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Official Great Works Draft (1 Viewer)
- Thread starter timschochet
- Start date
ScottNorwood
Footballcutie
She is banned. pick.MisfitBlondes said:
Mister CIA
Footballguy
25.12 - Notorious by Alfred Hitchcock, Movie
Almost went with a different Hitchcock film. Drafting Hitchcock films is a lot like drafting Shakespeare plays.
Almost went with a different Hitchcock film. Drafting Hitchcock films is a lot like drafting Shakespeare plays.
Postradamus
Footballguy
just got back in, pick coming shortly
ScottNorwood
Footballcutie
MB close to a skip
Thanks, fellas.
krista4
Footballguy
Yep. Bob Lee Swagger up now.
Bob Lee Swagger
Footballguy
Postradamus
Footballguy
25.03 Beyond Good and Evil by Friedrich Nietzsche -nonfiction
because I don't follow the herd. chumps.
because I don't follow the herd. chumps.
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ScottNorwood
Footballcutie
t's always difficult to keep personal prejudice out of a thing like this. And wherever you run into it, prejudice always obscures the truth. I don't really know what the truth is. I don't suppose anybody will ever really know. Nine of us now seem to feel that the defendant is innocent, but we're just gambling on probabilities - we may be wrong. We may be trying to let a guilty man go free, I don't know. Nobody really can. But we have a reasonable doubt, and that's something that's very valuable in our system. No jury can declare a man guilty unless it's SURE. We nine can't understand how you three are still so sure. Maybe you can tell us.
25.16 Henry Fonda's Juror #8 (performance)
Should be #1 in the category
25.16 Henry Fonda's Juror #8 (performance)
Should be #1 in the category
krista4
Footballguy
Wow, this is a great one.t's always difficult to keep personal prejudice out of a thing like this. And wherever you run into it, prejudice always obscures the truth. I don't really know what the truth is. I don't suppose anybody will ever really know. Nine of us now seem to feel that the defendant is innocent, but we're just gambling on probabilities - we may be wrong. We may be trying to let a guilty man go free, I don't know. Nobody really can. But we have a reasonable doubt, and that's something that's very valuable in our system. No jury can declare a man guilty unless it's SURE. We nine can't understand how you three are still so sure. Maybe you can tell us.
25.16 Henry Fonda's Juror #8 (performance)
Should be #1 in the category
krista4
Footballguy
I really don't think it ever will be.maybe because it's not finished yet. (multiple point subtraction)krista4 said:anborn said:I really couldn't find pics to do it justice.
25.17--Abraham Lincoln Statue in Lincoln Memorial-Daniel Chester French-Sculpture
The centerpiece of the Lincoln Memorial is the marble statue of Lincoln, seated on a throne like chair. Weighing over 170 tons, it is over 30 feet tall and is made of 28 blocks of marble, ironically quarried in Georgia. Carved in 1921-22, it was unveiled at the Memorials opening in 1922. The figure of Lincoln gazes directly ahead and slightly down with an expression of gravity and solemnity that viewers have often found deeply moving. His frock coat is unbuttoned and a large flag is draped over the chair back and sides. French paid special attention to Lincoln’s expressive hands, which rest on the enormous arms of a circular, ceremonial chair, the fronts of which bear fasces, emblems of authority from Roman antiquity. (French used casts of his own fingers to achieve the correct placement.)
Yankee may think the Statue of Liberty is the #1 pick in this category, but he's wrong. The seated statue of Father Abraham is the true American statue. We carved it ourselves, we didn't get it from some bunch of French wussies. :IBTL:
The centerpiece of the Lincoln Memorial is the marble statue of Lincoln, seated on a throne like chair. Weighing over 170 tons, it is over 30 feet tall and is made of 28 blocks of marble, ironically quarried in Georgia. Carved in 1921-22, it was unveiled at the Memorials opening in 1922. The figure of Lincoln gazes directly ahead and slightly down with an expression of gravity and solemnity that viewers have often found deeply moving. His frock coat is unbuttoned and a large flag is draped over the chair back and sides. French paid special attention to Lincoln’s expressive hands, which rest on the enormous arms of a circular, ceremonial chair, the fronts of which bear fasces, emblems of authority from Roman antiquity. (French used casts of his own fingers to achieve the correct placement.)
