text:
Edward Mandell House papers
Call Number: MS 466
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The materials in these papers relate to a period extending from 1885 to 1938 and reflect Colonel House's three major (and lifelong) professional interests: developments in Texas, Democratic Party politics, and foreign affairs. The papers are especially useful to students of the period 1912 to 1919, when Colonel House served as President Wilson's principal political adviser. Probably the richest part of the entire collection deals with Colonel House's experiences at the Paris Peace Conference of 1918-1919.
Series I, Correspondence, the most extensive part of the papers, covers the years 1894-1938. The series include the originals or copies of all personal as well as most official (or semi-official) communications preserved by Colonel House.*** The Correspondence files include letters to House from more than 6,000 individuals as well as copies of his replies to them. Of particular interest are the letters to and from Woodrow Wilson, Charles Seymour, foreign statesmen, and American ambassadors.
Series II, Diaries, contains typewritten transcripts of three separate documents prepared over a number of years under Colonel House's personal supervision. The diary provides a daily record of Colonel House's activities from 1912 to 1919, and less elaborate entries from 1920 to 1926. It was dictated almost daily to Frances Denton, House's private secretary, who accompanied him on all his trips abroad. The work is remarkable for its revelation of House's frank and personal assessments of the personalities and projects of the era. The "Memories" and "Reminiscences" provide autobiographical account of House's life, supplementing the diary. Also included in the series are logbooks kept from October 31, 1918 to June 29, 1919, which provide evidence of the number of individuals who visited House private office.
Series III, Political Papers, is divided into three principal sections: Domestic and International Questions, 1911-1918; The Paris Peace Conference, 1918-1919; Domestic and International Questions, 1920-38. Of these, The Paris Peace Conference, 1918-1919, is by far the most extensive and second only to the Diary and certain segments of General Correspondence in overall interest and historical value.
Series IV, Writings, includes preliminary and final drafts (along with the printed versions, where available) of almost everything written by Colonel House: items range from House's now famous "experimental novel" Philip Dru (1912), and the dozens of articles written for Liberty and McCall's during the interwar period, to various unpublished shorter essays, reviews and occasional pieces.
Series V, Personal and Memorabilia, contains copies of over 75 magazine and newspaper articles, as well as an immense collection of newspaper clippings (especially rich for the years 1912-1922 and 1926-1928), personal scrapbooks and a small collection of photographs, and a miscellanea of additional items.
Also included are Godfrey Hodgson's lectures and an interview regarding his biography of House.
Majority of material found within 1885 - 1938
House, Edward Mandell, 1858-1938
The materials are in English, German, and French.
The materials are open for research.
Diary, Reminiscences, and Memories (original transcriptions) of Colonel Edward M. House are digitized and also available on microfilm (HM 236) from Manuscripts and Archives, Yale University Library. Four logbooks kept during the Paris Peace Conference are also available on microfilm (HM 68). Patrons must use the digital copies, the microfilm, or use copies instead of the originals.
Original audiovisual materials, as well as preservation and duplicating masters, may not be played. Researchers must consult use copies, or if none exist must pay for a use copy, which is retained by the repository. Researchers wishing to obtain an additional copy for their personal use should consult Copying Services information on the Manuscripts and Archives web site.
Unpublished materials authored or otherwise produced by the creator(s) of this collection are in the public domain. There are no restrictions on use. Copyright status for other collection materials is unknown. Transmission or reproduction of materials protected by U.S. Copyright Law (Title 17, U.S.C.) beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owners. Responsibility for any use rests exclusively with the user.
Copies of commercially produced audiovisual materials contained in this collection cannot be made for researcher use outside of the repository.
Gift of Edward M. House beginning in 1923. Gift of Edward H. Auchincloss, 1991, 2007, 2018. Gift of Maryland Historical Trust, 2003.
Arranged in five series and five additions: I. Correspondence, 1894-1938. II. Diaries, 1858-1926. III. Political Papers, 1911-1938. IV. Writings, 1912-1938. V. Personal and Memorabilia, 1892-1938.
262.87 Linear Feet (490 containers)
A record for this collection is available in Orbis, the Yale University Library catalog
http://hdl.handle.net/10079/fa/mssa.ms.0466
The papers consist of correspondence, diaries, memoirs, writings, photographs, memorabilia, and other papers documenting Edward M. House's personal life and political career. The diary details his childhood experiences and also notes political observations (1912-1924). Materials relating to the Paris Peace Conference include minutes of meetings of the Supreme Council and memoranda from various countries presenting claims. Writings include essays, reviews, novels, and other works. Correspondence includes letters to and from Woodrow Wilson, Charles Seymour, American and foreign politicians, and newspaper and political journalists. Also includes DVDs of Godfrey Hodgson's lectures and an interview regarding his biography of House.
Edward Mandell House was born July 26, 1858 in Houston, Texas. He became active in Texas politics and served as an advisor to President Woodrow Wilson, particularly in the area of foreign affairs. One of America's greatest diplomats, he served as Wilson's chief negotiator in Europe (1917-1919) and as chief deputy for Wilson at the Paris Peace Conference. His major achievements were participating in the drafting of Wilson's Fourteen Points and the Covenant of the League of Nations; and securing an armistice based on American ideals. He died on March 28, 1938 in New York City.
Diary, Reminiscences, and Memories of Colonel Edward M. House are digitized (see links in Collection Contents) and microfilmed. The microfilm (4 reels, 35mm.) is available from Manuscripts and Archives, Yale University Library, at cost. Order no. HM236.
Four logbooks kept during the Paris Peace Conference are available on microfilm (1 reel, 35mm.) from Manuscripts and Archives, Yale University Library, at cost. Order no. HM68.
Appendix to Texas Correspondents
Adams, W. A.
Alexander, L. C.
Allen, A. C.
Allen, L. B.
Allen, Sam
Allin, B. C.
Amberg, C. W.
Anderson, W. E.
Andrews, Edw. H.
Andrews, Frank
Andrew's, Mrs. Frank
Ardrey, J. Howard
Armistead, George D.
Arrowood, Charles F.
Austin City Council
Austin, City of
Bagley, W. H.
Bailey, George M.
Bailey, Marten ?
Baker, R. H.
Baker, Searcy
Ball, Thomas H.
Banks, W. S.
Barbee, Will L.
Barkley, E. J.
Barker, Bob
Bates, Frank T.
Bates, Wharton
Batts, R. L .
Baugh, W. M.
Beall, Jack
Bell, c. K.
Bell, J. Franklin
Benedict, H. Y.
Blackshear, E. L.
Blaffer, Robert L.
Blake, J. W.
Blanton, Annie Webb
Blanton, Thomas L.
Bookhout, John B.
Box, John C.
Bradley, Shields
Brahan, R. W.
Brooks, M. M.
Brown, T. J.
Browning, James N.
Bryan, D. D.
Bryan, Guy M.
Bryan, Lewis R.
Bryan, Lewis R. , Jr.
Bryant, J. D.
Buckley, W. F.
Burgess, George F.
Burleson, A. S.
Busby, A. S.
Bushick, F. H.
Camp, Kate (Mrs. B. W.)
Campbell, Ben
Campbell, Fannie (Mrs. T. M.)
Campbell, T. M.
Carden, George A.
Carroll, B. Harvey, Jr.
Carthen, Allen
Cobb, Zach Lamar
Cobbs, T. D.
Colquitt, O. B.
Connally, Tom
Cravens, N. A.
Cresson, Charles C.
Cross, O. H.
Crowley, Miles
Cruger, Anne D.
Cruger, Mrs. P. B.
Cruger, Paul B.
Culberson, C. A.
Culberson, Sally (Mrs. C. A.)
Cushing, E. B.
Daly, J. J.
Daniel, F. E.
Davidson, T. W.
Davis, F. C.
Davis, V. Jefferson
Dealey, G. B.
Denton, Ashley
Denton, Fanny B.
Dickson, Raymond
Donnan, John K.
Dow, Andrew
Dunn, De Witt C.
Dunn, T. C.
Eagle, Joe H.
Edwards, S. V.
Ellis, A. Caswell
Evans, Jink
Ex-Students' Association of the University of Texas
Fenn, Joseph J.
Ferguson, James E.
Finley, R. W.
Finley, W. P.
Finty, T. M., Jr.
Fitzgerald, Hugh N.
Fitzhugh, H. A.
Fitzhugh, P. A.
Fitzhugh, William
Foster, L. L.
Foster, Marcellus E.
Francis, Charles
Fulmore, Sterling R.
Fulmore, Z. T.
Garner, Carrie McKee
Garner, John Nance
Gary, Hampson
Gibbs, C. C.
Gibson, James P.
Ginnuth, William
Goach, Tom C.
Gossett, M. H.
Graham, W. Hurray
Graves, Amos
Graves, Marvin
Green, Jno. E., Jr.
Gregory, T. W.
Groos, Martin E.
Gunter, Jot
Hall, Don
Hall, W. E.
Hamby, William R.
Hamilton, A. D.
Hamlin, C. S.
Hancock, Lewis
Hardy, D. H.
Hardy, Rufus
Harlan, Sam
Harnell, David
Harrison, Bob
Harrison, N. M.
Hefley, W. T.
Henderson, T. F.
Henry, Robert L.
Hicks, Marshall
Hill, E. P.
Hinton, A. P.
Hintze, B. P.
Hippelheuser, Richard H.
Hobby, W. P.
Hogg, Ima
Hogg, James S.
Hogg, Mike
Hogg, Hill C.
Holliday, R. L.
Holliday, Tom C.
Holt, O. T.
Hornaday, W. D.
Hornsby, Jno. w.
House, Edith
House, Edwin, II
House, Elton
House, Henry C.
House, James H. B.
House, Loulie
House, s. H.
House, T. W. (brother)
House, T. W. (nephew)
House, T. W. (great nephew)
Houston, Helen (Mrs. D. F. )
Houston, D. F.
Howard, Rufus
Howe, W. S.
Howze, J. E.
Howze, Robert Lee
Hudson, R. W.
Hunter, A. C.
Hunter, Mrs. A. C.
Hunter, Elton P.
Hutcheson, J. C.
Hutcheson, J. C., Jr.
Hutcheson, Palmer
Hutchings, Henry
Hutchins, Spencer
Jackson, H. M.
Jacobs, Sol
Jameson, Howard Baker
Jameson, Joe Lee
Jameson, Malcolm R.
Jester, Claude W.
Jester, George T.
John, Robert A
Johns, C. D.
Johnson, Jefferson
Johnston, R. M.
Jones, I. J.
Jones, T. N.
Jordan, H. P.
Jurney, C. W.
Keasbey, Lindley M.
