheed Martin, DynCorp, Halliburton; references or specifically about September 11 (2001), 9/11, military coercion, due process, conscience, taking responsibility, the innocent dead, Baghdad (Iraq), Panama City (Panama), Vietnam, Afghanistan, Palestine, the Philipines, World War II (WWII), Patriot Act, military tribunals, Israel, Bill of Rights Foundation; referenced individuals include Ani DiFranco, Michael Franti, Ozomatli, Chuck D, Saul Weilliams, Pablo Picasso, George W. Bush, Laurie Anderson, Russell Banks, Ramsey Clark, Noam Chomsky, Angela Davis, Ossie Davis, Lawrence Ferlinghetti, Jane Fonda, Danny Glover, Tom, Hayden, Mumia Abu-Jamal, Casey Kasem, Barbara Kopple, Barbara Kruger, Tony Kushner, Jeremy Pikser, Bonnie Raitt, Michael Ratner, Susan Sarandon, Pete Seeger,Toshi Seeger, Rev. Al Sharpton, Gloria Steinem, Oliver Stone, Studs Terkel, Gore Vidal, Kurt Vonnegut, Alice Walker, Leonard Weinglass, Haskell Wexler, Howard Zinn; places made include San Francisco (California, USA), Berkeley (California USA), New York (New York, USA) Immigration: Show Me Your Papers Portfolio 2012 Physical Description: 14 Scope and Content Note related topics include slavery, Native Americans, undocumented individuals, LGBTQ (lesbian, gay, bisexual, transgender, queer), families, Immigrations Customs Enforcement (ICE), dreamers, deportations, education, police brutality, labor, U.S. border patrol, domestic labor, children, stolen children, religion, Secure Communities Act; makers include Lily Steyer; referenced individuals include Barack Obama, Jose Antonio Vargas; references or specifically about U.S. flag, Philippines Labor Export Policy, Statue of Liberty, The Bible; places made include Stanford (California, USA) Global Economics: Group of 8 / Group of 7 (G8 / G7) 2000-2007 Physical Description: 17 Scope and Content Note related topics include marches and demonstrations, blockades, deregulations; makers include Banu Inanc Uyan, Association pour l'Art et l'Expression Libres, Tobias Plüger, Marina Grzinic, Holy Damn It, Zvonka Simcic, Markus Dorfmüller, Petra Gerschner, Bankleer, Allan Sekula; referenced individuals include Henri Matisse, Nicolas Sarkozy, Stephen Joseph Harper, Angela Merkel, Romano Prodi, George W. Bush, Vladimir Putin, Tony Blair, Shinzo Abe; references or specifically about La danse, fine arts, G8 Heiligendamm 2007; places made include Turkey, Brussels (Belgium); languages include English, French, German, Russian Arts and Culture: TV and Films 1981-1985; 1990-1992; 2000-2002; 2013 Physical Description: 31 Scope and Content Note related topics include film festival, cultural festival, theater, conference, trade show, land rights, film, media, radio, retrospective, ; makers include David Suter, Matt Mawson, Work Shop Printers, National Film Board of Canada, Kerry Tremain, Bob Baldock, Albany Press, Alliance for Community Media, Inkworks Press, Bermack/ Kalper; references or specifically about the Progressive, television, free speech public radio, consumerism, KPFA, toilet television, documentary, newsletter, media, comic, Spanish Civil War, Abraham Lincoln Brigade, Home Box Office (HBO), U.S. flag, McMartin Preschool, McMartin Trial, KPFA radio, Daily World, jobs, equality, peace, socialism, left media, San Francisco Bay (California, USA), San Francisco Chronicle, Doonesbury, robot, Federal Bureau of Investigation (FBI), Oscars, University of California, Texas (USA), Deep Dish Television, The King of Prussia, "On our Land", land grab, Papua New Guinea, United Nations (UN), right to food, Oakland Institute, KPFA; referenced individuals include George Bush, Alice Walker, Clay Walker, Marianne Dissard, Lil Friedlander, Abraham Lincoln, Robert J. Follis, Emile de Antonio, Martin Sheen, Olivier de Schutter; places made include Madison (Wisconsin, USA), Atlanta (Georgia, USA), San Francisco (California, USA), Berkeley (California, USA), Canada; languages include English, French, Chinese Arts and Culture: San Francisco Mime Troupe - about the Future 1985-2005, 2013-2018 Physical Description: 28 Scope and Content Note related topics include global capitalism, pollution, food prices, international economics, gasoline, apocalypse, drug policy, television, musical; makers include Spain Rodriguez, Inkworks Press, Salim Yaqub, Victor Moscoso, San Francisco Arts Commission, R. Black, Community Printers, ; references or specifically about bazaar, snakes, goats, villagers, oil, water, peace, Israeli-Palestinian conflict, science fiction, space, swords, lightsabers, lasers, cryptocurrency, time travel 1912-2018, ; referenced individuals include Jesus Christ, Apostles, Tom Paine, Nostradamus, King Tut; places made include San Francisco (California, USA); languages include English Artist Groups: World Federation of Democratic Youth (WFDY) - World Festivals Of Youth And Students 1968; 1973; 1978; 1985; 1997; 2006 Physical Description: 33 Scope and Content Note related topics include peace, anti-war, anti-imperialism, international solidarity, children, youth, students; makers include World Federation of Democratic Youth (WFDY), International Preparatory Committee, Sveriges Kommunistiska Ungdomsförbund (SKV), Dietrich Kaufmann, E. Bechtle, Universidad Bolivariana de Venezuela (UBV), Dirección Politica EPS, Comite Preparatorio Nacional ; references or specifically about 9th World Festival of Youth and Students (1968), Sofia (Bulgaria), Moscow (Russia), friendship, 12th World Festival of Youth and Students (1985), doves, 10th World Festival of Youth and Students (1973), East Berlin (East Germany), sports, recreation, parks, 14th World Festival of Youth and Students (1997), 16th World Festival of Youth and Students (2005), Chicago, rifles, guns, Earth, rainbows, Oman; referenced individuals include Angela Davis, Augusto Sandino; places made include Hungary, Stockholm (Sweden), East Germany (German Democratic Republic (DDR)), Cuba, Venezuela, United States of America (USA), Nicaragua, Moscow (USSR), Sydney (Australia); languages include English, Swedish, German, French, Spanish, Russian, Arabic Artist Groups: Yo! What Happened to Peace? and Related Artists (Hard Pressed Studios) 2003-2010 Physical Description: 31 Note does not include works by John Carr, includes artists that collaborated with him at Hard Pressed Studios Scope and Content Note related topics include anti-war, U.S. government and politics, corporatism, war profiteers, peace, militarism, Star Trek, Fox News, media, capitalism, September 11 (2001), marijuana, War on Terror, War on Drugs, terrorism, oil, Islam, government corruption, Mexico, White House, Los Angeles (California, USA), art exhibitions, United Kingdom, children, Juarez, women, maquiladoras, presidents, politicians; referenced individuals include George W. Bush, George H. W. Bush Richard Cheney (Dick Cheney), Condoleezza Rice, Donald Rumsfeld, Osama Bin Laden, Saddam Hussein, Mohamed Atta, Afrika Bambaataa; makers include Two Rabbits Studios, Mike Thacker, Umbrella, Genevieve Gauckler, Winston Smith, Firehouse, Bill Pierce, Goat Skull, Skramble, Noah Breuer; places made include Los Angeles (California, USA); references or specifically about U.S. flag Artist Groups: Yo! What Happened to Peace? and Related Artists 1982-2005 Physical Description: 27 Scope and Content Note related topics include War on Drugs, War on Terror, Central Intelligence Agency (CIA), marijuana, peace, militarism, jihadists, republicans, Nazism, Kuwait, Iraq War, September 11 (2001), capitalism, Vietnam War, mass media, corporatism, prisons, U.S. culture critique, anti-war, oil, martial law, Nazism, United Nations, American ethnocentricism; referenced individuals include George H. W. Bush, Saddam Hussein, George W. Bush, Osama Bin Laden, Arnold Schwarzenegger; makers include Winston Smith, Genevieve Gauckler, Firehouse, Gridlock, Mike D., Artemio Rodriguez, Fumika, Tiger J. Gushue, Malleus, Smoke Screen Factory, Seth, Matt Campbell (Spanko), Eric Drooker, La Mano Press; references or specifically about Statue of Liberty; places made include California (USA) Artist Groups: Amplifier - Gun Violence / March For Our Lives 2018; 2020 Physical Description: 13 Scope and Content Note related topics include marches and demonstrations, violence, youth, fear, elections, weapons, gun legislation, children; makers include @bombchelle, @librada_shoot, @koysun, Micah Bazant, @_naebeeee, Kate Deciccio, Nisha K. Sethi, Loy Suntichotiunun, Natalie Dittmer, Chanelle Librady, Laci Jordan, Obey Giant; references or specifically about Margery Stoneman Douglas High School, mass shooting, "never again", "not one more", "ban assault weapons", vote for change, Oikos University, Marshall County High School, Sandy Hook Elementary, Oxon Hill High School , Kingston High School; places made include Seattle (Washington, USA) Artists: Mariona Barkus - Environment / U.S. culture / government and politics 1982-1990; 2000-2013 Physical Description: 24 Note Includes "Illustrated History" series 1985, 1986, 1987 Scope and Content Note related topics include consumerism, American culture, military aid, anti-nuclear, war, bombs, the environment, waste, technology, women, economics, science, contamination, peace, abortion, defense budget, sanctuary, hunger, public health, education, poverty, political prisoners, torture, corporatism, military, sexual harassment, gun control, hate, homelessness; referenced individuals include Adolfo Calero, Ronald Reagan, George W. Bush, Dick Cheney; references or specifically about the Contras, Nicaragua, fragile bombs, right to die, dioxins, surrogate mothers, Environmental Protection Agency (EPA), Internal Revenue Service (IRA), credit cards, water, bugs, genetic engineering, credit cards, "no child left behind", preemptive war, acid rain, rape, private prisons, digitization, IFIDIE, DEADSOCI.AL, transvaginal ultrasound, social media, oil, mining, fracking, tar sands, drones, National Rifle Association (NRA), Sandy Hook shooting, Southern Poverty Law Center (SPLC), American Legislative Exchange Council (ALEC), U.S. Census Bureau, National Coalition for the Homeless; places made Washington, D.C. (USA), Los Angeles (California, USA)