Passage 1:
The Slaughter Rule
The Slaughter Rule is a 2002 independent film directed by Alex Smith and Andrew J. Smith and starring Ryan Gosling and David Morse.  The film, set in contemporary Montana, explores the relationship between a small-town high school football player (Gosling), and his troubled coach (Morse). The film was nominated for the Grand Jury Prize at the 2002 Sundance Film Festival.

Plot
Roy Chutney is a high school senior in the fictional Montana town of Blue Springs. Roy does not have an especially close relationship with his mother Evangeline and has not seen his father in years. That does not prevent Roy from feeling emotionally devastated when he learns that his father has killed himself, and Roy's self-esteem takes a beating when he is cut from the high school football team shortly afterward. Roy whiles away his time by swilling beer with his best friend, Tracy Two Dogs, and falling into a romance with Skyla, a barmaid at a local tavern, but Roy's short time on the high school gridiron seems to have impressed Gideon Ferguson, a local character who coaches an unsanctioned high school six-man football team when he is not delivering newspapers or trying to score a gig singing country songs at nearby honky-tonks.
Gideon thinks that Roy has potential and asks him to join his team; encouraged by Gideon's belief in him, Roy agrees, and he persuades Tracy and his friend Russ to tag along. While playing hardscrabble six-man football helps restore Roy's self-confidence, he finds it does not answer his questions about his future or his relationship with Skyla. When Gideon's overwhelming interest in Roy begins to lend credence to town rumors that Gideon is gay, Roy starts to wonder just why he was asked to join the team.

Cast
Ryan Gosling as Roy Chutney
David Morse as Gideon Ferguson
Clea DuVall as Skyla Sisco
Kelly Lynch as Evangeline Chutney
David Cale as Studebaker
Eddie Spears as Tracy Two Dogs
Amy Adams as Doreen
Ken White as Russ Colfax

Production
Jay Farrar, founder of the alternative country bands Uncle Tupelo and Son Volt, composed the film's musical score. New songs were written and performed by Vic Chesnutt and Freakwater, and existing songs by Ryan Adams, Uncle Tupelo, and the Pernice Brothers were also included.Filming for the movie largely took place in Great Falls, Montana, and a series of small towns in the Great Falls vicinity.The title of the film comes from the term "slaughter rule." The unofficial rule provides for an athletic competition's premature conclusion if one team is ahead of the other by a certain number of points prior to game's end. The rule helps to avoid humiliating the losing team further.

Release
The film premiered in January 2002 during the Sundance Film Festival. Later that year, the film entered the South by Southwest Film Festival and the AFI Film Festival. It went into limited release nationwide beginning January 2003.

Critical reception
On review aggregator website Rotten Tomatoes, the film has an approval rating of 74% based on 31 reviews, and an average rating of 5.9/10. The website's critical consensus reads, "A bleak but original indie, The Slaughter Rule benefits from outstanding performances by Ryan Gosling and David Morse." On Metacritic, the film has a weighted average score of 65 out of 100, based on 13 critics, indicating "generally favorable reviews".While the performances by Morse and Gosling were generally received positively, some reviews of the film criticized the script. Reviewing the film for The New York Times, Stephen Holden praised the performances of Gosling and Morse, but opined that the film is "confused" and "doesn't have much dramatic momentum". In her review for the Los Angeles Times, Manohla Dargis praised the film's cinematography but wrote that although the film has the virtue of sincerity, the story is "over-explained".Joe Leydon of Variety claimed the script "plays like a first draft". However, Marjorie Baumgarten of The Austin Chronicle thought that the "writing and directing team of twin brothers Alex and Andrew Smith have made an astonishingly good first feature". J. R. Jones, writing in Chicago Reader, described the film as "powerful" and especially praised David Morse's performance.

Accolades
The film received the FIPRESCI Prize at the 2002 Stockholm Film Festival and the Milagro Award at the 2002 Santa Fe Film Festival. The film was also nominated for the John Cassavetes Award at the 2003 Film Independent Spirit Awards and the Grand Jury Prize at the 2002 Sundance Film Festival.

See also
List of American football films
Passage 2:
It's Never Too Late (1956 film)
It's Never Too Late is a 1956 British comedy film directed by Michael McCarthy and starring Phyllis Calvert, Patrick Barr, Susan Stephen and Guy Rolfe. It was based on a 1952 play of the same name by Felicity Douglas.

Plot
Feeling her combative family has long taken her for granted, genteel British housewife Laura Hammond somehow finds time to write a film script amidst the chaos of her home life. Her work catches the attention of a Hollywood producer, and Laura unexpectedly finds herself the author of a hit film. She also finds she can only write when she's surrounded by her dysfunctional family. Eventually, Laura must choose between being a highly paid writer and celebrity or a housewife.

Cast
Phyllis Calvert as Laura Hammond
Patrick Barr as Charles Hammond
Susan Stephen as Tessa Hammond
Guy Rolfe as Stephen Hodgson
Jean Taylor Smith as Grannie
Sarah Lawson as Anne Hammond
Delphi Lawrence as Mrs Madge Dixon
Peter Hammond as Tony
Richard Leech as John Hammond
Robert Ayres as Leroy Crane
Peter Illing as Guggenheimer
Irene Handl as Neighbour
Sam Kydd Uncredited
Fred Griffiths as Removal Man (uncredited)

Critical reception
TV Guide noted, "some clever moments, but the film suffers from a staginess that makes it a mildly amusing comedy at best" ; while the Radio Times found it "an amiable comedy...This is very much of its time, with its West End origins masked by skilful art direction, but the period cast is a British film fan's delight: Guy Rolfe, Patrick Barr, Susan Stephen, Irene Handl, and even a young Shirley Anne Field. Director Michael McCarthy whips up a fair old storm in this particular teacup, and, although nothing really happens, there's a great deal of pleasure to be had from watching Calvert attempt to rule over her unruly household."
Passage 3:
Never Too Late (1997 film)
Never Too Late is a 1996 Canadian comedy-drama film starring Olympia Dukakis, Jean Lapointe, Cloris Leachman and Corey Haim. It was filmed in Montreal, Quebec.

Plot summary
Joseph, Rose, and Olive suspect Carl, the owner of a retirement home, of misusing the funds of the home's residents. Together they set out to see that no one takes advantage of their unhealthy friend Woody.

Cast
Olympia Dukakis as Rose
Cloris Leachman as Olive
Jan Rubeš as Joseph
Matt Craven as Carl
Jean Lapointe as Woody
Corey Haim as Max

Awards
At the 17th Genie Awards in 1996, Paola Ridolfi received a nomination for Best Art Direction/Production Design, and Donald Martin was nominated for Best Original Screenplay.
Passage 4:
Never Too Late (1935 film)
Never Too Late is a 1935 American crime film directed by Bernard B. Ray and stars Richard Talmadge, Thelma White and Robert Frazer.

Plot
Cast
Richard Talmadge as Det. Dick Manning
Thelma White as Helen Lloyd
Robert Frazer as Commissioner George Hartley
Mildred Harris as Marie Lloyd Hartley
Vera Lewis as Mother Hartley
Robert Walker as Matt Dunning - Henchman bidding at auction
George Chesebro as Dude Hannigan - Second Henchman At Auction
Bull Montana as Monte, an escaped convict
Paul Ellis as Lavelle, the jewel thief
Lloyd Ingraham as Chief of Detectives Winter
Passage 5:
It's Never Too Late to Mend
It's Never Too Late to Mend (alternatively just Never Too Late to Mend; US release title Never Too Late) is a 1937 British melodrama film directed by David MacDonald and starring Tod Slaughter, Jack Livesey and Marjorie Taylor. In the film, a villainous squire and Justice of the Peace conspires to have his rival in love arrested on false charges.It is based on the 1856 novel It Is Never Too Late to Mend by Charles Reade. The film was made at Shepperton Studios as a quota quickie for release by Metro-Goldwyn-Mayer. It was popular enough to be re-released in 1942.
The novel was adapted once before, as a British silent film in 1922, starring Russell Thorndike as Squire Meadows.

Plot summary
Cast
Tod Slaughter as Squire John Meadows
Jack Livesey as Tom Robinson
Marjorie Taylor as Susan Merton
Ian Colin as George Fielding
Laurence Hanray as Lawyer Crawley
D.J. Williams as Farmer Merton
Roy Russell as Reverend Mr. Eden
John Singer as Matthew Josephs
Leonard Sharp as Bradshaw
Mavis Villiers as Betty
Cecil Bevan as Prison Inspector
Douglas Stewart as Prison Inspector
Jack Vyvian as Innkeeper

Critical reception
TV Guide wrote, "Great fun in the old cloak-and-dagger melodrama style...Played in an exaggerated, bigger-than-life manner, this melodrama is a good enough outing, particularly for fans of camp." and Sky Movies wrote, "As usual, Tod Slaughter ignores the intimacy of the film medium and roars through this movie at full throttle, giving the kind of marvellously storming performance that would easily have reached the back row of the upper circle...David MacDonald is more a referee than a conventional director, coming up with a highly entertaining slice of ripe and fruity hokum."
Passage 6:
Alex Smith (golfer)
Alexander Smith (28 January 1874 – 21 April 1930) was a Scottish-American professional golfer who played in the late 19th and early 20th century. He was a member of a famous Scottish golfing family. His brother Willie won the U.S. Open in 1899, and Alex won it in both 1906 and 1910. Like many British professionals of his era he spent much of his adult life working as a club professional in the United States.

