Passage 1:
A Place in the Sun (film)
A Place in the Sun may refer to:

A place in the sun, a phrase used to refer to the German Empire's foreign policy (Weltpolitik) and colonial empire

Film and television
A Place in the Sun (1916 film), a British silent film
A Place in the Sun (1951 film), an American dramatic film
A Place in the Sun (British TV series) (2000–present), a British Channel 4 lifestyle programme about buying property abroad
A Place in the Sun (2012 film), a Swedish film based on the Liza Marklund novel
A Place in the Sun (South Korean TV series), a 2019 South Korean television series

Music
A Place in the Sun (Lit album), 1999
A Place in the Sun (Pablo Cruise album), 1977
A Place in the Sun (Tim McGraw album), 1999
"A Place in the Sun" (Stevie Wonder song), 1966
"A Place in the Sun" (Pablo Cruise song), 1977
"A Place in the Sun", a 1983 song by the Marine Girls, from their Lazy Ways album

See also
En plats i solen (disambiguation)
"A Place Under the Sun", a 1999 single by Miho Nakayama
Um Lugar ao Sol, a 2021 Brazilian telenovela
Un Lugar al sol, a 1965 Argentine film
Un posto al sole, a 1996 Italian soap opera
Passage 2:
Christian-Peter Friese
Christian-Peter Friese (August 5, 1948, Munich - December 25, 1970, East Berlin) was one of the victims at the Berlin Wall. Members of the Border Troops of the German Democratic Republic shot him while trying to escape from East Germany.

Biography
He was his mother's only child, and grew up with her in Naumburg. His father is unknown. After school, he trained as a car mechanic. In Naumburg he took a job at the Deutsche Reichsbahn (East Germany).

Death
On the evening of December 24, 1970, he left  his home and his mother without saying goodbye or leaving a message. He went to East Berlin by train. Once there he went to the allotment Vogelsang II in Treptow which was right on the border. He watched the border and climbed around midnight on the interior fence. He triggered alarm by touching the subsequent signal fence. A total of five border guards opened fire on Christian-Peter Friese, who took cover in the vehicle barrier ditch. Shortly afterwards Friese began again to run in the direction of the last border fence. He was hit several times in the legs and upper body. He succumbed to his injuries in the death strip. In the crime scene sketch of the files of the Stasi were recorded a total of 98 shots on Christian-Peter Friese.

Aftermath
A senate speaker and the American City Commandant expressed their protest over the incident. The West-Berlin police initiated an investigation.The mother of the deceased was informed on January 7, 1971, by members of the Stasi about the death. The legend was that Christian-Peter Friese was traveling by car into a tree. The body had been cremated. The urn was transferred one month later to Naumburg and buried there in the municipal cemetery, under the supervision of the Stasi.After the German reunification, the mother said to Naumburg police that her son revealed his intention of fleeing. In a Mauerschützenprozess (process against guards of the wall who had shot) the border guards involved were acquitted because intent to kill could not be established, and because the court could not determine which of the defendants was responsible for the actual killing.

See also
List of deaths at the Berlin Wall
Berlin Crisis of 1961
Passage 3:
Chris Gueffroy
Chris Gueffroy (21 June 1968 – 6 February 1989) was the last person to be shot and the second-last to die in an escape attempt while trying to escape from East Berlin to West Berlin across the Berlin Wall.

Biography
Chris Gueffroy was born in Pasewalk, Bezirk Neubrandenburg (present-day Mecklenburg-Vorpommern) on 21 June 1968. He had an older brother, Stefan Gueffroy.
He moved to Schwedt in 1970, the same year that his mother, Karin Gueffroy, and his father, Allois Gueffroy, divorced. Three years later, when he was five years old, he moved to Berlin with his mother and his brother. When he was in the third grade, he was sent to the youth sports school SC Dynamo Berlin, based on his gymnastic talent. After he finished school he refused to pursue an officer’s career track in the National People’s Army and was consequently denied the right to study at university, ending his dream of becoming an actor or a pilot. In September 1985 he began an apprenticeship in the Schönefeld airport restaurant near Berlin after which he worked in a number of different restaurants. As a waiter, his income was better than average, and he had a strong degree of freedom, but he was disgusted by the widespread corruption in the restaurant business. His friend Christian Gaudian, whom he had met at gastronomy school, shared his feelings. At twenty, he found it increasingly unbearable to think that he would remain locked up with the knowledge that it would always be this way and that he would never have the freedom to decide for himself where he wanted to live. In mid-January 1989, upon learning that he was to be conscripted into the East German army the following May, he and Gaudian decided to leave East Germany.