Kelso, Winchester
Kimbrough, W. H.
Kirlicks, John A.
Kittrell, N. G.
Kone, Edvlard
Lamkin, J. C.
Landa, Harry
Lane, Jonathan
Lanham, S. W. T.
Lauraine, W. W.
Lockett, R. R.
Lombardi, C.
Long, Walter E.
Longcape, E. M.
Love, Thomas B.
Lovett, Edgar o.
Lovinggood, R. S.
Lubbock, W. L.
Lucy, James
Lynn, Moore
Mabry, W. H..
McAshau, J. E.
McClendon, James W.
McCollum, A. R.
McCulloch, Ben E.
McDaniel C. E.
McDonald, W. J. ("Captain Bill")
MacGregor, W. W.
McIver, A.
McLean, Sadie
McLean, W. P.
McLemore, Jeff
McNeel, J. S.
Madden, J. W.
Malone, Clarence M.
Malone, William
Marcus, Herbert
Marsh, Charles E.
Martin, David P.
Maxey, Thomas S.
Mayfield, Allison
Mayfield, Earle B.
Mayfield, J. C.
Mayfield, John c.
Mayfield, John s.
Mead, Theodore L.
Pabst, Fred C.
Parker, J. B.
Parker, W. R.
Paschal, T. M.
Paulus, D. A.
Payne, c. w.
Pearce, Winbourn
Penn, John C.
Poole, O. H.
Potts, C. S.
Price, Archie
Prince, R. E.
Pryor, Ike
Ramsey, W. F.
Rayburn, Sam
Regan, John H.
Rice, H. B.
Rice, J. S.
Rice, William M.
Richards, J. M.
Riddle, Lee
Roberdeau, Roger C.
Robertson, William F.
Rogers, C. A.
Rogers, J. B.
Rogers, J. H.
Ross, Frank R.
Rosser, C. H.
Roton, Edward
Rountree, Lee J.
Ryan, Rosine
Sammons, "Major" Edward
Sammons, Ed1Zvard H.
Sanmlons, "Lily" (Mary H. )
Saner, R. E. L.
Sayers, Joseph D.
Scherdirig, Laura Tips
Sealey, George
Sells, Cato
Sevier, Clara D.
Sevier, H. H.
Shands, H. A.
Shaw, Gus
Shaw, W. A.
Shearn, Charles P.
Shepard, Lilla D.
Shepherd, James L.
Sheppard, Morris
Simmang, Theodore E.
Simpson, Willard L.
Sims, J. G., Jr.
Slayden, James L.
Smith, Cecil
Smith, Mrs. Cecil H.
Smith, Fort
Smith, Tom S.
Smith, W. R.
Smoot, A. G.
Sparks, Sam
Spellman, John M.
Springer, P. N.
Stacy, Hartwood
Stacy, William H.
Starr, Amory R.
Stayton, Robert W.
Storey, L. J.
Storey, Mrs. L. J.
Strickland, J. F.
Swayne, James W.
Tabor, George R.
Taliaferro, Sinclair
Taliaferro, Thomas S.
Tankersley, L. J.
Tate, J. Waddy
Templeton, Q. C.
Terrell, John L.
Terry, J. William
Texas, University of
Thomson, R. M.
Thomson, Thad A.
Thomson, Thad A., Jr.
Thorn, J. H.
Thornton, Torn C.
Thornton, William M.
Tibbitt, J. S.
Tips, Eugene
Tips, Walter
Torbert, J. Keith
Trezevant, James H.
Turner, John S.
Ujffy, M. S.
Upton, Walter Hbward
Vale, Sam P.
Vaughan, R. M.
Vining, Will L.
Vinson, Carroll L.
Vinson, Robert E.
Walker, A. S.
Walker, I. W.
Walker, John H. B.
Wallace, H. H.
Walthall, James D.
Ward, Mrs. R. H.
Warren, Fred M.
Waties, J. R.
Watkins, Royall R.
Watson, Roy
Webb, S., Jr.
WeIls, James B.
West, George lel.
Whatley, L. A.
White, Coley C.
White, F. S.
White, Tom J.
Willacy, John G.
Williams, Pearl
Wolters, Jacob
Worsham, B. M.
Wortham, John L.
Wortham,Louis J.
Ziller, Robert L.
Zimpleman, George B.
Abbott, Gordon, 1863-1937
Ackerman, Carl W. (Carl William), 1890-1970
Alber, Louis John, 1879-1962
Anderson, George Weston, 1861-1938
Andrews, Frank, 1864-1936
Andrews, Matthew Page, 1879-1947
Auchincloss, Gordon, 1886-1943
Baker, Newton Diehl, 1871-1937
Balfour, Arthur James, 1848-1930
Baruch, Bernard M. (Bernard Mannes), 1870-1965
Benson, William Shepherd, 1855-1932
Bingham, Robert Worth, 1871-1937
Bok, Edward William, 1863-1930
Brown, William Garrott, 1868-1913
Bryan, William Jennings, 1860-1925
Bryce, James Bryce, Viscount, 1838-1922
Bullitt, William C. (William Christian), 1891-1967
Burleson, Albert Sidney, 1863-1937
Child, Richard Washburn, 1881-1935
Clemenceau, Georges, 1841-1929
Crane, Charles Richard, 1858-1939
Cudahy, John, 1887-1943
Culberson, Charles A. (Charles Allen), 1855-1925
Daniels, Josephus, 1862-1948
Davis, John W. (John William), 1873-1955
Davison, Henry Pomeroy, 1898-1961
Dodd, William E. (William Edward), 1869-1940
Eliot, Charles William, 1834-1926
Farley, James A. (James Aloysius), 1888-1976
Finley, John H. (John Huston), 1863-1940
Fisher, Irving, 1867-1947
Fletcher, Henry Prather, 1873-1959
Fosdick, Raymond B. (Raymond Blaine), 1883-1972
Frankfurter, Felix, 1882-1965
Gerard, James W. (James Watson), 1867-1951
Germany -- History -- 1918-1933
Gherardi, Walter Rockwell, 1875-1939
Gilbert, Cass, 1859-1934
Gore, Thomas P. (Thomas Pryor), 1870-1949
Grant, Jesse Root, 1858-1934
Grew, Joseph C. (Joseph Clark), 1880-1965
Grey of Fallodon, Edward Grey, Viscount, 1862-1933
Hale, George Ellery, 1868-1938
Hammond, John Hays, 1855-1936
Herron, George Davis, 1862-1925
Hogg, James Stephen, 1851-1906
Hogg, William Clifford, 1875-1930
Hooper, Franklin Henry, 1862-1940
Hoover, Herbert, 1874-1964
Hopkins Grammar School (New Haven, Conn.)
House, Loulie Hunter
Houston, David Franklin, 1866-1940
Houston, Herbert S. (Herbert Sherman), 1865-
Howard, Roy Wilson, 1883-1964
Howe, Frederic C., 1867-1940
Howe, Louis M. (Louis McHenry), 1871-1936
Hudson, Manley O. (Manley Ottmer), 1886-1960
Hurley, Edward N. (Edward Nash), 1864-1933
Hyde, James H. (James Hazen), 1876-1959
Johnson, Robert Underwood, 1853-1937
Jones, Jesse H. (Jesse Holman), 1874-1956
Jordan, David Starr, 1851-1931
Kahn, Otto H., 1867-1934
Lambert, Henri, 1872-1934
Lamont, Thomas W. (Thomas William), 1870-1948
Lane, Franklin K.
Lansing, Robert, 1864-1928
Laughlin, Irwin B. (Irwin Boyle), 1871-1941
Lippmann, Walter, 1889-1974
Little, Arthur West, 1873-1943
Lloyd George, David, 1863-1945
Logan, Thomas Francis, 1881-1928
Love, Thomas Bell, 1870-1948
Lovett, R. S. (Robert Scott), 1860-1932
Lowell, A. Lawrence (Abbott Lawrence), 1856-1943
Lowry, Edward G. (Edward George), 1876-1943
MacFarlane, Peter Clark, 1871-1924
Malone, Clarence M., 1885-1960
McAdoo, W. G. (William Gibbs), 1863-1941
McCormick, Cyrus H. (Cyrus Hall), 1859-1936
McCormick, Vance Criswell, 1872-1946
McReynolds, James Clark, 1862-1946
Morgan, William Forbes, 1879-1937
Morgenthau, Henry, 1856-1946
Morris, Robert T. (Robert Tuttle), 1857-1945
Noel-Buxton, Noel Noel-Buxton, Baron, 1869-1948
Page, Arthur W. (Arthur Wilson), 1883-1960
Page, Walter Hines, 1855-1918
Paine, Albert Bigelow, 1861-1937
Paris Peace Conference. United States Territorial Section ($d: 1919-1920. $e: United States Territorial Section) -- 1919-1920
Peabody, George Foster, 1852-1938
Pershing, John J. (John Joseph), 1860-1948
Pinchot, Gifford, 1865-1946
Polk, Frank Lyon, 1871-1943
Quincy, Josiah, 1859-1919
Ramsey, William F., 1855-1922
Rappard, William E. (William Emmanuel), 1883-1958
Roosevelt, Franklin D. (Franklin Delano), 1882-1945
Sayers, Joseph Draper, 1841-1929
Seymour, Charles, 1885-1963
Sharp, William Graves, 1859-1922
Sheppard, Morris, 1875-1941
Sherrill, Charles Hitchcock, 1867-1936
Shotwell, James T., 1874-1965
Smith, Alfred Emanuel, 1873-1944
Smith, Harold Leonard, 1896-1971
Steffens, Lincoln, 1866-1936
Straight, Willard Dickerman, 1880-1918
Sweet, William E. (William Ellery), 1869-1942
Texas -- Politics and government -- 1865-1950
Thompson, Samuel Huston, 1842-
Thomson, Thaddeus Austin, 1853-1927
Treaty of Versailles (1919 June 28)
Trumbull, Frank, 1858-1920
Tumulty, Joseph P. (Joseph Patrick), 1879-1954
United States -- Foreign relations -- 1913-1921
United States -- Politics and government -- 20th Century
Vanderbilt, Cornelius, 1898-1974
Viereck, George Sylvester, 1884-1962
Wallace, Hugh Campbell, 1863-1931
Warburg, Paul M. (Paul Moritz), 1868-1932
Watt, George, Sir, 1851-1930
Wedgwood, Josiah Clement Wedgwood, baron, 1872-1943
Wells, James Brent, 1901-1962
White, William Allen, 1868-1944
Whitlock, Brand, 1869-1934
Wiley, Louis, 1869-1935
Wilson, Woodrow, 1856-1924
Wise, Stephen S. (Stephen Samuel), 1874-1949
Wiseman, William, Sir, 1885-
Hodgson, Godfrey
Guide to the Edward Mandell House Papers
compiled by N. X. Rizopoulos, Ann Clifford Newhall, Judith Schiff, and Robert Bartels
Finding aid written in English.
Revision Statements
May 2017: finding aid revision description not supplied
September 2018: revised to include accession 2018-m-0026
Part of the Manuscripts and Archives Repository
http://www.library.yale.edu/mssa/
Yale University Library
New Haven CT 06520-8240 US
mssa.assist@yale.edu
Navigate the collection
Edward Mandell House Papers (MS 466). Manuscripts and Archives, Yale University Library. https://archives.yale.edu/repositories/12/resources/4556 Accessed January 23, 2020.
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Commodore's Cup to be held this Weekend.
Juneau Youth Sailing is looking for help, racers, and is holding another sailing seminar for SEAS members this Saturday (August 8) starting at 10:00 am and lasting until about 4:00 pm.
It is great to get as many SEAS members out there to show our support of Youth Sailing. They need help and encouragement, plus I guarantee there is some really good crew available at these events. So please, if you would like to sign-up send me a note.
Remember not only is this a great chance to support sailing, you can probably participate in the seminar that the JYS instructors will be having for SEAS members, so you should get to sail in the 420's as well.
Read more about Commodore's Cup to be held this Weekend.
In the first cooperative event between the two sailing groups, Juneau Youth Sailing (JYS), held a dinghy seminar for SEAS members, to get us out on the boats and sailing.
The winds did not cooperate for the hardy few who manage to get out to Funter Bay for a round of 3 potential races.
The first leg on Saturday July 25th brought 5 boats to the starting line, Freebird, Sarah Jane, Loa'a Nalu, Lyric and RainDog. With light winds all but 2 boats managed to get around Pt. Retreat and had a pleasant spinnaker run to the Funter Bay finish line. Sarah Jane finished first in corrected time but Freebird the "big red boat" as we referred to her on the course, took line honors and showed that the she can really move in almost any condition.
Leg 2 the first running of the Hanus Reef race was cut short when the wind disappeared just after the fleet squeaked past Rocky Island. Loa'a Nalu was the first to scratch with the whales of Pt. Adolphus calling. A week of cruising planned and provisioned, the decision was made to just keep going west. Sarah Jane and Lyric drifted for a few more hours and opted to take time to fish and relax back at Funter Bay.


