text:
HomeMovie GenresUS Box OfficeTrailersNewsShowtimesShop
Get the poster
Follows the key people at an investment bank, over a 24-hour period, during the early stages of the financial crisis.
Rating: 7.2/10 (22,686 voted)
Critic's Score: 76/100
Stars: Zachary Quinto, Stanley Tucci, Kevin Spacey
A respected financial company is downsizing and one of the victims is the risk management division head, who was working on a major analysis just when he was let go. His protégé completes the study late into the night and then frantically calls his colleagues in about the company's financial disaster he has discovered. What follows is a long night of panicked double checking and double dealing as the senior management prepare to do whatever it takes to mitigate the debacle to come even as the handful of conscientious comrades find themselves dragged along into the unethical abyss.
Kevin Spacey - Sam Rogers
Paul Bettany - Will Emerson
Jeremy Irons - John Tuld
Zachary Quinto - Peter Sullivan
Penn Badgley - Seth Bregman
Simon Baker - Jared Cohen
Mary McDonnell - Mary Rogers
Demi Moore - Sarah Robertson
Stanley Tucci - Eric Dale
Aasif Mandvi - Ramesh Shah
Ashley Williams - Heather Burke
Susan Blackwell - Lauren Bratberg
Maria Dizzia - Executive Assistant
Jimmy Palumbo - Security Guard
Al Sapienza - Louis Carmelo
Taglines: Be first. Be smarter. Or cheat.
Official Website: Official Facebook | Official Twitter |
Filming Locations: New York City, New York, USA
Box Office Details
Budget: $3,395,000 (estimated)
Opening Weekend: €185,289 (Germany) (2 October 2011) (76 Screens)
Gross: $5,353,586 (USA) (12 February 2012)
J.C. Chandor said that he wrote the script for the story he had been carrying around in his head for about a 'year-and-a-half' in just four days, filling time between job interviews in Boulder, Colorado.
Goofs:
Errors made by characters (possibly deliberate errors by the filmmakers): Eric Dale ('Stanley Tucci') makes a mathematical error when he talks about how much time is saved by people using the bridge he built. He says 559,020 days are saved, but the correct number is 5,590,200.
Sam Rogers: You are panicking.
John Tuld: If you're first out the door, that's not called panicking.
Quietly gripping morality tale - a near perfect movie
Rating: 10/10
Saw this last night. Set at a Wall Street firm on the night in 2008 when the leaders realize that changes in the market will wipe them out if they don't immediately stop selling the products that have been making them all rich, the movie centers on the moral dilemma - recognized by some characters but dismissed by others - that they face in unwinding their positions, saving themselves but shifting the pain to others.
The movie finds a way to hold the mirror up to our civilization, showing how we are all complicit in a collective 'dream' (one character says at one point, in response to another who says he feels like he is in a 'dream', 'Funny, it seems like I just woke up'). The dream is the illusion of easy, risk-managed wealth that the financial markets manufacture, again and again, since the emergence of capital markets 200 years ago, until the illusion morphs overnight into a panic. Reality intervenes, fear takes over, and the 'survivor' is the guy who first reaches the lifeboat. So there are no villains in this movie, just people, richly drawn, beautifully acted characters realized by some of our best actors who relish the opportunity to show what they can do given a killer script and enough screen time between lines to actually be the people they are portraying.
Central to the movie's success:
1) It gets across the essence of what is going on in the financial markets without bogging us down or dumbing it down
2) finding a moral question that can be resolved in a night, yet which is nevertheless a perfect allegory for the whole set of moral questions raised by an economy that works the way ours does, rewarding false confidence, recklessness, and deceit as often as industry, skill, and integrity
3) the placement of young, innocent but perceptive characters at the center of the drama, who function as our eyes and ears, who are like stand-ins for all of us who weren't there, at the heart of the dream machine, when the latest fantasy of easy wealth was exposed as a collective delusion
4) really 'gets' the trader ethos and manner - they are a kind of warrior caste, foul-mouthed, impulsive, deeply selfish, surviving by their ability to outplay their counterparts, and yet living by a warrior code that sets boundaries on what they will and will not do to one another (having spent three years on Wall Street several panics ago, it rang as true as any movie I have seen on the subject)
It's like Mamet, except you don't have to work as hard to figure out what everyone's up to. It's like Chinatown, except the 'crime' is something far worse than molesting a single young girl. These guys f****d the entire planet, for Ch*****sake. It's like the best movie I've seen in a little while.
What an incredibly sure hand from a director on his maiden voyage! Who is this guy? Whoever you are, please don't stop. I would pay a lot to see what he could do with topics like 'the decision to go to war', or 'the emergence of China/India/Brazil/Indonesia from poverty to global player'. Hell I would go see him revive Mother Goose, after this debut.
I'll calm down now. Enjoy.
Holiday BlockBusters at AllPoster!
Comment on "Margin Call"
Top Film Rentals
Fast Girls - Regan Hall
Diary of a Wimpy Kid - Thor Freudenthal
Harry Potter and the Prisoner of Azkaban - Alfonso Cuarón
Good Boys - Gene Stupnitsky
Once Upon A Time In... Hollywood - Quentin Tarantino
The Informer (2019) - Andrea Di Stefano
It Chapter Two - Andy Muschietti
Dora and the Lost City of Gold - James Bobin
Angel Has Fallen - Ric Roman Waugh
Hustlers - Lorene Scafaria
| Contact Us | Terms and Conditions | Disclaimer | Action | Adventure | Animation | Comedy | Drama | Family | Horror | Romance | Thriller © Copyright 2011-2020 Irish Film and Movie News - All rights reserved. (Powered by Films.ie)
Upcoming Film Releases|Movie Posters


text:
Addict Gaming
Online Video Game
Earning Games
Street Games
Football World Cup
Women Sports
Home Cricket World Cup
World Cup Countdown: A history of the primary World Cup in 1975
by Alfonso Murray
in Cricket World Cup
In the construct-up to the ICC Cricket World Cup 2019, CricketCountry brings you the most memorable moments and suits from the event through the years – right from its first version, way again in 1975. With 18 days to go, in our contemporary World Cup Countdown, we come up with a history of the primary World Cup again in 1975.
Just four years from the time the primary restricted-overs global become held at the hallowed Melbourne Cricket Ground, the inaugural World Cup, referred to as the Prudential Cup, marked the debut of the top of the line one-day global (ODI) event.
Prior to the tournament, there had best been 18 ODIs played in four years because the layout became delivered. Of those, England had regarded in over thirds. West Indies, Pakistan, and India had appeared in most effective a handful of games between them. For contrast, the 18 World Cup suits in England between June 7 and June 21, 1975, and contested among 8 teams and gained by using West Indies, the greatest performers of the tournament.
There had been 8 participating nations: Australia, England, India, New Zealand, West Indies, Sri Lanka, Pakistan, and East Africa (composed of gamers from Kenya, Tanzania, Uganda, and Zambia). A great omission from the event turned into the South African cricket crew who have been now not competing due to the international sports activities boycott.
Considering that best 18 ODIs had been played in 4 years, there has been little form to go with the aid of. West Indies were favorites considering their aggressive nature suited the only-day format and that so many of their squad had excelled in county cricket. Australia and England had strong sides, and Pakistan has been bristling with a fearsome line-up.
The Prudential World Cup had matches consisting 60 overs in keeping with aspect. The preliminary fits had been played in agencies of 4 groups and that they to begin with performed league matches inside their organizations. The top two teams from each group played the semi-finals, and the winners of these played the very last. In all, 15 matches have been played.
Unlike today, gamers wore a traditional white uniform and red balls had been used. There were additionally no night games.
England had few problems, overcoming a dazed India inside the match opener after which seeing off New Zealand way to a century from Keith Fletcher. In the other institution, a much tighter one, West Indies, Australia, and Pakistan squared off for an area within the semi-finals with Sri Lanka, at the time simplest an Associate member. A Dennis Lillee-stimulated Australia knocked off Pakistan, who then had West Indies eight down with eighty nevertheless required, simplest to look on because the last-wicket paired sealed an outstanding suit.
The semi-finals have been played between England and Australia and New Zealand and West Indies. In the final played at Lord's, West Indies beat Australia by means of 17 runs. Clive Lloyd, the West Indies captain, become declared the Man of the Final for a super 85-ball 102.
The event turned into a fulfillment each on and rancid the field. Thousands of spectators thronged the eight venues in excellent climate to assist the organizers to gather £188, 598 from gate money. Prudent Insurance Company, the tournament sponsors, had pumped in £100,000, inclusive of £nine,000 in prize cash.
Jamie Alter is Group Sports Editor (Digital), Zee Media. A sports activities journalist on the grounds that 2005, he has served as Sports Editor of the Times of India Digital and Editor of Cricbuzz, Cricketnext and IBN Sports, other than nearly five years operating for ESPNCricinfo. He has additionally authored two cricket-associated books.
Alfonso Murray
ICC Cricket World Cup 2019: Steve Smith smashes unbeaten ninety one to lead Australia XI to victory over New Zealand XI in final heat-up game
World body to transport badminton outdoors
VINCE MCMAHON'S FAILED ATTEMPT TO TAKE OVER THE WORLD OF BODYBUILDING
Champions crowned in 7 classes at Bemidji Speedway
Apl.De.Ap to convey Black Eyed Peas together for SEA Games
What the heck is buck greenback? 8 forgotten Philly road games defined, type of.
All you need to know about your bat
© 2020 sportsxplay - All Rights Reserved

redpajama_set_name: RedPajamaCommonCrawl


text:
Flat Batteries
Now, normally for these things we'd fill in this part with some sort of pre-amble bollocks that has a vague connection to what then follows. Well, sometimes at least. It's mostly just rambling rubbish designed to pad the piece out and make us look like we've put some thought or genuine effort into it all. Well, this week, I have confession to make. I got nothing. Zero. Nada. Not a Sausage. Yeah, sorry about that.