Yankee may think the Statue of Liberty is the #1 pick in this category, but he's wrong. The seated statue of Father Abraham is the true American statue. We carved it ourselves, we didn't get it from some bunch of French wussies. :IBTL:
anborn
Footballguy
maybe because it's not finished yet. (multiple point subtraction)krista4 said:anborn said:Sigh... was on this half of team norwood/anbo's short list. been there, seen it, toured it... and its awesome.Aw hell, since I've known for two rounds what I am taking, it's unfair to the others for me purposefully to thatguy the draft.
This is what I was tempted to take last time for fear of Abrantes' sniping it, which inexplicably he didn't.
24.20 La Sagrada Familia (Building/Structure)
Write-up of Gaudi's masterpiece to come.
rodg12
Footballguy
Skipped
23.05 - Doug B (requested skip)
24.16 - Doug B (autoskip tonight)
25.05 - Doug B (autoskip)
25.08 - Tides of War (autoskip today)
25.11 - El Floppo (autoskip today)
25.18 - Genedoc OTC until :13
25.19 - Tirnan (autoskip if not here in first 5)
25.20 - Yankee23Fan
26.01 - Yankee23Fan
26.02 - Tirnan (autoskip if not here in first 5)
26.03 - Genedoc
26.04 - DC Thunder
26.05 - Scott Norwood
26.06 - Bob Lee Swagger
26.07 - MisfitBlondes
26.08 - Uncle Humana
26.09 - Team CIA (autoskip)
26.10 - El Floppo (autoskip today)
23.05 - Doug B (requested skip)
24.16 - Doug B (autoskip tonight)
25.05 - Doug B (autoskip)
25.08 - Tides of War (autoskip today)
25.11 - El Floppo (autoskip today)
25.18 - Genedoc OTC until :13
25.19 - Tirnan (autoskip if not here in first 5)
25.20 - Yankee23Fan
26.01 - Yankee23Fan
26.02 - Tirnan (autoskip if not here in first 5)
26.03 - Genedoc
26.04 - DC Thunder
26.05 - Scott Norwood
26.06 - Bob Lee Swagger
26.07 - MisfitBlondes
26.08 - Uncle Humana
26.09 - Team CIA (autoskip)
26.10 - El Floppo (autoskip today)
Uncle Humuna
Footballguy
I'm kinda envious here.Wish there was some way I could post mulitple picks without getting skipped.
Yankee23Fan
Fair Tax!
You mother************************************25.17--Abraham Lincoln Statue in Lincoln Memorial-Daniel Chester French-Sculpture
The centerpiece of the Lincoln Memorial is the marble statue of Lincoln, seated on a throne like chair. Weighing over 170 tons, it is over 30 feet tall and is made of 28 blocks of marble, ironically quarried in Georgia. Carved in 1921-22, it was unveiled at the Memorials opening in 1922. The figure of Lincoln gazes directly ahead and slightly down with an expression of gravity and solemnity that viewers have often found deeply moving. His frock coat is unbuttoned and a large flag is draped over the chair back and sides. French paid special attention to Lincoln’s expressive hands, which rest on the enormous arms of a circular, ceremonial chair, the fronts of which bear fasces, emblems of authority from Roman antiquity. (French used casts of his own fingers to achieve the correct placement.)
Yankee may think the Statue of Liberty is the #1 pick in this category, but he's wrong. The seated statue of Father Abraham is the true American statue. We carved it ourselves, we didn't get it from some bunch of French wussies.
Yankee23Fan
Fair Tax!
The first immediately before I was going to pick it snipe. I was going to take Abe over CATS but I figured everyone was ignoring America and I could just take it here given that I needed a play.