Early life
Smith was born in Carnoustie, Scotland, on 28 January 1874, the son of John D. Smith and Joann Smith née Robinson. On 18 January 1895 he was married to Jessie Maiden—sister of James Maiden—and they had two daughters, Fannie and Margaret, born in 1896 and 1899, respectively. Smith was sometimes referred to as "Alec" Smith, especially early in his career.

Golf career
He was the head professional at Nassau Country Club in Glen Cove, New York, from 1901 through 1909. James Maiden, who would forge a successful golf career of his own, served as assistant professional under Smith at Nassau.In 1901, Smith lost to Willie Anderson in a playoff for the U.S. Open title. Smith's 1906 U.S. Open victory came at the Onwentsia Club in Lake Forest, Illinois. His 72-hole score of 295 was the lowest at either the U.S. Open or the British Open up to that time, and he won $300. The 1910 U.S. Open was played over the St. Martin's course at the Philadelphia Cricket Club. Smith won a three-man playoff against American John McDermott and another of his own brothers, Macdonald Smith. Alex Smith played in eighteen U.S. Opens in total and accumulated eleven top ten placings.
Smith, who partnered with C. A. Dunning in the 1905 Metropolitan Open four-ball tournament held on 16 September 1905 at Fox Hills Golf Club on Staten Island, tied for first place with George Low and Fred Herreshoff with a score of 71. A playoff wasn't held due to the fact that Smith was also competing in the medal competition which he won from Willie Anderson.Smith also won the Western Open twice and the Metropolitan Open four times.

Later life
In 1910, Smith was a widower and lived with his two young daughters and sister-in-law, Allison Barry, in New Rochelle, New York. He was the head professional at the Westchester Country Club in Rye, New York. After the death of his brother, Willie Smith, he took over responsibility for the design of Club de Golf Chapultepec, which has hosted the Mexican Open multiple times, and the WGC-Mexico Championship since 2017.

Death and legacy
Smith died on 21 April 1930 at a sanatorium in Baltimore, Maryland.

Tournament wins
Note: This list may be incomplete1903 Western Open
1905 Metropolitan Open
1906 U.S. Open, Western Open
1909 Metropolitan Open
1910 U.S. Open, Metropolitan Open
1913 Metropolitan Open

Major championships
Wins (2)
1Defeated John McDermott and MacDonald Smith in an 18-hole playoff – A. Smith 71 (−2), McDermott 75 (+2) & M. Smith 77 (+4).

Results timeline
Smith died before the Masters Tournament was founded.

NYF = Tournament not yet founded
NT = No tournament
DNP = Did not play
WD = Withdrew
"T" indicates a tie for a place
Green background for wins. Yellow background for top-10

Team appearances
France–United States Professional Match (representing the United States): 1913
Passage 7:
It Is Never Too Late to Mend (1911 film)
It Is Never Too Late to Mend is an Australian feature-length silent film written and directed by W. J. Lincoln. It was based on a stage adaptation of the popular 1865 novel It Is Never Too Late to Mend: A Matter-of-Fact Romance by Charles Reade about the corrupt penal system in Australia. It was called "certainly one of the best pictures ever taken in Australia."The novel has been credited with exposing cruelties in the Australian prison system and having helped end the convict system.It is considered a lost film. It was filmed again in 1913 and in 1937 (the latter film being the definitive version starring Tod Slaughter as the evil squire).The film was made by the Tait family, who also made the first Australian feature film, The Story of the Kelly Gang. The Taits went on to make several more films with Lincoln, including The Mystery of a Hansom Cab (1911), The Luck of Roaring Camp (1911), Called Back (1911), The Lost Chord (May 1911), The Bells (1911) and The Double Event (1911). This was Lincoln's first film in a rather short career, as he died soon after in 1917 in Sydney, Australia at age 47.

Plot
The film begins at Grance Farm in England, rented by Georgie and William Fileing. The farm is struggling and the brothers have to sell their new hay to stave off the landlord. The Honorable Frank Winchester contemplates going abroad and asks George to accompany him. However, George is in love with his cousin, Susan Merton, and does not want to make the trip.
Susan is also loved by the villainous John Meadows. He refuses to lend money to Georgie and there is an eviction sale on the farm.George Fielding travels to Australia to make enough money to marry Susan. George discovers gold and a bushranger gang tries to rob him but the other miners come to George's rescue.
There is a subplot about a thief acquaintance of George, Tom Robinson, who is sent to gaol and suffers brutal treatment at the hands of the guards. Susan is about to marry the evil Meadows but he is unmasked at the wedding by Isaac Levy. The wedding goes ahead with Susan marrying George instead.
The film consisted of 60 scenes. It was issued with a summary of the story and featured chapter titles which prepared the audiences for incidents before they happened. It was also often accompanied by a lecturer.
According to The Age "Interesting phases of early Australian life are revealed, including the fascinating stories of the gold discoveries... in the construction of the story for picture purposes, the salient features of the novel have been retained and a descriptive address accompanies the production."

Cast
Stanley Walpole

Production
Stage adaptations of the novel had been popular since 1865.In February 1911 The Bulletin reported that:

The Taits are going to produce It’s Never Too Late To Mend in biograph drama form at Melbourne Glaeiarium.   "Willie" Lincoln, who was an Australian playwright in his youth, and is nowadays running the "Paradise" Pictures at St. Kilda, is understood to be responsible for this biograph version of Charles Reade’s drama.   Picture show condensations of familiar stories, also original film dramas of the sort now imported from America and Europe, might as well be locally fixed up.  There’s no better country than Australia for open-air photography, and few that are nearly as good.
The film was shot in Melbourne and "enacted by a specially-selected company of Victorian artists" who were "a selected metropolitan company of 60 performers." The estimated budget was £300-£400.

Reception
Box office
The movie debuted at the Olympia Theatre in Haymarket, Sydney in January 1911. A lecturer accompanied screenings and would explain the action that took place.
The movie broke box office records at the Olympia. It later drew strong crowds in Melbourne as well.

Critical
The Bulletin called it:

An interesting piece... adapted by W.J. Lincoln for dumb show purposes, and Johnson and Gibson had prepared three or four thousand feet of photographs for reproduction on the screen. The picture promised well for the future of the Australian "art film" industry. Theadapter has "potted" the novel, rather than the drama of the same name, and done it very well. The actors look their parts and play them dramatically, and the heroine, who is a first consideration and the only girl in the piece, fills the bill quite charmingly. For about an hour   "It’s Never Too Late To Mend " kept a packed house interested. A man with a ripe, sonorous voice supplied brief descriptive details, and kept the story in a state of coherency, the only noticeable shortcoming being the absence of a moral tag, to the effect that the conversion of the English thief, Tom Robinson, had been fully completed in The Sunny South.
The Sydney Sunday Times said there "was special performances by a company of Australian actors."Melbourne's Table Talk called it "a most gratifying success in all ways. The pictures are clear and the acting is adequate, while to our ideas it is more natural, for it has not the Gallic mannerisms and excessive gesture noticeable in some of the imported pictorial dramas, which are usually interpreted by French artists."The Riverine Herald stated "the cast was well chosen and well balanced, and the dramatic action of the play was finely brought out."The Launceston Examiner said "in its construction the adapter has endeavoured to retain all the main and most salient features of the novel, allowing for the bridging over of many incidents, to make a natural sequence and clear-cut story."The Launceston Daily Telegraph said the novel had been "exceedingly well adapted by W. J. Lincoln... [a] magnificent pictorial representation, so full of strong human interest".

USA Release
The film was released in the US in August 1914.

Legacy
The box office success of the film encouraged the Tait brothers and Millard and Johnson to appoint Lincoln as the main director for their new company, Amalgamated Pictures, which operated for over a year.
Passage 8:
It's Never Too Late (1953 film)
It's Never Too Late (Italian: Non è mai troppo tardi) is a 1953 Italian comedy film directed by Filippo Walter Ratti. The film is based on the 1843 novella A Christmas Carol by Charles Dickens.

Plot
Antonio Trabbi is a greedy old man with a very rough personality and obsessed by money. He deprecates charity and love and has no friends or love interest, being lonely and avoided by people. On Christmas Eve he is visited by the ghost of his former business partner, who warns him about his life-style and announces the visit of three spirits, who will show Antonio past, present and future Christmas days. During the night, the three spirits actually appear to Trabbi, showing him his sad past, the bad reputation he has with everyone and the bad outcome of his actions, which will lead him to a lonely death and to terrible punishments in Hell. When Trabbi wakes up he is greatly distressed by the visions and eager to change his life, starting with that very same Christmas Day.

