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"Hopefully we have the courage to be alone

and courage to take risks to be together "

Eduardo Galeano

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One of the strangest aspects of the transition between the 4th and 50 in Hollywood was the virtual disappearance of the thriller and movie of black. Usually Hollywood movies of the 50 is bright and colorful, and even his darkest films as The Big Heat (1953), appear bathed in light as compared to 40. The thriller survived to some extent in the early 50's. But the honest detectives like Sam Spade in The Maltese Falcon (1941) and Philip Marlowe Murder, My Sweet (1944), The Big Sleep, The Lady of the Lake (1946), The Brasher Doubloon and (1947) gave way to far less virtuoso Mike Hammer adaptations of novels Mickey Spillane, who characterized the decade of the 50. I, The Jury (1953), Kiss me Deadly (1955) and My Gun Is Quick (1957). The change is exemplified by their own choice of players. Although Bogart does show some toughness, does not hide his sense of humor and deep vulnerability, qualities lacking in the personality of Ralph Meeker in Kiss me Deadly . However, while the thriller and black film largely disappeared from the Hollywood of the 50, his spirit continued. This was particularly evident in the acts of violence in films 50.

The classic gangster films of the 30 violence tended to be fast, not ritualized, not enhanced by cinematic effects such as fast-paced and close-ups, and executed usually by firearms. On the contrary, violence in the film thriller and black of the 40 usually consisted of beatings, burns, cuts, mutilation, poisoning, falls from high buildings. This felt much more tactile and immediate violence is evident, especially in the gangster movies of the 50, but also in other genres such as Westerns and war movies. An example that raised several comments at the time was shot in the hand of James Stewart in The Man from Laramie (1955). Among the most disturbing acts of violence of the gangster films of the 50 are those perpetrated against women, such as the disfigurement of his face suffered by Gloria Grahame in The Big Heat , and the threat of throwing sulfuric acid from the beautiful face of Vicky (Cyd Charisse) in Chicago year 30 (1959).

Increasing violence in American cinema of the decade of the 50 is perhaps a reflection of the concerns that was behind the apparent stability of Eisenhower's America. I wanted to see also the presence of a similar concern in the fantasy film about mutants and monstrous beings emerged as a result of the experiments mucleares, as well as morbid and destructive atmosphere of family melodramas of the period.

This film is mostly related with the figure of Alfred Hitchcock, for which the decade of the 50 was an especially prolific. In his films, classic Hollywood narrative patterns are subtly subverted by the sharpness and irony. His protagonists are developed often in mundane environments, and are a professional tennis player in Strangers on a Train (1951), a priest, I confess (1952), a press photographer temporarily invalid, The Rear Window (1954), and advertising in the death the heels (1959). All they see how the world collapses around him wrapping them up in nightmare situations. Those nightmares are not yet a social, not focus on character relationships with the outside world, but rather on the fragility of his own personality and identity, and the horrors that may be found in depths of his psyche. Thus, the priest I confess , the tennis player Strangers on a Train and advertising With North by Northwest, in fact, the appearance of guilty men, while the police Vertigo (1957), becomes a necrophiliac, and temporary invalid Rear Window, in a "voyeur."

But the darkest film all shot by Hitchcock's genius during the late 50's, and perhaps better reflects the concern that America was in this period is Wrong Man (1956), in which a single musician (Henry Fonda) is wrongly identified as a store robber. Slowly and deliberately, the judicial process is going to allocate this role, while his family falls apart because of this experience, and his wife were sinking into madness.

seems that highly stylized genres such as films gangster, thriller and suspense black cinema, offer a retrospective, a much more complete mood of a particular society at a given time that films more overtly social. In any case, have held up better over time, as evidenced by today's viewing, as well as the work of Franz Kafka, perhaps he, like anyone, has themed this great theme of the twentieth century: the obstacle. Yes, it was also the largest discovery of signs of modern life. Then came Hitchcock.

"He who seeks does not find, but who does not seek is found." Kafka, diary

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Fragment "the art of waiting without despair" In-

"In most of our hearts there is a fear not

confessed to submit our desires mean waving the white flag of defeat,

and away from each of the dreams we had.