Death
Gueffroy and Gaudian based their decision to try to flee over the wall on mistaken beliefs that the Schießbefehl, the standing order to shoot anyone who attempted to cross the wall, had been lifted (it had not), and that the Swedish prime minister Ingvar Carlsson was to pay a state visit to East Berlin (he had already left when they attempted their escape). Their attempted escape from East Berlin to West Berlin, along the Britz district canal would take place on the night of 5–6 February 1989, about two kilometres (1¼ miles) from what would be Gueffroy's last residence on Südostallee 218, Johannisthal, Treptow, East Berlin. Climbing the last metal lattice fence, the two were discovered and came under fire from the NVA border troops. Gueffroy was hit in the chest by two shots and died in the border strip. Gaudian, badly but not fatally injured, was arrested and was sentenced on 24 May 1989 to imprisonment of three years by the Pankow district court for attempted illegal border-crossing of the first degree ("versuchten ungesetzlichen Grenzübertritts im schweren Fall"). In September 1989 Gaudian was freed on bail by the East German government, and on 17 October 1989 he was transferred to West Berlin.Chris Gueffroy is often erroneously named as the last person to die in the attempt to cross the wall, but he was in fact only the last to be killed through the use of weapons, and the second-last to die in an escape attempt. Winfried Freudenberg died in the crash of an improvised balloon aircraft by which he crossed the border into West Berlin on 8 March 1989.

Aftermath
As compensation for her loss, the East German government allowed Karin Gueffroy to emigrate to West Berlin and visit Chris's grave in Baumschulenweg weekly, with the condition that she did not speak to western media about the incident. She would take residence in the West Berlin district of Moabit, on Oldenburger Straße 36.The four border guards involved at the time at first obtained an award (Leistungsabzeichen der Grenztruppen) from the chief of the Grenzkommandos Mitte border guards, Erich Wöllner, and a prize of 150 East German Marks each. However, after the reunification of East and West Germany, they were prosecuted by the Berlin regional court. Two of the former border guards, Mike Schmidt (now a millwright with two children), and Peter Schmett (now an electrician with three children), were acquitted and released in January 1992, because the presiding judge, Theodor Seidel, ruled that they "did not kill and did not intend to kill". A third former border guard, Andreas Kuehnpast (now unemployed), received a suspended sentence of two years. The fourth former border guard, Ingo Heinrich (now an electronic engineer), who was responsible for the mortal shot in the heart, was at first sentenced to three and a half years of jail. On appeal, the Bundesgerichtshof (High Court of Justice) in 1994 reduced the penalty to a suspended sentence of two years.In 2000, two SED functionaries, Siegfried Lorenz and Hans-Joachim Böhme, were tried for the death of Gueffroy and two other young men, but acquitted as the judge could find no evidence that they might have been able to lift the shoot-to-kill order. The case was retried on 7 August 2004, and the two men were found guilty and given suspended sentences of 15 months each. The judge explained that the short sentences were due to the length of time since the events. This was the last case concerning deaths on the inner German border.
On 21 June 2003, which would have been his 35th birthday, a monument to Gueffroy was erected on the bank of the Britz district canal. The monument was designed by Berlin artist Karl Biedermann. One of the crosses at the White Crosses memorial site next to the Reichstag building is devoted to him.On 13 August 2010 the Britzer Allee between Treptow and Neukölln was renamed Chris-Gueffroy-Allee.

See also
Sven Hüber
List of deaths at the Berlin Wall
Berlin Crisis of 1961
Passage 4:
Escape from East Berlin
Escape from East Berlin is a 1962 American-West German thriller film directed by Robert Siodmak and starring Don Murray, Christine Kaufmann and Werner Klemperer.
It was shot at the Tempelhof Studios in Berlin. The film's sets were designed by the art director Dieter Bartels and Ted Haworth.