Cast
Paolo Stoppa as Antonio Trabbi
Guglielmo Barnabò
Isa Barzizza as Rosanna Gennari
Luigi Batzella (as Gigi Batzella)
Sergio Bergonzelli
Lola Braccini as Antonio's mother
Arturo Bragaglia as L'omino
Enzo Cerusico as Antonio as child
Olinto Cristina as Franci
Giorgio De Lullo as The Strange Man in the Pub
Giulio Donnini as Orazio Colussi
Attilio Dottesio as The man who poses the riddle at the party
Leda Gloria as Anna Colussi
Susanne Lévesy as Giulia - Daniele's wife
Ellida Lorini as Rosanna as child
Marcello Mastroianni as Riccardo
Leonilde Montesi
Valeria Moriconi as Marta
Luisa Rivelli
Daniela Spallotta
Luigi Tosi as Daniele Trabbi

See also
List of Christmas films
List of ghost films
Adaptations of A Christmas Carol
Passage 9:
Alberto Manzi
Alberto Manzi (Italian pronunciation: [alˈbɛrto ˈmandzi]; Rome, 3 November 1924 – Pitigliano, 4 December 1997) was an Italian school teacher, writer and television host, best known for being the art director of Non è mai troppo tardi (Italian for It's never too late), an educational TV programme broadcast between 1959 and 1968.

Biography
He attended navy studies before ending his primary training high school degree and followed a peculiar path of studies, achieving three academic degrees: in biology, pedagogy and philosophy.
He worked as an educator in a teen-age prison in Rome before a full-time job as a primary school teacher.
He was chosen to host the TV program Non è mai troppo tardi, that made him a celebrity, conceived as an auxiliary help in the social struggle against illiteracy; the show was broadcasting real life primary school classroom lessons, with revolutionary concepts in didactic methods for those times. Several schools in Italy are indeed named after him.
He also published several novels the most famous of which is Orzowei (1955), from which a serial was adapted for the Tv dei ragazzi (a now defunct Italian "Children TV").
From 1995 to 1997 he was mayor of Pitigliano, in the province of Grosseto, Tuscany.
Passage 10:
Michael McCarthy (film director)
Michael McCarthy (27 February 1917 – 7 May 1959) was a British screenwriter and television and film director. He entered the film industry in 1934 and worked at the Crown Film Unit.He died aged 42, survived by a wife and three children. A Variety obituary said he was "regarded as a director of considerable promise".

Selected filmography
Greek Testament (1943) (documentary) - assistant director
My Learned Friend (1943) - assistant director
San Demetrio London (1943) - assistant director
The Halfway House (1944) - assistant director
While Nero Fiddled (1944) aka Fiddlers Three - assistant director
The Girl of the Canal (1945) aka Painted Boats (short feature) - story
Johnny Frenchman (1945) - unit manager
Feature Story (1949) (short feature) - director
No Highway in the Sky (1951) - actor
Assassin for Hire (1951) - director
Mystery Junction (1951) - director, writer
Road Sense (1951) (instructional film) - director
Hunted (1952) - idea
Crow Hollow (1952) - director
Wheel of Fate (1953) - actor
Behind the Headlines (1953) - actor
Forces' Sweetheart (1953) - actor
Flannelfoot (1953) - actor
John of the Fair (1954) - director, writer
Douglas Fairbanks, Jr., Presents (1954–55) - director, writer - including The Awakening (1954)
Shadow of a Man (1955) - director, additional scenes
The Adventures of the Scarlet Pimpernel (1955) - director
It's Never Too Late (1956) - director
Assignment Foreign Legion (1956–57) (TV series) - director
The Traitor (1957) aka The Accursed - director, writer
Wire Service (1957) (TV series) - director
Sailor of Fortune (1957) (TV series) - director
Operation Amsterdam (1959) - director, writer


Passage 1:
Roy Rowland (film director)
Roy Rowland (December 31, 1910 – June 29, 1995) was an American film director. The New York-born director helmed a number of films in the 1950s and 1960s including Our Vines Have Tender Grapes, Meet Me in Las Vegas, Rogue Cop, The 5000 Fingers of Doctor T, and The Girl Hunters. Rowland married Ruth Cummings, the niece of Louis B. Mayer and sister of Jack Cummings (MGM producer/director). They had one son, Steve Rowland, born in 1932, who later became a music producer in the UK.

Biography
Early life
Roy Rowland was born in Brooklyn, the son of Russian Jewish immigrants. The family moved to Edendale, California, when Roy was ten. He graduated from the University of Southern California with a law degree before beginning his career at Metro-Goldwyn-Mayer (MGM) as a script clerk. He then began working as a prop man, grip, and assistant cameraman. In 1927 he met Ruth Cummings at the Santa Monica Beach Club. She was the niece of Louis B. Mayer and the sister of producer Jack Cummings. Her family disapproved of Rowlands, so they eloped. This resulted in Rowland being blacklisted. But Ruth Cummings arranged a rapprochement with Mayer.He was assistant director on most of the Tarzan films, starring Johnny Weissmuller in the 1930s.

Short films
Rowland made his reputation directing short films, particularly the "How to" series of shorts starring Robert Benchley. One of them, How to Sleep (1937), won an Academy Award. He also worked with producer Pete Smith as the director of several of the short films in the Pete Smith Specialties series, and directed several of the short films in the Crime Does Not Pay series.

Features
Rowland's debut feature was A Stranger in Town (1943). He made three films with the child actress Margaret O'Brien: Lost Angel (1943), Our Vines Have Tender Grapes (1945), and Tenth Avenue Angel (1948). He also directed musicals such as Hit the Deck (1955), Meet Me in Las Vegas (1956), and The Seven Hills of Rome (1957). He also made The 5,000 Fingers of Dr. T. (1953), from a story by Dr. Seuss. He directed Many Rivers to Cross with Robert Taylor and Gun Glory (1957) with Stewart Granger and Rowland's son Steve.Rowland was survived by his wife Ruth and their son.

Partial filmography
Hollywood Party (1934) – co-director
Sunkist Stars at Palm Springs (1936) – short
Cinema Circus (1937) – short
Hollywood Party (1937) – short
Song of Revolt (1937) – short
How to Start the Day (1937) – short
A Night at the Movies (1937) – short film with Robert Benchley
Music Made Simple (1938) – short
An Evening Alone (1938) – short
How to Raise a Baby (1938) – short
The Courtship of the Newt (1938) – short
How to Read (1938) – short
How to Watch Football (1938) – short
Opening Day (1938) – short
Mental Poise (1938) – short
How to Sub-Let (1939) – short
An Hour for Lunch (1939) – short
Dark Magic (1939) – short
Home Early (1939) – short
How to Eat (1939) – short
Think First (1939) – short
Jack Pot (1940) – short
Please Answer (1940) – short (documentary)
You, the People (1940) – short
Sucker List (1941) – short
Changed Identity (1941) – short
A Stranger in Town (1943)
Lost Angel (1943)
Our Vines Have Tender Grapes (1945)
Boys' Ranch (1946)
The Romance of Rosy Ridge (1947)
Killer McCoy (1947)
Tenth Avenue Angel (1948)
Scene of the Crime (1949)
The Outriders (1950)
Two Weeks with Love (1950)
Excuse My Dust (1951)
Bugles in the Afternoon (1952)
The 5,000 Fingers of Dr. T (1953)
Affair with a Stranger (1953)
The Moonlighter (1953)
Rogue Cop (1954)
Witness to Murder (1954)
Light's Diamond Jubilee (1954, TV special, with six other directors)
Many Rivers to Cross (1955)
Hit the Deck (1955)
Meet Me in Las Vegas (1956)
These Wilder Years (1956)
Slander (1956)
Gun Glory (1957)
Seven Hills of Rome (1957)
The Life and Legend of Wyatt Earp (1959–60, TV series) – also producer
The Girl Hunters (1963) – also writer
Gunfighters of Casa Grande (1964)
Man Called Gringo (1965)
The Sea Pirate (1966) – also producer
Il grande colpo di Surcouf (1966)
Land Raiders (1970) – associate producer only
Passage 2:
Querelle
Querelle is a 1982 West German-French English-language arthouse film directed by Rainer Werner Fassbinder and starring Brad Davis, adapted from French author Jean Genet's 1947 novel Querelle of Brest. It was Fassbinder's last film, released shortly after his death at the age of 37.

