There’s no denying it: BCI Eclipse had some wonderful enthralling titles that risked becoming forever lost to the archives of time once the company was forced to shut its doors this past year. Fortunately Mill Creek Entertainment, which by the map is distributed by BCI’s parent company, Navarre, has acquired the rights to bring many of BCI’s titles to the home market once more. Even more impressive quiet is that these sets will be packaged up and sold as complete box sets (rather than individual season releases) .
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In the case of He-Man and the Masters of the Universe, this place represents the complete 2002-series release by Mike Young Corporation. Coming in at a total runtime of 960 minutes, this residence spans 4 discs and contains the same clear-plastic slipcase and artwork-style as the previous BCI releases.
The extras contained are only slightly less thorough than the individual season releases and include:
End of Episodes Morals
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Interviews with Toyline Artists from Mattel and The Four Horsemen
12 audio commentaries
Scripts for episodes 1-40
A PDF Droll Book for unproduced episode #40
Notably missing from this residence are the unusual art cards (a pair was included in each of the three season releases) .
Now let’s win a view at the display itself:
Fans are treated to what many deem the most upright and appealing rendition of the He-Man and the Masters of the Universe saga. Debuting in 2002 under the Mike Young Productions umbrella, this latest rendition of the He-Man source material closely follows the unique Filmation standard space in the early 1980s with modernized animation quality and in-depth stories that further built upon the current characters and environments. The first season consisted of the following 26 episodes:
The Beginning Portion 1
The Beginning Fragment 2
The Beginning Fraction 3
The Courage of Adam
Sky War
The Deep Demolish
Lessons
Siren’s Song
The Ties That Bind
Dragon’s Brood
Turnabout
Mekaneck’s Lament
Night of the Shadowbeasts
Underworld
The Mystery of Anwat Gar
The Monster Within
Roboto’s Gambit
Trust
Orko’s Garden
Buzz-Off’s Pride
Snake Pit
The Island
The Sweet Smell of Victory
Separation
The Council of Contemptible Share 1
The Council of Wicked Section 2
Season two consisted of the following thirteen:
The Last Stand
To Trip With Dragons
Out of the Past
Rise of the Snake Men Fraction 1
Rise of the Snake Men Fraction 2
The Brand of Deceit
Of Machines and Men
Second Skin
The Power of Grayskull
Web of Improper
Rattle of the Snake
History
Awaken the Serpent
In case you’re objective tuning in, no this isn’t the Filmation version of the demonstrate so many of us win with warm fuzzies from our youth. This is in fact the third (and most modern) spicy iteration of He-Man and the Masters of the Universe. Produced for Cartoon Network by Mike Young
Productions, this version ran from 2002 until 2004 where it went for two pudgy seasons (26 in the first season, 13 in the second) . Along the procedure it managed to snag a very well deserved Daytime Emmy for Outstanding Achievement in Sound Editing (2004) .
While there are few who could argue successfully that anything could replace the recent Filmation series, Mike Young Productions managed to engage all of the elements that made the novel so successful and to bring them up to fresh standards of animation quality, sound work, and script writing. As a result the mythos had been brought to an entirely fresh generation of fans while simultaneously lovely fans of the new.
Without giving too grand away (I loathe spoilers personally), I will say that the origins of Snake Mountain will open to unfold in the second-half of the first season in addition to the complete origin of the Dusky Hemisphere which imprisons Skeletor and his minions. Recent characters are plentiful as well and have some slick back-story efforts, which design even the current Mattel toys a lot more neat. Among the notables includes the stories of Two-Bad, Cobra Kahn, Cyclone, Roboto, Moss Man, Zodak, and Stinkor. Many of these characters were never fully fleshed out in the unique reveal (if they appeared at all) and would have remained only in the imaginations of those who played with the toys if not for the spectacular distress here. We are also treated to a couple of current looks for He-Man himself including an amped up version of he and Skeletor in combat and his ever impressive winter gear which includes a flowing fur cape and a heavy battle ax.