There's a couple of little reasons for this, but the main one though is that I pretty much forgot I was on duty for today and after a busy week, by the time Dukey half reminded me on the Friday evening the grey matter had long since clocked off and I was left with no lead in, no filler, nothing. Well, except this bullshit I've just made you plough through for a couple of paragraphs. Now usually in these cases you'd hope for a real humdinger of a match, especially as we're welcoming the current league leaders, to give you some nice material to paper over the cracks. Yeah, chance would be a fine fucking thing. But more (or less) of that later.
Still lucky! Sort of....
With no chores or errands required on the Saturday morning, I did what I always do for a home game and simply stayed stinking in my pit until well gone 10. No whilst this meant I was at least well rested for what remained of the day ahead, I also meant that my descision on what attire to venture out in was based purely on a quick look out the window. Big mistake. Whilst it looked sunny, I let the last few days influence my choice and I stuck on some jeans and a training top over the lucky Forres Mechanics shirt. Bad move. As I go for the bus, I'm quickly sweating my cods off. The walk to GGL from Sutton in a while will be a treat!
On arrival in Sutton, it's the usual two step of draw money and head for Greggs to get a nibble for the walk down to the Republic. Here I encounter my second fail of the day. They have no baguette sandwiches that don't contain foodstuffs likely to end up all down the front of me whilst being eaten on the move, so I instead aim for a sausage roll. There's 4 left so I'm sorted. Er, no. Somehow, having been at the head of the queue and ordering first, all 4 tasty pastry treats are somehow snapped up by the lass behind me. Fucks sake. No mate, it's fine, I'll just take the bottle of Ribena cheers.
Approaching paradise
I walk into the bar suitably sweaty and take a moment to enjoy the air con in the back bar, then I wander into the back and find Mr X already present and nursing what looks suspiciously like a J20. It would seem that his works leaving do the previous night was suitably refreshing. So much so that he takes a good 45 minutes to clear 1/3 of his first pint. A few other faces wander in, including Irish Pete who we've not seen in these parts for a while since he made the step into fatherhood. This and the arrival of Greek leads us to get a further story from last Saturday's session in O'Niells where one of Pete's colleagues he was out for a pint with guessed that Greek was 45 years of age! Combined with one of the COC's missus asking him earlier that day if he was gay, it's safe to say this Saturday can only get better for the Mediterranean chap. Well, if we don't spend it taking the piss out of him that is.
Elsewhere, Mr X's bad day gets worse as he gives 4 Days 2 quid to load up the jukebox only to realise after that the batteries in the remote are flat and we can't turn the fecker up above "Bloke sitting next to you on the train's headphones" volume. Sweet.
Butler, Beckwith, Bennett, Clough, Bolawinra, Davis, Lafayette, Eastmond, Brown, Wishart, Drinan SUBS: Thomas, Cadogan, Beautyman, Wright, Taylor
As much life as a Carshalton home game...
Ah yes. The football. Remember what I said earlier about having a cracking game to write about to make up for my lack of imagination? That'll be a no. The first half is pretty dour stuff. They're marginally on top and cause us a couple of problems. Their best effort being a cracking first time lamp from a dropping ball that pings back off the post with Butler beaten. Ours? A Charlie Clough effort curled a yard wide from about 20 yards, mainly as it's our only shot. The front 3 just doesn't work with Tombo getting no ball, Drinan largely isolated out left and Lafayette not winning much in the air or holding the ball up. And it's not like he doesn't have plenty of opportunity as we spend the first 45 minutes largely bashing it from back to front. Their 14 proves to be a bit of a prick during the half, as when directed to give the ball back to us from a stoppage, he petulantly lamps it into touch a few yards up the line. Cheers fella.
Once again, the real highlights of the half comes from the terrace chatter, this time Dukey informing us that whilst enjoying a pre-match livener in the Spoons, the local Plod came in and enquired if "Any Halifax fans had been in". "Nope" says the barman "They're all down at the Grapes", an establishment which if you know your Sutton public houses, you'd know has been shut now for nearly a month. It seems the local five-oh don't however and they toddled off without protest.
The other big incident is Robbo discussing the 'no standing at the barrier' rule for the Rec End with the steward on duty for most of the half. He later put it to me as "I fought the law and I won!". Bless. And yes, the football really was that dull.
Second half, there's a bit more structure and we're certainly involved a little more constructively. But there's still far too much aimless lump for my taste. Still, with the visitors looking unlikely to break the deadlock and us not exactly setting the world alight either, my money would have been on a 2nd straight 0-0. However, around the hour mark, Easty busrsts from midfield and is hauled down just before the 18 yard line. Kenny Davis steps up for the free-kick and it takes a nick off a defender on it's way in which beats the keeper. 1-0! Blimey, we're winning! Not for long though. Several minutes later, we lose the ball from a throw in, they break and we allow their man far too much time on the edge of the box to collect, turn and compose himself for the shot which seems to catch Butler by surprise and beats him down to his right.
Dos brings on Wright, Taylor and Cadogan to try & inject a bit of life into proceedings, but despite finishing brightly, we have to settle for another home point in the end. Right, back to the bar. We've wasted enough VDT with this tosh as it is!
Look, it's this or more pics of the game. We're doing you a favour...
Post match, it's my round and this is now a complicated affair by the fact that we've got some people wanting beverages from the traditional outlet as well as some cheap bottles from what has been nicknamed 'the pool bar', which is basically Kiddo knocking out Fosters and Bulmers at 2 bottles for £4 from atop the pool table. Pain in the arse and no mistake. With plenty of beverages in place however, we settle in for the usual Saturday evening bout of piss taking and abuse. The freshly shaven head of Greek comes in for stick as first Totts accuses him of 'copying my look' and then both suffer as they're referred to as 'knock off Harry Hill tribute acts'. We also catch up with Ipswich Lee and his eldest and we compare Albufeira notes as he's off there next week on a lads weekend. Apparently it's largely so he can try to have some recall from his stag do there back in March, which ended in disgrace after one too many shots (so much so, the last 2 days were merely downgraded to 'a do'). His boy takes great delight in showing us a picture of an unfortunate bed vomiting incident. We did try to secure said picture for publication here, but sadly Lee got his legal team on the case first thing this morning and it's been embargoed. Sorry! We also compare drinking venues from our own little jaunt over there a couple of years back for the Gibraltar game. Although we severely doubt the Lithuanian stripper that Dukey ponced some fags off is still working in Voyeurs.
I also take time to chat with Nat about next weekend's trip to Glasgow, in which she'll be making a late dash for our flight up there as she has a training course to attend at work that she can't get out of. I implore her not to be late and to miss it, simply as it would mean us having to convene a committee meeting to change the Gandermonium motto, which of course currently reads as "Leave no man behind, unless mutually inconvenient to the rest of the group". Just trying to persuade Dukey alone to accept bringing it into the 21st century would be a fucking nightmare I'm not willing to confront.
Stock action shot.
As I'm winding down my involvement in the Saturday evening and preparing to head home for dinner duties, the missus informs me by text that she's heading out to meet some friends before they head back to Sweden tomorrow. Touch! That means I can stay out and get leathered instead. Right, who's bloody round is it? I'm thirsty. Joe then takes time to protest his 'Sleepy' nickname earned after his nodding dog act in Blackpool last season. "I've only ever fallen asleep in a pub toilet twice!" he pleads "Ok, they were both Litten Tree's, but...." The prosecution rests m'lud. The earlier 'flat battery' scandal with the jukebox has thankfully been resolved and we can now able to turn it up to hear what is being played. The bad news is, Robbo is holding onto the remote. And by 'holding onto' I mean 'has it stuffed down the front of his keks'. With no one wishing to handle something that's been as close to his junk as that, let alone fish it out in the first place, we simply let him get on with his odd behaviour.
After a few more pints, we all hop in some Ubers and head for the high street, mainly to show Lee what the O'Niells experience is all about. We'd made a few attempts at this previously, but the gang had always stopped off in the Crown at the bottom for a 'quick one' and ended stumbling out of there shitfaced at closing time instead and had never made it this far up! On arrival, Mr X's bad day deteriorates further when he realises he's left his phone in the cab. And it turns out dealing with Uber's customer service leaves a lot to be desired. In the end, we give up and he skulks off home to try & use his 'locate my phone' thing on his laptop.
We have a couple more in here, but before long I'm feeling the effects of a long day's intake and needing sustenance to soak up the beer & gin now sloshing around my Newingtons. So I bid Lee and Dukey farewell, although the latter appears to be too busy fending off the attentions of a rather amourous lass who likes a shaved head on a man to notice and I head out into the night air. Sadly, with only 10 minutes to grab food and head for my bus back to HQ, my only real choice is Subway. Which I don't particularly like. Still, any port in a storm and all that so I grab some overpriced nosebag and make my transport with moments to spare.
Pub entertainment
So, we're off to Maidstone this week and I'll be attempting to try & not get stuck at fucking Bromley South again like I did a couple of seasons back and actually make the game. It was also the scene of one of the worst performances of last season, so after today I'm also hoping it's a bit more Conf South title run in than that to give us a little morale boost before we head over Hadrians Wall next weekend. I'm not entirely holding my breath though.
Man, why do they always skimp on the lettuce at Subway? I asked for 'a load', not 'a light sprinkle'. Tight bastards.
Labels: Halifax Town, National League, Season 2018/2019, Taz
Cannibalism or Herbalism
More Rabbit than Sainsbury's
Red Light Spells Danger
Adelante Alicante! - Football Abroad
Ten Bob Pimp
Made from Gur-durs!
Ruttin' in the Alley


text:
SWRK Menu Show search box.
School of Social Work Home
Teaching in Social Work
Our Counties
Student Writing Resources
BSW in Social Work
BSW Impaction
Apply to the BSW Professional Sequence
About the BSW Program
BSW Course Plans
BSW Handbooks
BSW Student Clubs
BSW Honors Program
MSW in Social Work
Apply to the MSW Program
About the MSW Program
MSW Course Sequences
MSW Handbooks
Stipend Programs
MSW Scholarships
BSW Distributed Learning Program
MSW Distributed Learning Program
DL Calendars
Distributed Learning Interest
DL Faculty & Staff
Title IV-E Child Welfare Program
Title IV-E eBrochure(opens in new window)
BASW Program
Pathway Program
IV-E Faculty & Staff
Title IV-E Application
Petitions & Appeals
Working with Older Adults
Hartford Partnership Program in Aging Education (HPPAE)
Laws Impacting Curriculum on Older Adults
Field Education Program
Student Forms & Resources
Field Instructor Resources
Interested in Becoming a Field Placement Site?