Plot
The plot centers on the handsome Belgian sailor Georges Querelle, who is also a thief and murderer. When his ship, Le Vengeur, arrives in Brest, he visits the Feria, a bar and brothel for sailors run by the Madame Lysiane, whose lover, Robert, is Querelle's brother. Querelle has a love/hate relationship with his brother: when they meet at La Feria, they embrace, but also punch one another slowly and repeatedly in the belly. Lysiane's husband Nono works behind the bar and also manages La Feria's underhanded affairs with the assistance of his friend, the corrupt police captain Mario.
Querelle makes a deal to sell opium to Nono. During the execution of the deal, he murders his accomplice Vic by slitting his throat.  After delivering the drugs, Querelle announces that he wants to sleep with Lysiane.  He knows that this means he will have to throw dice with Nono, who has the privilege of playing a game of chance with all of her prospective lovers. If Nono loses, the suitor is allowed to proceed with his affair. If the suitor loses, however, he must submit to anal sex with Nono first, according to Nono's maxim that "That way, I can say my wife only sleeps with arseholes." Querelle deliberately loses the game, allowing himself to be sodomized by Nono. When Nono gloats about Querelle's "loss" to Robert, who won his dice game, the brothers end up in a violent fight.  Later, Querelle becomes Lysiane's lover, and also has sex with Mario.
Luckily for Querelle, a builder, Gil, murders his work mate Theo, who had been harassing and sexually assaulting him.  Gil hides from the police in an abandoned prison, and Roger, who is in love with Gil, establishes contact between Querelle and Gil in the hopes that Querelle can help Gil flee. Querelle falls in love with Gil, who closely resembles his brother.  Gil returns his affections, but Querelle betrays Gil by tipping off the police. Querelle cleverly arranged it so that the murder of Vic is also blamed on Gil.
Querelle's superior, Lieutenant Seblon, is in love with Querelle, and constantly tries to prove his manliness to him. Seblon is aware that Querelle murdered Vic, but chooses to protect him.  Later, Seblon reveals his love and concern to a drunken Querelle, and they kiss and embrace before returning to Le Vengeur.

Cast
Brad Davis as Querelle
Franco Nero as Lieutenant Seblon
Jeanne Moreau as Lysiane
Laurent Malet as Roger Bataille
Hanno Pöschl as Robert / Gil
Günther Kaufmann as Nono
Burkhard Driest as Mario
Roger Fritz as Marcellin
Dieter Schidor as Vic Rivette
Natja Brunckhorst as Paulette
Werner Asam as Worker
Axel Bauer as Worker
Neil Bell as Theo
Robert van Ackeren as Drunken legionnaire
Wolf Gremm as Drunken legionnaire
Frank Ripploh as Drunken legionnaire

Production
According to Genet's biographer Edmund White, Querelle was originally going to be made by Werner Schroeter, with a scenario by Burkhard Driest, and produced by Dieter Schidor. However, Schidor could not find the money to finance a film by Schroeter, and therefore turned to other directors, including John Schlesinger and Sam Peckinpah, before finally settling on Fassbinder. Driest wrote a radically different script for Fassbinder, who then "took the linear narrative and jumbled it up". White quotes Schidor as saying "Fassbinder did something totally different, he took the words of Genet and tried to meditate on something other than the story. The story became totally unimportant for him. He also said publicly that the story was a sort of third-rate police story that wouldn't be worth making a movie about without putting a particular moral impact into it".Schroeter had wanted to make a black and white film with amateur actors and location shots, but Fassbinder instead shot it with professional actors in a lurid, expressionist color, and on sets in the studio. Edmund White comments that the result is a film in which, "Everything is bathed in an artificial light and the architectural elements are all symbolic."

Soundtrack
Jeanne Moreau – "Each Man Kills the Things He Loves" (music by Peer Raben, lyrics from Oscar Wilde's poem "The Ballad of Reading Gaol")
"Young and Joyful Bandit" (Music by Peer Raben, lyrics by Jeanne Moreau)Both songs were nominated to the 1984 Razzie Awards for "Worst Original Song".

Release
Querelle sold more than 100,000 tickets in the first three weeks after its release in Paris, the first time that a film with a gay theme had achieved such success. On review aggregator Rotten Tomatoes, which categorizes reviews as positive or negative only, the film has an approval rating of 57% calculated based on 14 critics comments. By comparison, with the same opinions being calculated using a weighted arithmetic mean, the rating is 6.10/10. Writing for The New York Times critic Vincent Canby noted that Querelle was "a mess...a detour that leads to a dead end."
Penny Ashbrook calls Querelle Fassbinder's "perfect epitaph: an intensely personal statement that is the most uncompromising portrayal of gay male sensibility to come from a major filmmaker." Edmund White considers Querelle the only film based on Genet's book that works, calling it "visually as artificial and menacing as Genet's prose." Genet, in discussion with Schidor, said that he had not seen the film, commenting "You can't smoke at the movies."
Passage 3:
Angna Enters
Anita "Angna" Enters (April 18, 1897 – February 25, 1989) was an American dancer, mime, painter, writer, novelist and playwright. She studied at the Art Students League of New York and was a 1934 Guggenheim fellow. She wrote a novel and three autobiographies as well as the films Lost Angel (1943) and Tenth Avenue Angel (1948).

Early life
Enters was born in Milwaukee, Wisconsin and graduated from North Division High School in Milwaukee, Wisconsin. She saw the first Denishawn concert tour in 1925, and the following year, an American tour of Sergei Diaghilev's Les Ballets Russes.

Emergence as a dancer
Enters moved to New York to study at the Art Students League of New York in 1920, and began to study dance with Michio Itō the following year, eventually performing as Michio's partner in 1933. That year she created her first piece, an evocation of a statue of a Gothic Virgin, entitled Ecclesiastique. The piece later became Moyen Age. In 1934, she borrowed $25 with which to present her first solo program at the Greenwich Village Theater. Her solo program, The Theatre of Angna Enters, toured the United States and Europe until 1939 and was performed, though less often, until 1960. In 1934, Enters was awarded a Guggenheim Fellowship to study Hellenistic art forms in Athens, Greece.

Visual artist
Enters created a large body of visual art, including sketches, landscape drawings, archaeological studies, costume plates, water colors and oil portraits. Many of her sketches and paintings were exhibited in the United States and Europe. Her sketches were often costume designs for characters of her mime performances or set designs for plays. The Metropolitan Museum of Art in New York holds selected works by Enters, as do other museums.

Personal life
Enters met journalist Louis Kantor in 1921. The two began dating secretly in 1924, wed quietly in Spain in 1936 but maintained separate households. In 1924, Enters changed her first name to Angna and began using 1907 as her birth year. Kantor also changed his name to Louis Kalonyme in 1924 and began writing art criticism for Arts and Decoration magazine. Kalonyme was friends with many notable thinkers of the day: Eugene O'Neill, George Bernard Shaw, and Georgia O'Keeffe among them. The couple did not have any children and Kalonyme died in 1961 after a long illness.In 1924 the realist painter and printmaker John Sloan, along with his fellow artists Robert Henri and George Bellows, attended one of Enters’s shows. They were enchanted. The following year Sloan asked Enters to pose for him in one of her dance routines, “Contre Danse.” Sloan’s etching of this subject was the first of seven etchings that he produced, from 1925 to 1930, showing Enters performing various of her compositions. Although Enters posed for Sloan’s etching of Contre Danse, his six subsequent etchings were done from drawings executed by him while he was attending her shows. These etchings convincingly portray the attitudes of the characters that Enters created, and they convey a vivid sense of what must have made “The Theatre of Angna Enters” so compelling.

Writing
Enters wrote three volumes of autobiography – First Person Plural (1937), Silly Girl (1944) and Artist's Life (1958). She also wrote a novel, Among the Daughters (1956), and a book on her work, On Mime (1966). Her plays, Love Possessed Juana: A Play of the Inquisition in Spain, co-written with Louis Kalonyme, and The Unknown Lover, were presented by the Houston Little Theater in 1946 and 1947. Enters is also credited with having co-written two Hollywood films, Lost Angel (1943) and Tenth Avenue Angel (1948).

Teaching
Enters' first teaching work came at the Stella Adler Studio, where she taught from 1957 to 1960. She was artist-in-residence at the Dallas Theatre Center in 1961 and 1962, and taught mime at Baylor University during that year. She spent the following school year at Wesleyan University in Middletown, Connecticut. In 1970 and 1971 she was artist-in-residence at Pennsylvania State University, during which time she gave her last known public performance.

Enters' books
First Person Plural. New York: Stackpole Sons, 1937.
Love Possessed Juana (queen of Castile) a play in four acts. New York: Twice a Year Press, 1939.
Silly Girl, a Portrait of Personal Remembrance. Cambridge, MA: Houghton Mifflin company, 1944.
Among the Daughters, a Novel. New York: Coward-McCann, 1955.
Artist's Life. New York: Coward-McCann, 1958.
On Mime, second edition. Middletown, CT: Wesleyan University Press, 1968 (first edition 1965).
Passage 4:
Tenth Avenue Angel
Tenth Avenue Angel is a 1948 American drama film directed by Roy Rowland and starring Margaret O'Brien, Angela Lansbury, and George Murphy. It chronicles the life and family of Flavia Mills (Margaret O'Brien) in the late 1930s. Filming took place 11 March–15 May 1946, with retakes in April 1947. However, the film was not released until February 20, 1948.