The Snakemen element introduced in the first season develops into sheer brilliance in the second (and unfortunately final) season! Not to insinuate that the Masters didn’t have their hands tubby as it was with Skeletor and his minions, this time around the threats to peace and justice arrive in from all angles in the develop of the Skeletor and company, the Snake Men, and the Bad Horde! Yes, you read that correctly- She-Ra’s arch nemesis, Hordak, who impartial so happens to have been Skeletor’s mentor, shows up in Season 2 within Skeletor’s origin narrative that finally ties all of the loose threads of Mattel’s franchise together once and for all.
I often like to wonder what ground Mike Young’s team would have covered had the display continued. Would they have expanded to include He-Man’s sister (She-Ra’s) fable arc? Could have writer Larry DeTillio revisited some of his wise dragon influence? A shame that we’ll probably never know.
All in all, the point to simply continued to effect upon the foundation first station by Filmation in the 1980s and thanks to Mill Creek Entertainment, can be yours in its entirety for the cost of each of the single season releases.
to awful this had to destroy while it was doing some really marvelous epic telling not to mention astonishing art work, tons of action, it almost seems as some sort of mystery as why this fell off the face of the radar abruptly. Why would such a profitable cartoon be pulled off the air? Anyhow this is pleasurable for kids and adults (assuming they grew up with the unique) it reminds me of the Teach cats simply with more characters, it would be awesome if the people who did this somehow resurrected the thundercats in the same modern-he-man style. One minor gripe is the fact that prince Adam must be himself before turning into he-man i gain this character whiny, wimpy, and unneeded for the explain.
Why unbiased not have He-Man available at all times? honest like the x-men you don’t gaze Wolverine having to ‘become somebody’ it was apt in the first personally i feel it was unnecessary to be in this original version though i can understand why they faded it because it gives the stories more longevity without Adam, the exhibit would be overly short and the tale element would be insensible. Anyway he’s a minor irritant to me but i like the point to and the best portion of the series is the waste with a sure message that most of if not all other toons these do not have. Only g.i. joe, thundercats, transformers, and He-man to my knowledge have a special message at the waste of the episode i feel this is a righteous legal for kids, why they do not place these in cartoons anymore i do not know. Overall an satisfactory site to add to your collection. If it was not for scream baby prince adam, it would be 5 star.
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Watching this again many years after I first saw it, I expected to be disappointed. After all, the expansive films of our youth sometimes turn out to be something less than we had imagined. But Mister Roberts does not disappoint. This is one of the gems of the American cinema, a poignant comedy featuring a multitudinously clever and delectable script by Frank Nugent and Joshua Logan from a unusual by Thomas Heggen made into a play by Logan and Heggen that ran for many years on Broadway. The movie features pleasurable performances from Henry Fonda, James Cagney, William Powell and Jack Lemmon. Fonda is particularly colorful in the kind of role from which legends are made. (He also played the portion on Broadway.) You can retract all your John Wayne classics and toss them overboard with the Captain’s palm tree. Henry Fonda as Lt (j.g.) Doug Roberts, cargo officer of the USS Reluctant, shines forth as the noblest hero of them all. He is a collected, strong, elegant, audacious man in a tale distinct to mist up your eyes even if you’re watching it for the twentieth time.
Jack Lemmon won a supporting Oscar for his performance as Ensign Pulver, a kind of slothful, but slyly resourceful Walter Mitty type who talks a sizable game but never follows through… James Cagney is the Captain, a sour, resentful man who mercilessly badgers Mister Roberts and grossly neglects the morale of his crew. He is fair perfect. The arrangement he bellows “Mister Roberts!” or plot he trembles out the line, “Mister…Mister…this time you’ve gone too far” delights the audience. William Powell, in his last film, plays the ship’s wise and ever diplomatic doc with gorgeous precision.
Marty (1955) starring Ernest Borgnine, a kind of politically accurate (for its time) care for chronicle about ordinary folk, won the Academy’s honor for best relate in 1956, the year Mister Roberts was nominated. Henry Fonda, in perhaps his most beloved and certainly one of his finest performances, was not even nominated. Incidentally, Hollywood chronicle John Ford directed, but fell ill and Mervyn LeRoy–no inch himself (e.g., The Awful Seed, 1956; No Time for Sergeants, 1958, etc.) –finished up.