Liaison Forms
Field Handbook, Calendars & Competencies
Intern Placement Tracking (IPT)
Field Faculty & Staff
About Field Education
swrk@csuchico.edu
Monday–Friday (closed academic holidays)
Calendar(opens in new window)
Current page: SWRK
Thinking about a career in Social Work?
Your timing is perfect! Social Work is a rapidly growing field. According to the US Bureau of Labor Statistics, the next decade will see a 16% increase in employment opportunities for social workers. Specifically, there will be a 14% growth in child, family & school social work positions; a 20% growth in health care & medical social work positions; and a 19% growth in mental health & substance abuse positions. Social workers can also be found working on social welfare policy, community organizing, working with older adults and managing non-profit organizations.
The profession of social work is guided by a set of key values which include service, social justice, respecting the dignity and worth of every individual, holding the importance of human relationships as central, integrity, and competence in practice. A degree in social work is highly respected, valuable, malleable and offers prospects for a lifetime of opportunities in social service, government and grassroots organizations.
The Mission of the School of Social Work is to provide accessible, high quality education for generalist practice at the baccalaureate level and advanced generalist practice at the graduate level. We educate students to be ethical, knowledgeable, and versatile practitioners and leaders who value collaboration, social and economic justice, and lifelong learning.
The School of Social Work at Chico State offers an undergraduate degree (BSW) in Social Work as well as a Masters degree in Social Work (MSW) which may be completed in a one-year, two-year or three year program. Our Programs are accredited by the Council on Social Work Education and include practical training and supervision in the field. We have a particularly strong training program in Child Welfare as well as a Distributed Learning Program, which allows students to take courses largely on-line with periodic visits to campus for in-person instruction.
Please take a look around our website and let us know when you're ready to join us!
Visit our new Employment Opportunities page!
Make a difference and register to vote today!
CA Census 2020! Check it Out!


text:
Middle School Character Variations
Revision as of 04:51, 4 February 2021 by The Cheatbot (Talk | contribs)
Extremely unphotographic sketches
In the Strong Bad Email high school, Strong Bad reminisced on what the main characters of Homestar Runner were like in their younger years. In middle school, he claims that the gang was "a bunch of melon-headed babies with gigantic eyes and enormous imaginations." Although he states the characters depicted are in middle school, they appear to be infants or toddlers in a nursery school. However, this may be due to his "extremely unphotographic (or doodle) memory". They appear to be a parody of Jim Henson's Muppet Babies.
Baby Coach Z
He wears green footie pajamas with yellow toes, supporting the notion that the modern-day Coach Z wears a green body suit. As opposed to his usual empty gray circles, Baby Coach Z has full black eyes. He tosses a cardboard box labeled "NOT A BALL!" (despite the fact that there is a football right next to him) up and down as he pretends to be "the craptain of the foortball torm". Here, Coach Z and Strong Bad are shown to be around the same age, contradicting the email stand-up, which showed Coach Z to be an adult while Strong Bad was a kid. However, this is likely due to Strong Bad's "doodle memory". As seen in a Sketchbook sketch, he was originally considered to have an afro and mustache, similar to his younger adult self.
high school, Sketchbook (Feb 22 2007)
Baby Strong Bad
He is wearing a blue hat, a diaper, and a dimple on his chin. His left eye has a star-shaped reflection, which was also seen in Strong Bad's stylizations from Main Page 11 and the Old 404 error page. He pretends to be playing better video games, and complains that "that freakin' duck swallowed both [his] pixels". Judging by the "freakin' duck", he is probably playing Adventure, though the sound effects are from Secret Collect. and he is holding an NES controller.
Strong Bad previously appeared as a baby in record book, where he more resembles Li'l Strong Bad.
The Diapersmith
He wears a blue bonnet and has one curly strand of hair. His eyes look more similar to each other, although still slightly different sizes. His orange shoulder-length gloves are lighter and suprisingly clean. The Poopsmith's shovel appears to have been predated by a baby rattle that is either similarly besmirched with whatsit, or simply decorated in a pattern that suggests it. Behind him is a large pile of diapers. Baby Strong Sad pretends he is not sitting next to him. Also, he blows a raspberry—one of the few times that he's seen to make a noise with his mouth.
Baby Strong Sad
He has a pink bow on his head, long eyelashes, and a frilly divide between his torso and legs that make him look like a girl. The toes of his soolnds are complete circles. He pretends that he is not sitting next to The Diapersmith. He apparently does not have his belly button yet, which Strong Bad implied to have given him using a drill, as seen in a flashback from origins.
Baby Pom Pom
His body resembles a Bumble Ball, and he has no distinguishable head, with his eyes on his body. His limbs are flatter, and he has a thin orange stripe above his usual one. He only briefly appears as he bounces across the screen.
Homestar Runner
Although Homestar Runner does not make an appearance as an infant, he does appear as an adult nanny character who tells the children to "skedaddle" while waving a broom at them. He has red and white striped pants akin to his teenage counterpart seen earlier in the same email, and is only seen from the waist down. Unlike the other middle school characters, his voice is the same as the modern-day counterpart. He appears to be a reference to and hybrid of both Nanny from Muppet Babies and the Mammy-Two-Shoes character from Tom and Jerry. The costume and Southern colloquialisms are suggestive of the "Mammy" character, who often wallops the cat with a broom when he misbehaves. "Nanny", likewise, was only shown from the waist down.
Homestar does gain an infant form on the Homestar Babies baby clothes item in the Store. In this version, as shown in the bottom image, he has a lighter blue propeller cap with no brim and a rounder propeller. He has bigger eyes and a puffier overbite with a sticking-out tongue. He also has a round red body with a white puffy star, and two blue shoes.
high school (as an adult), Store (As a baby)
Teenage Variation
Free Petry Dish, USA Variation
Minor Character Variations
Puppets | Powered by The Cheat | Storybook | 3D | Virus | Mario Paint | Retro Gaming | Action Figures | Different Town | Mysfit-steries | Middle School | Free Petry Dish, USA | Wrestling | 8-Bit is Enough | Xeriouxly Forxe | Squintmoji | Yonder Website | Meeples | Other
Retrieved from "http://www.hrwiki.org/wiki/Middle_School_Character_Variations"
Category: Character Variations


text:
Aki Kaurismaki and the Cinematic Meal
The following piece is based on notes I wrote for a lecture I delivered in my friend Sara Vaux's "Cinematic Meal" class at Northwestern University. It is the second such lecture I've given (following my "John Ford and the Cinematic Meal" talk a few years ago).
Le Havre, a film I first had the pleasure of seeing at the Chicago International Film Festival in 2011, is a sweet and gentle comedy set in the French seaport town of the title. Although Le Havre is a French production, its writer and director is the Finnish Aki Kaurismaki, a true "citizen of the world" whose deadpan comedies and road movies have frequently earned him comparisons to Jim Jarmusch and Iceland's Fridrik Thor Fridriksson. The film is something of a tribute to the history of French cinema: it features cameos by French screen legends Jean-Pierre Leaud and Pierre Etaix, and characters who are pointedly named "Marcel," "Arletty" and "Becker," not to mention that the town of Le Havre itself is the destination of the barge in L'atalante. The most surprising thing about Le Havre, however, might be just how sweet and gentle it is in comparison to the rest of Kaurismaki's filmography. While the Finn has made many humorous movies going back to the 1980s, when he first established his international reputation, there has frequently been a misanthropic quality to much of his work. His particular brand of comedy is bitter, bleak and what one might term, at the risk of geographical stereotyping, "quintessentially Scandinavian." (To give but one example, when asked why he rarely moved the camera in his movies, Kaurismaki responded that he was frequently hungover and that moving the camera would make him sick.) Although this trademark deadpan humor is still present in Le Havre, it's more sweet here than bitter, and there's a sense that the director, who was 53-years-old when he made it, has mellowed over time.
Something that I didn't notice until watching Le Havre for a second time, via Criterion's terrific Blu-ray release, is the prominent role that food plays in the film. Meals have a certain symbolic resonance throughout the narrative as a result of Kaurismaki's continually associating them with two things: community and matrimony. The main storyline in Le Havre concerns a bohemian shoeshiner named Marcel Marx (Andre Wilms in a reprise of his character from 1992's La Vie de Boheme) who hides and aids a young illegal immigrant from Africa named Idrissa (Blondin Miguel), a political refugee trying to make his way to England. (We never learn exactly from where or what Idrissa's fleeing — characterization here, as in much of Kaurismaki, is archetypal.) The very first time that Marcel meets Idrissa, Marcel asks him, "Are you hungry?" and offers the boy a sandwich. From that point on, not only Marcel but virtually everyone in the neighborhood where he lives will help to hide Idrissa from the French immigration authorities who are trying to capture and deport him. Two of the primary themes of the film then are racism and xenophobia and how they manifest themselves on an institutional level (e.g., through the government and the media). Kaurismaki also shows, with much humor and good cheer, how those bureaucratic institutions can ultimately be triumphed over on a local, neighborhood, human level: the vision of community Kaurismaki presents is a kind of fantasy-tinged utopia. Crucially, two of the people who are instrumental in coming to Marcel's aid are a woman who owns a local bakery and a man who owns a local grocery store. Both of these characters are explicitly associated with food and are responsible for helping to feed and hide Idrissa.