Plot
The story takes place in East Berlin soon after the Berlin Wall is built, and is based on an actual escape on January 24, 1962. Kurt Schröder is a chauffeur to East German Major Eckhardt and his seductive wife Heidi, with whom he is having an affair. One night he sees a friend, Günther Jurgens, who works at the garage where Kurt has the Major's car maintained, drive his tow-truck through a gate and get killed trying to escape to the west. Günther's sister, Erika, comes looking for Günther when he doesn't return, and is told that Kurt saw him last night. She then goes to Kurt's house, where he lives with his mother, Uncle Albrecht (a musician), sister Ingeborg and kid brother Helmut within sight of the wall. Erika is intent on escaping to West Berlin, thinking that her brother made it. Kurt, reasonably satisfied with his life, has no intention of risking his life to attempt an escape. Erika then attempts to escape over the wall but Kurt catches her as she tries to crawl under the barbed wire, and they pretend to be lovers to hide her intentions from suspicious guards. Kurt then hides her in his house. A piece of Erika's clothing is caught in the barbed wire, and the guards track her to the Schröder's house. She hides in a room without a floor, and narrowly escapes the guards after they conclude that she could not be in the room.
The Schröders and their neighbors, including a woman named Marga who has a baby and whose husband has already escaped to the west, want to escape East Germany. Kurt comes up with the idea of building a tunnel under the wall, through which they can escape to West Berlin. Although he will mastermind the plan, Kurt has no intention of going with them. They drill through the basement wall using Uncle Albrecht's band as a noise cover when the actual drilling takes place. One member of the family keeps watch while the others work on the tunnel itself. After they start digging the tunnel, they are joined by Walter Brunner, who had his own plan to dig a tunnel. All the while, Kurt is falling in love with Erika, and he eventually summons the courage to tell her that her brother is dead. Because of this burgeoning love, Kurt has changed his mind and will escape with the rest of his family and Erika. On January 27, 1962, the tunnel is completed when just before dawn Kurt reaches the other side, and the breakout is planned for the following night.
However, Marga tells Erika's parents the news of their daughter, and Erika's father, a professor who favors the Communist regime, betrays the escape plan to Major Eckhardt. Kurt is waiting to drive the Eckhardt's and learns from Heidi that the authorities are after him and he takes the car and hurries home ahead of the East German troops. When he arrives home, Kurt learns that his family have invited Uncle Albrecht's band members to join the escape, bringing the number of escapees to 28. Kurt tells them of the betrayal, and that they must make their escape immediately. As the police besiege their house, the Schröders, their friends and Erika make their escape, with Kurt bringing up the rear. He is wounded when a soldier fires at him as he goes through the tunnel collapsing it behind him. Erika comes back to find and help him. Together they make their way to the exit, where the others have already emerged to live in freedom.

Cast
Don Murray as Kurt Schröder
Christine Kaufmann as Erika Jurgens
Werner Klemperer as Walter Brunner
Ingrid van Bergen as Ingeborg Schröder
Carl Schell as Major Eckhart
Edith Schultze-Westrum as Mother Schröder
Bruno Fritz as Uncle Albrecht
Maria Tober as Marga
Horst Janson as Günther Jurgens
Kai Fischer as Heidi Eckhart
Kurt Waitzmann as Prof. Thomas Jurgens
Helma Seitz as Frau Jurgens
Ronald Dehne as Helmut Schröder

Production
Since the building of the Berlin Wall in 1961 stories of escapes from the East, both failed and successful, had filled the news in the West and led to competition between US networks to record a tunnel escape. MGM decided to take advantage of the public interest with a feature film inspired by real events. This included building a 300 yard long plaster replica of the wall in West Berlin that became a tourist attraction and attracted the attention of East German guards. The movie crew filmed sentries flashing spotlights across the border, turning them into film extras and prompting director Robert Siodmak to rave “Talk about realism!"

Reception
According to MGM records, the film made a profit of $193,000.
Passage 5:
Escape from the City
Crush 40 is a Japanese-American hard rock band. The group consists of guitarist and composer Jun Senoue and vocalist Johnny Gioeli, although Senoue has featured other lead vocalists on a Crush 40 album.  Crush 40 is best known for their contributions to the Sonic the Hedgehog video game series.
Senoue is employed by Sega as a composer and sound director, and has worked with Sega as a composer since 1993.  While preparing music for Sonic Adventure, he contacted Gioeli to record the game's main track, "Open Your Heart".  They also recorded the soundtrack for NASCAR Arcade under the name "Sons of Angels" and released it in 2000 in Japan as the album Thrill of the Feel.  Afterward, Senoue and Gioeli stayed in contact and continued to record new music for further Sonic games, as well as their own original music, and performed live concerts.
Crush 40 has released a total of two studio albums, two live albums, two compilations, an EP, and individual tracks, mostly under Sega's Wave Master label.  The band's musical style of hard rock, considered by some to be a continuation of glam rock, has created a legacy with fans of the Sonic video game series.