**** donkey *********** uncle ************ ice cream on the ************* bible ************* your *********** licking ************* smoking *** ****** ********** ******** ***** **************** **********************************************************************!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!100011111L0L0L11101011111]NGJEWmw
vk
**** donkey *********** uncle ************ ice cream on the ************* bible ************* your *********** licking ************* smoking *** ****** ********** ******** ***** **************** **********************************************************************!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!100011111L0L0L11101011111]NGJEWmw
vk
Bonzai
Footballguy
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timschochet
Footballguy
Another round of fine picks. I'm very happy to be given the opportunity to be able to rank and evaluate one of my favorite albums of all time, Let It Bleed. Is i the best Stones' album of all time? Not IMO, or I would not have selected Exile On Main Street. But it is surely 2nd best...
Well, after further consideration, it might not be 2nd best either. At the very least it's in the top three....
Well, wait a minute, I'm not positive of this. But I love this album anyhow. Well done!
Well, after further consideration, it might not be 2nd best either. At the very least it's in the top three....
Well, wait a minute, I'm not positive of this. But I love this album anyhow. Well done!
Postradamus
Footballguy
throw some links on dat ho.
Where would you have put it? You already have a statue, don't you? And Honest Abe is too important to be a wildcard...
Yankee23Fan
Fair Tax!
Ok, I've calmed down. That was a nice pick. Bastige.
To end the round I am going to select what I think may be one of the greatest acting performances in cinema history. And it came in a sequel, which is inspiring.
I select, Don Michael Corleone by Al Pacino in Godfather II. Unlike the first time he played the role, this version required so much more emotion and raw power. We already knew Michael from the original, and in my opinion greatest movie ever made. But in this secondary story that concluded the matter we see Pacino take over just about every single scene. If we were ranking most powerful and awesome scenes in movie history nothing compares to the scene when Kay tells Michael that she didn't lose the baby, it was an abortion.
The well of rage, from a man trying to comfort the wife he loves and hold her close to him and show how much he really did love her, to a man realizing the hatred and lack of love and respect and destruction of his vision of family that his wife just dropped on him, to the absolute hatred and fury of a man that would burn down the world at the moment was knee shakingly good. You simply can't get better then THIS.
To end the round I am going to select what I think may be one of the greatest acting performances in cinema history. And it came in a sequel, which is inspiring.
I select, Don Michael Corleone by Al Pacino in Godfather II. Unlike the first time he played the role, this version required so much more emotion and raw power. We already knew Michael from the original, and in my opinion greatest movie ever made. But in this secondary story that concluded the matter we see Pacino take over just about every single scene. If we were ranking most powerful and awesome scenes in movie history nothing compares to the scene when Kay tells Michael that she didn't lose the baby, it was an abortion.
The well of rage, from a man trying to comfort the wife he loves and hold her close to him and show how much he really did love her, to a man realizing the hatred and lack of love and respect and destruction of his vision of family that his wife just dropped on him, to the absolute hatred and fury of a man that would burn down the world at the moment was knee shakingly good. You simply can't get better then THIS.
flysack
Footballguy
I've been debating taking one of his books for awhile now. The main reason I didn't take one is because I couldn't figure out which to select - so I opted out and went in another direction. I love this one though (even though it isn't my favorite Nietzsche).
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Bonzai
Footballguy
I'm in the same boat. Couldn't figure out which one to take, so he's not on the board as of now.I've been debating taking one of his books for awhile now. The main reason I didn't take one is because I couldn't figure out which to select - so I opted out and went in another direction. I love this one though (even though it isn't my favorite Nietzsche).
Postradamus
Footballguy
yeah, I was actually thinking about my pick during the morning when I was away...seriously considered the Relativity book, knew it would go soon, but you just made my choice easier when I got back.
I studied Beyond Good and Evil in a number of courses and it just grew on me more than his other works. hes one of my favorite philosophers fo sho.
not to mention its impact made on the world of philosophy.
I studied Beyond Good and Evil in a number of courses and it just grew on me more than his other works. hes one of my favorite philosophers fo sho.
not to mention its impact made on the world of philosophy.
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timschochet
Footballguy
Beyond Good and Evil was on my short list. Good pick.