That's the way some people approach God

add the phrase "only if you will" the end of a sentence not very passionate.

not say with sincere confidence in their hearts

that God wants to give us the best,

but they express a spirit of resignation

to the belief that God probably does not want to give us certain things

is as if we had lost sight of the goodness of God "

Submit Chapter 2, the point where it begins

Vilkler written by Sharon

link to electronic version

Brent Everett And Brent Corrigan Three Som

Autumn Leaves The Crowd

I have the same tastes that I admired Julio Cortázar: emperdernido reader, lover of solitude, jazz enthusiast, distrustful of "reality" which has been given to the world dreams, cigarettes, whiskey and walk the streets aimlessly. Some people say I look like him when I talk about in contrast to his beautiful baritone voice and dragged Rs. Sometimes I dream I am with him speaking in an empty terrace and full of autumn leaves. You might even say that I feel identified with these words spoken in the legendary TV Features captained and missed by Joaquín Soler Serrano and gone: "I have very bad taste in terms of feelings, I am easily sentimental."

Cortázar was a music lover since childhood. In the family house on Calle Rodríguez Peña his sister and his mother listened to classical music and tangos. To him, classical music, yes, but the tango did not appeal the least. It will take time to discover it, which is already in Paris in the early sixties. In his teenage years he woke up to a music that came from the United States and in Argentina was considered Barbarian: jazz. Bolivarsienses be in the years when deepen his taste for this. In these years of jazz Bolivar will therefore be another way, as he was reading, to escape the provincial isolation.

Sometime Cortazar said he began to hear and follow jazz in 1928, when it was about fourteen years old and through the radio. At that time and in Buenos Aires or Argentina had a band that dared to embark on this type of composition and performance. With the radio began withholding the names of musicians and performers: Bessie Smith, Billie Holliday, Ethel Waters, Duke Ellington, Louis Armstrong , etc. "The first jazz I heard on the radio was almost drowned by the shrieks of horror from my family, so naturally qualified black music. They were unable to find the melody and rhythm." However, Cortázar it was very clear from the beginning. Jazz offered something that was lacking in the other music: improvisation, his ability metacreativa, its takes, its spontaneous movement. Sometimes the writer has referred in this regard, the poverty of the tango, and we can extend to other formal music, about the richness of jazz. This precocious, over time, will expand in knowledge of hot music, while at maturity the writer became a real expert in the field.

jazz addition, the effect of contaminant, will leave his mark in his own handwriting, as he himself acknowledged: "My job as a writer is given in a way where there is a kind of rhythm that has nothing to see the rhyme and alliteration, no. It's kind of beat, swing, and jazz musicians say, a kind of rhythm which, if not in what I do, I am proof that does not work. " But such periods are not alone in their sense stylistic or strategic but also in the thematic worth the underlined reference to his story Tracker, based on the life of Charlie Parker, belonging to the volume secret weapons, which also marked a point watershed in his career and his conception of life. Add the presence of jazz in Rayuela or Around the Day in Eighty Worlds ("Around the piano of Thelonious Monk"). The truth is that it's fairly easy to guess why there are such links between jazz and literature Cortazarian. Jazz, as I said, his speech gun improvisation and spontaneity, which are close to the irrational, as is well known territory, it is particularly prone to Cortázar, hence the affinity with this music comparable to the concept of automatic writing. Breton, Aragon, Crevel, "jazz gave me surreal to me the equivalent in music, the music did not need to score."

Yesterday I went to have a dream. Cortázar and I were playing in a jazz band on a glorienta nineteenth century. Nobody was listening. The floor was full of autumn leaves.

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Science, the new aristocracy! Progress. The world goes on!

Arthur Rimbaud, A Season in Hell

The Crowd (1928), King Vidor has a fresh narrative couple walking with their audacious sequences, such as that develop within large offices where he works John Sims (James Murray). Billy Wilder, thirty years later in apartment (1960) paid homage to Vidor film to showcase his unforgettable character CCBaxter. In its theme, the film presents the drama of a man trying his whole life to be somebody, but you just swallowed by the crowd, which in Spain Ortega y Gasset called The mass rebellion. In the final ambiguous, it was thought up to seven different possibilities, expressed the bitterness of failure to drive away the individual, but also fit different interpretations, which is why the solution of conflicts is, apparently, happy.