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There are a number of memorable scenes in the film, the kind recalled with delight. My accepted involves the crew, their binoculars and the nurses. I also loved the careful concocting of the “scotch whiskey” by Doc. The weekly letters requesting a transfer, the Hoot Gibson films we (thankfully) never study, the ever worshipful palm tree, Pulver’s marbles in a tobacco tin that he shakes in Roberts’s face, vowing to indicate his manhood by putting them in the captain’s overbin, his “firecracker,” his “If I could be with you/One hour tonight/To do the things I might/I’m telling you true/I’d be anything but blue,” the giddy nurses, and the spoiled liberty are other unforgettable bits. But more than anything, what makes this a ample movie, are the indelible characters so very just to our experience, and how nicely they meld and difference.
This is, along with From Here to Eternity, Das Boot, The Bridge on the River Kwai, The Caine Mutiny, Stalag 17, and Twelve O’Clock High, among my popular movies to near out of World War II. What sets Mister Roberts apart is the humor born of the boredom, frustration, and tedium that most truly characterizes life in the service. In this regard I prefer a saying that goes something like this: “War is filled with long stretches of boredom punctuated by moments of absolute alarm.” The crew of the Reluctant got only the boredom.
This proper war comedy/movie will always be one of my personal favorites. Based on the WWII guideline, the basic premise is a rather anal boat captain trying to obtain “ship shape” a merchant/transport type ship. (in the Pacific) .
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From an unusual play of Broadway, starring Hendy Fonda to the titanic veil. (My parents saw this Play on Broadway on their honeymoon and I detached have the Playbill) So naturally I am biased.
Start with an assembled cast second to none.
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Buy,Download, Or Stream Mister Roberts! Click Here
Henry Fonda (Wry humor..this movie IS him.)
William Powell (The thin man returns…his sarcasm is perfect here)
James Cagney (Does his talent ever extinguish? One of his best roles)
Lemmon (Ensign Pulver), shows his talent for the space gag and, lets say, driftiness, early. This perfomance spawned a few sequels on Pulver alone.
If you were ever in the Navy, you will recognize Cagney’s Performance as uncanny, and behold a tiny bit of each actor in your occupy experience.
This is meant to be seen in its entirety. Its not lop to pieces for TV, and when seen in this format is like a current movie, meant to be seen from commence to achieve.
Highly recommended, and will be seen again and again
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Produced by Larry Franco and directed by John Carpenter in 1988, THEY LIVE never appears on the list of the best movies of the american master. I don’t understand why. The carpenterian theme by excellence, the rebellion against the establishment, is the central theme of THEY LIVE, and, as far as it concerns action, the movie features one of the most impressing bare hand fights ever presented on hide.
Furthermore THEY LIVE presents a salubrious sci-fi cliché à la Philip K. Dick – they’re among us and I’m the only one who sees them -, a theme treated with intelligence by John Carpenter who does have a lot of fun to criticize our contemporary society. One will sight some of the ideas of the movie in another Carpenter opus directed 10 years later : Rush FROM L.A.
If you’re a Carpenter fan, this DVD will soon be in your library but be aware that there isn’t even a menu and that you’re impartial allowed to surf into a scene access department. Shame on Image for their lack of respect. Grand images and sound though.
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A DVD zone rebellion.
This movie is Gargantuan. I’ve always liked the films of John Carpenter and this one blew me away. This film is about subtle control and manipulation of the human speed. A man gains the power to peep through the lies and stupidity of his world. He eventually sacrifices himself to establish everyone.
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Movies of this caliber are quite simply not made anymore. While watching it, it will not only entertain you it will Earn YOU Judge. If you liked The Matrix, you will fancy this. The thing about this movie is that even though its context is curious, its message is conclude to home. The “aliens” in this case become an intense metaphor for those who ogle to completely control a population through brain washing and lies. The population becomes willing cattle for their slave masters, some humans even going so far in their brainwashed zeal as to side with the “aliens.” MONEY IS YOUR GOD.