Regarding Henry Fonda- that's one of my favorite movies, and he gives a great speech. But is it a great acting job? My problem with it is Fonda is playing himself, as he usually does. He does a great Henry Fonda.
Regarding Henry Fonda- that's one of my favorite movies, and he gives a great speech. But is it a great acting job? My problem with it is Fonda is playing himself, as he usually does. He does a great Henry Fonda.
Yankee23Fan
Fair Tax!
To start a new round, I'm staying with the same theme. And beleive it or not, the same actor. That's right, he has two of the greatest performances ever on screen. Some may even add 2 more in here, but the previous one was his best, and this one is a close second.
The role was based on a true story. Pacino actually left the set for a few days in the middle of filming but came back. Thank god. When he came back, he delievered a performance that gets better and better every time you see it. He became the man he played. He portrayed the decaying 70's of New York finer then anyone had prior. He was an everyman bad guy hero that you could cling to and sympathize with. He gave a performance that was believable, tragic and inspired.
I select, Sonny Wortzik by Al Pacino in Dog Day Afternoon.
ATTICA! ATTICA! ATTICA!
The role was based on a true story. Pacino actually left the set for a few days in the middle of filming but came back. Thank god. When he came back, he delievered a performance that gets better and better every time you see it. He became the man he played. He portrayed the decaying 70's of New York finer then anyone had prior. He was an everyman bad guy hero that you could cling to and sympathize with. He gave a performance that was believable, tragic and inspired.
I select, Sonny Wortzik by Al Pacino in Dog Day Afternoon.
ATTICA! ATTICA! ATTICA!
timschochet
Footballguy
Something I love about Dog Day Afternoon- no fear of spotlighting, because it won't be selected here, but that movie opens up with "Amoreena", one of my favorite all time Elton John songs.
flysack
Footballguy
When Bobbylayne and I were having team meetings, I suggested we take a certain Pacino character. He said no way, if he took Pacino, it'd be for Sonny Wortzik in Dog Day Afternoon.I'd never seen the flick.
So I instant-viewed it on Netflix.
GREAT flick.
Chalk that one up to another piece of art I've read/viewed because of these drafts.
ScottNorwood
Footballcutie
Yankee23Fan
Fair Tax!
It's a great movie. Every time I watch it I'm blown away at how good it was. And Pacino didn't give the only great performance there.When Bobbylayne and I were having team meetings, I suggested we take a certain Pacino character. He said no way, if he took Pacino, it'd be for Sonny Wortzik in Dog Day Afternoon.I'd never seen the flick.
So I instant-viewed it on Netflix.
GREAT flick.
Chalk that one up to another piece of art I've read/viewed because of these drafts.
mad sweeney
Footballguy
Love this movie, love the lighting. Tom Siegel (the DP) and the AD really pulled this movie along and mad it much more than Brian Singer did. Absolutely fantastic and I can watch the last 5-10 minutes over and over and over (and I do whenever it's on). Some notes on Brian Singer. Probably the creepiest gay guy I have ever met who didn't have a huge pedophile beard. He was the exec on House and came to set 3 or 4 times, each time with a Flip Flop Mafia of his little boy cronies following him around like pigeons scrambling for seed. Every time I walked by him I just felt a creepy feeling like he wanted to pet me. It's one of the most disappointing celebrity meetings I've had. One of the other was Tom Siegel whom I idolized. he direted a few episodes and pretty much lost a lot of respect for him although many of his films are among my favorite looking films including their next one, Apt Pupil (very underrated film).Another few notes on Singer as pertaining to Usual Suspects. As I said before, the AD had to direct a lot of the movie because Spacey and Singer were no longer speaking to each other and because Singer has a wandering eye and wandering hands. But after the second time he caught one of his boy toys in Spaceys trailer, uh servicing him, Singer and Spacey had a major feud. Spacey having more sway than first time director Singer didn't care and kept the boy toy. Al of this comes from first hand knowledge from the AD.He no longer shoots in the US because of an incident on Apt Pupil where during a shower scene at a high school where the lead dreams about being in a Nazi gas chamber, Singer spontaneously had the boys drop their drawers