The description of the married life of the Sims, properly embodied by James Murray and Eleanor Boardman then Vidor's wife, has an authenticity that vibrates the screen. Vidor manages unforgettable moments of pathos, as the sequence of the abuse of the girl, when the desperate father goes out and asks the crowd to be quiet, that her daughter is sick. A policeman stops him and says, "The world can not stop because your daughter had an accident." planes is one of the most impressive and dramatic history of cinema.

John is a young lower middle class American to survive between the mediocrity of the crowd . With Bert, a coworker, dating girls a office, Mary and Artell, to Coney Island. Love with the first, early marriage contract. After a honeymoon in Niagara Falls, have two children. But then the need will urge them seriously.

esfervescencia In the middle of the "Happy 20", when it seems that life smiles to both win a prize of $ 500, and dream of success, the eldest daughter dies hit by a truck. This psychic and emotionally unbalance them. John, overcome with grief, loses his job, Mary, advised by his family, opt for separation. Feeling abandoned, he is about to commit suicide. Finally, get a job as "Man-ad" and also encouraged the couple's favorite music, marriage back together.

The final shows John, his wife and son sitting among the spectators at a small music hall, laughing at the antics of a clown. The camera goes back and rises to leave the crowd, as he had found. In fact the film was originally titled The Crowd (The crowd). This real and modest American tragedy was a premonition, in those years of crazy prosperity, hopes and limits for any citizen of the country at a time would break the great crisis of 1929: most economic catastrophe in history, with millions of unemployed and hunger marches.

Work mythical, therefore, advancing technical and narrative innovations, as discussed starting and ending, which then develop Orson Welles in Citizen Kane (1941) and which also invented the anti-hero in the cinema.

Every time I come to this film with the masterpiece of Paul Fejos Soledad, held in the same year, I have the conviction that we have not succeeded much. "The world goes on!".

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Both

Invasion of the Body Snatchers (1956), Don Siegel, as the later version of Philip Kaufman in 1978 (where the Body Snatchers become, strangely, the "Body Snatchers") have been regarded by critics as films with a huge load allegorical: the straps us into the inside story of an American city that suffers from subtle, almost subliminal interference between the inhabitants of a kind of fifth column. This allegorical burden is more present in the Siegel film in the Kaufman, undoubtedly because of social and political landscape, where both were the same thing, well, perhaps as now, dominated the time he was shot: a landscape dominated by the Cold War between the U.S. and the USSR and the so-called "witch hunt" promoted by McCarthyism. If the cold war to fear the possibility of a Soviet attack on the American continent at any time, the witch hunt that multiplied the effects of fear with a grand final pirouette: "watch your neighbors because any of them can be a communist ; anyone, even you. "

While Kaufman's film, shot with posterity to the revolutions that shook the 60's, desire to be more sensitive a modern audience (in fact the inevitable fifth columnism message would have resonance here in the power of television, media manipulation, the decline of a civilization becomes mass), is precisely the Siegel film, even of Abel Ferrara, but also the face of Kevin McCarhy shouting, desperate, "follows you!". Although certainly not easy to forget the tense expression of a demonic Donald Sutherland, alerting plant with a shriek almost the others that there was still a woman, Theodora Belicec, for "stealing."


Reason maybe in that Siegel, in contrast to Kaufman, he shot his film with the stated intention of transforming the original story by Jack Finney in an anti-parable, so that any viewer Siegel contemporary, modern or just for hosting this uneasy feeling raised by the stories open, prone to interpretation, characteristic of fables and morals (in fact the end of the film is not an end point, a virtue or defect, as Finney himself, shared with tape Kaufman .) But also, as the fables and morals, Invasion of the Body Snatchers manipulation of the viewer pursues. Siegel wants handle, he declares, with a political message. But the message wrong with aging time, and even prevails in their trail, a mark more or less distinct, it ends up streaky otherwise the final work and contaminate the entire tape, so that the political message becomes more firmly in an aesthetic message. The paranoia of McCarthyism and the Cold War is no longer there, but his ghost. And we all know that if something looks like a ghost is another ghost. That thing spectral orphan face, which is present in the celluloid of the film, is what ultimately overwhelms, and intoxicates the viewer. It is owned by him, and years then you can remember clearly how those pods had integument, and almost soapy quality that enveloped the bodies doubled. A ghost depleted and useless, the political message that we talked about, has brought to the viewer, in short, another ghost.