Wake up from their mind control. Expend your mind and deem uncertain THOUGHTS (very similar to the “view police” of Orwell’s 1984) that will bring about goodness in the world. If you like this witness into:
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reading George Orwell’s “1984″
reading Aldous Huxley’s “Dauntless Modern World”
or honest watching “The Matrix” again.
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A Christmas Wish is a heartwarming holiday classic that truly captures the magic of Christmas. This well-written film combines a genial underdog (Durante) whom you can’t benefit rooting for, an provocative narrative of young esteem, unforgettable comedy bits by Durante, and an irresistible guardian angel who saves Christmas.
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The film has a touching cherish anecdote between Terry Moore (Considerable Joe Young) and Tom Drake (Meet Me in St. Louis) . Rupert the Squirrel (created using George Pal’s Academy Award winning puppet animation technique) will charm young and ancient alike. Jimmy Durante shines when he sings Jingle Bells and other Christmas Carols.
Originally titled “The Immense Rupert”, this film has been restored perfectly and is being released in color for the first time. It looks absolutely glowing. There also is an tantalizing special DVD commentary by star Terry Moore (secret wife of Howard Hughes) . If you’ve already seen It’s a Improbable Life and are looking for something charming and recent for Christmas, this is a sizable choice.
When a slightly miserly landlord takes to hiding his savings he inadverdently intrudes into a squirrel’s nest–which wastes no time in shoving the money out of his nest and into the hands of the down-on-their-luck Amendola family, who rent an apartment below. Originally released under the title of THE Spacious RUPERT, in 1950 the film was primarily admired for its then-artful blend of live action and puppet animation to get Rupert, the squirrel; today, however, it is best regarded as a very calm mannered and entirely inoffensive small movie that unbiased happens to offer the legendary Jimmy Durante one of his final film roles.
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The script and tale are as memorable as school cafeteria banana pudding, but the performances are reasonably appealing. As head of Amendola family, Durante is brash is only Durante could be, doing doubletakes and pounding out an occasional tune on the piano in his novel style. He is well supported by the likes of Terry Moore, Tom Drake, and such old-fashioned character actors as Queenie Smith, Frank Orth, Sara Haden, and Jimmy Conlin. It’s all in splendid fun.
The 20th Century Fox release consists of two versions of the film: the current unlit and white and a colorized version. There is nothing visually impressive about the film, so it is not distress by colorization per se; as for the colorization, it is reasonably well done, at least so far as such effects go. Most astonishingly, the release includes a commentary track by Terry Moore and various people associated with the colorization and the DVD release.
The commentary track is not tremendously informative; Moore freely admits that she had seen the film only once before, and that some fifteen years earlier. Even so, Moore proves suitable company, offers the occasional insight into the cast, and now and then proves unwittingly amusing–with her comments on actor Tom Drake, who was both delighted and deeply closeted, a case in point. On the whole, I’d say the commentary is actually more enchanting than the film itself, but whatever the case Durante fans, Moore fans, and those in search of truly innocent family fare should glean it glowing.
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There have been several movies made about Joe Strummer but Julien Temple’s is novel in its personal touch. Temple was a friend of Strummer’s for many years and so had insight into the man leisurely the music that many people did not have. The movie consists of Joe’s life chronicle as told by many friends, acquaintances, fellow artists and others who knew him or were influenced by him over the years. Fabulous music, very well put-together, and unprejudiced a colossal narrative about a man who was a broad influence on rock & roll and politics during his time on this earth. Joe was taken from the world too early when he died unexpectedly in December 2002 and after watching this movie one can only wonder what more he would have accomplished. The opening scene of Joe singing “White Riot” a capella in the studio is complemented by the closing scene of Joe and Mick Jones reuniting on stage 20+ years later to compose the same song…even though they were extinct (and Mick a cramped bald!) they unexcited ROCKED. If you like the Clash, you must seek this movie!!