Plot
Eight-year-old Flavia (Margaret O'Brien) lives in a New York tenement during the Great Depression with mother Helen (Phyllis Thaxter) and father Joe (Warner Anderson), who's nearly broke and needs a job. Her aunt Susan (Angela Lansbury) lives with them, too. Flavia's thrilled because her aunt's sweetheart, Steve (George Murphy), is returning from a one-year absence. The little girl is unaware that Steve has been in jail for associating with a gangster.
Flavia sees a mouse and is afraid. Her mother tells Flavia a fable that if you catch a mouse and make a wish, it will turn into money. This leads her to hide a mouse in a cigar box in the alley near Mac (the blind newspaper man)'s stand. Two neighborhood youths rob Mac
(Rhys Williams) and, by coincidence, hide the money right by the girl's box with the mouse. Flavia finds it and is overjoyed until the adults accuse her of stealing it from Blind Mac. Her mother has to tell her the truth about the fable and Flavia realizes that so many stories she has heard are "lies".
Everybody's desperate for money. Helen's pregnant and faces physical complications. Steve's unable to get his old job, driving a taxi. The gangster offers him a payday for stealing a truck, but Steve's conscience gets the better of him at the last minute. Flavia tries to find the kneeling cow near a railroad before it's too late.  Helen is all right, Joe finds a job, and Flavia's thrilled because Susan's going to marry Steve.

Cast
Margaret O'Brien as Flavia Mills
Angela Lansbury as Susan Bratten
George Murphy as Steve Abbott
Phyllis Thaxter as Helen Mills
Warner Anderson as Joseph Mills
Rhys Williams as Blind Mac
Barry Nelson as Al Parker
Connie Gilchrist as Mrs. Murphy
Charles Cane as Parole Officer
Richard Lane as Street Vendor

Reception
The film was an expensive failure at the box office, earning only $725,000 in the US and Canada and $75,000 elsewhere, resulting in a loss of $1,227,000.It has received mixed to negative reviews.
Passage 5:
Thulasi (1987 film)
Thulasi is a 1987 Indian Tamil-language romantic drama film directed by Ameerjan. The film stars Murali and Seetha. It was released on 27 November 1987.

Plot
Thirunavukarasu is considered as a God by his villagers. Nevertheless, his son Sammadham is an atheist and he doesn't believe in his father's power. Sammadham and Ponni, a low caste girl, fall in love with each other. Sammadham's best friend Siva, a low caste boy, passes the Master of Arts degree successfully. Thirunavukarasu's daughter Thulasi then develops a soft corner for Siva.
Thirunavukarasu cannot accept for his son Sammadham's marriage with Ponni due to caste difference. Sammadham then challenges him to marry her. Thirunavukarasu appoints henchmen to kill her and Ponni is found dead the next day in the water. In the meantime, Siva also falls in love with Thulasi. The rest of the story is what happens to Siva and Thulasi.

Cast
Murali as Sivalingam "Siva"
Seetha as Thulasi
Chandrasekhar as Sammadham
Major Sundarrajan as Thirunavukarasu
Senthil
Charle as Khan
Thara as Ponni
Mohanapriya as Sarasu
Vathiyar Raman
A. K. Veerasamy as Kaliyappan

Soundtrack
The music was composed by Sampath Selvam, with lyrics written by Vairamuthu.

Reception
The Indian Express gave a negative review calling it "thwarted love".
Passage 6:
Ingmar Bergman
Ernst Ingmar Bergman (14 July 1918 – 30 July 2007) was a Swedish screenwriter and film and theatre director. Widely considered one of the greatest and most influential directors of all time, Bergman's films are known as "profoundly personal meditations into the myriad struggles facing the psyche and the soul." Some of his most acclaimed works include The Seventh Seal (1957), Wild Strawberries (1957), Persona (1966), and Fanny and Alexander (1982); these four films were included in the Sight & Sound Greatest Films of All Time 2012 critics poll. Bergman was ranked 8th in Sight & Sound's 2002 poll of The Greatest Directors of All Time.Bergman directed more than 60 films and documentaries for cinematic release and for television screenings, most of which he also wrote. Most of his films were set in Sweden, and many films from 1961 onward were filmed on the island of Fårö. He also had a theatrical career that ran in parallel with his film career. It included periods as Leading Director of the Royal Dramatic Theatre in Stockholm and of the Residenztheater in Munich. He directed more than 170 plays. He forged a creative partnership with his cinematographers Gunnar Fischer and Sven Nykvist. Among his company of actors were Harriet Andersson, Bibi Andersson, Liv Ullmann, Gunnar Björnstrand, Erland Josephson, Ingrid Thulin, Gunnel Lindblom and Max von Sydow.

Biography
Early life
Ernst Ingmar Bergman was born on 14 July 1918 in Uppsala, Sweden, the son of Erik Bergman, a Lutheran minister and later chaplain to the King of Sweden, and Karin (née Åkerblom), a nurse who also had Walloon ancestors. The Bergman family was originally from Järvsö in Gävleborg county. Bergman's paternal grandfather worked as a pharmacist in Stockholm, and his paternal great-grandfather Henrik Bergman worked as an assistant vicar and was married to Erika Augusta Agrell, daughter of vicar Erik Agrell and Elsa Margareta Hermanni, a daughter of chief accountant Hieronymus Emanuel Hermanni and Anna Katarina Neostadia. The Hermannis were merchants in Stockholm, Hieronymus' father, Simon Daniel, was wholesaler like his grandfather. Via Elsa Margareta Hermanni, Bergman descended from the noble families Bröms, Stockenström, Ehrenskiöld, clergy families of Swedish, Swedish-Finnish origin and burghers of Swedish and German origin. Via his paternal grandmother Alma Katarina Eneroth, Bergman descended from the German noble families Flach and de Frese introduced at the Swedish Riddarhuset. Alma Katarina Eneroth was a cousin of Bergman's maternal grandfather traffic manager Johan Åkerblom. Thus Bergman's parents were second cousins. Bergman's maternal grandmother, Anna Calwagen, was the daughter of Ernst Gottfrid Calwagen, a lector of German and English, and his wife Charlotta Margareta Carsberg. The progenitor of the Calwagen family, the merchant Paul Calwagen, had emigrated from Holland to Karlshamn, Sweden in the 17th century. Paul's wife, the Dutch-Swedish Maria van der Hagen, was descendant of the Dutch-Swedish court painter Laurens van der Plas. Via Ernst Gottfried, Bergman was descendant of the noble families Tigerschiöld and Weinholz as well as the Bure family.He grew up with his older brother Dag and younger sister Margareta surrounded by religious imagery and discussion. His father was a conservative parish minister with strict ideas of parenting. Ingmar was locked up in dark closets for infractions such as wetting himself. "While father preached away in the pulpit and the congregation prayed, sang, or listened", Ingmar wrote in his autobiography Laterna Magica,

I devoted my interest to the church's mysterious world of low arches, thick walls, the smell of eternity, the coloured sunlight quivering above the strangest vegetation of medieval paintings and carved figures on ceilings and walls. There was everything that one's imagination could desire—angels, saints, dragons, prophets, devils, humans ...

Although raised in a devout Lutheran household, Bergman later stated that he lost his faith at age eight, and came to terms with this fact while making Winter Light in 1962. His interest in theatre and film began early: "At the age of nine, he traded a set of tin soldiers for a magic lantern, a possession that altered the course of his life. Within a year, he had created, by playing with this toy, a private world in which he felt completely at home, he recalled. He fashioned his own scenery, marionettes, and lighting effects and gave puppet productions of Strindberg plays in which he spoke all the parts."Bergman attended the Palmgren School as a teenager. His school years were unhappy, and he remembered them unfavourably in later years. In a 1944 letter concerning the film Torment (sometimes known as Frenzy), which sparked debate on the condition of Swedish high schools (and which Bergman had written), the school's principal Henning Håkanson wrote, among other things, that Bergman had been a "problem child". Bergman wrote in a response that he had strongly disliked the emphasis on homework and testing in his formal schooling.
In 1934, aged 16, he was sent to Germany to spend the summer holidays with family friends. He attended a Nazi rally in Weimar at which he saw Adolf Hitler. He later wrote in Laterna Magica (The Magic Lantern) about the visit to Germany, describing how the German family had put a portrait of Hitler on the wall by his bed, and that "for many years, I was on Hitler's side, delighted by his success and saddened by his defeats". Bergman commented that "Hitler was unbelievably charismatic. He electrified the crowd. ... The Nazism I had seen seemed fun and youthful." Bergman did two five-month stretches of mandatory military service in Sweden. He later reflected, "When the doors to the concentration camps were thrown open ... I was suddenly ripped of my innocence."Bergman enrolled at Stockholm University College (later renamed Stockholm University) in 1937, to study art and literature. He spent most of his time involved in student theatre and became a "genuine movie addict". At the same time, a romantic involvement led to a physical confrontation with his father which resulted in a break in their relationship which lasted for many years. Although he did not graduate from the university, he wrote a number of plays and an opera, and became an assistant director at a local theatre. In 1942, he was given the opportunity to direct one of his own scripts, Caspar's Death. The play was seen by members of Svensk Filmindustri, which then offered Bergman a position working on scripts. He married Else Fisher in 1943.