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ghosts of Japanese cinema trilogy (final)

Such is the wealth of Sansho Dayu (Sansho the Bailiff, 1954), several views are needed to understand its narrative complexity and the multifaceted meanings of the great Kenji Mizoguchi knows how to extract your history. Contains one of the densest plots all his films, made by a director today, you probably need twice the time to be told and would not achieve even half of their impact.

Throughout the film, Mizoguchi overlaps the story and a kind of meditation on the human capacity for good and evil, and on the importance of family unity. Trying to find contemporary parallels in it, some critics have wanted to even see the field slaves Sansho a metaphor for the modern concentration camps. But if Mizoguchi intended to draw these parallels, it is clear that it does not ever focus on them, but rather assumes that Japanese viewers know The folk tale on which the argument (which later became the novel by Ogai Mori), and uses their material as a starting point for an examination of history both personal and objective.

Despite the extraordinary detail and density of historical reconstruction, the environment in which the plot unfolds merely comments or underline the action. Kazuo Miyagawa and his camera crew get some of the images in black and white most beautiful and evocative of the whole history of cinema. In the first sequence, the viewer's eye is captivated by the wonderful drawings of the family wandering through the woods and pastures, then this mood is quickly replaced by fear and a sense of catastrophe with the rape scene on the beach (conceived as a series of sudden movements and short-term), and with the arrival of children Sansho camp.

The theme of family loyalty shown above with great delicacy in the scenes between Zushio and Anju, as children and adolescents, with the element of self-sacrifice occurs primarily in the long episode in which Anju Zushio convinces him to flee without it. Against a backdrop of bare trees and a wooden fence sinister, Mizoguchi gets first tragic climax of the film after the flight of Zushio (fast traveling through the trees and an impressive movement dolly from the top of a hill) in a static image whose whiteness seems to reflect the full horror of the death of Anju when it is drowned in the river voluntarily.


Mizoguchi strives at all times to highlight the idea of \u200b\u200bhistorical inevitability in all disasters that affect the family to frame their story in a much broader socio-political environment. Sansho the Bailiff shows numerous ritual scenes seemingly unimportant, but significant, since the inserts in the form of flashback in which Tairo asks his young son who never loses a sense of duty and humanity to the images that surround Zushio adult appointed the new governor and rushing to search for his mother. When Sansho cut away and the slaves celebrate their newly won freedom, there is no less heroic or less idealization, and all I see is a crowd engaged in something, in this case satisfy (justifiably) his revenge .

The last sequences of the great film Mizoguchi no less great in their own right merit inclusion among the best ever filmed.

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Japanese film trilogy (2)

Akira Kurosawa has always been the most problematic of the great Japanese directors. Having achieved the first success of his country in the West Rashomon (1950), followed by obtaining victories denied a Kenji Mizoguchi and Yasujiro Ozu. There are many reasons for this: the accessibility of the work of Kurosawa, sources of inspiration, often familiar to Western audiences and sensitivity clearly cosmopolitan and international films.

This was confirmed in The Seven Samurai (1954) which became a huge hit worldwide. The suspicion that it made little Japanese film deliberately to please the western audience seemed to be corroborated when Hollywood made a remake of this movie will change virtually nothing The Magnificent Seven (1960), directed by John Sturges always competent.

Contending with some reason that Mizoguchi historical epics were excellent except with respect to its battle scenes, Kurosawa was raised to balance its fight sequences and confusion The Seven Samurai. To give viewers the feeling they were present at the scene watching something that was actually happening, Kurosawa introduced the use of multiple cameras at once (shooting the same scene from different angles and then making a choice more vivid and spectacular of all time) and telephoto (with which you get the illusion that the action is much closer to the camera than it actually is.)

breaks also systematically used in the assembly to accelerate the action (a one character asks a question and answer site in another completely different elimimándose and cutscenes). And I made six years before Jean-Luc Godard revolutionized the language of film by using the same procedure the end of the trip (1960). The result is a film in constant motion, going from one place to another with rigor and intensity, so the threat of violence is present in every moment to burst in spectacular fashion in the final sequence.