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Amazing that it’s been almost 6 years since his death. We all have our memories of Joe, and that collective, communal spirit is a major point in Julien Temple’s documentary. You’ll stare dozens of folks interspersed throughout the allotment, each giving remembrances around campfires. Interestingly, no one is identified via subtitle on cloak, so you’ll peek everyone from Zander Schloss to Johnny Depp if you pay attention (doubtlessly piece of the 1-world, human feeling the movie goes to gigantic lengths to narrate, from the best of us to the least of us we are all in this together.) The haunting quality of Joe’s snarl doing the essential voice-over narration for the entirety of the film is palpable. And fortunately Temple has unearthed scads of rare, quality footage including home movies, TV interviews, and even reel-to-reel from Joe’s squatting days, which means we’re not dealing with the same warmed-over Westway footage for the umpteenth time. The whole film is tremendously rich, crackling with energy & vitality, but also comfortable. This is the remembrance we’ve wanted (needed? ) since the night he left, and for me it erases the dreadful taste of a dozen soulless cash-in “documentaries” that have been forced upon us over the intervening years. It’s a fitting coda to Joe’s life: not maudlin, not excessively mournful, not ridiculously celebratory. Fair a bunch of folks sitting around relating what he meant to them, replete with large historical context, with the man himself emceeing the procession. Joe meant a lot to a lot of people, he deserves this fitting (and very human) tribute.
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The Longest Day (1962 film)
In 1959, 15 years after the Allied invasion of Normandy, weak war correspondent Cornelius Ryan wrote The Longest Day, his common and critically-acclaimed fable of the D-Day landings. Based on painstaking research and interviews with Allied and German veterans and the French civilians swept up in the events of June 6, 1944, The Longest Day remains among the best books on the topic.
It is not surprising, then, that 20th Century-Fox studio chief Darryl F. Zanuck bought the film rights and asked Ryan, (who, besides having been a reporter, had also written plays) to adapt The Longest Day into a screenplay for a major motion narrate. Zanuck, who had served in the Army Signal Corps as a lieutenant colonel and helped document the D-Day landings, had always wanted to compose a feature film about the invasion. He also had another pressing reason to form what he view would be a astronomical hit: 20th Century-Fox, nearly crippled by box office flops and the costly production of Cleopatra, was on the brink of bankruptcy.
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In order to attract audiences, Zanuck and his massive production team assembled a cast almost as huge as the loyal invasion force. 48 major international stars from three countries were signed on to what a World War II trivia book described as “the most expensive black-and-white movie made.” Shot in studios approach Paris and on the Mediterranean island of Corsica, The Longest Day required not one but three directors. Andrew Marton shot the American exterior episodes, Bernhard Wicki handled the German exterior episodes, and Ken Annakin directed the British exterior episodes. Overseeing the entire project were Zanuck and Associate Producer Elmo Williams, who would later executive create the Japanese-American Pearl Harbor classic, Tora! Tora! Tora!
The movie basically follows the book’s structure in its three major acts: The Wait, about the preparations on both sides for the invasion; The Night, about the night airborne assault; and The Day, about the landings on the five invasion beaches. The DVD breaks these three acts into 12 chapters.
While by early 21st Century standards The Longest Day’s combat scenes are rather tame – there are no extremely gory scenes as explicit as those in Saving Private Ryan – they do lift the vastness and complexity of the Normandy landings. Shot in a semi-documentary style (major characters are introduced with identifying “credits” so we know who is who), The Longest Day is as moral as a 1962-era film studio could depict an precise event. The black-and-white presentation allows insertion of a few snippets of exact documentary footage (mainly of German soldiers marching through Paris and running to their fortifications approach the beaches) seamlessly into the film. Of course, some characters (such as Eddie Albert’s Col. Thompson) seem to be composites or even fictitious, and some actors (such as John Wayne and Robert Ryan) watch nothing like the officers they are portraying. Wayne plays Lt. Col. Benjamin Vandenvoort, who in 1944 was in his 30s, while Ryan plays Brig. Gen. James “Slim Jim” Gavin, who at 38 was the Army’s youngest general. (The more proper, but far less accepted sequel, A Bridge Too Far, cast Ryan O’Neal as Gavin.)