Film career until 1975
Bergman's film career began in 1941 with his work rewriting scripts, but his first major accomplishment was in 1944 when he wrote the screenplay for Torment (a.k.a. Frenzy) (Hets), a film directed by Alf Sjöberg. Along with writing the screenplay, he was also appointed assistant director of the film. In his second autobiographical book, Images: My Life in Film, Bergman describes the filming of the exteriors as his actual film directorial debut. The film sparked debate on Swedish formal education. When Henning Håkanson (the principal of the high school Bergman had attended) wrote a letter following the film's release, Bergman, according to scholar Frank Gado, disparaged in a response what he viewed as Håkanson's implication that students "who did not fit some arbitrary prescription of worthiness deserved the system's cruel neglect". Bergman also stated in the letter that he "hated school as a principle, as a system and as an institution. And as such I have definitely not wanted to criticize my own school, but all schools." The international success of this film led to Bergman's first opportunity to direct a year later. During the next ten years he wrote and directed more than a dozen films, including Prison (Fängelse) in 1949, as well as Sawdust and Tinsel (Gycklarnas afton) and Summer with Monika (Sommaren med Monika), both released in 1953.

Bergman first achieved worldwide success with Smiles of a Summer Night (Sommarnattens leende, 1955), which won for "Best poetic humour" and was nominated for the Palme d'Or at Cannes the following year. This was followed by The Seventh Seal (Det sjunde inseglet) and Wild Strawberries (Smultronstället), released in Sweden ten months apart in 1957. The Seventh Seal won a special jury prize and was nominated for the Palme d'Or at Cannes, and Wild Strawberries won numerous awards for Bergman and its star, Victor Sjöström. Bergman continued to be productive for the next two decades. From the early 1960s, he spent much of his life on the island of Fårö, where he made several films.
In the early 1960s he directed three films that explored the theme of faith and doubt in God, Through a Glass Darkly (Såsom i en Spegel, 1961), Winter Light (Nattvardsgästerna, 1962), and The Silence (Tystnaden, 1963). Critics created the notion that the common themes in these three films made them a trilogy or cinematic triptych. Bergman initially responded that he did not plan these three films as a trilogy and that he could not see any common motifs in them, but he later seemed to adopt the notion, with some equivocation. His parody of the films of Federico Fellini, All These Women (För att inte tala om alla dessa kvinnor) was released in 1964.Largely a two-hander with Bibi Andersson and Liv Ullmann, Persona (1966) is a film that Bergman himself considered one of his most important works. While the highly experimental film won few awards, it has been considered his masterpiece. Other films of the period include The Virgin Spring (Jungfrukällan, 1960), Hour of the Wolf (Vargtimmen, 1968), Shame (Skammen, 1968) and The Passion of Anna (En Passion, 1969). With his cinematographer Sven Nykvist, Bergman made use of a crimson color scheme for Cries and Whispers (1972), which received a nomination for the Academy Award for Best Picture. He also produced extensively for Swedish television at this time. Two works of note were Scenes from a Marriage (Scener ur ett äktenskap, 1973) and The Magic Flute (Trollflöjten, 1975).

Tax evasion charges in 1976
On 30 January 1976, while rehearsing August Strindberg's The Dance of Death at the Royal Dramatic Theatre in Stockholm, he was arrested by two plainclothes police officers and charged with income tax evasion. The impact of the event on Bergman was devastating. He suffered a nervous breakdown as a result of the humiliation, and was hospitalised in a state of deep depression.
The investigation was focused on an alleged 1970 transaction of 500,000 Swedish kronor (SEK) between Bergman's Swedish company Cinematograf and its Swiss subsidiary Persona, an entity that was mainly used for the paying of salaries to foreign actors. Bergman dissolved Persona in 1974 after having been notified by the Swedish Central Bank and subsequently reported the income. On 23 March 1976, the special prosecutor Anders Nordenadler dropped the charges against Bergman, saying that the alleged crime had no legal basis, saying it would be like bringing "charges against a person who has stolen his own car, thinking it was someone else's". Director General Gösta S Ekman, chief of the Swedish Internal Revenue Service, defended the failed investigation, saying that the investigation was dealing with important legal material and that Bergman was treated just like any other suspect. He expressed regret that Bergman had left the country, hoping that Bergman was a "stronger" person now when the investigation had shown that he had not done any wrong.Although the charges were dropped, Bergman became disconsolate, fearing he would never again return to directing. Despite pleas by the Swedish prime minister Olof Palme, high public figures, and leaders of the film industry, he vowed never to work in Sweden again. He closed down his studio on the island of Fårö, suspended two announced film projects, and went into self-imposed exile in Munich, West Germany. Harry Schein, director of the Swedish Film Institute, estimated the immediate damage as ten million SEK (kronor) and hundreds of jobs lost.

Aftermath following arrest
Bergman then briefly considered the possibility of working in America; his next film, The Serpent's Egg (1977) was a German-U.S. production and his second English-language film (the first being The Touch, 1971). This was followed by a British-Norwegian co-production, Autumn Sonata (Höstsonaten, 1978) starring Ingrid Bergman (no relation), and From the Life of the Marionettes (Aus dem Leben der Marionetten, 1980) which was a British-German co-production.
He temporarily returned to his homeland to direct Fanny and Alexander (Fanny och Alexander, 1982). Bergman stated that the film would be his last, and that afterwards he would focus on directing theatre. After that he wrote several film scripts and directed a number of television specials. As with previous work for television, some of these productions were later theatrically released. The last such work was Saraband (2003), a sequel to Scenes from a Marriage and directed by Bergman when he was 84 years old.
Although he continued to operate from Munich, by mid-1978 Bergman had overcome some of his bitterness toward the Swedish government. In July of that year he visited Sweden, celebrating his sixtieth birthday on the island of Fårö, and partly resumed his work as a director at Royal Dramatic Theatre. To honour his return, the Swedish Film Institute launched a new Ingmar Bergman Prize to be awarded annually for excellence in filmmaking. Still, he remained in Munich until 1984. In one of the last major interviews with Bergman, conducted in 2005 on the island of Fårö, Bergman said that despite being active during the exile, he had effectively lost eight years of his professional life.

Retirement and death
Bergman retired from filmmaking in December 2003. He had hip surgery in October 2006 and was making a difficult recovery. He died in his sleep at age 89; his body was found at his home on the island of Fårö, on 30 July 2007. It was the same day another renowned existentialist film director, Michelangelo Antonioni, died. The interment was private, at the Fårö Church on 18 August 2007. A place in the Fårö churchyard was prepared for him under heavy secrecy. Although he was buried on the island of Fårö, his name and date of birth were inscribed under his wife's name on a tomb at Roslagsbro churchyard, Norrtälje Municipality, several years before his death.

Filmography
Bibliography
Four Screenplays: Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, and The Magician (1969) [screenplays]
Three Films: Through a Glass Darkly, Winter Light, and The Silence (1970) [screenplays]
Persona and Shame: the Screenplays of Ingmar Bergman (1972) [screenplays]
Four Stories: The Touch, Cries and Whispers, The Hour of the Wolf, and The Passion of Anna (1976) [screenplays]
From the Life of the Marionettes (1980) [screenplay]
Fanny and Alexander (1982) [screenplay]
The Marriage Scenarios: Scenes from a Marriage, Face to Face, and Autumn Sonata (1983) [screenplays]
The Magic Lantern: An Autobiography (1987) [nonfiction]
The Best Intentions (1991) [novel]
Sunday's Children (1993) [novel]
Private Confessions (1996) [novel]
Images: My Life in Film (2017) [nonfiction]

Style of working
Repertory company
Bergman developed a personal "repertory company" of Swedish actors whom he repeatedly cast in his films, including Max von Sydow, Bibi Andersson, Harriet Andersson, Erland Josephson, Ingrid Thulin, Gunnel Lindblom, and Gunnar Björnstrand, each of whom appeared in at least five Bergman features. Norwegian actress Liv Ullmann, who appeared in nine of Bergman's films and one televisual film (Saraband), was the last to join this group (in the film Persona), and ultimately became the most closely associated with Bergman, both artistically and personally. They had a daughter together, Linn Ullmann (born 1966).
In Bergman's working arrangement with Sven Nykvist, his best-known cinematographer, the two men developed sufficient rapport to allow Bergman not to worry about the composition of a shot until the day before it was filmed. On the morning of the shoot, he would briefly speak to Nykvist about the mood and composition he hoped for, and then leave Nykvist to work, lacking interruption or comment until post-production discussion of the next day's work.