Of course, all these techniques are already commonplace, having arrived even television. But in those moments, seemed highly innovative to Western audiences, especially when compared with the static and styling of other films Nipponese, who seemed to adopt a formalism derived from traditional Japanese painting. When trying to capture the action on the fly, without knowing in advance which of the various cameras used would better, Kurosawa could not logically be composed with much care and precision as Ozu and Mizoguchi. But to infer that Seven Samurai is a movie "Little Japan" is completely false. The formalism of much of Japanese art is based on the movements suspended and if it freezes any frame of this film will get a recorded such as Hokusai .

Similarly, although Seven Samurai story seems so clear, even Manichaean like many westerns, contains many subtleties and ambiguities. For example, when the emissaries of the village for the first time are covered Kembei amazed how it's done shaving head priest and pretend to catch a thief and murderer. According to Japanese tradition, the fact that a samurai shaves head indicates either that has fallen out of favor or that is about to leave the world and become a priest.

One of the greatest ironies of the film (and the remake of Sturges omitted entirely) is to be the half-witted Kikuchigo, the innocent, to reveal this truth to Kambei. When the seven samurais first arrive in the village, its inhabitants disappear terror and only return when they are threatened an attack from bandits. While the outraged villagers ashamed Kikuchigo for its lack of logic, the samurai are offended to discover a hidden reservoir of arms, indicating that the villagers have been dedicated to killing and robbing other samurai homeless.

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Japanese film trilogy (1)

to Vincent and Teresa who complain that they never write about Japanese cinema. Well, there goes my three favorite directors and my three favorite movies.

"Through the evolution of both parents and children discover how the Japanese family system has begun to disintegrate."

This laconic Yasujiro Ozu's comment about her big film Stories Tokyo (1953), also serves to describe almost all the films he made over 50 years, of which this is perhaps the best example achieved and elegant. In my opinion is one of the best Japanese movies of all time.

However, Western viewers, who had discovered the Japanese film by Kurosawa and Mizoguchi large and had to wait a long time before contemplating Tokyo Story. Premiered in London in 1965, in New York in 1972, almost twenty years after realization, and in Spain has not ever shown commercially, like the rest of the Ozu film. How can that has been ignored for so long an important work of a filmmaker so cool?

The onus in part to the Japanese themselves. Whereas Ozu is the Japanese of all directors, thought that his films were not exportable, that would not be understood by visitors from other countries. Not only are too subtle and devoid of drama and action required by the Western public, but family problems posed to them specifically seemed incomprehensible in Nipponese West. To make matters worse, many young critics of their own country Ozu's work considered too conservative and in many ways obsolete.

That valuation could be corrrecta Western tastes in the Fifties, but when the movie finally premiered in Britain and the United States, received unanimously enthusiastic reviews and reviews a great surprise to the Japanese. In fact, criticism welcome Tokyo Stories in the West served to revitalize the career and reputation of Ozu in their own country.

The immediate appeal of the film is based on two factors: first, its theme is universal, and second, is treated with real art and skill. Tokyo Stories sensitively explores the disillusionment that parents often experience regarding their children. Material level, the children of the Hirayama family struggling against tremendous pressure and competition from life in Tokyo, and personal level, the harshness of urban life tends to become selfish and insensitive towards others. This idea of \u200b\u200bdisillusionment and disappointment is bound to enfrentameinto with loneliness and death. For some the old Shukishi, this confrontation means acceptance. For others, as Noriko, who decides to remarry, it means change and ronovación. The optimistic note puts the acceptance by the parents of the filial love that gives her daughter when she is denied by their own children.

The definition and credibility of the characters are the key elements for these issues to be compelling, and most surprising of those created by Ozu is that they are all so typical without being reduced to simple stereotypes. The characters are complex and often contradictory. Shukishi, which is usually shown as a man worthy of respect and sympathy, will once again drunken revelry and (weakness as Ozu himself was well known). Tomi is described by her husband as a woman without feelings and be presented as a vulgar and unattractive. The strongest character in the film is to Noriko, who nevertheless admits that now she lives alone, misses the days when her husband came home late and completely drunk. These small inconsistencies are credible and exciting because of its authenticity, reinforcing the universal appeal of the characters who have them.

The other striking aspect of Tokyo Stories is the perfect dramatic structure of the film, reflected in a refined and subtle. The cyclical nature of the theme of change and death is reflected in the symmetry of the film, not only begins and ends with a similar background and seemingly timeless, but is made up of scenes built symmetrically. Since
Tokyo Stories is essentially about contemporary society, not interested in making Ozu heroes. " way things are," seems that this great movie.