History
Formation, Thrill of the Feel, and Crush 40
After graduating from college, Jun Senoue was hired by Sega in 1993 to compose music for video games. His first project in the Sonic the Hedgehog series was Sonic the Hedgehog 3 & Knuckles (1994), and he also contributed to Dark Wizard, Sonic 3D Blast, and Sega Rally 2.  During recording for Daytona USA: Championship Circuit Edition, Senoue worked with Eric Martin of Mr. Big to record the main theme, "Sons of Angels".  Senoue said he brought a rock music feel to the games he worked on, including the Sonic the Hedgehog series, because he is a "rock guy".In 1998, Senoue contacted vocalist Johnny Gioeli during the recording process for Sonic Adventure and recorded their first song, "Open Your Heart". Senoue had previously recorded a demo of the song with Eizo Sakamoto on vocals, but Senoue has stated that he wrote the song assuming Gioeli would sing it. According to Gioeli, Senoue was a fan of Gioeli's band Hardline and connected with him via Doug Aldrich, the guitarist for Whitesnake. After making the track, the two stayed in contact, having enjoyed working together and wanting to do more. Senoue and Gioeli worked together again on songs for NASCAR Arcade. In addition to Senoue and Gioeli, Naoto Shibata and Hirotsugu Homma of Loudness played the bass and drums, respectively, for the songs, and the group took the name Sons of Angels, from the title of the song Senoue recorded with Eric Martin. In 2000, the band released Thrill of the Feel in Japan, published by Victor Entertainment. The album contained the tracks they had written for NASCAR Arcade, along with "Open Your Heart".During the development of Sonic Adventure 2, Senoue and Gioeli reunited to record the title track, "Live & Learn". As Shibata and Homma were busy performing with Loudness and later Anthem, Takeshi Taneda was brought in to play bass, and Katsuji Kirita from Gargoyle and The Cro-Magnons played drums.  According to Vice, "Live & Learn" is one of Gioeli's favorite songs.  Senoue recorded the intro to the song for the game's trial edition; he worked on the rest of the arrangement later and completed it within one day.  He then sent a demo to Gioeli to record his vocals. Gioeli was given the task of writing the lyrics for "Live & Learn". He initially was nervous and asked Senoue if his lyrics were okay on multiple occasions, but despite this, "Live & Learn" became one of the most memorable songs on the Sonic Adventure 2 soundtrack according to Sean Aitchison of Fanbyte.Around this time, the band was renamed Crush 40, after discovering that there was a Norwegian rock band already named Sons of Angels. When asked why he chose "Crush 40", Senoue said, "When we had to pick one, we chose the word we like... 'Crush' is one of them, and Johnny added the number. Crush is the name of the soda too... that's my favorite!" Gioeli added that his inspiration for the title was a desire to "crush" his forties, which he was approaching at the time.  Two years after the 2001 release of Sonic Adventure 2, the album Crush 40 was released by Frontiers Records. The album contained the vocal tracks from NASCAR Arcade, Sonic Adventure and Sonic Adventure 2. According to Senoue, Crush 40 is specifically the band of himself and Gioeli, though tracks "It Doesn't Matter" and "Escape from the City" (sung by Tony Harnell and Ted Poley, respectively) were included on the album.  Senoue explained this was done to exhibit these songs to fans.

Recordings for Sega and The Best of Crush 40: Super Sonic Songs
In 2003, Crush 40 composed two new songs entitled "Sonic Heroes" and "What I'm Made Of..." for Sega's Sonic Heroes, the first multiplatform Sonic game. Both Senoue and Gioeli have called "What I'm Made Of..." their favorite song to perform. For Shadow the Hedgehog in 2005, Crush 40 recorded "I Am... All of Me", as well as "Never Turn Back". The drums for both songs were recorded by Toru Kawamura. Additionally, Crush 40 recorded covers of songs used in 2006's Sonic the Hedgehog, Sonic and the Secret Rings, Sonic Riders and Zero Gravity, and Sonic CD.  The band also recorded five original songs and a cover for Sonic and the Black Knight.For their first 10 years, Crush 40 never performed live. In 2008, Crush 40 performed live at the Tokyo Game Show, with Senoue and Gioeli performing with backing tracks.  A year later, Senoue revealed to Famitsu that Crush 40 had two album releases in the works, one of which was a "Best Of" album, due for release in September 2009.  He also announced the release of future songs that were not written for video games. The Best of Crush 40 – Super Sonic Songs was released on November 18, 2009.  In addition to compiling various Crush 40 songs from previous games, the album featured a new song, "Is It You," and a cover of "Fire Woman", a song released by The Cult in 1989. Senoue was also credited as a soloist on the 2009 Hardline album Leaving the End Open.

Rise Again, Live!, 2 Nights 2 Remember, and Driving Through Forever
After the 2010 release of Sonic Free Riders, Crush 40's contributions to Sonic the Hedgehog decreased. Senoue was no longer lead composer on games in the Sonic series after 2011's Sonic Generations. During the next few years, Crush 40 made more live performances and recordings. In 2010, Crush 40 performed live at the Summer of Sonic convention. The next year, Crush 40 recorded a single, "Song of Hope", as inspiration for hope for victims of the 2011 Tōhoku earthquake and tsunami. According to Senoue, the song was written for charity, specifically for the Red Cross. Subsequently, "Song of Hope" and three new songs were released as an EP called Rise Again. One of the included songs, "Sonic Youth", pays tribute to Crush 40's fans with numerous references to the band's past songs.On March 29 and 30, 2012, Crush 40 performed live at Shibuya GUILTY in Tokyo, with Sonic Team producer Takashi Iizuka in the audience. From this concert, performed with Taneda and Kawamura, Crush 40's album Live! was recorded, and was released on October 3, 2012. The band also performed at the St. Louis Sonic Boom Festival in August 2013, and performed additional shows at the Summer of Sonic convention in 2012 and 2016, and San Diego Comic-Con conventions in 2016 and 2017. After more live performances at the Tokyo Game Show and Japan Game Music Festival 2013, in 2014 Crush 40 was announced for another two-night performance at Shibuya GUILTY.  For the concert, Senoue and Gioeli were joined by Taneda and Katsuji. The concert featured two new songs, as well as a performance of Hardline's "Love Leads the Way". Recorded from that performance, 2 Nights 2 Remember, Crush 40's second live album, was released on May 13, 2015.  It features four additional studio-recorded songs.In 2018, Senoue was named lead composer for the soundtrack for Team Sonic Racing. He was requested to make the game's theme a song by Crush 40.  This led to Senoue and Gioeli recording "Green Light Ride" for the game, Crush 40's first Sonic game theme in several years.  The song was premiered at E3 2018, to a stronger reaction than Senoue expected.  A short version of the song was made available in December 2018, before the 2019 release of the game itself. Senoue expressed his joy at being able to record another game theme with Crush 40, twenty years after Crush 40 began. Subsequently, Crush 40 released another compilation album, Driving Through Forever, in 2019. In 2020, Gioeli re-recorded "Song of Hope" with Bulgarian vocalist Sevi, as a way of reconnecting with fans during the coronavirus pandemic. On June 23, 2021, Sega held a digital concert to honor 30 years of the Sonic franchise, with Crush 40 as one of the participating acts, alongside the Prague Philharmonic Orchestra and the Tomoya Ohtani Band. A live album of the concert was released to digital streaming services in September of the same year.