Required: City: chorley Postal Code of Job: pr6 8ex Project/Job Description: looking for team of tradesmen to complete joinery (kitchen build, fitted wardrobes plus various skirting and doors) plus fit and tile a downstairs toilet. Plus electrical fittings around house.
Required: City: new milton Postal Code of Job: bh25 Project/Job Description: Loft conversion and 2 storey extensions .Work to start in 15 months time.


Jamieson Marine is a family-owned and operated marine and automotive servicing centre located in Kingscote, on Kangaroo Island. Providing a full range of services from marine sales, to outboard servicing, to boat and trailer repairs – we ensure our work is of the highest quality, and we pride ourselves on our honesty, integrity, and workmanship. In short, we make sure your boat is fit to be on the water!!


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Exhibition: It's Only Rock and Roll
Mardi 22 Septembre 2015 13:17:04 par Manon Roth dans Expositions
Michael Zagaris, The Last Note, The Who, Winterland, San Francisco, California, 1976
Expositions du 27/07/2015 au 30/9/2015 Terminé
Scott Nichols Gallery 49 Geary St, 4th fl CA94108 San Francisco États-Unis
Scott Nichols Gallery is pleased to present It's Only Rock and Roll, a collection of photographs cataloguing some of the most influential figures in rock and roll. Throughout its history rock music has been characterized by a willingness to challenge its own boundaries. Over time musicians have reinterpreted, redefined, and expanded the medium.
Stephen Goldblatt,The Beatles, Flower Bed, Mad Day Out, 1968, Platinum print, 11 1/2" x 16 1/2", $2,500
Featuring photographs of music icons such as Jimi Hendrix, Janice Joplin, The Who, Bob Dylan, The Beatles, Led Zeppelin, The Rolling Stones, Bob Marley, Patti Smith, Miles Davis, and Kurt Cobain, It's Only Rock and Roll explores many facets of a genre in flux. This dynamic range of subjects highlights rock music as a medium wildly open to artistic interpretation. Just as every musician offers a unique perspective, the exhibition presents a variety of individual viewpoints. Whether creating iconic album covers, capturing legendary performances or the private moments in between, the photographers featured in It's Only Rock and Roll offer /provide a window into a genre of music that has captivated listeners for generations.
Lewis Hine, Foundry, 1913 Gelatin Silver Print, 6 1/4" x 4 7/8", $2,000
Featuring photographs by Jim Marshall, Ebet Roberts, Michael Zagaris, Baron Wolman, Linda McCartney, Bob Gruen, Brad Temkin, William Coupon, Bob Seidemann, Scott Palmer, Andy Freeberg, Johnny Ace, and others.
Manon Roth
C'est quoi l'été pour vous ?
Anne-Sarah Le Meur - Lumière limite
42e Estivales Photographiques du Trégor, Les Contours du monde, Emmanuel Gourdon, Florence Joubert et Aurélie Scouarnec
Exposition Identité Interne de Quentin DMR à la Galerie Artistik Rezo
Le souffle, collective des artistes de la galerie
"Fences Faces" une exposition d'Icy & Sot
Les bruits du temps II - Arno Gisinger
Marine Lanier, LÎle fauve