Next entries: The Seven Samurai, Akira Kurosawa and Sansho the Bailiff, Mizoguchi Kenji.

Then I took a holiday movie review, I promise.

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The Siege (2) Home Theater

1997: Escape from New York (1981), John Carpenter, is the most perfect example of the theme, repeated over and over again in the work of the director. The black monoliths from the skyscrapers of Manhattan, dark and (from afar) apparently lifeless, are like the last refuge of the twentieth century civilization, surrounded by military patrols, radar, minefields and helicopters loaded with more sophisticated weapons and on the move. The urban prison, a jungle full of danger, is crowded by day, continually producing noise and pollution and eerily empty at night (images familiar to millions of people living in modern cities.) For most of them, the urban environment around them contains elements and frightening, Carpenter's allegory follows more closely to reality.

But the film refers not only to real life, but also the film itself. A series of films have prepared the audience for the presentation of the city as an absolute evil, from stories of revenge among gangsters of the 30's, to The Godfather (1972), Taxi Driver (1976) The new version of Invasion of Body Snatchers (1978), The Warriors (1979), etc.
But the siege has 1997: Escape from New York is much more rich and complex. When the President of the United States is kidnapped and disappears into the dark heart of New York, which face pressures are his fellow politicians, who are out of town. They are also in a trap ... time passes relentlessly and, unless they find a solution, will be destroyed along with others. In fact, the film is constructed as a series of dead-end situations, such as Manhattan itself, the a voice says at the beginning of the film: " Once you enter, you'll never leave"; the kidnapping of the President, (enclosed as a kind of prehistoric embryo in its sheath of survival), the commissioner of police torture ( a step, "he tells the kidnapper, waving a finger cut from the President," and kill him), it quickly moves to Snake Plissken, loaded with explosives that will explode if he fails in his mission; Above all, the fatal time limit hanging over them.


As in the old serials, the adventures of Snakie (which has no sympathy of the spectators, like the president) are also a series of dead ends, one after another. Is trapped by a horde of crazy, the car that flies stuck on a street "owned" by a band fond of beheading, is confronted in a boxing ring to a huge enemy (which seems to Flash Gordon, Emperor Ming), and surrounded by a feverish crowd calling for his blood, and finally hangs halfway down a wall, clearly illuminated by a spotlight, at the mercy of the murderer shot him in charge of hunting.

Memorable also fine cast. Snake Plissken (Kurt Russell) must watch carefully, sometimes carries the right eye patch, and others, on the left.

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long time I wanted to pay homage to a work I saw a kid on television. Thanks to her I theatergoers, a passion that still holds me. I'm talking about Twelve Angry Men, written by playwright Reginald Rose wrote the first adaptation for television in 1954, after the film adaptation in 1957 that Sidney Lumet directed with a masterly hand, and, finally, Rose turned in a play, which premiered in 1964.

The work was issued in a study on 6 October 1965 and was revived on. I do not remember well when I saw her, but it was in 1975. The adapter, director and producer of the English version of Twelve Angry Men was Gustavo Pérez Puig, one of the directors and filmmakers most prestigious in Spain. Puig Pérez continues, sometimes with extreme fidelity, film, as some plans are exactly alike. However, there are significant differential waste due to Lumet's version is, after all, a movie theater and tries to get away from the shot, while Perez is deliberately theatrical Puig be used in a space precisely boasted of his theatrical nature.

Thus, in the film, however briefly, you can see the courtroom, hallways and even the building's entrance, while the English version is strictly limited to the courtroom where jurors and meet the bathroom annex. Lumet tries to convey to the viewer a sense of increasing claustrophobia. To do this, start by using wide angle lenses to create large spaces between the characters, but as the action progresses, the focal length is increased, even at telephoto, which reduces the depth of field and the sense of space and depth. This ensures that the characters seem to be very close to each other. Furthermore, in the final close-ups abound finely chopped, seen from below, rather than from above, as he did at the beginning of the meeting this way, the ceiling looks down upon the characters, who seem to be locked in a box .