Musical style and legacy
According to Allegra Frank and Philip Kollar of Polygon, Crush 40 and Senoue have made "some of the most memorable butt rock tracks from Sonic history (and the history of video games in general)". Writing for Vice, Andy McDonald stated that Crush 40 helped to keep glam rock alive after grunge had supplanted it as a more popular style of rock music. Reviewing the album Crush 40, Chris Greening of Video Game Music Online highlights the hard rock sound and showing of Gioeli's experience in the vocals, stating that "Live & Learn" is "an ecstatic Americana rock anthem featuring Johnny at his best", while also stating the instrumentals are inspired by early 1990s heavy metal.  He calls the album "among the best of the genre in game music".Gioeli, who is not a gamer, described his songwriting process with Senoue for games as being akin to writing a soundtrack for a movie, watching scenes from the game or looking at storyboards.  According to Gioeli, "Jun and I have our system—he starts with a musical feeling and sometimes a melody idea and then I go nuts with it! The lyrics do have to be approved for content, but that's it. We have the freedom to write what we feel is the right song for the scene." He has stated that among his three main projects—Crush 40, Hardline, and performing with Axel Rudi Pell—all three are different styles of rock music and he has to set himself in the "right emotions" to perform.When interviewed about his style and that of the band, Jun Senoue said, "I know what my style is, and I know what my favourite genres of music are. I listen to a lot of metal music, as well as other genres of music, and my inspiration is always there. The style of the music in the game does change, and it gives a great sense of progression... When we got together to write stuff for Shadow [the Hedgehog], we found that our fresh ideas were a lot different to the songs we'd written back in 2002 – our sound had changed." Senoue has stated that the tempo of each song written for a game is based on how it is planned to be used and what would be suitable, but those songs not for a game are what the duo want to perform.Writing for Fanbyte, Sean Aitchison stated that Crush 40 provided a signature musical style for the Sonic the Hedgehog series and expanded the musical tastes of Sonic fans.  According to Aitchison, "The band embedded themselves in the memories and hearts of an entire generation of Sonic fans. Though their contributions to the Sonic franchise may be small in number, they are massive in impact." Kofi-Charu Nat Turner's 2008 study of media usage in an American urban middle school listed the band as a common interest within the group studied.

Discography
Games
Notes
Passage 6:
Mr. Right (2009 film)
Mr. Right is a 2009 British film directed by David Morris and Jacqui Morris. The jointly-made gay-themed film is the debut for both directors.

Synopsis
The film presents life of a number of individuals who live in London's Soho area in their quest for their "Mr. Right". One of the highlights of the film is when all the characters gather for an excruciatingly awkward and hilarious dinner party at which wine and secrets are spilled.
Harry (James Lance) is a TV producer but dreams to get way. He loves Alex (Luke de Woolfson), an aspiring yet insecure actor who also works as a caterer. Meanwhile Alex is struggling to create an identity for himself and decides to live independently through monetary help from his brother despite Harry wanting him back
Tom (David Morris, the co-director of the film) is a successful art dealer who is in a precarious relationship with Lars (Benjamin Hart), a handsome sometime-model. Tom finds excuses for Lars' flings so long as Lars doesn't leave him. Meanwhile Lars has this attraction to Harry and can't get over his feelings
William (Rocky Marshall) a divorced former rugby player finds it difficult very difficult to parent his nine-year-old daughter Georgie while trying to get on a new relationship with Lawrence (Leon Ockenden), a striving soap actor. Their relationship is complicated as Georgie is intent on sabotaging his relationship.
Louise (Georgia Zaris), a fag hag, is dating Paul (Jeremy Edwards), but suspects Paul is gay. Paul is slowly but surely getting drawn into the gay scene, despite visibly and verbally protesting every step of the way.By the end of the film three months later, the characters are still striving to make new paths for themselves. Harry is appealing for Alex, now in a small studio residence to return, but the latter turns him gently down despite having feelings for him. Things are much better between William and Lawrence as Georgie becomes more accepting of their relationship. Things have soured between Lars and William. Devastated Lars catches Harry while the latter has just packed to leave everything behind for his long-planned trip away from his dreaded work. Meanwhile Paul is getting more and more into the gay scene despite putting a brave face that he is still straight.