for the scene. A big no no for 16 year olds on a movie set. A lawsuit was filed and paid off and hushed up by Fox who then shipped him off to Canada for the Xmen.As for Xmen, the cast pretty much said to the studios they would not do a 3 if Singer was directing it. Apparently, again from first hand sources, he spent most of his time on set with his hands down the back side of a boy's pants. The cast put their foots down and Singer was out idiot Ratner was in. A less talented and equally distracted (by women though) hack director who ruined X3.In short, US is a great film that I think retains it's re-watching power even after the secret is out. Shot well, well contstructed, great score and awesome end sequence. Brian Singer, creepy as all hell and his DP is a disppointment too which sadly hurts my appreciation of some of their movies.krista4 said:
rodg12
Footballguy
Yep
Bonzai
Footballguy
Symphony No. 9 – Gustav Mahler
Late Night Thoughts on Listening to Mahler's Ninth Symphony
Lewis Thomas
I cannot listen to Mahler's Ninth Symphony with anything like the old melancholy mixed with the high pleasure I used to take from this music. There was a time, not long ago, when what I heard, especially in the final movement, was an open acknowledgement of death and at the same time a quiet celebration of the tranquility connected to the process. I took this music as a metaphor for reassurance, confirming my own strong hunch that the dying of every living creature, the most natural of all experiences, has to be a peaceful experience. I rely on nature. The long passages on all the strings at the end, as close as music can come to expressing silence itself, I used to hear as Mahler's idea of leave-taking at its best. But always, I have heard this music as a solitary, private listener, thinking about death.
Now I hear it differently. I cannot listen to the last movement of the Mahler Ninth without the door-smashing intrusion of a huge new thought: death everywhere, the dying of everything, the end of humanity. The easy sadness expressed with such gentleness and delicacy by that repeated phrase on faded strings, over and over again, no longer comes to me as old, familiar news of the cycle of living and dying. All through the last notes my mind swarms with images of a world in which the thermonuclear bombs have begun to explode, in New York and San Francisco, in Moscow and Leningrad, in Paris, in Paris, in Paris. In Oxford and Cambridge, in Edinburgh. I cannot push away the thought of a cloud of radioactivity drifting along the Engadin, from the Moloja Pass to Ftan, killing off the part of the earth I love more than any other part.
I am old enough by this time to be used to the notion of dying, saddened by the glimpse when it has occured but only transiently knocked down, able to regain my feet quickly at the thought of continuity, any day. I have acquired and held in affection until very recently another sideline of an idea which serves me well at dark times: the life of the earth is the same as the life of an organism: the great round being possesses a mind: the mind contains an infinite number of thoughts and memories: when I reach my time I may find myself still hanging around in some sort of midair, one of those small thoughts, drawn back into the memory of the earth: in that peculiar sense I will be alive.
Now all that has changed. I cannot think that way anymore. Not while those things are still in place, aimed everywhere, ready for launching.
This is a bad enough thing for the people in my generation. We can put up with it, I suppose, since we must. We are moving along anyway, like it or not. I can even set aside my private fancy about hanging around, in midair.
What I cannot imagine, what I cannot put up with, the thought that keeps grinding its way into my mind, making the Mahler into a hideous noise close to killing me, is what it would be like to be young. How do the young stand it? How can they keep their sanity? If I were very young, sixteen or seventeen years old, I think I would begin, perhaps very slowly and imperceptibly, to go crazy.
There is a short passage near the very end of the Mahler in which the almost vanishing violins, all engaged in a sustained backward glance, are edged aside for a few bars by the cellos. Those lower notes pick up fragments from the first movement, as though prepared to begin everything all over again, and then the cellos subside and disappear, like an exhalation. I used to hear this as a wonderful few seconds of encouragement: we'll be back, we're still here, keep going, keep going.