For his part, Perez Puig is adapted to television and theatrical language and used more often to the planes of a single actor or two, which are the best results given in the form of small screen, along with the inevitable growing group plans that required action. The result is so disturbing for theater and television as Lumet is the option for the film, although it is less claustrophobic. In the end, Pérez Puig matches in the use of close-ups, thereby enhancing the intensity of the situation. Both the film and in the English adaptation, the action seems continuous and the viewer has the feeling that no one temporary interruption, since Rose was intended to adhere to the three classic unities of action, time and place: the same story set in one place and in an identical time for the characters and the viewer. However, in both cases the implementation contributes to the feeling that the judges spend more two-hour discussion.

There is a curious detail that shows the time distortion. When the film is timed how long the neighbor of the accused might have been slow to reach the door, are said to be 41 seconds, but if the viewer takes the trouble to time this scene, in which no cutting whatsoever, find that takes only 30 seconds. In the English version will not exceed 35 seconds, but are said to have been 40. In the play, therefore the opposite of what happens normally in the movies, where scenes timed, for example when a minute left to explode the terrible bomb, usually last a lot.

Twelve Angry Men together a real team of great English actors. The truth is that rarely can see so much talent together and is therefore not surprising that the work will be remembered as a landmark of television that golden age of English television, comparable to the American.

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The Siege (1)

"The cornered man becomes eloquent." George Steiner

Assault on Precinct 13 (1976), was shot the incredible length of time of 24 days. It is the terrifying story of a siege at a police station, terrifying precisely because the attack is quiet, crazy, unstoppable, and because the defenders are unlikely to survive as the Alamo . John Carpenter paid homage to Howard Hawks in the script, how to shoot it (the two directors share in love for the big screen), and the pseudonym he used in the credits as an editor (John T. Chance, the name the character played by John Wayne in Rio Bravo , 1959). The main character is Ethan, and Wayne in The Searchers (1959), John Ford. All these factors make the film a true delight. Another source of inspiration was somewhat lower the Night of the Living Dead (1968), George A. Romero. The relentless siege of submitting to the police station a group of murderers, who do not seem to mind jump shattered the air for their countrymen to enter the building, is clearly inspired by the fantasy of Romero, including fighting final, in which, after threatening the few survivors with sticks, the attackers are burned alive.

This rescue at the last moment it is highly unlikely; but, as in Rio Bravo , the moral of the movie was that the value and action will be the salvation. However, once the feeling of fear, it is clear that Carpenter is not up to Hawks in regard to the subtlety of the characterizations of his characters. Their performances are excellent, which is even more remarkable considering that this is unknown, but even after several versions, still appear curiously anonymous, the film is tense and exciting, full of memorable images, but it there is nothing comparable to the characters created by John Wayne, Dean Martin and Angie Dickinson in Rio Bravo , full of vigor and charm.

the film's strength lies not in its characters, but in your situation. And what makes it believable is the way to go Carpenter has developed such a situation: the brutal street killings that triggered the siege (for example, the girl who shoot through the ice cream you're eating), persecution by the mad father, the violent death on the steps of entering the police station and the vibrant ballet papers and shards of furniture that is organized when the station begins to fill with bullets.

Unlike any of his previous films, Assault on Precinct 13 is full of conviction, which is due, perhaps, that its subject is too close to the spectators as to drive them its reality, even by means of terror.

What Is The Price Of Ceragem

Almost without noticing,

Almost without noticing,

But I know now,

Only you are the

source of my inspiration,

without you missing words,

missing letters, reasons, lack

ink in my pen,

out of paper ...

Without you ... not all

You who have been the source

and order,

inspiration to every word ...

Without further explanation, that concludes ...

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's no brain activity a bit ...

A REQUEST FOR ANYONE

Almost forgot this, I almost forgot

you,

almost ignore your existence ,

but it is gratifying to know that continuous unconditional

against any budget ...

Thank you for your presence or your absence

,

TIME, TIME ...

Every time I realize that if

time passes and we do not realize,

passes almost unnoticed,

and about us,

because seeing and seeing us

noticed that time has passed

,

but even against that ,

there are things that persist beyond the time

,

even the distance ....

... I'm glad to see you again:)

Without further explanation, that concludes ...

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Fwd: Temporarily closed, come back!

Ando in various occupations:

working, studying and resting,

the rest of the time (there is) ...

In a few days I'll have a break, I hope

sit down and write ...