Cast
MainJames Lance as Harry
Luke de Woolfson as Alex
David Morris as Tom
Benjamin Hart as Lars
Rocky Marshall as William
Leon Ockenden as Lawrence
Georgia Zaris as Louise
Jeremy Edwards as PaulOthersJan Waters as Harry's Mother
Maddie Planer as Georgie, Williams's daughter
Sheila Kidd as William's mother
Andrew Dunn as Alex's Father
Karen Meagher as Alex's Mother
Rick Warden as Alex's Brother
Katy Odey as Presenter
Lucy Jules as Emma
Sarah Carleton as Waitress
Dolly Wells as Fizz
Harry Serjeant as Runner
Ian Tytler as Charlie
Jim Cole as Heath
Archie Kidd as Barnaby
Heather Bleasdale as Barnaby's Mother
Yvonne O'Grady as Business Woman
Max Karie as Marcel
Kate Russell as The Yellow Team
Ian Russell as The Yellow Team
Mark Hayford as The Blue Team
Diane Morgan as The Blue Team
Terry Bird as Red Team
Cheryl Fergison as Red Team
Passage 7:
A Place in the Sun
A Place in the Sun may refer to:

A place in the sun, a phrase used to refer to the German Empire's foreign policy (Weltpolitik) and colonial empire

Film and television
A Place in the Sun (1916 film), a British silent film
A Place in the Sun (1951 film), an American dramatic film
A Place in the Sun (British TV series) (2000–present), a British Channel 4 lifestyle programme about buying property abroad
A Place in the Sun (2012 film), a Swedish film based on the Liza Marklund novel
A Place in the Sun (South Korean TV series), a 2019 South Korean television series

Music
A Place in the Sun (Lit album), 1999
A Place in the Sun (Pablo Cruise album), 1977
A Place in the Sun (Tim McGraw album), 1999
"A Place in the Sun" (Stevie Wonder song), 1966
"A Place in the Sun" (Pablo Cruise song), 1977
"A Place in the Sun", a 1983 song by the Marine Girls, from their Lazy Ways album

See also
En plats i solen (disambiguation)
"A Place Under the Sun", a 1999 single by Miho Nakayama
Um Lugar ao Sol, a 2021 Brazilian telenovela
Un Lugar al sol, a 1965 Argentine film
Un posto al sole, a 1996 Italian soap opera
Passage 8:
Robert Siodmak
Robert Siodmak (; 8 August 1900 – 10 March 1973) was a German film director who also worked in the United States. He is best remembered as a thriller specialist and for a series of films noir he made in the 1940s, such as The Killers (1946).

Early life
Siodmak was born in Dresden, Germany, the son of Rosa Philippine (née Blum) and Ignatz Siodmak and the brother of Curt, Werner and Roland. His parents were both from Jewish families in Leipzig (the myth of his American birth in Memphis, Tennessee was necessary for him to obtain a visa in Paris during World War II). He worked as a stage director and a banker before becoming editor and scenarist for Curtis Bernhardt in 1925 (Bernhardt directed a film of Siodmak's story Conflict in 1945). At twenty-six he was hired by his cousin, producer Seymour Nebenzal, to assemble original silent movies from stock footage of old films. Siodmak worked at this for two years before he persuaded Nebenzal to finance his first feature, the silent masterpiece, Menschen am Sonntag (People on Sunday) in 1929. The script was co-written by Billy Wilder and Siodmak's brother Curt Siodmak, later the screenwriter of The Wolf Man (1941). It was the last German silent and also included such future Hollywood artists as Fred Zinnemann, Edgar G. Ulmer, and Eugen Schufftan. His next film—the first at UFA to use sound—was the 1930 comedy Abschied for writers Emeric Pressburger and Irma von Cube, followed by Der Mann, der seinen Mörder sucht, another comedy, yet quite different and unusual, a likely product of Billy Wilder's imagination. But in his next film, the crime thriller Stürme der Leidenschaft, with Emil Jannings and Anna Sten, Siodmak found a style that would become his own.
With the rise of Nazism and following an attack in the press by Hitler's minister of propaganda Joseph Goebbels in 1933 after viewing  Brennendes Geheimnis (The Burning Secret), Siodmak left Germany for Paris. His creativity flourished, as he worked for the next six years in a variety of film genres, from comedy (Le sexe faible and La Vie Parisienne ) to musical (La crise est finie, with Danielle Darrieux) to drama (Mister Flow, Cargaison blanche, Mollenard—compare Gabrielle Dorziat's shrewish wife with that of Rosalind Ivan in The Suspect—and Pièges, with Maurice Chevalier and Erich von Stroheim). While in France, he was well on his way to becoming successor to Rene Clair, until Hitler again forced him out. Siodmak arrived in California in 1939, where he made 23 movies, many of them widely popular thrillers and crime melodramas, which critics today regard as classics of film noir.