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Accuracy goes out the window in at least one respect, and this one is at the top of most D-Day veterans’ list of gripes. While the movie does mention the bad conditions on the transports and landing craft (”Man, that stink! Diesel oil, backed up toilets, vomit. And there ain’t no station to catch sick in!” gripes one soldier to Roddy McDowell), when the Allied soldiers glean out of the landing craft, they hit the beaches running and screaming like banshees. In Stephen E. Ambrose’s 1994 D-Day, June 6, 1944, veterans scoff at Zanuck’s fanciful depiction, pointing out that they were too tired and too sick to bustle across the beach, remarkable less bellow like Confederates at Gettysburg.
Nevertheless, The Longest Day remains one of the best war movies ever made. Released in October of 1962 and enjoying a long hasten at the theaters, it was the box office’s top design for 1963, earning an Academy Award for special effects and, luckily for Zanuck, saving 20th Century Fox from bankruptcy.
The DVD presents The Longest Day to its fresh CinemaScope wide shroud presentation, improving on the CBS-Fox two-cassette VHS version, which was released on the usual pan-and-scan “chubby shroud” re-edit. Other improvements are a sound remastering by THX and a few cramped bits of additional footage. The single disc, however, has very few extra features; only the theatrical trailers to The Longest Day, Patton, and Tora! Tora! Tora!
Here we have the consummate of all war movies of the D-Day invasion of Normandy in WWII in a 2-disc release.
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Disk 2 bonus features include – A Day To Remember; Longest Day: A Salute to Courage; Backstory – The Longest Day; D-Day Revisted; Richard Zannuck on The Longest Day and a Composed Gallery, all well worth owning this release.
However, in 2000 when FOX released a unique digital but non-anamorphic transfer, they wisely placed the German and French subtitles in the lower “sad bar” plot left vacant due to the letterbox format, making for a very apt viewing experience. In this release the subtitles are restored befriend onto the main body of the film. As the text is white and the film being B&W, this makes for a very fatiguing 3 hours of viewing. Sometimes the text impartial disappears in the white portions of the film.
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***Mini update! As someone politely pointed out, with newer HI-DEF 16 x 9 widescreen TV’s, the subtitle text would travel with the non-anamorphic 2000 version. As HDTV has satisfactory color and grayscale resolution, this is probably a moot point. As I and many are aloof waiting for HDTV prices to approach down & the technology to go up, it may be righteous to have both sets.
Otherwise a large movie portraying a fairly realistic view at that fateful day of June 6, 1944. Filmed appropriately in Murky & White with complementing WWII stock footage. This is a film for the whole family as it truly does narrate the carnage of war without the blood and gore that can disturb some viewers (like myself) .
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I am very tickled that Chris Marker’s La Jette (and Sans Soleil) are on DVD. La Jetee is a amazing, incredibly haunting film. It can easily be classified as one of the greatest science fiction films ever made in my concept. It only runs 28 minutes, and is peaceful of nothing but smooth images and narration (except for one shot), yet the universe is contained within it. It’s that rare cerebral science fiction that hardly gets made these days, along the lines of 2001, Blade Runner, and Solaris (Tarkovsky’s version) . It was the inspiration for Twelve Monkeys, and while Monkeys is a enormous film in itself, La Jetee is distinguished more haunting and lively. It’s unbelievable to be able to gape La Jetee in a helpful transfer.
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La Jetee (1962) is one of the seminal works of the French Unique Wave as well as one of the all-time tremendous science fiction films. It deserves all the respect it receives but what is really so astonishing is how distinguished is achieved with so diminutive. Made entirely of collected shaded and white images–of WWII cities in waste, of an airport observation deck in the fifties, of generic shots of a woman one could procure in any magazine, of a group of men in one of the many tunnels beneath Paris–and a mundane but strangely compelling voice-over, Le Jetee is not so grand a film as a series of random images linked only by the sage spell of a single reveal.