Now, with a pamphlet in front of me on a corner of my desk, published by the Congressional Office of Technology Assessment, entitled MX Basing, an analysis of all the alternative strategies for placement and protection of hundreds of these missiles, each capable of creating artificial suns to vaporize a hundred Hiroshimas, collectively capable of destroying the life of any continent, I cannot hear the same Mahler. Now, those cellos sound in my mind like the opening of all the hatches and the instant before ignition.
If I were sixteen or seventeen years old, I would not feel the cracking of my own brain, but I would know for sure that the whole world was coming unhinged. I can remember with some clarity what it was like to be sixteen. I had discovered the Brahms symphonies. I knew that there was something going on in the late Beethoven quartets that I would have to figure out, and I knew that there was plenty of time ahead for all the figuing I would ever have to do. I had never heard of Mahler. I was in no hurry. I was a college sophomore and had decided that Wallace Stevens and I possessed a comprehensive understanding of everything needed for a life. The years stretched away forever ahead, forever. My great-great grandfather had come from Wales, leaving his signature in the family Bible on the same page that carried, a century later, my father's signature. It never crossed my mind to worry about the twenty-first century; it was just there, given, somewhere in the sure distance.
The man on television, Sunday midday, middle-aged and solid, nice-looking chap, all the facts at his fingertips, more dependable looking than most high-school principals, is talking about civilian defense, his responsibility in Washington. It can make an enormous diffference, he is saying. Instead of the outright death of eighty milliom American citizens in twenty minutes, he says, we can, by careful planning and practice, get that number down to only forty million, maybe even twenty. The thing to do, he says, is to evacuate the cities quickly and have everyone get under shelter in the countryside. That way we can recover, and meanwhile we will have retaliated, incinerating all of Soviet society, he says. What about radioactive fallout? he is asked. Well, he says. Anyway, he says, if the Russians know they can only destroy forty million of us instead of eighty million, this will deter them. Of course, he adds, they have the capacity to kill all two hundred and twenty million of us if they try real hard, but they know we can do the same to them. If the figure is only forty million this will deter them, not worth the trouble, not worth the risk. Eighty million would be another matter, we should guard ourselves against losing that many all at once, he says.
If I were sixteen or seventeen years old and had to listen to that, or read things like that, I would want to give up listening and reading. I would begin thinking up new kinds of sounds, different from any music heard before, and I would be twisting and turning to rid myself of human language.
Late Night Thoughts on Listening to Mahler's Ninth Symphony
Lewis Thomas
I cannot listen to Mahler's Ninth Symphony with anything like the old melancholy mixed with the high pleasure I used to take from this music. There was a time, not long ago, when what I heard, especially in the final movement, was an open acknowledgement of death and at the same time a quiet celebration of the tranquility connected to the process. I took this music as a metaphor for reassurance, confirming my own strong hunch that the dying of every living creature, the most natural of all experiences, has to be a peaceful experience. I rely on nature. The long passages on all the strings at the end, as close as music can come to expressing silence itself, I used to hear as Mahler's idea of leave-taking at its best. But always, I have heard this music as a solitary, private listener, thinking about death.
Now I hear it differently. I cannot listen to the last movement of the Mahler Ninth without the door-smashing intrusion of a huge new thought: death everywhere, the dying of everything, the end of humanity. The easy sadness expressed with such gentleness and delicacy by that repeated phrase on faded strings, over and over again, no longer comes to me as old, familiar news of the cycle of living and dying. All through the last notes my mind swarms with images of a world in which the thermonuclear bombs have begun to explode, in New York and San Francisco, in Moscow and Leningrad, in Paris, in Paris, in Paris. In Oxford and Cambridge, in Edinburgh. I cannot push away the thought of a cloud of radioactivity drifting along the Engadin, from the Moloja Pass to Ftan, killing off the part of the earth I love more than any other part.
I am old enough by this time to be used to the notion of dying, saddened by the glimpse when it has occured but only transiently knocked down, able to regain my feet quickly at the thought of continuity, any day. I have acquired and held in affection until very recently another sideline of an idea which serves me well at dark times: the life of the earth is the same as the life of an organism: the great round being possesses a mind: the mind contains an infinite number of thoughts and memories: when I reach my time I may find myself still hanging around in some sort of midair, one of those small thoughts, drawn back into the memory of the earth: in that peculiar sense I will be alive.