Hollywood career
Beginning in 1941, he first turned out several B-films and programmers for various studios before he gained a seven-year contract with Universal Studios in 1943. The best of those early films are the thriller Fly by Night in 1942, with Richard Carlson and Nancy Kelly, and in 1943 Someone to Remember, with Mable Paige in a signature role. As house director, his services were often used to salvage troublesome productions at the studio. On Mark Hellinger's production Swell Guy (1946), for instance, Siodmak was brought in to replace Frank Tuttle only six days after completing work on The Killers. Siodmak worked steadily while under contract, overshadowed by high-profile directors, like Alfred Hitchcock, with whom he had been often compared by the press.
At Universal, Siodmak made yet another B-film, Son of Dracula (1943), the third in the studio's series of Dracula movies (based on his brother Curt's original story). His second feature was the Maria Montez/Jon Hall vehicle, Cobra Woman (1944), made in Technicolor.
His first all-out noir was Phantom Lady (1944), for staff producer Joan Harrison, Universal's first female executive and Alfred Hitchcock's former secretary and script assistant. It showcased Siodmak's skill with camera and editing to dazzling effect, but no more so than in the iconic jam-session sequence with Elisha Cook Jr. in throes on the drums. Following the critical success of Phantom Lady, Siodmak directed Christmas Holiday (1944) with Deanna Durbin and Gene Kelly (Hans J. Salter received an Oscar nomination for best music). Beginning with this film, his work in Hollywood attained the stylistic and thematic characteristics that are evident in his later noirs. Christmas Holiday, adapted from a W. Somerset Maugham novel by Herman J. Mankiewicz, was Durbin's most successful feature. Siodmak's use of black-and-white cinematography and urban landscapes, together with his light-and-shadow designs, followed the basic structure of classic noir films. In fact, he had a number of collaborations with cinematographers, such as Nicholas Musuraca, Elwood Bredell, and Franz Planer, in which he achieved the Expressionist look he had cultivated in his early years at UFA.  During Siodmak's tenure, Universal made the most of the noir style in The Suspect, The Strange Affair of Uncle Harry and The Dark Mirror, but the capstone was The Killers. Released in 1946, it was Burt Lancaster's film debut and Ava Gardner's first dramatic, featured role. A critical and financial success, it earned Siodmak his only Oscar nomination for direction in Hollywood. His German production Nachts, wenn der Teufel kam, based on the false story of Bruno Lüdke, who was falsely accused of being a serial killer by the Nazis, was nominated for Best Foreign Language Film in 1957.While still under contract at Universal, Siodmak worked on loan out to RKO for producer Dore Schary in the thriller The Spiral Staircase, a masterly blending of suspense and horror, which Siodmak said he edited as he pleased, due to a strike in Hollywood in 1945. The film earned Ethel Barrymore an Oscar nomination for Best Supporting Actress. For 20th Century Fox and producer Darryl F. Zanuck, he directed, partly on location in New York City, the crime noir Cry of the City in 1948, and in 1949 for MGM he tackled its lux production The Great Sinner, but the prolix script proved unmanageable for Siodmak who relinquished direction to the dependable and bland Mervyn LeRoy. On loan out to Paramount in 1949, he made for producer Hal B. Wallis his penultimate American noir The File on Thelma Jordon, with Barbara Stanwyck at her most fatal—and sympathetic. Siodmak saw in this film a thematic link with The Suspect and The Strange Affair of Uncle Harry, with the failed lovers of these films and significantly their tragic conclusions (ten years later he addressed the same theme in The Rough and the Smooth). Perhaps his finest American noir—although not his last—is Criss Cross that was to reunite him not only with Lancaster, but also The Killers  producer Mark Hellinger, who died suddenly before production began in 1949. Working without the hands-on control of Hellinger again, Siodmak was able to make this film his own as he could not the earlier film. Yvonne De Carlo's working-class femme fatal (a high mark in her career) completes the deadly triangle, along with Lancaster and Dan Duryea: the archetype of doomed attraction central to all Siodmak's noirs, but the one he could fully express to its nihilistic conclusion.
Siodmak immersed himself in the creative process and genuinely loved working with actors, acquiring a reputation as an actor's director for his work with many future stars, including Burt Lancaster, Ernest Borgnine, Tony Curtis, Debra Paget, Maria Schell, Mario Adorf, Ava Gardner, Olivia de Havilland, Dorothy McGuire, Yvonne de Carlo, Barbara Stanwyck, Geraldine Fitzgerald, and Ella Raines.He directed Charles Laughton (a close friend) and George Sanders, and got from both perhaps the unlikeliest, most natural and under-acted performances of their careers. From Lon Chaney Jr. he drew an uncharacteristically controlled and coldly menacing performance for Son of Dracula. He managed with Lancaster to capture a youthful vulnerability in The Killers, despite the actor's age (he was 33). He was able to get a believable, dramatic performance from Gene Kelly. He also helped raise Ava Gardner's public profile.