Financing
By Bergman's own account, he never had a problem with funding. He cited two reasons for this: one, that he did not live in the United States, which he viewed as obsessed with box-office earnings; and two, that his films tended to be low-budget affairs. (Cries and Whispers, for instance, was finished for about $450,000, while Scenes from a Marriage, a six-episode television feature, cost only $200,000.)

Technique
Bergman usually wrote his films' screenplays, thinking about them for months or years before starting the actual process of writing, which he viewed as somewhat tedious. His earlier films are carefully constructed and are either based on his plays or written in collaboration with other authors. Bergman stated that in his later works, when on occasion his actors would want to do things differently from his own intention, he would let them, noting that the results were often "disastrous" when he did not do so. As his career progressed, Bergman increasingly let his actors improvise their dialogue. In his later films, he wrote just the ideas informing the scene and allowed his actors to determine the exact dialogue. When viewing daily rushes, Bergman stressed the importance of being critical but unemotive, claiming that he asked himself not if the work was great or terrible, but rather if it was sufficient or needed to be reshot.

Subjects
Bergman's films usually deal with existential questions of mortality, loneliness, and religious faith. In addition to these cerebral topics, however, sexual desire features in the foreground of most of his films, whether the central event is medieval plague (The Seventh Seal), upper-class family activity in early twentieth century Uppsala (Fanny and Alexander), or contemporary alienation (The Silence). His female characters are usually more in touch with their sexuality than their male equivalents, and unafraid to proclaim it, sometimes with breathtaking overtness (as in Cries and Whispers) as would define the work of "the conjurer," as Bergman called himself in a 1960 TIME cover story. In an interview with Playboy in 1964, he said: "The manifestation of sex is very important, and particularly to me, for above all, I don't want to make merely intellectual films. I want audiences to feel, to sense my films. This to me is much more important than their understanding them." Film, Bergman said, was his demanding mistress. While he was a social democrat as an adult, Bergman stated that "as an artist I'm not politically involved ... I don't make propaganda for either one attitude or the other."

Bergman's views on his career
When asked in the series of interviews later titled  "Ingmar Bergman – 3 dokumentärer om film, teater, Fårö och livet" conducted by Marie Nyreröd for Swedish TV and released in 2004, Bergman said that of his works, he held Winter Light, Persona, and Cries and Whispers in the highest regard. There he also states that he managed to push the envelope of film making in the films Persona and Cries and Whispers. Bergman stated on numerous occasions (for example in the interview book Bergman on Bergman) that The Silence meant the end of the era in which religious questions were a major concern of his films. Bergman said that he would get depressed by his own films: "jittery and ready to cry... and miserable." In the same interview he also stated: "If there is one thing I miss about working with films, it is working with Sven" (Nykvist), the third cinematographer with whom he had collaborated.

Theatrical work
Although Bergman was universally famous for his contribution to cinema, he was also an active and productive stage director all his life. During his studies at what was then Stockholm University College, he became active in its student theatre, where he made a name for himself early on. His first work after graduation was as a trainee-director at a Stockholm theatre. At twenty-six years, he became the youngest theatrical manager in Europe at the Helsingborg City Theatre. He stayed at Helsingborg for three years and then became the director at Gothenburg city theatre from 1946 to 1949.
He became director of the Malmö City Theatre in 1953, and remained for seven years. Many of his star actors were people with whom he began working on stage. He was the director of the Royal Dramatic Theatre in Stockholm from 1960 to 1966, and manager from 1963 to 1966, where he began a long-time collaboration with choreographer Donya Feuer.
After Bergman left Sweden because of the tax evasion incident, he became director of the Residenz Theatre of Munich, Germany (1977–1984). He remained active in theatre throughout the 1990s and made his final production on stage with Henrik Ibsen's Ghosts at the Brooklyn Academy of Music in 2003.

Personal life
Marriages and children
Bergman was married five times:

25 March 1943 – 1945, to Else Fisher (1 March 1918 – 3 March 2006), choreographer and dancer (divorced). Children:
Lena Bergman, actress, born 1943.
22 July 1945 – 1950, to Ellen Lundström (23 April 1919 – 6 March 2007), choreographer and film director (divorced). Children:
Eva Bergman, film director, born 1945
Jan Bergman, film director (1946–2000)
the twins Mats and Anna Bergman, both actors and film directors, born in 1948.
1951 – 1959, to Gun Grut (1916–1971), journalist (divorced). Children:
Ingmar Bergman Jr., retired airline captain, born 1951.
1959 – 1969, to Käbi Laretei (14 July 1922 – 31 October 2014), concert pianist (divorced). Children:
Daniel Bergman, film director, born 1962.
11 November 1971 – 20 May 1995, to Ingrid von Rosen (maiden name Karlebo). Children:
Maria von Rosen, author, born 1959.The first four marriages ended in divorce, while the last ended when his wife Ingrid died of stomach cancer in 1995, aged 65. Aside from his marriages, Bergman had romantic relationships with actresses Harriet Andersson (1952–1955), Bibi Andersson (1955–1959), and Liv Ullmann (1965–1970). He was the father of writer Linn Ullmann with Ullmann. In all, Bergman had nine children, one of whom predeceased him. Bergman eventually married all the mothers of his children, with the exception of Liv Ullmann. His daughter with his last wife, Ingrid von Rosen, was born twelve years before their marriage. He had dozens of mistresses throughout his life and would justify the affairs to his various wives by telling them: "I have so many lives."Although Bergman once described himself as one who had lost his faith in an afterlife, in 2000 Bergman stated that a conversation he had had with Erland Josephson helped him to believe that he would see Ingrid again. He said, "I'm not actually afraid of dying. On the contrary, really. I think it'll be interesting." In 2012, Max von Sydow stated in an interview that he had had many discussions with Bergman about religion which seemed to indicate that Bergman believed in an afterlife.In a draft of his autobiography, Bergman admitted to raping his then girlfriend Karin Lannby. This portion was edited out for the final version.

Health
Bergman suffered from physical ailments such as insomnia and severe stomach issues dating back to childhood. He called his nervous stomach "a calamity as foolish as it is humiliating" and joked that the private lavatories he secured at the theatres in which he worked represented his "most lasting contribution to the history of theatre."

Awards and nominations
In 1958, he won the Best Director award for Brink of Life at the Cannes Film Festival, and won the Golden Bear for Wild Strawberries at the Berlin International Film Festival. In 1960 Bergman was featured in the cover of TIME, the first foreign-language filmmaker to do so since Leni Riefenstahl in 1936. In 1971, Bergman received the Irving G. Thalberg Memorial Award at the Academy Awards ceremony. Three of his films (Through a Glass Darkly, The Virgin Spring, and Fanny and Alexander) won the Academy Award for Best Foreign Language Film. In 1997, he was awarded the Palme des Palmes (Palm of the Palms) at the 50th anniversary of the Cannes Film Festival. He won many other awards and has been nominated for numerous other awards.
Academy Awards