Now all that has changed. I cannot think that way anymore. Not while those things are still in place, aimed everywhere, ready for launching.
This is a bad enough thing for the people in my generation. We can put up with it, I suppose, since we must. We are moving along anyway, like it or not. I can even set aside my private fancy about hanging around, in midair.
What I cannot imagine, what I cannot put up with, the thought that keeps grinding its way into my mind, making the Mahler into a hideous noise close to killing me, is what it would be like to be young. How do the young stand it? How can they keep their sanity? If I were very young, sixteen or seventeen years old, I think I would begin, perhaps very slowly and imperceptibly, to go crazy.
There is a short passage near the very end of the Mahler in which the almost vanishing violins, all engaged in a sustained backward glance, are edged aside for a few bars by the cellos. Those lower notes pick up fragments from the first movement, as though prepared to begin everything all over again, and then the cellos subside and disappear, like an exhalation. I used to hear this as a wonderful few seconds of encouragement: we'll be back, we're still here, keep going, keep going.
Now, with a pamphlet in front of me on a corner of my desk, published by the Congressional Office of Technology Assessment, entitled MX Basing, an analysis of all the alternative strategies for placement and protection of hundreds of these missiles, each capable of creating artificial suns to vaporize a hundred Hiroshimas, collectively capable of destroying the life of any continent, I cannot hear the same Mahler. Now, those cellos sound in my mind like the opening of all the hatches and the instant before ignition.
If I were sixteen or seventeen years old, I would not feel the cracking of my own brain, but I would know for sure that the whole world was coming unhinged. I can remember with some clarity what it was like to be sixteen. I had discovered the Brahms symphonies. I knew that there was something going on in the late Beethoven quartets that I would have to figure out, and I knew that there was plenty of time ahead for all the figuing I would ever have to do. I had never heard of Mahler. I was in no hurry. I was a college sophomore and had decided that Wallace Stevens and I possessed a comprehensive understanding of everything needed for a life. The years stretched away forever ahead, forever. My great-great grandfather had come from Wales, leaving his signature in the family Bible on the same page that carried, a century later, my father's signature. It never crossed my mind to worry about the twenty-first century; it was just there, given, somewhere in the sure distance.
The man on television, Sunday midday, middle-aged and solid, nice-looking chap, all the facts at his fingertips, more dependable looking than most high-school principals, is talking about civilian defense, his responsibility in Washington. It can make an enormous diffference, he is saying. Instead of the outright death of eighty milliom American citizens in twenty minutes, he says, we can, by careful planning and practice, get that number down to only forty million, maybe even twenty. The thing to do, he says, is to evacuate the cities quickly and have everyone get under shelter in the countryside. That way we can recover, and meanwhile we will have retaliated, incinerating all of Soviet society, he says. What about radioactive fallout? he is asked. Well, he says. Anyway, he says, if the Russians know they can only destroy forty million of us instead of eighty million, this will deter them. Of course, he adds, they have the capacity to kill all two hundred and twenty million of us if they try real hard, but they know we can do the same to them. If the figure is only forty million this will deter them, not worth the trouble, not worth the risk. Eighty million would be another matter, we should guard ourselves against losing that many all at once, he says.
If I were sixteen or seventeen years old and had to listen to that, or read things like that, I would want to give up listening and reading. I would begin thinking up new kinds of sounds, different from any music heard before, and I would be twisting and turning to rid myself of human language.
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mad sweeney
Footballguy
I'm glad Yankee picked some roles I've see recently, double digit hours in the case of Corleone, so I don't have to power through more movies. I've only gotten through 5 or so but now that the NHL playoffs are winding down I have more free time.