redpajama_set_name: RedPajamaCommonCrawl


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Home Movie ReviewsRecommended Movies Seven Samurai Movie (1954): Kurosawa Classic Keeps Improving
Recommended MoviesAction MoviesClassic MoviesJapanese CinemaOscar MoviesVenice Winners
Seven Samurai Movie (1954): Kurosawa Classic Keeps Improving
Dan Schneider 16 years ago
Seven Samurai movie with Toshiro Mifune. Revered as one of cinema's masterpieces, Akira Kurosawa's Venice Film Festival Silver Lion co-recipient[1] has inspired filmmakers from around the world, ranging from Takashi Miike to George Lucas.
Seven Samurai (1954) movie review: One of cinema's seminal productions, Akira Kurosawa's action classic is one of those rare films that get better and better with each new viewing.
Seven Samurai was nominated for two Academy Awards (for the year 1956): Best Black-and-White Art Direction (Takashi Matsuyama) and Best Black-and-White Costume Design (Kôhei Ezaki).
1. Seven Samurai movie review: Akira Kurosawa's landmark 1954 action classic keeps improving after repeated viewings
1.1. Unusual narrative choice
1.2. Spatial & psychological context
1.3. Realism + Godzilla connection?
1.4. Toshiro Mifune & Takashi Shimura
1.5. More quality performances
1.6. Kurosawa's great collaborators
1.7. Lasting influence
2. "Seven Samurai Movie (1954) Review" notes
2.1. Silver Lion co-winners
3. "Seven Samurai Movie" endnotes
Seven Samurai movie review: Akira Kurosawa's landmark 1954 action classic keeps improving after repeated viewings
Some films get better after repeated viewings. Akira Kurosawa's 1954 black-and-white drama Seven Samurai / Shichinin no samurai is one of them, having deservedly become an international sensation and, reportedly, the highest-grossing Japanese release of its day.
In fact, on first view Seven Samurai is a simply great action film, but the finer points of characterization come through following subsequent viewings, as they subliminally and purposefully seep into the viewer's mind.
Besides, the nearly three-and-half-hour story – the screenplay is credited to Kurosawa, Shinobu Hashimoto, and Hideo Oguni – is never weighted down with fat, as all of the many subplots bear fruit.
Unusual narrative choice
True, Seven Samurai displays remnants of the stale samurai genre, such as the wise man Kambei Shimada (Takashi Shimura) and the "boy on the verge of manhood" Katsushiro Okamoto (Isao Kimura) who, inevitably, romances a farmer's daughter. But it's the central human dilemma of the 16th-century farmers, helpless against the depredations of the bandits who abound during the civil wars of the era, that raises Kurosawa's classic above mere clichés.
It should be noted that we see the bandits only at the beginning and at the end of the film. (None of them is a Darth Vader despite George Lucas' citing Seven Samurai as an influence for his puerile Star Wars saga.) That means there are about two hours during which the meat of the tale takes place and not a bandit is in sight.
How many films do away with their bad guys for so long? How many could afford to?
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Spatial & psychological context
A good portion of Seven Samurai is spent on the fortifications of the village – the building of walls and moats that allow the battle scenes to take place on familiar territory for the viewer. When we see something occur, we know as quickly as the villagers where a bandit will come from or head to, and what is likely to happen.
How many epics are just a whirl of motion and bodies with no way for the viewer to place the action in spatial context?
Meanwhile, we learn that the villagers are neither as poor nor as innocent as they pretend to be. There are murderers among them, some of whom have killed samurai before. They also seek to lowball and underpay their protectors.
In addition, we learn that the samurai are not all noble – they are men, not gods. They work for meager wages; some will even cut wood for a bowl of rice, if need be. And technically they are all ronin, or samurai without masters; think of the Knights of the Round Table had they not been under King Arthur's charge.
At one point, would-be samurai Kikuchiyo (Toshiro Mifune) – the name is an assumed one – vents his anger at the fact that the rottenness of the samurai class forces the farmers to be craven and duplicitous. To him, the samurai are little better than the bandits, for they have killed and raped farmers and their women, and have forced them into servitude. That's why Manzo the Farmer (Kamatari Fujiwara) obsesses over his daughter Shino's disguising herself as a boy, so as to protect her from bandit and samurai alike.
Seven Samurai with Toshiro Mifune (front left) and Takashi Shimura (front right). Mifune was Akira Kurosawa's most famous star, but the filmmaker also frequently collaborated with Shimura (The Idiot, Ikiru, Yojimbo, etc.).
Realism + Godzilla connection?
Another Seven Samurai peculiarity is the introduction of Western modernity in the form of guns.
Most samurai films show the samurai winning with superior skill in swordplay. Kurosawa's film, however, shows samurai killed by gunshot. Not only does that detail reinforce the sense of "unfairness" about their demise but, unlike other samurai movies, it also adds realism to the proceedings.
There is also no Hollywood ending or cheap emotional payoff. Seven Samurai refuses to condescend – and this is part of its greatness. (The ending is softened somewhat in John Sturges' 1960 remake, The Magnificent Seven, with Yul Brynner and Steve McQueen.)
As an aside, I noticed how Seven Samurai's opening – to the sound of drumbeats – is reminiscent to that of my beloved Godzilla, which was released that same year. While as a film Godzilla is nowhere in the same league as Seven Samurai, it's probably the second most influential Japanese cinematic production of all time. That both of them rely on such primal sounds in their opening sequences makes one wonder if there's a connection.
Toshiro Mifune & Takashi Shimura
Toshiro Mifune is Seven Samurai's putative star and doubtless his Kikuchiyo is a memorable character in a Calibanian vein. Even so, Kikuchiyo is a role that is not so far off from the loony bandit Mifune had portrayed a few years earlier in Rashomon, while his acting style is at times a bit overdone.
Yet Mifune's performance is leavened by the fact that not only is Mifune the actor overacting but so is Kikuchiyo within the film. It's notable that his sword is almost as tall as himself and twice the length of the other samurai's swords.
Now, despite Toshiro Mifune's renown and billing, Seven Samurai is actually the tale of the sage warrior Kambei, played by the magnificent Takashi Shimura, an Akira Kurosawa regular just off his great role as a doomed political hack in Ikiru.
Shimura's range is immense. Whereas Mifune is often rightly praised for acting with his whole body, Shimura can act with his eyes alone. He's that great. He can even elicit laughs with a rub of his shaved head while rescuing a kidnapped child from a bandit.
More quality performances
Almost as good an acting job as Takashi Shimura's is that of Isao Kimura as Katsushiro.
Watch the scene in which he confronts the great swordsman Kyuzo (Seiji Miyaguchi) – in yet another bravura performance that shows less is more – after the latter has single-handedly killed two bandits and returned with a needed gun. Katsushiro says little, save to tell his hero that he is "great." Kyuzo, for his part, restrains a smile of satisfaction.
Similarly, watch Katsushiro's reaction after killing a bandit – the first man he has ever killed. Or even in some of the earlier scenes that show him ruminating on the fact that life as a samurai is not all glamour. Let a Mark Hamill try to convey all that!
The three other samurai – Heihachi Hayashida (Minoru Chiaki), Shichiroji (Daisuke Kato), and Gorobei Katayama (Yoshio Inaba) – are also well detailed in their smaller roles even though it takes repeated viewings to distinguish them from each other.
But then again, their relative lack of characterization is fine for war tends to dehumanize and deindividuate people. So this is another example of the realism that Akira Kurosawa adds to Seven Samurai in seemingly throwaway instances.
Seven Samurai with Toshiro Mifune. Seen in 16 Akira Kurosawa films – from Drunken Angel (1948) to Red Beard (1965) – Mifune became an international star, being featured in diverse fare like Terence Young's Red Sun and Steven Spielberg's 1941.
Kurosawa's great collaborators
Admittedly, Kurosawa did not make Seven Samurai alone. It is a truism that almost all great directors have at least one great collaborator. With Ingmar Bergman it was cinematographer Sven Nykvist. With Federico Fellini it was composer Nino Rota.
With Kurosawa, it's not only great stars like Toshiro Mifune and Takashi Shimura but also his co-screenwriters Hashimoto and Oguni – part of a rotating staff of writers that muted some of the filmmaker's over-the-top tendencies in storytelling and brought the stories down to a human level. Without them, Seven Samurai might have been little more than a greatly stylized genre film, rather than a truly great film.
As a plus, Asakazu Nakai's cinematography and Fumio Hayasaka's score are remarkable. Nakai's deep-focus technique, in fact, is every bit as good as those found in Citizen Kane. Particularly impressive is the complexity of Seven Samurai's crowd scenes, where many little stories play out as we watch the samurai's action in the foreground. Details such as these can be fully appreciated only after repeated viewings.
Also, notice how jungle twigs seem to leap out at the viewer, as does Toshiro Mifune's huge phallic sword as he slings it over his shoulder. Considering that Seven Samurai was shot in a 1.33:1 aspect ratio, one wonders what Kurosawa would have done in the widescreen format.
Lasting influence
In sum, Akira Kurosawa's Seven Samurai is a fantastic film. That said, I don't think it's the director's best. I'd still lean toward Ikiru for that honor because of its more profoundly human tale. Moreover, Takashi Shimura is even better as Ikiru's dying bureaucrat than as the indefatigable warrior Kambei.
Even so, Seven Samurai is the granddaddy of all great action movies, from Sam Peckinpah's The Wild Bunch to James Cameron's Aliens and The Terminator series. It offers something few other films do: Its incredibly detailed richness, which, though nonessential to the basic plot, heightens the realism of this otherwise unreal tale.
That includes the skull caps the male characters wear, the ambush tests Kambei devises to recruit his cohorts, the old woman who uses a farm instrument in her attempt to kill a hobbled bandit, and numerous others. For that reason I reiterate that repeated viewings are a necessity to truly appreciate Kurosawa's classic.
So let me end this review by stating that Seven Samurai is every bit as great as its most enthusiastic champions claim. I then ask you, how rare is that?
Seven Samurai / Shichinin no samurai (1954)
Director: Akira Kurosawa.
Screenplay: Akira Kurosawa, Shinobu Hashimoto, and Hideo Oguni.
Cast: Toshiro Mifune. Takashi Shimura. Keiko Tsushima. Seiji Miyaguchi. Isao Kimura. Kamatari Fujiwara. Yukiko Shimazaki.
"Seven Samurai Movie (1954): Kurosawa Classic Keeps Improving" review text © Dan Schneider; excerpt, image captions, bullet point introduction, and notes/endnotes © Alt Film Guide.
"Seven Samurai Movie (1954): Kurosawa Classic Keeps Improving" is a condensed/revised version of Dan Schneider's text currently found in its original form here.
"Seven Samurai Movie (1954) Review" notes
Silver Lion co-winners
[1] Seven Samurai's Silver Lion co-winners were Kenji Mizoguchi's Sansho the Bailiff, Federico Fellini's La Strada, and Elia Kazan's On the Waterfront.
Curiously, Venice's 1954 Golden Lion winner was Renato Castellani's Romeo and Juliet, a now largely forgotten Anglo-Italian production.
"Seven Samurai Movie" endnotes
Takashi Shimura and Toshiro Mifune Seven Samurai movie images: Toho Films.
"Seven Samurai Movie (1954): Kurosawa Classic Keeps Improving" last updated in September 2021.
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Tamsin -
Heihachi, Gorobei and Shichiroji have stood out for me more and more. I love their actors. And I like the way Heihachi and Kikuchiyo butt heads with each other.
Ronin -
This is a very poor review. You should go back and read up on your referencing a little more. Then watch the movie again twice. The first time watch it without trying to judge it and criticize it. Then watch it and judge it. You should have had somebody more familiar with the movie read your review first. There are many obvious discrepancies and too many assumed thoughts. Also for your knowledge George Lucas was more inspired by "The Hidden Fortress" than this movie.
John Doe -
Interesting connection between Kurosawa and Godzilla? There may something to it. Did you know that Godzilla's director,Ishiro Honda, and Kurosawa were good friends? And that Honda was Kurosawa's assistant director on films like Kagemusha and RAN?


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Ultimate Guide to Choosing the Best Subject Combinations
June 29, 2021 December 7, 2021 Dave Tan
The Singapore-Cambridge General Certificate of Education Advanced Level (GCE A-level) examination is an annual national examination taken by students from junior colleges, centralised institutes as well as private candidates. Junior colleges are also known as Pre-Universities colleges that prepare students for University. Therefore a significant part to choosing the right jc subject combination would be to find out the admission criteria to your preferred universities. Junior College can be hectic, since a large amount of content is squeezed into 2 short years and more often than not students also have CCA commitments. It is therefore important for you to carefully consider and choose your subject combinations wisely.
Compulsory subjects to take
Before delving straight into how to choose the subject combination that best suits you, it is of paramount importance to first explore the compulsory jc subjects to take. Usually, during JC orientation, the dean of the school will give an in-depth presentation of the various compulsory subjects and streams which incoming students can apply for. But it does not hurt to read up a little given that JC works a little differently from secondary school.
Firstly, the H1 project work is a mandatory subject for students taking the first year of junior college. Project work grading is based on the final written report as well as a 10 to 15 minutes presentation. This subject is a vital one as it hones students' ability to work efficiently in a group, in the process learning how to manage differences amongst team members.
The H1 General Paper is also another compulsory subject which JC students have to take unless they decide to opt for H2 knowledge and inquiry. It is a subject of significant value since General Paper (GP) is not only a test of current affairs but more importantly, an understanding of one's place in the world.
Additionally, H1 Mother Tongue is compulsory for students who did not obtain a minimum of D7 in Higher Chinese during O Levels. The exam will take place at the end of J1.
Besides the above compulsory subjects, all JC students will have to take up an additional 4 subjects, which can be either 4H2 subjects or 3H2 and 1 H1 subjects.
Know what you want to pursue in University and their subject prerequisites
The first step would be to know your strengths and subjects that you are more inclined towards. The pace and rigour of A levels is very demanding since subjects in A levels are much broader and more in-depth than subjects taught for O levels. Having a rough idea of future career plans and being aware of your strengths are key. That way, elimination would make the process of choosing your subject combinations much faster. I will talk about choosing the various subject streams in a separate point later! We can all concur that the final objective of junior college is to ultimately enter a university course of your desired choice and interest.There are different admissions criteria for each course. For instance, if you are intending to apply for a Science course (such as Life Sciences or Chemical Engineering), the prerequisites include H2 Maths and at least one H2 Sciences. I would highly encourage prospective students to take a look at Universities course subject prerequisite to have a better understanding before making an informed decision. Students intending to apply for universities overseas should also check the subject prerequisites of their desired majors since it may differ from that of local universities' requirements.
However, it is perfectly normal to be unsure of which course to pursue in Universities because a lot of people face the same issue. If that's the case, a wise decision would be choosing subjects that allow for more university course options. It is highly advisable to take Maths, either H1 or H2 as most courses in Universities require a pass or a good grade in Maths. Chemistry is also another subject which students intending to apply for Science majors or Medicine must take. It is a requirement for almost all the science courses. However, many students struggle with Chemistry due to its concepts being technical and difficult to grasp. As such, an option would be to engage tutors through tuition agencies in Singapore in order to have a stable foundation. Knowing the subject prerequisites of courses you have in mind is important for decision making since it can greatly narrow down your choices and speed up the process.
Choosing which stream you are more inclined towards
There are 2 general streams which most people are familiar with, namely the Arts and Science streams. The Arts stream would require students to take 3 Arts subjects and 1 Science subject while the Science stream would require students to take 3 Science subjects and 1 Art subject. Examples of Art subjects would be Economics, History, Art, Geography, Music and English and Chinese literature. On the contrary, Science subjects would include Chemistry, Biology, Physics, Mathematics and Computing.
A tip when choosing which streams to go into is to be aware of your interest, strengths and capabilities. Both streams are no doubt equally challenging and possess the same kind of academic rigour. Science subjects are usually heavier in content and require consistent practice and revision. This is not to say that Arts subjects do not require practice, but they are more essay based and students need to evaluate critically on top of memorising facts, especially for subjects like Geography and History. As such, knowing where your strengths lie is key to excelling in Junior College. Having gone through O levels should be an indication of your strengths and weaknesses. While it is true that Science stream allows for more versatility, it would be an arduous 2 years for students who are more suited for the Arts stream and vice versa. Afterall, your A levels rank point is still a significant factor in determining entry into University, hence it's always wise to think twice.
Hybrid combinations are also possible
Some students might have interest and passion that lie in both Arts and Science subjects. Fortunately for them, there are hybrid subject combinations in which you can take 2 Science and 2 Arts subjects. This allows for more flexibility when planning and gives the students autonomy to choose subjects that they are confident in. Back in JC, I took History instead of Economics, making my CMHE subject combination a hybrid one. Personally I feel that while hybrid combinations provide the flexibility when choosing subject combinations, there are also cons to it. The disadvantages of having a hybrid combination would be that of irregular timetables (having large gaps in between periods and having to end school late) since it deviates from the norm. As such, that can be a point to take into consideration. However that did not deter me from dropping the idea of a hybrid combination as I was motivated to do well for History since it is a subject that I am passionate about.
That being said, not all schools encourage hybrid combinations or accept subject combinations of your choice. It is important to check with your school on the eligibility of your combination.
Common subject combinations in JC
So you may ask, what are some of the common subject combinations? For students inclined to taking the Science stream, common combinations include BCME or PCME (Biology/Physics, Chemistry, Mathematics and Economics). Likewise for the Arts stream, common subject combinations include HELM, GELM (History/Geography, Economics, Literature and Maths). These subject combinations are perceived by many students as a safe choice given that the subjects are a prerequisite for most courses.
How the grading systems work in JC
Of course, parents and students alike are most interested in how the grading systems work in junior college. Each H2 subject carries 2 academic units while H1 and H3 subjects carry 1 unit each. The A Levels go by a rank point grading system and your total rank points will be based only on all your 3 H2 subjects, 1 H1 subject, General Paper and Project work. However if you are taking 4 H2 subjects, your lowest H2 grade will be replaced with H1 ranking points. Below is a detailed breakdown of the ranking points.
A grade is equivalent to 20 rank points for a H2 subject and 10 points for a H1 subject
B grade is equivalent to 17.5 rank points for a H2 subject and 8.75 for a H1 subject
C grade is equivalent to 15 rank points for a H2 subject and 7.5 for a H1 subject
D grade is equivalent to 12.5 rank points for a H2 subject and 6.25 for a H1 subject
E grade is equivalent to 10 rank points for a H2 subject and 5 for a H1 subject
S grade is equivalent to 5 rank points for a H2 subject and 2.5 for a H1 subject
U grade is equivalent to 0 rank points for both H2 and H1 subjects
Using this ranking system, you would be able to calculate your total rank points based on the grades you received.
Final words and advice from an A level graduate
Junior College is the epitome of sheer hard work, consistent mugging and daily revision. An advice from an A level graduate would be to make decisions that best suit your passion and interest. I have witnessed many peers blindly following others since they find it hard to make a decision. They blindly conform to parents' wishes or choose the streams that their friends have applied to. We should remember that everyone is born different and we all have our strengths and shortcomings. Understandably, it is challenging to make an important decision at this juncture, hence research is vital to provide that background before you make a decision. Alternatively, approaching seniors, teachers or even reading opinions from websites like Reddit can provide great insights to help you tide over the decision making process. With that, I wish you all the best in the journey ahead!
Posted in junior college SingaporeTagged h2 subject, h3 subjects, jc subject, jc subject combination, science subjects, tuition agency in Singapore