Legacy
In 1996, Entertainment Weekly ranked Bergman at No. 8 in its "50 Greatest Directors" list.
In 2002, Bergman was listed at number nine on the British Film Institute's Sight & Sound list of the top ten film directors of modern times.MovieMaker magazine ranked Bergman at No. 13 on their 2002 list of The 25 Most Influential Directors of All Time.
Bergman was ranked at No. 36 on Empire magazine's "Top 40 Greatest Directors of All-Time" list in 2005. In 2007, Total Film magazine ranked Bergman at No. 7 on its "100 Greatest Film Directors Ever" list.
In 2017, New York magazine ranked Bergman at number 55 on their list of The 100 Best Screenwriters of All Time.Stanley Kubrick admired the work of Bergman and expressed it in personal letter: "Your vision of life has moved me deeply, much more deeply than I have ever been moved by any films. I believe you are the greatest film-maker at work today [...], unsurpassed by anyone in the creation of mood and atmosphere, the subtlety of performance, the avoidance of the obvious, the truthfulness and completeness of characterization. To this one must also add everything else that goes into the making of a film; [...] and I shall look forward with eagerness to each of your films." Film critic Philip French referred to Bergman as "one of the greatest artists of the 20th century ... he found in literature and the performing arts a way of both recreating and questioning the human condition." Director Martin Scorsese commented that "it's impossible to overestimate the effect that [his] films had on people." Terrence Rafferty of The New York Times wrote that throughout the 1960s, when Bergman "was considered pretty much the last word in cinematic profundity, his every tic was scrupulously pored over, analyzed, elaborated in ingenious arguments about identity, the nature of film, the fate of the artist in the modern world and so on."Bergman's work was a point of reference and inspiration for director Woody Allen. He described Bergman as “probably the greatest film artist, all things considered, since the invention of the motion picture camera”. Bergman's films are mentioned and praised in Annie Hall and other Allen films. Allen also admired Bergman's longtime director of photography Sven Nykvist and invited him to return as his DP on Crimes and Misdemeanors. Danish Director Thomas Vinterberg has cited Bergman as one of his major influences, "Bergman is always in my head. He is part of my upbringing and I was fortunate to meet him and get advice from him." Writer and director Richard Ayoade counts Bergman as one of his inspirations. In 2017, the British Film Institute (BFI) hosted an Ingmar Bergman season and Ayoade said in a Guardian interview that he saw everything in it, "which was one of the best two months ever." The BFI's programme included a discussion with Ayoade on Bergman's 1966 film, Persona, before a screening.After Bergman died, a large archive of notes was donated to the Swedish Film Institute. Among the notes are several unpublished and unfinished scripts both for stage and films, and many more ideas for works in different stages of development. A never-performed play has the title Kärlek utan älskare ("Love without lovers"), and has the note "Complete disaster!" written on the envelope; the play is about a director who disappears and an editor who tries to complete a work he has left unfinished. Other canceled projects include the script for a pornographic film which Bergman abandoned since he did not think it was alive enough, a play about a cannibal, some loose scenes set inside a womb, a film about the life of Jesus, a film about The Merry Widow, and a play with the title Från sperm till spöke ("From sperm to spook"). The Swedish director Marcus Lindeen went through the material, and inspired by Kärlek utan älskare he took samples from many of the works and turned them into a play, titled Arkivet för orealiserbara drömmar och visioner ("The archive for unrealisable dreams and visions"). Lindeen's play premiered on 28 May 2012 at the Stockholm City Theatre.In 2018, in honor of Bergman's 100th birthday, The Criterion Collection compiled and released a Blu-ray disc box set comprising 39 of Bergman's features. The set spans Bergman's early career, beginning in the 1940s, up to his final film in 2003. The films are organized non-chronologically, and are instead presented in four groupings that mimic the procession of a film festival. Accompanying the discs is a book featuring critical essays on each of the films, intended to guide the viewer through the experience. Upon its release, The New York Times critic Glenn Kenny assessed the set as "impressive and almost exhaustive", and interpreted it as "a fresh case for [Bergman's] continuing importance", in response to criticisms such as Jonathan Rosenbaum's 2007 opinion piece "Scenes From an Overrated Career".The Ingmar Bergman International Debut Award is awarded annually at the Gothenburg Film Festival, in partnership with the Ingmar Bergman Foundation, the Bergman Estate and the Bergman Center on Fårö. The prize includes a visit to the Bergman Estate as well as to Bergmans personal archive in Stockholm.

See also
Cinema of Sweden
List of film collaborations

Notes
Passage 7:
John Angel (preacher)
John Angel or Angell (died 1655), was an English preacher.

Biography
Angel was from Gloucestershire, born towards the end of the sixteenth century. He was admitted of Magdalen Hall, Oxford, in 1610. He proceeded to his degrees of B.A. and M.A. He was ordained in holy orders; at a bound became a frequent and popular preacher, and many puns were made on his name. He does not appear to have been presented to any living but to have gone about as an evangelist. In 1629, or earlier, Francis Higginson declined an appointment as town-preacher at Leicester because of his growing nonconformity. Angel, who then conformed to the establishment, was put in his stead by ‘the mayor of Alderney,’ and he is found in 1630 as a lecturer.
In 1634, he was suspended by the dean of Arches for preaching without licence; an ordinary minister was not allowed to preach without a licence issued by the bishop of the diocese. With relation to Angel's suspension William Laud wrote in his Diary: "In Leicester the dean of the Arches suspended one Mr. Angell, who had continued a lecturer in that great town for these divers years without any licence at all to preach, yet took liberty enough. I doubt his violence hath cracked his brain, and do therefore use him more tenderly, because I see the hand of God hath overtaken him." The biographer Samuel Clarke wrote that Angel was subject to great spiritual darkness, but Richard Vines relieved and comforted him.
In 1650, at Leicester, Angel differed with the Independents and refused to sign the engagement. The Mercers' Company of London stepped in to relieve him. They appointed him as lecturer at Grantham, Lincolnshire, and he remained there until his death in 1655. Anthony à Wood quotes the tributes that contemporaries paid him.

Works
Published works:

"Right Government of the Thoughts, or a Discourse of all Vain, Unprofitable, Idle, and Wicked Thoughts" (1659)
"Right Ordering of the Conversation" (1659)
"Preparation for the Communion" (1659)
"Funeral Sermon for John, Lord Darcey" (1659)
Passage 8:
Le Masque de la Méduse
Le masque de la Méduse (English: The Mask of Medusa) is a 2009 fantasy horror film directed by Jean Rollin. The film is a modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same name and the 1981 cult classic Clash of the Titans. It was Rollin's final film, as the director died in 2010.

Cast
Simone Rollin as la Méduse
Sabine Lenoël as Euryale
Marlène Delcambre as Sthéno
Juliette Moreau as Juliette
Delphine Montoban as Cornelius
Jean-Pierre Bouyxou as le gardien
Bernard Charnacé as le collectionneur
Agnès Pierron as la colleuse d'affiche au Grand-Guignol
Gabrielle Rollin as la petite contrebassiste
Jean Rollin as l'homme qui enterre la tête
Thomas Smith as Thomas

Production
It was thought that Rollin's 2007 film La nuit des horloges was the final film of his career, as he had mentioned in the past. However, in 2009, Rollin began preparation foe Le masque de la Méduse. Rollin originally directed the film as a one-hour short, which was screened at the Cinémathèque de Toulouse, but after the release, Rollin decided to add 20 minutes of additional scenes and then cut the film into two distinct parts, as he did with his first feature, Le Viol du Vampire.  The film was shot on location at the Golden Gate Aquarium and Père Lachaise Cemetery, as well as on stage at the Theatre du Grande Guignol, which is where the longest part of the film takes place. It was shot on HD video on a low budget of €150,000. Before the release, it was transferred to 35mm film.

Release
The film was not released theatrically, although it premiered on 19 November 2009 at the 11th edition of the Extreme Cinema Film Festival at the Cinémathèque de Toulouse. As part of "An Evening with Jean Rollin", it was shown as a double feature with Rollin's 2007 film La nuit des horloges.

Home media
No official DVD was released, although for a limited time, a DVD of La masque de la Méduse was included with the first 150 copies of Rollin's book Jean Rollin: Écrits complets Volume 1.
Passage 9:
Brink of Disaster!
Brink of Disaster! is a 1972 American film directed by John Florea.

Plot
A student is held up in the library while a riot rages outside. As SDS protesters head to burn the library down, he has to fend them off with his baseball bat. This film opens with actual footage of civil disturbances in the 1960s, and moves on to images of historical American figures.

Cast
Ed Nelson
Gary Crabbe

See also
List of American films of 1972
Passage 10:
Brink of Life
Brink of Life, (Swedish: Nära livet, and known as So Close to Life in the UK) is a 1958 Swedish drama film directed by Ingmar Bergman. Bergman won the Best Director Award and Andersson, Dahlbeck, Ornäs and Thulin won the Best Actress Award at the 1958 Cannes Film Festival.

Plot
Cecilia Ellius is admitted to a hospital after she has begun badly bleeding during her third month of pregnancy. She is accompanied by her husband, Anders. Before treatment, Cecilia asks Anders if he truly wants the child; Anders replies it is too late to have the discussion. Cecilia undergoes treatment; when she awakes, she realizes she has had a miscarriage. She tearfully tells hospital staff she had wanted the child but Anders did not, and that she knew the child would not be born with only one loving parent. Anders returns to the hospital, and Cecilia initiates a separation, saying she realized Anders did not truly love her as they arrived at the hospital.
Another patient, Hjördis, was admitted after she began bleeding during pregnancy. She tried to abort, but did not succeed. She's not married or engaged, doesn't want to have the child, and didn't tell her strict mother about it. Hospital staff tell her unmarried young mothers in Sweden no longer face the social stigma they once did, and Hjördis can find a house and daycare, but she still has doubts. Encouraged by Nurse Brita she calls her mother, who tells her to come home.
A third patient, Stina Andersson, is overdue in her pregnancy and is very excited to have her child. She's convinced she will have a boy and intends to name him after her loving husband Harry, who visits her. She gets castor oil and a glass of beer to speed delivery. Her contractions during labour become increasingly violent and excruciating. She is sedated and suffers a stillbirth. She is deeply traumatized and can barely speak. Dr. Nordlander tells her she and the fetus were healthy, but it wasn't meant to be.

Cast
Reception
Brink of Life received generally mixed reviews from critics.

Censorship
When Brink of Life was first released in Italy in 1960 the Committee for the Theatrical Review of the Italian Ministry of Cultural Heritage and Activities rated it as VM16: not suitable for children under 16. In order for the film to be screened publicly, the Committee imposed the removal of the scene in which Stina is in pain due to labour. The reason for the age restriction and removal of the scene cited in the official documents, is that the film was not suitable to the sexual morals of a minor in the Italian society, and the scene was considered to be shocking. The official document number is: 31260, it was signed on 20 April 1960 by Minister Domenico Magrì.