The grocer and baker characters in Le Havre are essentially the opposite of the unhelpful grocer in Rainer Werner Fassbinder's Ali: Fear Eats the Soul — a German man who deliberately refuses to help the titular Moroccan immigrant (El Hedi ben Salem) by pretending that he cannot understand his request for margarine. Fassbinder's message, which was very timely in 1974, was that a lot of contemporary Germans were pretending that the racist attitudes that drove the Nazi ideology of the past were obsolete but, in reality, they had just learned to bury such attitudes beneath the surface of a more superficially polite society. The deliberately contrived love story at the center of Fassbinder's film — concerning Ali and Emma (Brigitte Mira), the much older German cleaning lady who marries him — was merely a tool that the director used in order to force his characters to reveal prejudices that would have otherwise remained hidden. Kaurismaki's methodology and message in Le Havre are the opposite. The Finn is saying that, although elements of the contemporary French government and media may be racist — by equating immigrants with terrorists — when ordinary people come together face-to-face on a local level, they can be better than that. One French newspaper in the film idiotically claims that the young Idrissa may be "armed and dangerous" and "have connections to Al Qaeda." But Marcel, whose innocuous shoe-shining gets him labeled a "terrorist" by an irate shopkeeper, protects the innocent boy by lying to the police. "I am doing my duty," Marcel tells the police inspector (Jean-Pierre Darroussin), sincerely adding, "I love society."
One thing that I've learned over the past six years of being married is that the concept of a meal takes on a whole new meaning between a husband and wife. Eating is probably the single activity one spends the most time engaged in with one's spouse. As a result of both preparing and consuming so many meals together, married couples often end up forging a kind of collective culinary taste. (My wife, for instance, was a vegan and I was a carnivore when we first met. We both eventually compromised and became dairy-and-egg-consuming vegetarians.) In Le Havre, there is a subplot that parallels the main plot involving Marcel's relationship with his wife, the aforementioned Arletty (Kati Outinen), who is hospitalized early on with an unspecified debilitating illness. Their marriage is old-fashioned in the sense that Marcel works and Arletty is a homemaker. It is significant that both times Kaurismaki shows Arletty at home before she's taken to the hospital, she is stricken with what look like stomach pains while preparing Marcel's dinner. Marcel is not present on either occasion because he's at the corner bar, a kind of "boys will be boys" scenario with which both husband and wife — who are depicted as being deeply and genuinely in love — are more than comfortable. Which brings me to the final point I'd like to make about Le Havre: the rituals of consuming alcohol and tobacco are arguably even more important to Marcel than consuming food. In order to explain this particular proletarian/bohemian mindset, I'd like to quote from the great Spanish filmmaker Luis Bunuel (who himself directed many of his best movies in France):
To continue this panegyric on earthly delights, let me just say that it's impossible to drink without smoking. I began to smoke when I was sixteen and have never stopped. My limit is a pack a day. I've smoked absolutely everything but am particularly fond of Spanish and French cigarettes (Gitanes and Celtiques especially) because of their black tobacco.
If alchohol is queen, then tobacco is her consort. It's a fond companion for all occasions, a loyal friend through fair weather and foul. People smoke to celebrate a happy moment, or to hide a bitter regret. Whether you're alone or with friends, it's a joy for all the senses. What lovelier sight is there than that double row of white cigarettes, lined up like soldiers on parade and wrapped in silver paper? If I were blindfolded and a lighted cigarette placed between my lips, I'd refuse to smoke it. I love to touch the pack in my pocket, open it, savor the feel of the cigarette between my fingers, the paper on my lips, the taste of tobacco on my tongue. I love to watch the flame spurt up, love to watch it come closer and closer, filling me with its warmth . . .
Finally, dear readers, allow me to end these ramblings on tobacco and alcohol, delicious fathers of abiding friendships and fertile reveries, with some advice: Don't drink and don't smoke. It's bad for your health.
You can watch the trailer for Le Havre via YouTube below:
This entry was posted on Monday, September 15th, 2014 at 7:08 am	and tagged with Aki Kaurismaki, Ali: Fear Eats the Soul, Angst essen Seele auf, Le Havre, Luis Bunuel, Mon, My Last Sigh, Rainer Werner Fassbinder and posted in Celluloid Flashbacks, Film Reviews.	You can follow any responses to this entry through the RSS 2.0 feed.
46 responses to "Aki Kaurismaki and the Cinematic Meal"
I greatly enjoyed most of Aki's films but I have to say that this one let me down. I didn't like the atmosphere that was created and the story line bored me. Another one of those instances where I just seem to be the only one who dislikes yet another film considered to be a masterpiece I suppose, nice write up it's very informative.
michaelgloversmith
Well, I wouldn't consider it a "masterpiece" – just a sweet and gentle comedy that offers a refreshing change of pace from the rest of his filmography.
結婚祝いプレゼント 相場 友人
披露宴の受付やれって新郎から急遽メールできて
親兄弟なら50万くらい 親戚でもいとこあたりで3万だせばかなりもんだぞ
最後にメールした翌日に事故にあって二週間ほど既読スルー状態でメール出来なかったんだけど、
今度兄弟がハワイ挙式やるんだが、ご祝儀無しで渡航滞在費一部負担してねと言われてたが最近になり、聞いてた額の四倍自腹で来いと言われて腹立つわ 結婚指輪 相場
お車代くらいだすもんだけど、そこは礼儀でしょ。 子供が嫁と喧嘩して、言い分が正しいからと子供を庇おうものなら 結婚できない男 視聴率
今までに付き合ったひとは4人。1度の恋愛期間は、最長2年でした。 俺のトーク力をもってすればイージーイージー
なのに菊地ばかり目立ってて、ちょっと可愛いそうで
テケテケで胴体真っ二つにされてた時はもうAKBだったん?
握手会要因増やしてCD売るためだけに引っ越しやら移動させられるって可哀想
Irfan Makani
Le Havre is the first French film I've ever seen. I really enjoyed watching this masterpiece. It displays how a poor man (Marcel Marx) refuses to give up on the goodness in the world. He works as a shoeshiner and is unfortunate to learn that his wife, Arletty, is sick and needs to be taken to the hospital. One afternoon by the dock, he comes across a refugee named Idrissa. Couple days later, he returns to the dock to leave some food and money for the mysteries refuge. Once Idrissa reaches Marcel's home, Marcel serves him food again. I agree that food plays an important part in the film. It depicts how Marcel is a good man who wants to help others. Also, the film constantly shows Marcel inside a bar drinking with the bar owner. One could assume that people who often spend their nights at bars are not very responsible. However, Marcel with the help of his friend Chang and others, is able to transport Idrissa to the ship to lead him home. This seemed hard to do as long as the strict inspector Monet was around. Monet appears to be on a mission to find the missing refuge so he can handle him. However, as I payed close attention to the movie, I remembered that when Idrissa was initially running away from his assigned location one of Monet's policemen was going to shoot him, however, Monet stopped this from happening. This made me feel that Monet is not the villain of the story. Some of the movies that I've seen include a scene when the bad guy turns good or realizes that he is wrong and decides to save the day. This character gave me that kind of appearance, especially during the end when he sits on the cabinet that Idrissa is hiding in so the police won't be able to find him. At the very end, I liked how Arletty was miraculously cured. This leads me to believe that good things happen to those who do good.
Excellent point about Monet's stopping the police offer from shooting Idrissa as being a kind of foreshadowing! 10/10
Ivona Jesic
Le Havre really beautiful French movie made by Aki Kaurismaki. I very much enjoyed watching this movie which carries a very strong message about kindness. Starting from a background which usually contains a small spectrum of colors which are mostly blue, black, gray, red, as well as yellow, give the unique and special touch to this movie. Marcel Marx old fashioned man whose trademarks are wine and tobacco show great personality and one kind soul. Marcel is not the only person with this characteristic. Kindness is actually trademark for his neighborhood and specially allocated are Chang, Yvette, and Grocer. Who were there to help. Main reason that reunited these neighbors is to help illegal African immigrant Idrissa hide from the police, provide food for him and at the end reunite him with his mother in England. In addition, Marcel was married to the beautiful lady called Arletty which in this movie, unfortunately, was sick but how the doctor said miracle or maybe just the samples as karma give her way out of illness and she was healthy again. Authors idea in this movie is to show us one political problem and how really that problem should be solved. Also, his message for the audience is to "Always be human".
I'm glad you mentioned the narrow color spectrum. Look at these two shots, which appear back-to-back during the climax – Arletty is wearing a yellow dress against a blue background and Marcel is wearing a blue shirt against a yellow background: https://instagram.com/p/BGnO8YFC9iw/
brad fagan
Aki Kaurismaki is asking each and every person why should society dictate what is right and what is wrong. The main character, Marcel Marx, is a free thinker. He is a member of what his name sake refers to as the proletariat. Marcel come across, Idrissa, a poor African boy, sidetracked in Le Havre with other likeminded people fleeing a war-torn country in search of a new life in Great Britain. Idrissa represents all people forced to leave their friends and family and migrate abroad to avoid economic and political repression.
Marcel is a hard working self-employed street smart working man trying to make ends meet shining shoes in the port city of Le Havre. He symbolizes all those brave individuals throughout history that have risen up against economic, political and social injustice. All of Marcel Marx's neighbors seem to be in the same boat. They earn their living providing fresh bread, groceries, and serving food and drink to most everyone living in a dilapidated area within the old town. Marcel has a one on one relationship with most everyone he comes in contact with. He lives in a world without cell phones, computers or even television sets. A world where the average working person believes that if he or she works hard and plays by the rules things will get better. Nevertheless, every member the proletariat is extremely aware of the economic and political forces which have control over their very existence.
Kaurismaki focuses on human relationships utilizing shades of blue and gray to portray Marcel's loving wife, Artelly— who was diagnosed with a mysterious "incurable" disease. Marcel also feels personally responsible for Idrissa, a harmless young man that literally finds himself up to his neck in water. Most of all we witness how Marcel steps up to the plate. He realizes that everyone person has an obligation to try to make the world a better place. The people living in Le Havre evoke a feeling of nostalgia which is predicated upon accepting a sense of moral responsibility to assist those individuals that are most vulnerable.