I am currently working with Judy Taylor to develop a number of workshops that we will run in the South Oxfordshire area.
The workshops planned include a Tudor Room Box, a Pair of Shops with an alley between and a Strawberry Hill Gothic Room Box.
For more details and/or to register an interest in these workshops please contact us on sales@malcolmsminiatures.co.uk.


Raumlaborberlin are a collective of architects and urban designers working across architecture, urban design and art. They have a particular interest in public space and urban transformation - boundaries between public and private. Eichbaumoper and Eichbaumboxer are part of an ongoing series of workshops, installations and events at Eichbaum Station, Mullheim an der Ruhr, Germany.
Mullheim an der Ruhr is a post-industrial region of Germany. Fall in industry during the 1970s saw devastating unemployment in this region, and goverments have been working since then to find ways to support this region adapt to change.
Eichbaum station lies at a complicated crossing of freeways, with an open station platform built below ground level. This station was under-utilised, plagued by vandalism and assaults, with many locals to avoiding it. Attempts to address these issues through stripping the station and installing video surveillance have proven unsuccessful.
Raumlaborberlin recognised that this train station would be a site for development at some stage in the future, and sought to facilitate a temporary response for the site that might address greater community issues as well as localised issues at the station. They felt that to be successful, the project would need to be a big intervention so that its temporary nature would be able to overcome issues that one might associate with transience.
They utilised a process of community workshops facilitating discussion and interaction at the site. Through these workshops community narratives were recorded and potentials investigated. How do they use the site now? What are their visions for the future of the site?
These workshops expanded through the event program, informed by the youth users of the site to include a series of workshops focussed on their particular interests and needs. The approach was to investigate how young people used the site and to come up with ways to activate the site together, fostering relationships to draw out potential for renewal together. A series of activity based, interdisciplinary workshops including cooking, t-shirt screen printing, construction of a pneumatic chamber, photo shoot, city ethnological analysis and construction of a 1:1 model were used to help in the generation and articulation of ideas of the young people involved.
Eichbaumoper was the first large scale intervention. The train station was transformed into an opera house, and a professional opera was written and performed utilising stories from the local community that had been gained through the workshop process.
Following the success of Eichbaumoper, Raumlaborberlin focussed the second large project on the youth users of the site. A series of workshops led to the transformation of the station into a 2-day boxing championship and rap battle for local youth.
Both interventions were produced through workshops and discussions with community groups, culminating in professionally managed and executed, temporary, public events. Each event saw the train station platform and entry spaces transformed to facilitate additional program. During both events the train station continued to be utilised - with trains running throughout, and being incorporated into the atmosphere of the events.
Raumlabor ingeniously utilised the existing condition of the train platform as an amphitheatre. Sunken below ground level with an open-air platform, the station platform offered dynamic possibilities for public viewing of events as the public could view the platform stage from balconies surrounding the station platform. Immediately the existing architecture of the station is re-invigorated and re-experienced by the local community.
Raumlaborberlin placed particular importance on the use of 1:1 scale activities, interventions and workshops at the site. The result being a transformative and immersive reconsideration of public space and existing urban infrastructures for new program. These interventions act to foster community, develop future vision and set up dialogues for this future with stakeholders in the site.
This project seeks to address greater community issues through intervention at a site. The effect is both localised change at Eichbaum Station and dispersed change through the community, across all age groups.
Raumlaborberlin utilised a difficult site to address problems facing a community. Workshops at the site and transformation of the site into professional events has offered opportunities for locals to reconsider their own urban environment. Design thinking and experience has been utilised to draw latent potentials from the site and from the local community, using workshops and activities to spark engagement and discussion. The events are supported by the use of professionals, to facilitate a high quality finish to ideas raised by local people. Existing infrastructure is re-activated through these temporary interventions, aiding government visualise, reconsider and readdress potentials of this difficult site. This project also facilitates active community involvement in a site prior to it being earmarked for development and change.
This project utilises spatial activities to facilitate dialogue with a community and unlock latent potential and change. Engagement with the community facilitates their empowerment. The community are taken on a journey of investigation of site, place-making and visionary thinking as a collective. Youth users of the site are included, and a public event offers dialogue back into the community through audience participation.
'Visions' for the future are created through the temporary activations and transformations. These visualisation offers agency for change. Community recognition and support of youth communities is encouraged, and political stakeholders are offered tested visualisations and dialogue to support future visions of the site.


Your gift will help The ALS Association support research to find a cure for ALS and provide much-needed services to patients and their families. By becoming a part of the ALSA family and making your gift today, you will help sustain hope in thousands of people affected by ALS. Please click the donate button below, or browse the links on the left for more information.
The rapid progression of ALS creates a continuing need for durable medical equipment to assist individuals with maintaining their mobility and independence. Through our Medical Equipment Loan Bank, your donation of medical equipment (walkers, wheelchairs, etc) will be made available to individuals with ALS thoughout Upstate NY. Similarly, if you have any books, videotapes or other information which might be helpful to other ALS patients, we encourage you to send them to our office and we will make those items available though our Lending Library.
For larger items, please call us at 315-413-0121 or Toll Free for PALS 1-866-499-PALS and we will arrange for a pick-up at your home.
The ALS Association Upstate New York Chapter is always looking for volunteers to help with all aspects of the organization including office administration, fund raising, publicity and patient services. If you would like to learn about specific volunteer opportunities, please click below or call our office at (866) 499-7257.
The rapid progression of ALS, PLS and PMA creates a continuing need for durable medical equipment (DME) to assist patients in maintaining their mobility and independence. Through our Robert Wright Memorial Equipment Loan Program, your donation of DME will be made available to patients throughout Upstate New York free of charge.
Depending on storage space available we MAY be able to accept items such as built up rolling walkers, transport wheelchairs, manual wheelchairs, rolling shower chairs, power wheelchairs, alternating pressure cushions or mattresses, speech generating devices, ramps, etc.
Note: We are unable to accept power scooters to the Robert Wright Memorial Equipment Loan Program. There are differences between a power scooter and a power wheelchair. A power wheelchair usually offers more features and support to help you, including motorized stand, tilt, and recline options whereas a power scooter is not meant to be a long-term positioning and mobility solution.
You MUST speak with one of the Upstate New York Chapter's care services coordinators (315.413.0121 or toll free at 866.499.7257) to ensure we are able to take the item(s) you'd like to donate. Once confirmed by the office, we can make the necessary arrangements for the pickup of larger items.
Note: It is preferable that speech generating devices be hand-delivered to our office or one of our care services coordinators to further ensure protection from damage.
Additionally, if you have any books, videotapes or other information you think may be helpful to other patients and/or caregivers, we encourage you to contact our office. If deemed appropriate, we can make those items available through our James B. Howard Memorial Lending Library.
Thank you for considering a donation to the Robert Wright Memorial Equipment Loan Program and/or James B. Howard Memorial Lending Library! The items you donate will be available for use by other families free of charge. Donations such as yours allow us to provide families with many of the items they need for a better quality of life.