We belief only one serene photo at a time and we save meaning only because the narrator tells us the significance of each. It doesn’t sound like noteworthy to relate it so and yet because the technology is so primtive we are somehow less distracted than we would be were this a full-fledged cinematic production with action sequences and a pulsing soundtrack. This is basically a slide-show and that is the key to this films appeal. This film essay works because it asks for a different kind of attention than we are broken-down to giving films. La Jetee asks for a worthy more personal kind of attention, the kind of attention we give to our absorb photo albums, hurry shows and dreams. But, also, since many of the images examine like they could have advance from LIFE or National Geographic there is also a kind of generic quality to the waddle reveal and we are lulled into a kind of attentive trance as we derive the feeling that Marker is making a connection between our gain personal memories/dreams/markers and the generic memories/dreams/markers of the culture at substantial. Watching this film is like looking at a pile of worn magazines and contemplating our hold deepest dreams/desires at the same time–perhaps viewing both as vehicles leading to the same position.
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The presumption that there is a link between the personal and the universal is not a unique plan, it is a presumption that various artists and essayists (Montaigne is the most clear example) have held throughout history. The belief has developed in two ways. Some (Noam Chomsky is the most well-known in our day) argue that the deep structures of the mind are the same in all men regardless of cultural/racial/gender differences. Others argue that man is no particular plot but that he is shaped by the culture in which he lives. The ragged group celebrate universalism (or globalism, a word which began to be feeble after WWII) and the fact that we are all generic creatures good of plan each other. The latter group (and many science fiction writers descend into this group) fright that the more homogenous and pervasive the mass/universal/global culture becomes, the more homogenous man/existence becomes. Marker is in the latter group, so it is no surprise that he has a peculiar love/hate relationship with technology–for technology is seen to be the thing that facilitates the spreading of sameness as well as the thing that allows us to meditate upon it. In his films there are no special effects nor any of the usual visual or audio markers that we usually equate with science fiction, and the matter-of-fact monotone of the voiceover gives his films the feel of a documentary but a documentary that we somehow feel compelled to sight because as the speaker drones on we are reminded of our absorb archive of memories and our absorb personal views on the matters raised. La Jetee alerts us to the importance we space on memory and the retract process in establishing and maintaining an identity in an image saturated world but it also asks us to query the reliability and authenticity of memory and to what extent personal memory has been invaded/colonized by collective memory. In the later Sans Soleil (which makes employ of spellbinding images and color and in many ways resembles a contemporary travelogue or catalogue of all the various cultures that co-exist today), Marker alerts us to how conditioned our responses have become. Even in the presence of one exotic culture after another all the narrator can muster is a kind of bored resignation that there is no flee (except perhaps in death, a device/conceit that Godard also makes utilize of as early as Pierrot le Fou and as recently as Notre Musique) from the universalizing cultural processing machine that we have each internalized and that reduces all to a expressionless sameness.
That said, the films are at once both generic and intensely personal. The latter film is perhaps the more intimate as it is delivered as a personal letter. What is personal about existence and what merely generic is the examine that informs every calm and every exciting image in a Marker film. This strangely unsolvable riddle is what gives the films their timeless power.
This is film essay/art of the highest order.
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VBS is a 12 -episode series. Despite others’ claims that it is confusing, I enjoyed it, because I couldn’t figure out where it was headed. I would up with several questions which could have been answered in a second season.
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Such as:
How long did Macus stop in remark of the reformed STAND?
Why was only Neo Hong Kong the only city affected by the virus.?
After Serge destroyed the satellite where the virus originated from, did the virus reappaear somewhere else on earth? It would almost have to, otherwise there would be no need fir Macus and reformed STAND.
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A very sci-fi anime, lots of action. It has an evangelion feel to it. Can go by very lickety-split, i watched it in about 2 days. You should occupy this for how cheap it is.