Great point about the lack of modern technology in the film. This is one of the many deliberately "unrealistic" touches and a good illustration of Jean-Luc Godard's pronouncement that the cinema substitutes for our gaze a world more in harmony with our desires. 10/10
Quin Siegel
Le Havre is a light-hearted and charming film about a community's attempt to hide a refugee and send him on his way to London. The boy's name is Idrissa and he is coming from Africa to find his mother in London.
The director, Aki Kaurismaki, gives the film a very left wing, almost marxist, agenda. The plot is based in illegal immigration and the ideal that humans should not have borders and that one should be allowed to go wherever one pleases. This can be seen in a short section of the film when the news station shows a No Borders protest that was currently going on at the time. Marcel's last name is of course Marx as well.
Kaurismaki is driving a point that community is what is most important. One can see this when the neighbors, that consider Marcel to basically be a thief with a very long tab, start giving him food to help feed Idrissa. They overcome their slights and come together as a community to help a fellow migrant on his journey. This can also be seen when Marcel says, "I love society".
Le Havre also seems to mock government in a few scenes throughout the film. The first scene I noticed was when the man on patrol hears a crying baby in a storage unit. They decided they need an entire swat team with loaded automatic weapons based on the sound of a crying baby. Along with the fact they have an entire swat team with automatic weapons, a young boy manages to run away from them somehow. Kaurismaki's deadpan humor never seems to fail to deliver on scenes like this.
Marcel's wife, Arletty, also tells the doctor that she must lie to Marcel and not let him know the truth to her illness. The doctor then tells her, "I will talk like a politician". In other words, the doctor is going to lie to Marcel.
Nice analysis of the film as gentle Marxist allegory. 10/10
Dakota D
When I watch films I find myself spending more time paying attention to the cinematography and direction rather than the driving plot of the film. One thing that I liked about this film was how Kaurismaki focuses on is facial expressions. In modern films, you can be hard pressed to find action and reaction scenes that do not have fast cuts. Most of the time I don't find myself able to process what is happening because by the time I have figured it out the director has cut onto something new. Kaurismaki does not do this, instead he spends time focusing on people's reactions. He forces the audience to see and come to terms with the expressions and feelings that the people in his film are experiencing. Two scenes come to mind that demonstrate this style. The first is our first viewing of Idrissa and the other immigrants. As the police open the shipping container we are met with a wide frame of its passengers. Instead of cutting to Idrissa running from the container Kaurismaki makes his way around the container making us focus on the immigrant's facial expressions. From this he makes us feel the struggle that they are going through. We have time to understand how hard it is to find and travel to a new life and what it means for them to be found illegally in France. The second scene that stuck in my mind was when Monet entered the café. The camera moves around the room from Monet to the patrons in the bar focusing on the people expressions. Once again he makes us feel what is happening in the room. For instance, we can see the discomfort that Monet feels inside of the café and in turn we begin to feel that discomfort as well. Our discomfort is justified when we find out that Monet was the one who had placed the café owners wife behind bars and everyone there knew about it. One more place this happens is when the film opens. We are in a station with people walking through the hallways in front of Marcel Marx and Chang. As they walk past the shoe shines we see Marcel and Chang's eyes follow their feet, in prospects to finding a customer. The camera then focuses on the feet walking by them so that we may see what they see, hoping to find someone who's shoes look dirty and scuffed. This theme reoccurs several times both with Marcel and Idrissa later on in the film. When Idrissa is brought into Marcel's world we can see him taking up the tasks in the house. He washes the dishes and shines Marcel's shoes. When Idressa ventures outside he brings along Marcel's shoe shine supplies. Once again Kaurismaki uses the camera to focus on Idressa's face and the shoes that walk past him. Like Marcel and Chang his eyes follow the pedestrian's shoes, and therefor ours do too. By taking his time to show us the reactions of the people, Kaurismaki brings us into the small world of La Havre more effectively than most major production today.
Great observations on how Kaurismaki is able to generate emotion through specific choices in cinematography and editing. This is especially effective because the acting style is deliberately low-key and deadpan.
Le Havre is not the best movie out there but it definitely had some great key points that was touching. the two main key points a good heart and just to keep fighting it shows no matter how bad life beats you up, you can still be a kind person and have a good heart for example Marcel didn't give up and all odds were against him low income, bad job,and his wife sick even through it all he still lends a helping hand when he finds idrissa a young African refugee who leaves Africa trying to get to london to find his mother. but the way marcel was lending a helping hand was he was leaving money/food at the dock for idrissa not only did he eventually take idrissa in but he also help him get back home. with all of this going on marcel wife arletty pretty much got better on her own kinda i kinda feel like it was karma good thing comes to those who do good. lastly the inspector monet was on a mission to find the missing refuge so he can rough him up. but i think in the middle of the movie he had a change of heart some where cause when idrissa wass about to get shot when he ran away but he stopped it. he also help hid him in the cabinet from the police as well. this movie has the feeling of everyone in a tight spot and in a bad place in their life but their heart still has so much good in it that it wont let them become 100% cold hearted.
I know you're at a disadvantage because you missed the lecture but this is a little bit too much plot summary and not enough analysis of LE HAVRE as a _movie_. I feel like you could have written this after reading the screenplay instead of watching it. 9/10
Ivana Jesic
The movie Le Havre is an optimistic, French movie produced by Aki Kaurismaki. The purpose of this movie is to teach us that we should help each other because if we are together we are stronger. His film is based on illegal immigration where container full of African immigrants arrived in city Le Havre. The film represents lowing city where people helped the stranger, boy Idrissa to find his mother in London. Main character Marcel Marx with the help of his neighbors grows cleverly to hide the boy Idrissa from police and teach us that the success of teamwork is essential. But that's not all. Another big problem that affects the main character Marcel is the illness of his wife Arletty. We already know that karma is something that should matter in our life and everything good we do it will come back so all the kindness of this couple was worth and Arletty got healed even if she had small chances of making alive. Something that main character has done and makes him a hero it is his strong will to help the young boy who is in same time illegal immigrant and rejoin him with his mother in England. Where characteristic in this movie is that his neighbors at beginning were kind but not very interested in helping Marcel but when they saw his good will to help they joined him and did their best to protect young boy as well as take care of him when Marcel was out of town and provide food for him. In addition, food is very important in this movie even at the end when Arletty finally came from home she asked Marcel to make him some dinner.
Good job noting the karma theme and the overall optimistic message. 10/10
Davis Negrillo
The film Le Havre was a, for lack of a better word, interesting film. Before watching it, I was informed that it was a comedy of sorts. The "comedy" was not until near the end, in my opinion. I'm sure in France, the comedy was a lot easier to pick up on because I do believe that here in the US, our comedy has made us more desensitized than elsewhere in the world. I did enjoy the whole heartedness of the film though. Seeing Marcel care for a strange boy, taking him under his wing, giving him what little he had, was a savior for humanity. And the locals helping out made it even better. It's definitely something not witnessed too often in modern US films. There was also absolutely no SPX, which sort of played me into a state of confusion. I would question what time period this was taking place in and thought perhaps 70's or 80's. Little things would squash that idea, such as the use of cell phones. But, it also made sense there was not a lot of modernity present being that the town of which Marcel is living seemed to be more of the lower class area. Overall, it was an enjoyable movie that I could definitely watch again. Although, I feel that showing this to people I know would be a little difficult for the facts I stated with little comedy, no spx, and a little cheesy (in a good way). This would go into my pleasant collection with The Life of Walter Mitty.
In my lecture, I touched on the fact that the comedy in this film would not be nearly as aggressive as what we are used to in America. Still, there was a fair amount of laughter in the class throughout the film. I think the film's absurdist/deadpan sense of humor has more to do with the personal style of writer/director Aki Kaurismaki (who is Finnish and a genuine oddball) rather than being something that would be easier for the French to pick up on because the film was made in France. 9/10
Jowayne Calma
Le Havre is a film about a man who helped a refugee escape immigration officers and then get to London. I believe this movie reflects on a lot of important issues today like refugees and illegal immigration. The movie focuses on how Marcel helped Idrissa who was discovered along with other refugees hidden in a trailer that was supposed to be shipped from another country. Idrissa then escaped and hid. He was discovered by Marcel when he was eating near the port. The movie shows a lot about cooperation and helping each other. This is showed by Marcel keeping Idrissa in his home, the grocer and the owner of the bakery giving him food, then Chang (who also is an illegal immigrant) helping Marcel collect money by starting a concert to help pay for Idrissa's ticket to make way to England. A scene where Arletty ( Marcel's wife) is giving him more food while she is standing there watching him eat, and when she got sick and doesn't want to let Marcel know about her condition is relatable to a sad reality of a lot of overseas worker who works hard abroad to help their family. She doesn't want to let her family know about her bad condition just to avoid making them worry about her. On the last part I noticed a scene where I thought about being optimistic. That despite all of the negativities that bothers us, we should focus on the positive things in life. This is depicted when Arletty was suffering from her health condition and her hospital room being all blue and gloomy. Then at the end showed Arlene in a blue room but is now wearing a yellow (color of joy) dress healthy and happy then a bright light behind her.
I'm glad you noted that Arletty is a "foreigner" in France just as much as Idrissa. This may indeed be why she gets sick (see, as I mentioned in class, the extraordinary ALI: FEAR EATS THE SOUL, which is about a Moroccan immigrant who develops a similar sickness while trying to eke out a working-class existence in Germany). 10/10
Allen Boguslavsky
Going off of what Ivana wrote and how the film deals with karma and optimism – I found this film to bring up issues the burden our society as a whole. THE WAY Aki Kaurisimaki dealt with these issues in his film is a whole different story.
"The purpose of this movie is to teach us that we should help each other" wrote Ivana and I couldn't agree more. I love how the film represented a message and it was developed in such ways that we as humans can appeal to. The theme of 'good things come to those who wait, what goes around comes around 'was evident with Marcel Marx. Marcel's wife was basically on her death bed while Marcel was carrying out an escapade to help a complete immigrant stranger. The whole town understood how Marcel was a free loathing young hearted 'schmuk' if you will – but when he needed the town most they certainly helped him help Idris. I loved the subtle comedy throughout the film as it hits home. The views on policy, authority, immigration are all things that should be looked at much simpler and more humane. We are all humans at the end of the day, and I believe Aki Kaurisimaki believes in the greater good for people but still wanted to address how there will ALWAYS be hope for humanity. I loved the film and I loved how each characters developed a sense of personality. Kind of like Game of Thrones – you learn to adore and truly feel the character's deep personalities.