Police said a man was taken to the hospital in critical condition after a shooting. The suspect fled the scene.
A man was taken to a hospital in critical condition after a shooting in Phoenix late Wednesday afternoon, police said.
Phoenix officers responding to a shooting call around 5 p.m., found the man wounded in an area near 15th Avenue and Mountain View Road, police said.
The man was taken to a hospital. Updated information on his condition was not immediately available.
The shooter fled the scene before officers arrived and was being sought Wednesday evening, said Sgt. Tommy Thompson, Phoenix police spokesman.


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Home | From the Press
Dialogue rather than violence is the solution to impasse
By Mark Pinkstone | China Daily Asia | Updated: 2019-12-02 13:52
A boy holds a placard that reads "Safeguard the Rule of Law" and "Say No to Violence" during a peaceful rally at Tamar Park, Hong Kong, July 20, 2019. [CHINA DAILY]
The tragic death of student Alex Chow Tsz-lok and 70-year-old cleaner Uncle Luo is a solemn reminder of the inevitable tragic consequences of civil unrest when carried too far, with uncontrollable rioters taking to the streets, causing unwarranted mass destruction to both public and private property, and requiring an equally forceful police action to stop it.
The death of both was unnecessary. After five months of continual rioting, with a strained police force and fire services trying to contain arson and wanton vandalism, they have been the first two deaths. Fortunately, casualties so far appear low in spite of the ferocity and relentlessness of the misguided rioters. Giving credit where credit is due, it reflects on the extraordinary restraint of "Asia's Finest" — the Hong Kong Police Force.
The students, of course, were the first to call foul and blame the police for Chow's death. All allegations have been denied by the police and the ambulance services. Yet overseas websites, such as Hong Kong Watch, continue to push the rumors and false news in an attempt to add fuel to the riots. They also stoke up contempt for authority, and accuse the authorities of massive cover-ups, including numerous murders. Nothing could be further from the truth. How can this be when authorities are under severe scrutiny by aggressive omnipresent local and foreign journalists, legislators and the public? Common sense no longer prevails.
Everyone is demanding answers. They are, naturally, upset that one of their colleagues has died under unusual circumstances. But they must be patient and not rush into blame mode. The secretary for justice, or any material person, may ask for a coroner's inquiry into the cause of Chow's death. Such an inquiry generally has a five-member jury that seeks and examines all evidence relating to the death. Evidence may be given by fellow students, police and ambulance officers, and any witnesses to the incident. At the end of the hearing, the jury or coroner will deliver a verdict into the cause of death.
In other words, it is up to the Coroner's Court to decide on the cause of death. Nobody else has the right to do so. Anyone trying to explain the "cause" of Chow's death should be sure of their "facts" before they speak out. Otherwise, they may be subpoenaed to appear before the court to substantiate their claims.
Some radicals have tried to hold up Chow as a martyr for their cause. But Chow, with all due respect to his family, is not a martyr. He was merely running away from the tear gas as captured by some closed-circuit television cameras. Numerous video online footage shows the police at ground level when objects were being thrown at them from the parking garage. The police retaliated by firing tear gas to the mobs on the upper floors of the garage. What happened after that is for the courts to decide.
The tragic deaths of Chow and Luo highlight the terrible consequences as well as the intense turmoil those riots have reached. In October alone, there were 80 arson cases and 752 criminal-damage cases. The intensity of violence escalated till the week ahead of the Nov 24 District Council election. So far, during the past nearly six months, about 4,500 people have been arrested for protest- or rioting-related offenses. The question on everybody's lips is, "Will the riots stop for good?" And one of the answers comes from former High Court judge Henry Litton, who suggested on TVB's Straight Talk program that they will "when the money runs out." Litton believes the protesters were being "heavily paid," because otherwise, how could they sustain themselves?
As Litton noted, those rioters were not ordinary criminals who run away from their crime; those criminals confronted the police, they caused confrontation, and what they have done are criminal acts.
To the relief of Hong Kong people, violence stopped ahead of the sixth-term District Council elections, and the city has remained calm so far. It is hoped that a lull in violence over the past week will translate into permanent calm and peace for the sake of Hong Kong. After all, dialogue is the only solution to the city's current political impasse; continual violence would lead the city nowhere but into an abyss of chaos and destruction, as we have witnessed over the past six months.
The author is a former chief information officer of the Hong Kong government, a media and PR consultant, and a veteran journalist.


Can You Really Get More Kitchen Cabinet Space In Just 20 Minutes?
After organizing our dish cabinet, we still wanted to free up more kitchen cabinet space, just in case we wanted or needed to add more dishes. As we browsed our local target we happened upon utility hooks. Immediately we thought about adding hooks to the underside of our dish cabinet. Now, this was no innovative idea. Many kitchens have these same hooks.
These hooks are vinyl coated to protect the mugs that we would place there. So we decided to go ahead and start another small project. We knew that these simple little hooks would give us more room in our cabinet, while taking advantage of space that wasn't being used at all, the space under our cabinet.
We moved pretty slowly and it only took us around 20 minutes to measure, drill and screw in the hooks. Below, we detailed each step to show you exactly how to install utility hooks and easily get more space in your cabinets.
Determine how many hooks you want or have enough room for. We chose four.
Before purchasing hooks, measure the thickness of the bottom of your kitchen cabinet. If the threaded part of the hook you choose is too long, it will go all the way through the bottom of your cabinet.
Measure and mark the spots you would like for your hooks to go with a pencil first, then go over the markings with a washable marker. To avoid having the mugs bumping into one another, we decided on placing the hooks 4″ in towards the wall, from the front of the cabinet, and each hook was about 3.5″ spaced apart. Choose whatever setup will work best for you.
Drill holes at the marks you made for each of the hooks. In the picture below, you can see that we drilled holes at the intersections from our measuring in step 3.
Do not drill all the way through the bottom of your cabinet. I would suggest only drilling in about 1/4″, as the bottom of your kitchen cabinet should be thicker than that. Make sure that the bit is smaller that the threaded part of the hook. This will ensure that the hook screws in securely.
Screw in the hooks and place your mugs.
Do not rush when you drill.
Mark with a washable marker. This will make it easier to see where to drill.
Wear safety goggles. This is a must.
This was a very easy do-it-yourself project. In less than half an hour, we were able to get more kitchen cabinet space. As an added bonus, our green mugs provided a much needed splash of color to our kitchen.


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Good Job !! i would appreciate if you can market this online game well as this is a 1.st carrom online game.
Very Nice, Like it very much. Very good for biginner, if you can market this online game, well as this is a first carrom online game.
Hi, has anyone managed a "slam"?
Also how do you get the "striker" back when it ends in the pocket?
Also are only "forward" shots allowed or "thumb" shots (ie behind the playing line)?
One down side is the rotating of the board!
It's really very nice online game.Through this we can gain a control and adjust shots.
Its good and helpful for begineers to understand angles better.
HI this is good work, but make 2 players to play online between 2 system which r connected through online.
Then it will be more popular.
even though it is good u can't play online of 2 players between 2 system.
I dont understand how to play in this board.
Congratulations by heart for putting online carrom game.
Its good and easy webgame. Easy to understand and play. Nice keepit up.
Try to keep live games as two living players can play.
good efford, and highly inflammable game. Only drawback is striker speed control should be there.
Is base attempt from the line to backside without rebould a rule of playing carrom or not?
Its good and helpful for begineers to understand angles better.It's really very nice online game.Through this we can gain a control and adjust shots.Very Nice, Like it very much. Very good for biginner, if you can market this online game, well as this is a first carrom online game.
The game is nicely produced to have fun playing it online. Thank you.
Its nice game . But if would b even beter if u got sound in it..
Great game. I like the rotating board. Thanks!! Now I'm interested in getting a board.
It is very nice game. One can learn a lot from this board game. It contains all the ingredients of the real board game. Can it be downloaded?
Very nice and interesting game.Brings enjoyment !!
Very Good Carrom Game. But, 1.Computer vs Player is required. 2.In a 2 player game point system is required!


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NAICS Code 711219 - Other Spectator Sports
This U.S. industry comprises (1) independent athletes, such as professional or semiprofessional golfers, boxers, and race car drivers, primarily engaged in participating in live sporting or racing events before a paying audience; (2) owners of racing participants, such as cars, dogs, and horses, primarily engaged in entering them in racing events or other spectator events; and (3) establishments, such as sports trainers, primarily engaged in providing specialized services required to support participants in sports events or competitions.
NAICS Code 711219 - Other Spectator Sports is a final level code of the "Arts, Entertainment, and Recreation" Sector. There are 80,722 companies classified in this industry in the USA with an estimated employment of 17,129 people.
71121 - Spectator Sports
Common types of examples within NAICS Code 711219 - Other Spectator Sports are:
Athletes, amateur, independent
Athletes, independent (i.e., participating in live sports events)
Automobile racing teams
Boxers, independent professional
Dog owners, race (i.e., racing dogs)
Dog racing kennels
Drivers, harness or race car
Figure skaters, independent
Golfers, independent professional (i.e., participating in sports events)
Harness drivers
Horse racing stables
Jockeys, horse racing
Kennels, dog racing
Motorcycle racing teams
Professional athletes, independent (i.e., participating in sports events)
Race car owners (i.e., racing cars)
Race dog owners (i.e., racing dogs)
Racehorse owners (i.e., racing horses)
Racehorse trainers
Racehorse training
Racing stables, horse
Racing teams (e.g., automobile, motorcycle, snowmobile)
Referees and umpires
Skiers, independent (i.e., participating in sports events)
Snowmobile racing teams
Sports professionals, independent (i.e., participating in sports events)
Sports trainers, independent
Stables, horse racing
Stock car racing teams
Tennis professionals, independent (i.e., participating in sports events)
Training race dogs
Training racehorses
Wrestlers, independent professional
For some business types, there may be a similar industry to NAICS Code 711219 - Other Spectator Sports that is a better classification match. Establishments primarily engaged in:
Establishments primarily engaged in operating racetracks are classified in U.S. NAICS Code - 711212 - Racetracks.
Establishments primarily engaged in representing or managing the careers of sports figures are classified in NAICS Code - 711410 - Agents and Managers for Artists, Athletes, Entertainers, and Other Public Figures.
Independent athletes engaged in providing sports instruction without participating in sporting events before a paying audience are classified in NAICS Code - 611620 - Sports and Recreation Instruction.
Independent athletes exclusively engaged in endorsing products or making speeches are classified in NAICS Code - 711510 - Independent Artists, Writers, and Performers.
Establishments primarily engaged in raising horses, mules, donkeys, and other equines are classified in NAICS Code - 112920 - Horses and Other Equine Production..
SICCODE.com compiles comprehensive business data and executive contact leads for businesses within NAICS Code 711219 - Other Spectator Sports . Some of the leading and most notable companies are listed below. To order a list of companies within NAICS Code 711219 - Other Spectator Sports for marketing (postal mailing, telemarketing, emailing) or analytics-use, click on the link below to "Buy Business List". Our data analysts are standing by to assist in your list setup and target marketing.
California Exposition And State Fair
SeaWorld Entertainment Inc
IGT Global Solutions Corp
International Speedway Corp
HMSHost Corp
Archon Corp
Live Nation Entertainment Inc
Nevada Gold And Casinos Inc
Tiger Schulmann's Mixed Martial Arts
Would you like to email executives in NAICS Code 711219 - Other Spectator Sports ? Below are some of the common job titles available to be targeted.
7948 - Racing, including Track Operation
7999 - Amusement and Recreation Services, Not Elsewhere Classified
9319 - Other Sports Activities