25.04--The Battle of Algiers--Movie
La battaglia di Algeri is an Italian film, produced in 1966 that tells of an important battle in the Algerian War of Independence from France. This 8 year was was a bloddy affair, bitterly fought by both sides. It featured torture (a lot more torture than waterboarding) and atrocities by both sides against the civilin population. The loss of Algeria as a French Department, ultimately lead to the fall of a French government and the establishment of the 5th Republic and the presidency of Charles de Gualle.
The Battle of Algiers was made in a manner similar to Italian neorealism, French cinéma vérité and Soviet socialist realism, cinematic movements that aspired to create realistic depictions of the lives of ordinary people. The film has been hailed for its stunning realism, especially in its scenes of Algerian city life and large-scale public protest and rioting.[citation needed] The handling of the crowd scenes is masterly, capturing the raw passion of the actual events. This reflects the influence of newsreel footage upon Pontecorvo's style, already evident in his Academy Award-nominated film Kapò (1959) which established his reputation. For Battle of Algiers, Pontecorvo and cinematographer Marcello Gatti filmed in black and white and experimented with various techniques to give the film the look of newsreel and documentary film. The effect was convincing enough that American reels carried a disclaimer that "not one foot" of newsreel was used.[5]
Aiding the sense of realism, Pontecorvo and Solinas spent two years in Algiers scouting locations, especially those areas where the events to be depicted in the film took place.[citation needed] With Saadi Yacef as a guide, he learned about the culture and customs of the residents. Pontecorvo chose to cast from the non-professional Algerian Arabs or Kabyles he met, picking them mainly on appearance and emotional effect (as a consequence, many of their lines were dubbed).[6] The sole professional actor in the film was Jean Martin who played Col. Mathieu; Martin was a French actor who had worked primarily in theatre. Ironically, Martin subsequently lost several jobs because he condemned his government's actions in Algeria. Martin had also served in a paratroop regiment during the Indochina War as well as the French Resistance, thus giving his character an autobiographical element.
La battaglia di Algeri is an Italian film, produced in 1966 that tells of an important battle in the Algerian War of Independence from France. This 8 year was was a bloddy affair, bitterly fought by both sides. It featured torture (a lot more torture than waterboarding) and atrocities by both sides against the civilin population. The loss of Algeria as a French Department, ultimately lead to the fall of a French government and the establishment of the 5th Republic and the presidency of Charles de Gualle.
The Battle of Algiers was made in a manner similar to Italian neorealism, French cinéma vérité and Soviet socialist realism, cinematic movements that aspired to create realistic depictions of the lives of ordinary people. The film has been hailed for its stunning realism, especially in its scenes of Algerian city life and large-scale public protest and rioting.[citation needed] The handling of the crowd scenes is masterly, capturing the raw passion of the actual events. This reflects the influence of newsreel footage upon Pontecorvo's style, already evident in his Academy Award-nominated film Kapò (1959) which established his reputation. For Battle of Algiers, Pontecorvo and cinematographer Marcello Gatti filmed in black and white and experimented with various techniques to give the film the look of newsreel and documentary film. The effect was convincing enough that American reels carried a disclaimer that "not one foot" of newsreel was used.[5]
Aiding the sense of realism, Pontecorvo and Solinas spent two years in Algiers scouting locations, especially those areas where the events to be depicted in the film took place.[citation needed] With Saadi Yacef as a guide, he learned about the culture and customs of the residents. Pontecorvo chose to cast from the non-professional Algerian Arabs or Kabyles he met, picking them mainly on appearance and emotional effect (as a consequence, many of their lines were dubbed).[6] The sole professional actor in the film was Jean Martin who played Col. Mathieu; Martin was a French actor who had worked primarily in theatre. Ironically, Martin subsequently lost several jobs because he condemned his government's actions in Algeria. Martin had also served in a paratroop regiment during the Indochina War as well as the French Resistance, thus giving his character an autobiographical element.
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krista4
Footballguy
Funny, tim and I talked about this movie this morning, when he said he loved it but wasn't going to choose it here.If there's anyone here who hasn't seen this, watch it immediately. Really an incredible movie.
ScottNorwood
Footballcutie
26.05 Are You Experienced by The Jimi Hendrix Experience (album)
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