Good point about each of the characters coming across as a distinct "personality." Even Chang, who has very little dialogue in the film, feels like a real flesh-and-blood character somehow. The film feels like a depiction of a real community of people because of this specificity.
NickWeimer
Monet doesn't really threaten Marx as much as he warns him. Most people Marx meets want to help him, especially when they find out about Idrissa (pretty much immediately), with the exception of the non-Monet police, the cop-callers, and the Newspaper (which isn't exactly a 'contact' but it is an element of conflict fueling the cop-callers). When Idrissa runs out of the cargo container one cop raises his gun, but Monet stops him, this immediately sets up Monet to be a good-guy-(or-at-least-conflicted)-cop with a conscience. The 'first ending' on the boat plays out very similarly, and Monet is shown to have solidified his reevaluated ethics in light of his interactions with the community, and some guilty reflection on the arrest of the barkeeper's husband.
When Marx reunites Little Bob and Mimie, Road Manager of Little Bob's Soul, the scene plays out with incredible, hollywood ease and shifting stage-lighting. The most optimistic points of the film also seem to be the ones most set up to enhance contrivance, absurdity, and to revel in optimistic fantasy.
After sending Idrissa off to England, Monet, 'agent of the government', and Marx, 'agent of the people', decide they're friends (truly a Comedy) and soon after celebrating their new-found camaraderie Marcel stumbles into good-news-delivered-like-bad-news. It seems like Aki Kaurismaki is fond of this trope—Judging only from the 'disease is cured' of Le Havre, and the absurd beginning of The Man Without a Past, where he, The Man, is pronounced dead but found to be alive over and over and over. Eating, Drinking, and Smoking are all also very present. Aki also clearly loves rock and roll. Both films have significant sequences basically dedicated to music. And then there's the ridiculous, rock-saturated, Leningrad Cowboys Go America, featuring a veritable avalanche-of-beer, a healthy dose of tobacco, and probably the most hyperbolic pompadours ever captured on film. It sort of reminded me of The Blues Brothers. But anyway . . .
Le Havre highlights the difference between judging and acting upon people we can't see, and how we act toward one another (ideally) in person, and within local communities. Someone mentioned the relative lack of technology, which probably does result in tighter local communities. The only instances of phones I can recall are the cell phone of the corner-creeper who emerges to call the cops on Idrissa when he's out shoeshining, and the corded telephone that Nosy-Neighbor (same guy maybe?) also uses to call the cops.
The corner-creeper and nosy-neighbor are indeed the same guy. In fact, he's one of the most famous actors in the history of French cinema: Jean-Pierre Leaud (veteran of many New Wave classics)!
"Optimistic fantasy" is definitely NOT Kaurismaki's usual register though. Much of his previous work is bleaker and more darkly comic. See, for instance, the great LA VIE DE BOHEME, which also stars Andre Wilms as the same "Marcel Marx" character. 10/10
MOUAZ ZABADNEH
I really don't like movies, not until I saw "Le Havre" it's the first time that a movie take my interest and I did not want it to end :). Le Havre is movie about very basic, poor and old man how work all day to get money so he can live with his wife and suddenly he saw a small refugee kid how wants to go to London after his father past away and how did Mr. Marcel helped him to escape from the police and worked hard with all the people they live in his small street to send Idrissa to his mother to London.my summary was short because I want to explain what make this movie one of the greatest movies ever .Le Havre is movie that focused on many points without making the audience get lost while they are watching. The movie talks about racism, love, sadness, Miracles, being happy, refuges, Marcy hospitality and generosity and many other factors that is most likely dos not exist around the world and spatially in the U.S where it could happen in other side of the world. On the other hand on of the biggest factors that played a big role in the movie is food because I think that the author was trying to show that the person who shares his food even if he won't be able to eat for the rest of the day is a guy with very good manners and hurt and over all sharing food meant to show generosity and the Altruism hospitality and show how food can help to make new friends 😉
"The movie talks about racism, love, sadness, Miracles, being happy, refugees, Mercy, hospitality and generosity…" This is indeed an excellent "checklist" of the film's key themes (to which one might also add xenophobia, intolerance AND the ability to transcend cultural/national boundaries). Real life may not be like LE HAVRE but maybe it should be, no?
Derek Colon
The french film Le Havre was a great and optimistic film. At first it seemed fairly negative with the dearh of the random wealthy man and marcell getting blamed and such, but by the end of the film the optimism seeps in more than any negative aspect. I loved the movies main themes and the lighting used in most of the scenes. Karma played a huge message in the majority of this film. Marcell helps out Idrissa from Africa to London, and his wife gets better when he makes it to London safe and sound. There were many scenes where I just loved he lighting, mostly towards the end of the film. When Bob (at least I think his name was Bob) the singer was in the store talking to Marcell, and then eventually his wife when Marvell leaves, the lights glow bright on their faces and the music takes a funny, overly dramatic turn as they smiled at each other for a solid 6 seconds on camera. Another instance if lighting furthering my love for the movie was discussed in class as Marcell was rushing through the hallway of the hospital to go to his wife. It was a mix between shade and sun as he passed the windows, making me truly believe that Arletty passed away. The last lighting scene that I will present was actually at the beginning of the film outside the fancy clothing store, when Marcell was being accused of being a terrorist. It was rather dark and rainy and as a viewer I couldnt help but feel a hint of pity for this old man who really wanted nothing more than to just make the small living he could by shining peoples shoes. The use of lighting was brilliantly used to play on the viewers emotions, rather that be for comedic use or suspense. This wasnt the best film I have ever seen, but it did have a lot of modern day political problems that arent usually touched upon in movies so that was an added bonus as well. I enjoyed this french film and look forward to the next one
The fact that the storeowner calls Marcel a "terrorist" is something I wish we would have touched on in class! Thanks for bringing it up. This shows the prejudice that the wealthy often have towards the poor (demonizing and "othering" them) and it links Marcel to Idrissa (who, it is ludicrously speculated in the press, may have links to Al Qaeda).
Esam Mohammed
In the film Le havre,Aki Kaurismaki portrays a plot about a shoe shiner by the name of Marcel Marx and a small community that goes out of their way to help Idirssa, a young African refugee. While the storyline of the movie is like that of a fairytale, Aki Kaurismaki's use of symbolism throughout the film is what makes this film so pleasant. To begin, Aki does not shy away from showing his political views. The prevalence of Marxism plays a significant role in the message Kaurismaki is trying to send to his audience. When Marcel first encounters Idrissa, he is aware the Idrissa is an illegal Immigrant but, rather than reporting him to the police he instead offers him food. Prior to bringing Idrissa home, Epicer, the grocery store owner, and Yevette the bakery owner showed enmity toward Marcel due to the debt he owed them. Immediately after Marcel takes Idrissa into his home, both Epicer and Yvette suddenly forget about the debt and both go out of their way to help this young boy. Marcel on the other hand uses all the money he had saved in his box to help Idrissa migrate. The decision these characters make is significant to the message Kaurismaki is trying to send to his audience,that is, we are all human beings and society should work together to make this world a better place.
The words "Marxism" and "fairy tale" aren't often used in the same sentence but your analysis shows how they are a match made in heaven in Kaurismaki's film!
Natalie Choute
Le Have was an interesting film to watch. I did find it to be charming but it took me awhile to truly believe in what I was seeing. I sat through this movie with doubt that there was no such thing as a good ending. Maybe it was our discussion prior to the start of the film about "illegal immigration" and Donald Trump that made me truly question how sweet this film really is.
The first scene to really capture me was when marcel was standing in front of a shoes salesman store and he's given the boot by the guy and is referred to as a terrorist. I then began to question that remark. Terrorist? What? How can a man trying to earn some a few bucks be a terrorist? He wasn't vandalizing property or harassing anyone. He just wanted to get paid and even referred to the salesman as a comrade. Later we see Marcel walk down a dark street and he steals bread from the baker and Jean-Pierre sees Marcel approaching and quickly shuts the light off at his store and hides. I thought the way they treated this man well then yes he definitely seems like to be like a terrorist.
When Idrissa comes into the film and begins interacting with Marcel, the idea of him being such a pain changed for me because we see Marcel show the boy compassion and patience. Behaviors we see given to him by his wife Arlettty.
Idrissa to escape the police hid in the shadows and traveled with Marcel in the shadows. So When Idrissa traveled with the dog to earn some money it was in broad daylight. He's standing in a train station with a dog and shoe polish ready to work. Le Havre's most wanted in a busy area being completely dismissed by others who just kept walking. It seemed like Idrissa was a shadow. Ari set this young man out to be seen and no one noticed him until later by Marcel's nosy neighbor. An immigrant so publicly wanted by authorities but not seen by many because he's viewed as a young man looking to work and survive like Marcel but not as a terrorist like Marcel. Ari made the two characters to be each other's light and to no longer be hidden or traveling in the shadows.
In the eyes of "respectable society" those who exist in the margins (the working class, the homeless, immigrants) ARE terrorists, or are no better than terrorists (see my response to Derek about how this links Marcel and Idrissa). It probably WAS technically illegal for Marcel to be shining shoes in front of the other guy's store; do you think he needed a permit to do that? If so, do you think he had one? As for stealing the bread, yes, again, technically it's theft but he was only taking what he truly needed! 10/10
Prat Moshy
Le Havre was the first foreign film I have ever watched. I thought It was a very interesting short film. The film kept me reeled in for a couple of reasons. One was because there were many moments in the film that had me believing something was going to happen, but the opposite happened. For example at the end of the film when Marcel finally went to see his wife Arletty, Kaurismaki made it feel like she had died and that she never had the chance to wear that yellow dress that she asked Marcel to bring. Another example would be when the detective came into Marcel's house and Idrissa was hiding behind the door, the film led you to believe the detective would find him and Marcel would probably attack Monet at that exact moment. Aki Kaurismaki is a talented director, because he created a short film that is very simple, yet you can watch it numerous times and grasp different ideas that he is trying to capture. Another thing that kept me reeled in was the humor within the film. A moment where this was displayed was when Marcel was trying to get Little Bob to perform and raise money for Idrissa to escape, it was just humorous to me why Little Bob and his wife were arguing, and how when Marcel got them back together a light of romance illuminated their faces. Overall Le Havre was a great short film and I'm excited to learn more about movies and films from around the world.