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Q: The specific endpoint doesn't work (404) on all languages except default one (en) on the latest Joomla after upgrade I was helping my friend to upgrade old Joomla (3.3.4) to the latest one. After a lot of fixes, we faced a problem with a custom module. For the English language, everything works fine but as soon as I change language, that specific endpoint results in a 404 error. Problem is that Joomla adds the language prefix to the URL (de for German) which results in an error.
I don't have much knowledge of Joomla and I don't know where to start... It is getting really frustrating because I spend the last three days debugging it.
Does someone know where to issue can be and can someone point me in the right direction?
Best regards.

redpajama_set_name: RedPajamaStackExchange


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Essays in the economics of private education: Theory and evidence from England.
Munk, Inger (2007) Essays in the economics of private education: Theory and evidence from England. PhD thesis, London School of Economics and Political Science (United Kingdom).
This thesis investigates the relationship between the demand for private education and the distribution of income, state school quality, religion and political allegiance in England. Chapter 2 focuses on how the demand for private education, both secular and religious, is affected by the distribution of income. Theoretically and empirically, I find that private schools in general locate in areas with high income levels, high income inequality and low spending per pupil in state schools. However, religious (Muslim and Jewish) schools locate where the fraction of the relevant religious individuals is high and where the religious individuals are relatively poor. Chapter 3 studies the relationship between the demand for private education and local state school quality, and how this varies with household income and preferences for education. Consistent with theoretical predictions, I find robust empirical evidence of a non-linear relationship between the demand for private education and for local state school quality such that it is positive at lower income levels and negative at higher income levels. Finally, chapter 4 explores the relationship between religious and political allegiance and private schooling choices. I find that the relationship between religion and private education varies greatly across religious groups, and is strongest for non-mainstream denominations. The strength of the association between religious and political allegiance and private schooling depends significantly on the intensity of religious beliefs. However, the greater demand for private education among non-Christians does not appear to be driven primarily by religious motives but rather by stronger preferences for education. I also find that private school demand is significantly associated with respondents' political allegiance.
Economics, General, Education, Finance


When lifting a heavy object, position your body directly in front of it to lift, then make sure to carry it close to your body. Bend your knees so your legs, not your back, bear the weight. When carrying the item, turn your feet instead of twisting your back.
When at your workstation, use an upright chair that has good back or lumbar support. The monitor should be positioned so your head and shoulders are relaxed and you don't have to crane your neck. Also, keep your mouse close to your body. Remember to do easy exercises at your desk, such as backward shoulder rolls, and get up frequently to stand straight and/or walk.
Low back pain doesn't just affect adults. The main cause for children's low back pain is their backpacks they wear to school. To help children maintain proper form, physical therapists advise that backpack contents should be limited to 10 to 15% of the child's body weight. Wearing both straps will keep weight distributed properly. The backpack should rest evenly in the middle of the back, it should not extend below the lower back. When packing your child's backpack make sure to organize the contents by placing the heavier items closest to the back.
During long drives, stop every hour or so to stand up and move around. You can also place a rolled up towel behind your back at approximately waist level to provide lumbar support while driving.
Whether you're moving snow or mulch, shoveling is typically a repetitive action. Use a shovel with a shaft that is not too short (causing you to bend more to lift) or too long (making the weight at the end heavier). While lifting, keep your back straight and avoid twisting the spine while shoveling. Stepping in the direction you're moving instead of bending the back, can help to avoid next-day fatigue. Finally, take frequent breaks to stand straight and walk.
When gardening, support your back by bending at the knees to avoid straining. If you must kneel, use knee pads to absorb some of the pressure. Always keep one foot on the ground while kneeling. Use a wheelbarrow to move heavy items and change positions frequently to reduce stiffness.