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before i bought this movie i was told that it is nothing but garbo, garbo, garbo, i was not disappointed!
its opening holds aid the swedish sphinx for siveral minutes, opening with a shapely terminate up of that irresistable furrowed brow. from there is is a tour-de-force for her, her two distinguished scenes, the touching scene and her final close-up which holds a special area in the hollywood archives.
also i was forewarned about john gilbert, his acting voice-totally miscast. i disagree. i liked him in the section, okay he over acts in places, but hey-he and garbo re construct that charismatic chemistry that explodes in “Adore” and “Flesh and the devil”, also it made me dim to believe this was his last, sadly dying not long afterwards.
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i was disappointed in two things which are muffed over by the garbo vehicle, the extras and the music.
somehow i dont consider Swedish peasants had a stong sure american tinted whisper, such as the opening “I traditional to be king of Sweden”.
The music is brutish in the “touching scene”. it gives the dazzling sequence an almost amusing aspect, best to still your tv while it is on, garbo needs not say a thing to be heard.
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What makes this enchanting is that it is the only scene that i look her yell, when Gilbert dies in her arms, she buries her head, raised it with a tint of a stagger in each, she leans over him as if to kiss him, instead covers passionately his face with a veil, and proceeds into the greatest final close-up i have ever seen, the scene switching from her walking towards the bow, the sailors shouting as they recede to soar, her touching the bow, the wind blown sails, and slowly the camera finds those haunting eyes-magnificent!
In my opinion Garbo’s greatest film, and her most personal. Among my other favorites are Camille and Ninotchka, but Queen Christina is her stand-out classic above all others. I have read that Garbo was personally exicted by and fervent in this production to an extent unparalled for her, motivated by the Swedish (her homeland) history and the opportunity to play one of history’s most enigmatic figures, the queen who “abdicated her throne for adore” (though this portrayal is, of course, largely “Hollywoodized”–you can probably throw most expectations of historical accuracy out the window, objective site encourage and glimpse) .
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Here is every aspect of the legendary Garbo in one film: the breathtakingly radiant woman, the amibiguous sexuality, the tall tragienne, the aloofness, the boyish playfulness, the restless longing to hurry any enforced tableaux or expectations of others and live her occupy life by her have terms, all things she had in current with Queen Christina. Here also is her warm, memorable final pairing with her old real-life amor and frequent co-star John Gilbert.
Two legendary scenes stand out: Garbo walking about, as if in a daze, memorizing the inn room in which she and Gilbert have impartial spent the night (a scene almost lost due to censors), and of course the final, unforgettable closeup, the greatest closeup in the history of cinema–simply fine, as is the heartbreaking farewell to the dying Gilbert moments before. Not to be missed scenes also are Garbo running out of the castle into the bitter frigid, rubbing snow in her face like a child, and the warm relationship with her elderly attendant, C. Aubrey Smith, who dotes on her like a daughter, combing her hair, tending to her every need with tender treasure and protectiveness. –One of the overlooked subtexts in the film is the parentless Christina’s relationships with two major father figures, Lewis Milestone (another frequent co-star) as a palace official, who vehemently protests Christina’s decision to step down from the throne, along with the personal attendant, C. Aubrey Smith, with his benevolent, Note Twain face, caring for Christina in a motherly fashion, wanting only her happiness, wherever that takes her….
In life Garbo indeed appeared reclusive and collected, though I suspect she was simply a very haunted person who perhaps never fully comprehended what it was we all wanted from her. But here, in Queen Christina, actress and woman merge. Garbo opened up for us in a diagram she had never before and would never again, fully showing us both her sizable strength and acute vulnerability, and the result is intriguing, a fancy forever, Garbo’s gift to us all, and we are all the beneficiaries.
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Coach Wooden is an incredible man. In this one hour video, he generously shares his wisdom, personal philosophy, and principles for living a gratified and successful life. And he has a fresh ability to connect in a intention that is enchanting, superb, motivating, and non-judgmental. After watching and listening to him, I now understand why he became one of the most successful coaches in sports history.
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If you want to become a better person, this video of John Wooden has a lot to offer you. I highly recommend it.
I watched this video 5 times this week. John Wooden knows the secrets for living a expansive life and tells it all in this very personal reflection. Phil Jackson, Kareem, and Bill Walton add a lot of insight.
Johnny Gash
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