Good job noting how Kaurismaki has mastered the art of "misdirection." 10/10
Omar K Mohammed
The film Le Havre, offers an interesting perspective in character development. Aki Kaurismaki's development of Marcel Marx for the duration of the film shows a complete change in the character's attitude and portrayal. For example, Marcel is seen as a hardworking man who is also laid back and somewhat care free. He seems to burden all of those around him including his wife and neighbors. In fact, his wife Arletty does not inform him of her ailment because she fears he would not be able to handle such news. It is clear that although Marcel cares for those around him, he refuses to go the extra mile when needed. This all changes when Idrissa enters Marcel's life as it is the beginning of his development into a more cultivated fatherly figure to Idrissa. Marcel's neighbors also seem to rally around him to care for Idrissa, and it appears when they pardon Marcel's debt and offer support. Towards the end of the film we see how Marcel uses the money he has saved to send Idrissa to London to be with his mother, and when he hears that he almost lost his wife it really hits him hard. These are signs that he has developed a more mature attitude. The film does take on an interesting concept of community and helping your fellow man. Throughout the film we see how the characters are willing to support the refugee even though they themselves do not have much. It just goes to show how much society can benefit from a little goodwill.
English Lit teachers often say that if you want to know what a work of fiction is "about," you should look to how the characters change over the course of the work. 10/10
Brian Stern
I had never seen Le Havre before watching it in class and going into it I was told it was a comedy which is subtle compared to that of American cinema. In essence the central plot is about a humble minimalist shoe-shiner named Marcel Marx befriends an adolescent boy named Idrissa who is an illegal immigrant from somewhere in Africa that is trying to be reunited with his Mother in London and how a portion of a small neighborhood concealing him from the police and come to aide in eventually getting him where he needs to go. Its main drive is morality being that legal issues shadow what is right. If the plot played out the way it would in the real world there wouldn't have been the same outcome and would have been a much shorter less of a feel good movie.
There were a number of themes that I noticed while watching. Some of which were mentioned during the discussion we had after the movie such as the use of food as a plot device as well as the lighting and visible colors conveying the mood of the scene. Two examples come to mind of the extremity of the lighting. The first is when Marcel is trying to convince Little Bob to sing at his charity concert. Little Bob is in darkness in a quasi-depressed state over the fight and split between him and his wife Mimie. Then they are reunited and reconcile the lighting changes bright almost angelic light depicting that Little Bob feels whole again. The second use of lighting is that in the hospital after Marcel finds the parcel of his wife Arletty's clothing on the neatly made bed and a nurse comes to guide him to the doctor. In the hallway leading to where the doctor is dimly lit giving you the sense that Marcel believes something bad has happened. In the room with the Doctor the lighting brightens up a bit and when eventually you see Arletty again with a glow behind her reminiscent of the reconciliation scene with Little Bob. The Scene starts off making you expect the worst and leaves you with relief that much like with the relationship between Little Bob and Mimie, Arletty and Marcel are once again whole.
One last theme I do not believe was brought up in the discussion that I would like to touch base on was the timeless feel the movie has. From the way the characters are dressed to the locations to the use of older technology you are not given a clear sense of when this is supposed to take place. It wasn't until I noticed the use of The Euro as Currency and the cell phone used by Marcel's Neighbor at the train station to inform the Police of Idrissa's location that I realized it was set in modern times. Before that all the cars were older models and the neighborhoods appearance looked dilapidated. With what was shown it had the feel of taking place around 20 to 30 years ago.
Good observations on form and content in LE HAVRE. 10/10
Jimmy Nellamattathil
Le Havre was a very interesting film and was the first foreign film I have seen outside of Bollywood films. The film seemed old school in the way it was filmed in my personal opinion. For a film that was created in 2011, the simplicity in which the film was shot made it look and feel to me like a film made in the mid to late 1900s. This could also be due to the fact that I watch mostly American made movies which have different ways to portray the film. Critics claimed that the film was humorous, and although there were a few moments when I cracked a smile, the film seemed more serious than funny. I did enjoy the story itself and noticed all the different themes and symbols that were mentioned in the essay. I agree that food and meals played an important role in developing the story, and showing how food brings people together. One of the most interesting parts of the film I noticed was when Marcel was shining a customer's shoe outside of someone store. The store owner called him a terrorist and kicked his shining equipment away from his storefront. Then later on in the film when Idrissa escapes we see a shot of a newspaper claiming he may be a terrorist working with Al-Qaeda. I found it interesting that neither of these individuals were terrorists but the community claimed them to be and they Marcel ended up helping Idrissa giving me the idea that although they don't know each other, those that are mistreated will help each other.
Thanks for actually alluding to what I wrote in my essay, Jimmy! 10/10
Jack Whalen
Kaurismaki really shows off his directing chops in Le Havre (2011), mixing genuinely moving scenes with light comedy intermissions throughout the film in a way that felt completely unique. Le Havre is about a French shoeshiner (Marcel Marx) in a Normandy town of the film's namesake who finds, shelters, and aids an African refugee (Idrissa) with the help of his community.
In many ways Le Havre reflects Kaurismaki's view of a utopian society: everyone, even the "villain", cannot overlook humanity for the sake of authority. Humanity may very well be the central theme of the film — Kaurismaki first introduces the refugees with individual shots of each person's face rather than bunching them into one shot, subtly keeping the camera from "other-izing" them.
Class consciousness is also highlighted heavily. The opening scene features a spy chaining a briefcase to his arm and getting shot in the street for it, humorously pointing out the value of property over people. Kaurismaki spends the rest of the film refuting this point. Marx, for instance, does not so much as flinch when the Immigration Police destroy half of the stuff in his home — he knows it is for a good cause. Le Havre serves as an excellent allegory in favor of Kaurismaki's left-leaning values without being too heavy-handed, and is a wonderful watch.
Great observation about Kaurismaki's careful avoidance of "other-izing" the refugees. He loves people too much to ever let that happen. 10/10
Esho Youkhana
Le Havre directed by Aki Kaurismäki is a genius film filled with bitter humor as Mr. Smith said in his blog. I would have to agree with Mr. Smith because the humor in the film is gentle and bleak at the same time. The humor caught me off guard many times and I did actually enjoy it. The film to me is really about how people can come together for a good reason on a local level, as Mr. Smith stated in the blog. The Utopia where people do work together in a positive manner to do the right thing, and Kaurismäki basically displays that in the film. The film is made so well where the environment of the characters matches perfectly with what is going on in the characters' lives. For example, I noticed that colors would get darker when bad or sad things tended to happen. The scene where there are grey clouds over Le Havre made me have a feeling to my stomach where I felt as if I can feel Le Havre's dull weather myself. As Mr. Smith stated in the blog, the people of the town come together on a local level and that shows them to being better than racism or exaggerated remarks (from the French newspaper). What I enjoy the most of out the film is the way Kaurismäki captures images in the film and just holds his camera steady. As some people see that as unprofessional or odd I think it works perfectly for Kaurismäki. For example, in the scene where they open up the cargo door and the camera captures the images of the immigrants one by one is outstanding. As the camera zooms in to their face, Kaurismäki is basically making you look at the faces and trying to cope with them. I highly doubt any person who saw that scene does not feel a little empathy for those people. Another scene, where it shows Marcel going to the refugee camp by the bay and we see him later eating with those "refugees" and eating with them. Kaurismäki holds his camera still at the moment where it shows Marcel eating with them and sharing laughs. That scene for me broke down any barriers that were between refugees and french citizens like Marcel. It made me think to myself, even those refugees do not have that much, they still provided Marcel with a meal and that makes a bold humanitarian point.
It is indeed important that the refugees share a meal with Marcel but it's equally important that he shares his tobacco with them! Also, good observation on the symbolic value of light and darkness in the film. 10/10
@zimmyman89 Yep. It's from a 17-minute interview with Scorsese that's among the special features. 54 minutes ago
Game recognize game https://t.co/Bk5mwzoydY 1 hour ago


text:
22 May 2020 Current Affairs Quiz
1. Tourism is vital for the New Zealand economy and is worth around 6 per cent of GDP, according to government figures. One in eight Kiwis works in the sector, which brought in $16.2bn (£8bn) in 2019. In May 2020, New Zealand Prime Minister floats idea of four-day week to boost economy post-lockdown and help employees achieve a better work-life balance, as New Zealand resumes business following an eight-week coronavirus shutdown. What is the name of New Zealand PM?
Bill English
Kelvin Davis
Andrew Little
2. To provide relief to migrant labour, Indian Railways run special trains from any District in the Country. District Collectors are required to prepare lists of stranded labour & destination and apply to Railways through the State nodal officer for operation of the special train. By what name Railways is operating these trains?
Majdoor Special
Aatmnirbhar Special
Vande Bharat
Shramik Special
3. Generic pharmaceuticals manufacturer Beximco Pharmaceuticals has launched the first generic version of antiviral drug remdesivir, originally developed by Gilead Sciences. Recently, Gilead secured emergency use authorisation from the US Food and Drug Administration (FDA) for remdesivir to treat Covid-19. Beximco Pharmaceuticals is the first company in the world to introduce a generic of the drug, under the brand name Bemsivir, to treat the viral disease. Beximco Pharmaceuticals is a company based in which country?
4. The country's largest power producer and upstream oil major have decided to come together and set up a joint venture company to foray into renewable energy business. The two entities signed a Memorandum of Understanding (MoU) on Friday (22 May) to give shape to their new initiative. As per the MoU, these two entities will explore the setting up of offshore wind and other renewable energy (RE) projects in India and overseas. They will also explore opportunities in the fields of sustainability, storage, e-mobility and ESG (environmental, social and governance) compliant projects. Can you name these entities setting up joint venture for Renewable Energy Business ?