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Adventures in Poetry and Surfing
Critics respond to Blue Crush, Possession, The Adventures of Pluto Nash, Me Without You, 24 Hour Party People, The Good Girl, XXX, and the upcoming satire Simone. Also: Hollywood directors sue CleanFlicks and another movie about Jesus
Jeffrey Overstreet| August 1, 2002
Have you ever wanted to show your children a movie, but wished you could edit your own "parental cut"?
A new technology called Movie Mask is sure to be a hit with parents. The software allows you to filter out sex, violence, and cursing from your household DVDs. Imagine We Were Soldiers without any blood or GoodFellas who never utter a discouraging word. Since meetings between Trilogy representatives, studios, and the MPAA are proceeding, the software may be coming to a home theater near you. The success of another Utah-based company, CleanFlicks (which was covered in a recent CT story) indicates that the venture could be quite successful.
That is, if legal action from the Directors Guild of America doesn't get its way. Moviemakers are not thrilled about the new services, calling them a form of censorship. Just as this edition of Film Forum was getting a final edit, headlines began appearing that announce the attempt to stop this trend before it really spreads. For starters, check out stories at The Directors Guild of America (here and here.)
Director Steven Spielberg, a member of The Film Foundation, argues, "Every film represents a truth which is morally and exclusively the right of the writer and director. No one is authorized to impose their truth on top of ours despite how strongly they may disagree with it. Schindler's List and Saving Private Ryan have been cited as two of my most important contributions to history through cinema. The public has a choice to make—do they or do they not want to share in this experience. No one has the right to delete, re-shuffle, or in any way alter our films without our permission or the permission from the copyright holder."
Why such a fuss over bleeping out bad words? Don't network television stations do this all the time when they broadcast R-rated films?
No, actually. Trilogy Studios's pioneering software doesn't just "bleep" out bad language or cut scenes. It actually alters the imagery. Titanic's Kate Winslet doesn't pose nude when Movie Mask is running—instead she appears in a corset. And Saving Private Ryan starts with a bloodless massacre. Referring to Private Ryan's opening scene, Trilogy cofounder Breck Rice boasts to ABC News, "There are 32 edits in that scene. If you had never seen the original, you wouldn't know the difference—gone are the severed limbs and gushing blood. We've taken out some of the real gory scenes where people's guts were laying on the beach."
What do you think? Is Movie Mask a gross abuse of technology that compromises the visions of artists? Or should parents have the options of altering works of art in order to protect their children from certain elements of a work? Let me know what you think. (Your reply may be excerpted in an upcoming issue.)
Hot From the Oven
It's hard to imagine what Movie Mask might do to the scantily clad heroes of John Stockwell's Blue Crush, a movie about surfer girls striving to make their mark in the sports world. But even religious critics are admitting that there is more to this surf flick than meets the eye. The human drama at the center is realistic and engaging—at least compared to other titles in the surfing genre. And everyone agrees: the waves are truly worth catching.
Holly McClure (Crosswalk) says, "I really enjoyed this movie for a lot of reasons but mostly because it introduces the sport of surfing as I've never seen it before. I also like the fact that the hero turns out to be a woman who gets her dream and her man! If you've ever been curious about surfing and you can't go to Hawaii to see the biggest waves in the world, do the next best thing and see this movie!"
Anne Navarro (Catholic News) writes, "Blue Crush is a movie about youthful exuberance with pseudo-profound dialogue about overcoming fear spoken by undemanding characters. The tension in the final scenes is milked for all it's worth, ending almost exactly as the moviegoer would expect anyway. The story dissolves from the mind as the pummeling wave does on the shore. But, oh, those waves."
Brian Shun (Movieguide) calls it "one of the better summer fun movies to grace the screen in a long while. The girls are not the stereotypical Barbie types that you would see in Baywatch; rather, their figures are more realistic, and lean more towards the sporty side as opposed to the bimbo side." Still, he adds a warning: "Viewers should exercise extreme caution due to the obscenities and images of implied fornication."
Not everyone was pleased. "Despite the positive messages about conquering fears and being true to your dreams," says Paul Bicking (Preview), "Blue Crush sinks under vulgar vocabulary and misguided sexual messages."
Michael Elliott (Movie Parables) says, "Stockwell … deserves some credit for breathing a bit of new life into a genre which has never been accused of originality. With a fresh-faced, hard bodied cast and some magnificent camera work, Blue Crush uses the same formula as its predecessors but then layers it with a theme of female empowerment." But he adds, "While the film does have some positive things to say … we shouldn't approach it with the expectation of seeing behavior we would want our daughters to emulate."
Phil Boatwright calls the surfing "awesome," but he is worried that, although these female characters show considerable dedication to their work, they seem to be "exploiting their bodies in order to gain acceptance." He concludes with a caution. "Note to my younger readers: It's a natural desire to want to look at the opposite sex. And sexuality is certainly a driving force in this realm. But, because our culture is so dominated by sexual exploitation, maybe we should be careful about how often we expose ourselves to things sexual."
Steven Isaac (Focus on the Family) remarks he was surprised at the film's emphasis of the dangers that surfers face out there on the waves. He adds, "It's too bad other dangerous activities presented in the movie (sex and wild partying) aren't given as much scrutiny."
Mainstream critics celebrated the exhilarating cinematography, engaging performances, and the unusually compelling story.
But MaryAnn Johanson (Flick Filosopher) argued from a different point of view. "Blue Crush teases the hopeful girl critic for a while, misleading her into thinking it has something of substance to offer. Any girl trying to follow her bliss can identify. [But] it doesn't take long for the story of smart and tough women to devolve into a slick, simplistic washout, all beautiful cinematography and standard sports platitudes. 'When you fall off a wave, you gotta get right back on it again,' or something."
Author A.S. Byatt won the Booker Prize for her 1990 novel, Possession. It tells the story of two British academics, Roland Michell and Maud Bailey, and two Victorian poets, Randolph Henry Ashe and Christabel LaMotte. Michell is researching Ashe when he discovers clues that the writer might have carried on a secret love affair with the lesser-known LaMotte. Bailey, an expert and a descendent of LaMotte, denies it. But as the two begin following the clues together, they begin to uncover a scandalous story, one that excites not only their academic curiosity, but their desire for each other as well. The story jumps back and forth between their present-day research and the past extramarital affair.
The film version is unlikely to win awards, say critics. While director Neil LaBute (Nurse Betty) uses wry humor to tone down potentially sappy scenes, the book's intricacies have been severely abbreviated. Further, Roland is no longer a Brit—now he's an aggressive American (played by the always impressive Aaron Eckhart) who unsettles his partner-in-research, a mellow and mannered British beauty (Gwyneth Paltrow, in fine form). While some critics are praising it for being more sophisticated and restrained than most big-screen romances, others find that this adaptation is only half-baked.
Religious media critics complain it's another cinematic glorification of an extramarital affair. Jan Stallones (Movieguide) says it is "beautifully filmed and well acted … sad, funny, and mysterious all at once. But [Possession] emphasizes 'heart over head' living, and minimizes the damage that romantic decisions can cause in the lives affected by them. The biggest problem … is the clear endorsement of romantic philosophy over reason and morality. Ash obviously struggles with guilt over betrayal of his wife, whom he clearly loves. La Motte regrets hurting Ash and his wife, but in the end, she declares, 'Was not the love we found worth the tempest it brought?'"
Paul Bicking (Preview) says, "Condoned adultery, a fairly graphic love scene, and some less-than-ethical 'borrowing' from institutes suggest Possession should not be taken."
But Phil Boatwright describes it as "[an] intriguing love story, nicely acted by Northam and Ehle, [with] beautiful cinematography, and a nice balance between modern times and days gone by. The film is not so much about an adulterous relationship as it is about finding that one true love."
Anne Navarro (Catholic News) writes, "The script admirably condenses the comprehensive novel, layering in intrigue and obstacles to love. But it isn't able to avoid narrative lags, eventually resulting in a reasonably entertaining but not completely absorbing or dramatically compelling film."
I'd agree with Navarro. In condensing the novel, LaBute has lost a good deal of characterization, so the intellectual and romantic dilemmas of the leads remain vague and uninvolving for us. And the few snatches of poetry in the film do not convince us that their favorite writers are really that interesting. Thus, while Eckhart and Paltrow do have some chemistry, they are never compelling enough to draw us emotionally into the film. Worse, the poets they so admire are frequently shown staring at each other with silent intensity, striking notes of melodrama and melancholy that could almost be a parody of period piece soap operas. (My full review is at Looking Closer.)
Mainstream critics are divided between praising the film's strengths and lamenting its lapses. Roger Ebert (Chicago Sun-Times) writes, "The movie is not a serious examination of scholarship or poetry, but a brainy romance. In a world where most movie romances consist of hormonal triggers and plumbing procedures, it's sexy to observe two couples who think and debate their connections, who quote poetry to each other, who consciously try to enhance their relationships by seeking metaphors and symbols they can attach to. Romance defined by the body will decay with the flesh, but romance conceived as a grand idea—ah, now that can still fascinate people a century later."
Warner Brother reportedly spent $100 million to produce The Adventures of Pluto Nash, the new action/comedy sci-fi adventure starring Eddie Murphy. The film was long delayed due to complicated special effects. But when the studio opted not to show the film to critics before opening day, all signs pointed to a disaster. Sure enough, the film has opened to dismal reviews and a disappointing opening day, earning back only about $2 million. Some are comparing it to the legendary "disaster" film Ishtar. Lou Lumenick (New York Post) blasted it: "Watching it is like watching 90 minutes of outtakes—deleted scenes randomly assembled by a drunken night watchman at the studio."
Religious critics are unable to find anything worthy of praise.
Phil Boatwright testifies, "I said to myself, 'Hey, it stars Eddie Murphy, there's got to be something funny in it.' Alas, I was wrong. And I miss my $6.The production values and special effects leave something to be desired in this era when production values and special effects are more focused on that story. And speaking of story … there is none."
Loren Eaton (Focus on the Family) believes that the special effects and the plot are not the real problems with the film: "Pluto has been taking heat for all the wrong reasons. Sexual baggage and profane potholes spoil this good-hearted trip far more effectively than a run-of-the-mill script and so-so special effects."
Holly McClure (Crosswalk) writes, "I wanted to like this movie because I like Eddie Murphy, but it starts bad and gets worse. There are better movies out there, so save your time and money on this one!"
Michelle Williams, who earned celebrity for her work on Dawson's Creek, plays a very different role in the new independent film from writer-director Sandra Goldbacher. Me Without You is a coming-of-age story about two best friends. Williams plays Holly, a quiet and well-mannered Jewish girl, while her friend Marina (Anna Frie) is wild, self-centered, and free-spirited. Codependent and close as sisters, their friendship suffers when they begin to hide from each other the secrets of their romantic entanglements.
J. Robert Parks (The Phantom Tollbooth) praises Williams: "It's a wonderfully vulnerable performance." But that's only one bright spot. "Unfortunately, the other aspects of Me Without You are overly broad and uncompelling. … Predictability is not a virtue in my book … I knew the outcome … well before the movie's halfway point."
Anne Navarro (Catholic News) lists some complaints of her own. "While the characterizations are authentic and the performances compelling, viewers may be troubled by the casual representation of sexual encounters and drug use. The story drags, taking a depressing turn before abruptly turning the corner to a sunny, incongruous ending." But she has high praise for other aspects: "Goldbacher infuses the narrative with classic tell-tale signs of the period. Signature '80s songs and fashion sensibilities are in full force as is the punk attitude of the '70s and the materialism of the '90s. Goldbacher guides the actors with a gentle hand, drawing nuanced performances from both women."
In Michael Winterbottom's comedy/documentary 24 Hour Party People, an ambitious television reporter named Tony Wilson (played by Steve Coogan) discovers a band called The Sex Pistols and rides their rising success to play a major part in the cultivation of a successful musical trend. The result is a comical look at the mid-'70s and the emergence of a group of successful bands including Joy Division and New Order.
Rather than discussing whether the film offers significant cultural commentary, Phil Boatwright says, "As for a review—I think the content will tell you all you need to know about this film." He goes on to list all of the occasions of documented swearing, drug use, and sexual activity.
Anne Navarro (Catholic News) says the movie "is not for everyone. Those who will most appreciate the film are fans of 1980s bands New Order, Happy Mondays, and Stone Roses. But many likely will not enjoy the acerbic comedy or attention-grabbing characters because of the irreverent and often depraved lifestyle portrayed in the film which spells out the sex, drugs and rock 'n' roll excesses of the times in a defiant, in-your-face manner."
Still Cooking
Film Forum presented early reviews of The Good Girl last week. This week, Jennifer Aniston continues to impress and distress religious media critics as they ponder the moral dilemmas and messy relationships in this independent drama.
Paul Bicking (Preview) reports, "The film explores some difficult issues such as adultery and reconciliation as well as showing the character's self-evaluation along the way." But he complains of graphic sexual encounters and explicit sexual discussions that degrade the story.
Tom Snyder (Movieguide) writes, "Christians, not to mention people from West Texas, should sue the filmmakers … for defamation of character." He argues that the film gives the impression "that all Christians and all men are fools, especially if they come from a small town in West Texas."
Mainstream critics continued to debate the film's merits. Ebert declares, "Jennifer Aniston has at last decisively broken with her Friends image in an independent film of satiric fire and emotional turmoil. It will no longer be possible to consider her in the same way." He also praises director Miguel Arteta and writer Mike White: "They know how much satire and exaggeration is enough but not too much, so that in a subterranean way their movies work on serious levels while seeming to be comedies."
Meanwhile, Vin Diesel's action-spy flick XXX ruled the box office again, and religious critics continued to roll their eyes (see our earlier review roundup here).
David Bruce (Hollywood Jesus) finds some interesting differences between the film's tattooed hero, Xander Cage, and the legendary film hero to which most critics compare him. Bruce writes, "James Bond, though an independent thinker, was always a company man. He was what we would term an organizational man. Xander Cage is an outsider that the organization needs to bring in. … In today's world successful organizations seek out entrepreneurial and creative types, the outsiders. Xander Cage is more centered on a central relationship than is the womanizing James Bond. Cage develops the friendship before the romantic relationship. Sexual intercourse is secondary." He goes on to list several more interesting contrasts, as well as some vague but intriguing spiritual themes.
Ryan Izay (Christian Spotlight) is troubled that "our youth [are] able to see women being treated as objects of pleasure alone, and a criminal being paid to kill people. I urge any parent that is skeptical about letting their child see this film to think twice.
J. Robert Parks argues that the film insults the intellect: "No, I don't expect an action thriller to be believable or even make sense. But I do hope that it won't completely insult the audience's intelligence, that it will have some sort of internal consistency. In XXX, there is absolutely no logic to anything that happens. Even the explosions are random, which creates a mind-numbing sense of boredom."
Tomorrow's Menu
Andrew Niccol, the creator of such thoughtful, artful films as Gattaca and The Truman Show, is back with another film about the difference between real and artificial life. In Simone, Al Pacino plays Viktor Taransky, a director who is fed up with spoiled-brat actors and actresses. Thus, he is ecstatic when he inherits the software for a digitally simulated actress called "Simulation One" (or "Simone"), a performer who won't talk back. Unfortunately, Taransky's own ego takes over and his manipulated non-actress becomes merely a dangerous extension of his own personality.
Anne Navarro (Catholic News) writes that the film starts strong but slumps into oversimplification and redundancy: "The script … happily mocks actors and their peculiar 'requests,' hinting that maybe Tinseltown would be better off with 'synthespians'—computer-generated actors who don't talk back. Niccol plays with the themes of identity, reality and media fascination in a film that is spiked with dry wit. The film takes some deliciously dark and comical turns, but then loses its way, always returning to one joke. Niccol ends on a down beat with too tidy a wrap-up for the narrative without properly probing the questions raised about whether the connections made by human beings can be replaced or duplicated by a digital creation."
Film Forum will feature more reviews of the film next week.
DIGEST: Are you ready for another movie about Jesus?
Actor Mel Gibson, enjoying his latest box office triumph in Signs, is ready to take on a far more ambitious project. This time, though, he will not be in front of the camera. Several media outlets are reporting that Gibson is scouting locations in southern Italy for a movie called Passion. He is reportedly considering actor Jim Caviezel to play the Messiah. (If so, good choice. I saw Caviezel for the first time in Terrence Malick's wonderful war epic The Thin Red Line, and immediately thought to myself, "that guy would be the perfect actor to play Jesus.") Both men are reportedly believing Catholics.
Are you excited about the possibility of another big screen Jesus film? What sort of things would you like to see a new Jesus movie emphasize? Let me know.
Next week: Critics turn in reviews of Simone, a new family film called Little Secrets, and more.
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