NTPC and Bharat Petroleum
Powergrid and ONGC
NTPC and ONGC
NTPC and HP
5. The Open Skies Treaty allows each state-party to carry out short-notice, unarmed, reconnaissance flights over the others' territories to collect data on military forces and activities. India is not a member of this treaty that came into force on January 1, 2002. Most of the participating countries are in North America Europe and Central Asia. USA has announced on 22nd May 2020 that it will withdraw from the Open Skies Treaty, a major accord that permits unarmed aerial surveillance flights over participating countries, citing repeated Russian violations of its terms. How many countries are part of this treaty?
Your score =
Score in percentage =
Correct Answers 1 =
Tags 2020MayCA, Current Affairs, General Knowledge, GK


April 27, 8:30 a.m. - 5:00 p.m.
We have a very active and lively youth group at St. Francis comprised of both middle and high schoolers. Parent leaders team up to teach our youth class every Sunday morning at 10am. Using contemporary media (movies, music, YouTube videos, etc.) as a starting point, youth can then relate to the Bible in everyday life and develop their faith.
The St. Francis Youth Group also get together to participate in community service events for both the church and our outside ministries. Highlights throughout the year include Vacation Bible School (where our youth lead children in a variety of activities), a summer pool party, Santa Cruz Beach Boardwalk, decorations for our parish hall for Christmas, and special weekend events that include camping in the fall and skiing in the winter.
If you are looking for a program for your tween or teen, please join us any Sunday. We can introduce you and your child to group members and their parents. Our arms are always wide open as we welcome new members.
An acolyte is a young person who performs ceremonial duties at the altar such as carrying the processional cross, lighting the candles, and assisting the priests prepare for Holy Communion. We train children as young as 4th grade to be acolytes. At St. Francis, the acolyte program is an integral part of our children's Christian experience and offers them the ability to be fully participating members of the church. During their service, acolytes wear white robes provided by the church. Acolytes typically serve one Sunday per month. Junior acolytes are paired with more seasoned acolytes to help them learn the ropes and gain confidence at the altar. Acolytes may choose to stay in church during the full service or excuse themselves after the procession to attend church school with their friends. New members are always welcome. Questions about the Acolyte Program may be directed to our acolyte director, Bill Johnston . Please use the Contact Form to reach him.
9:00 a.m. - 12:15 p.m.
If you are looking for a life-changing service opportunity for your teen, please investigate Sierra Service Project (SSP). Every summer our St. Francis Youth Group participates in this week-long summer service project repairing homes in native American communities. Sierra Service Project gives our youth the ability to experience the profound power of serving people who have a cultural and life experience very different from their own here in Silicon Valley. This is also a great opportunity to meet teens from other youth groups within our the diocese. Scholarships are available for teens needing financial help.
26 St. Francis middle and high school youth and 8 adults will road trip to the Navajo Nation in north-eastern Arizona to learn and serve in their community.
SSP Middle Schoolers in Stockton.
Confirmation Classes March 10 - April 7, 5:00 - 7:00 p.m.
If you are interested in participating email The Rector.
Since baptism typically occurs at a very young age, those baptized usually go through a second process in their Christian development called Confirmation. Confirmation is considered a mature public statement of faith and commitment to the responsibilities of Holy Baptism. The highlight of this very special service is the laying on of hands by the bishop. At St. Francis, we conduct a Confirmation class and service every other year. Confirmation is a very personal decision made by each individual. As such, we encourage young people to wait until the time is right to begin Confirmation preparations. For some, this may be 13, while others may be 18 or older. But Confirmation is not only for the young. Baptized adults are also encouraged to participate in this very special and spiritual process.
An application form for Confirmation may be downloaded here.


In 1967, director D.A. Pennebaker was only a few years younger than both Kilgallen and Daly were in 1958, butwas fortunately far more receptive to the nation's new dominant musical genre. When tasked with filming the Monterey Pop Festival on three sunny California days in June, 1967, Pennebaker not only took the event seriously, he rendered it an almost instantly myth, a cultural landmark that still exerts considerable sway a half-century later.
Pennebaker was hired in part because of his success with the Bob Dylan documentary "Don't Look Back" (1967), but he still wasn't entirely familiar with the whole scene organized by festival producers Lou Adler and John Phillips (of The Mamas & The Papas). He claims he didn't even know who Janis Joplin was (they later became friends), and had only heard snippets of Jimi Hendrix before. Fortunately, Pennebaker and his team, including Direct Cinema stalwarts Albert Maysles and Ricky Leacock, were able to employ their hand-held cameras, mobile direct sound, and versatile 16-mm Ektachrome stock with free-wheeling versatility, sometimes capturing entire sets by the relentless parade of star acts, some already legendary, others whose fame would be launched in no small part by the festival and the film.
"Monterey Pop" eases into this now-fabled launch of the Summer of Love, waiting nearly ten minutes to actually get to the music, focusing on the crowds of flower-power youth completing their solemn pilgrimage. One bright-eyed fan promises that it's going to be like Easter and Christmas and New Year's all rolled together and that "the vibrations are just gonna be flowing." Police worry about the rumored threats of the Hell's Angels and Black Panthers, but joking interactions between hippies and cops suggest that all will be well.
The rest is the stuff of legends, as vital and vibrant today as when first captured on film. Grace Slick and Joplin at their peaks. Cass Elliott charming the audience. Hendrix setting his guitar aflame. Otis Redding just months before his tragic plane crash. All amazing, but can any of them top sitar-master Ravi Shankar completely owning not just the crowd, but a whole new musical world with a performance that staggers belief? No need to pick your favorite act. Who could?
If there's any disappointment with Pennebaker's magical film, it's that it's too damn short at just 79 minutes. But if you finish feeling like you could listen to hours more, well, that's just what this Criterion Blu-ray set is for.
The films in this 3-disc set are presented in their original 1.33:1 aspect ratios. After the original 2002 SD-DVD release, Criterion re-released "Monterey Pop" (see below) on Blu-ray in 2009. However, this 2017 Blu-ray re-release features new 16-bit 4K resolution transfers. I don't have the 2009 Blu-ray to compare to, but the difference between these transfers and the 2002 DVDs represents a considerable improvement, a total transformation really. Of course the audio quality is going to be of greater interest to those considering a double dip.
Linear PCM and DTS-HD Master Audio 5.1 mixes are available options for the films in this set. The 5.1 mix, newly remastered from the original 8-track audio, are exceptionally robust with no drop-off or distortion audible anywhere. It sounds even better than you'd imagine possible for a concert captured with mobile synch sound equipment of the '60s. I can't imagine it can ever sound better than this. No subtitles are provided, which I suppose isn't a big deal, but I still wouldn't mind having them.
It's easy to get confused by the many Criterion releases of "Monterey Pop." It was first released as two separate DVDs in two separate keepcases back in 2002. They then released the set again on Blu-ray in 2009. And in 2017, they are releasing both a single-disc ob Blu-ray and the three-disc set which is reviewed here.
What you really need to do is that this three-disc set includes all the original extras from the 2002/2009 releases and also adds a second disc consisting of over two-hours of outtakes/extra performances from the festival. We'll get to it all eventually.
Disc One includes the main documentary (79 min.) which is accompanied by the 2002 commentary track by Pennebaker and festival producer Lou Adler. Older features also imported include a 2001 interview with Pennebaker and Adler (29 min.) and interviews with John Phillips (16 min.), Cass Elliott (12 min.), David Crosby (9 min.), and Derek Taylor (29 min.). More older material: promotional TV and radio spots, festival ephemera (including a photo essay by Elaine Mayes), and images of the original festival program.
New features on Disc One include a 2017 interview with Pennebaker (15 min. - it's actually a mix of three interviews) and a 2017 interview with Lou Adler (12 min.) These cover some of the same material as their joint 2001 interview. In addition, the disc includes the short film "Chiefs" (1968, 20 min.), directed by Ricky Leacock, concerning a convention of American police chiefs in Waikiki. It's relevance to "Monterey Pop" is based mostly on Leacock's involvement in both projects.
Disc Two will thrill music lovers with 129 minutes of additional musical performances from the festival. I've done my best to list them in detail. They are organized by each day of the three-day festival.
The disc also includes footage of Tiny Tim performing in the Hunt Club (the festival's official green room), four short songs in all.
And we still haven't gotten to perhaps the most substantial extras in the set.
This disc includes two more Pennebaker films: "Jimi Plays Monterey" (49 min.) and "Shake! Otis at Monterey" and you should be able to figure out the subjects of both films, which are wonderful. "Jimi" has a 2002 commentary track by music critic Charles Shaar Murray and also a brief interview with Pete Townshend (1987, 4 min." "Shake!" comes with two commentaries by music historian Peter Guaralnick along with a 2002 interview (19 min.) with Phil Walden, Redding's manager. These are all imported from the original 2002 SD release, but now in high-def.
The thick, square-bound 72-page insert booklet includes essays by Michael Chaiken, Armond White, David Fricke, and Barney Hoskyns as well as Michael Leydon's article about the festival, originally published in "Newsweek" in 1967.
Great high-def transfers and rich DTS 5.1 audio mixes are reason enough to recommend this upgrade, but the real treat is the more than two hours of additional concert footage included on Disc Two (listed above). This set has been available in some form for quite some time now, but comprehensive re-release genuinely deserves the title "The COMPLETE Monterey Pop Festival." Strongly recommended.


Tom Izzo stirred up the perfect sports radio shitstorm of hot-takes and media-one-upsmanship with each other late last week. "Oh yeah.. .well I COACHED YMCA once!" I have a very waffling take on Izzo. You'll hear it inside this episode. But we start with Duke, Mt. Zion, Tacko Fall, and everybody's armchair refereeing of the final minute of that game. We'll talk perfect brackets, and whether or not one can successfully "fade themselves" when the cold streak comes. All that, plus an earbud review.