Return to Europe
Before leaving for Europe in 1952, following the problematic production The Crimson Pirate for Norma Productions (distributed through Warner Bros.) and producer Harold Hecht, his third and last film with Burt Lancaster (Siodmak dubbed the chaotic experience "The Hecht Follies"), Siodmak had directed some of the era's best films noirs (twelve in all), more than any other director who worked in that style. However, his identification with film noir, generally unpopular with American audiences, may have been more of a curse than a blessing.
He often expressed his desire to make pictures "of a different type and background" than the ones he had been making for ten years. Nevertheless, he ended his Universal contract with one last noir, the disappointing Deported (1951) which he filmed partly abroad (Siodmak was among the first refugee directors to return to Europe after making American films). The story is loosely based on the deportation of gangster Charles "Lucky" Luciano. Siodmak had hoped Loretta Young would star, but settled for the Swedish actress Märta Torén.
Those "different type" of films he had made—The Great Sinner (1949) for MGM, Time Out of Mind (1947) for Universal (which Siodmak also produced), The Whistle at Eaton Falls (1951) for Columbia Pictures (Ernest Borgnine's debut and Dorothy Gish's return to the screen)—all proved ill-suited to his noir sensibilities (although in 1952 The Crimson Pirate, despite the difficult production, was a surprising and pleasing departure—in fact, Lancaster believed it was inspiration for the tongue-in-cheek style of the James Bond films).
The five months he collaborated with Budd Schulberg on a screenplay tentatively titled A Stone in the River Hudson, an early version of On the Waterfront, was also a major disappointment for Siodmak. In 1954 he sued producer Sam Spiegel for copyright infringement. Siodmak was awarded $100,000, but no screen credit. His contribution to the original screenplay has never been acknowledged.
Siodmak's return to Europe in 1954 with a Grand Prize nomination at the Cannes Film Festival for his remake of Jacques Feyder's Le grand jeu was a misstep, despite its stars, Gina Lollobrigida (two of them) and Arletty in the role originated by Françoise Rosay, Feyder's wife. In 1955, Siodmak returned to the Federal Republic of Germany to make Die Ratten, with Maria Schell and Curd Jurgens, winning the Golden Berlin Bear at the 1955 Berlin Film Festival. It was the first in a series of films critical of his homeland, during and after Hitler, which included Nachts, wenn der Teufel kam, both thriller and social artifact of Germany under Nazi rule, shot in documentary style reminiscent of Menschen am Sonntag and Whistle at Eaton Falls, and in 1960, Mein Schulfreund, an absurdist comedy, dark and strange, with Heinz Rühmann as a postal worker attempting to reunite with childhood friend Hermann Göring. In April 1958, Siodmak was made an executive in Kirk Douglas' film production company Bryna Productions, as European Representative.Between these films, and Mein Vater, der Schauspieler in 1956, with O. W. Fischer (the West German Rock Hudson), he took a detour into Douglas Sirk territory with the sordid melodrama, Dorothea Angermann in 1959, featuring Germany's star Ruth Leuwerik. Later the same year he left Germany for Great Britain to film The Rough and the Smooth, with Nadja Tiller and Tony Britton, yet another noir, but much meaner and gloomier than anything he had made in America (compare its downbeat ending with that of The File on Thelma Jordan). He followed with Katia also in 1959, a tale of Czarist Russia, with twenty-one-year-old Romy Schneider, mistakenly titled in America Magnificent Sinner, recalling—unfavorably—Siodmak's other costume melodrama. In 1961, L'affaire Nina B, with Pierre Brasseur and Nadja Tiller (again), returned Siodmak to familiar ground in a slick, black-and-white thriller about a pay-for-hire Nazi hunter, which could be argued was the start of the many spy themed films so popular in the 1960s. In 1962, the entertaining Escape from East Berlin, with Don Murray and Christine Kaufman, had all the characteristic style of a Siodmak thriller, but was one that he later dismissed as something he had made for "little kids in America."
His work in Germany returned to programmers like those that had begun his career in Hollywood 23 years earlier. From 1964 to 1965, he made a series of films with former Tarzan Lex Barker: The Shoot, The Treasure of the Aztecs, and The Pyramid of the Sun God, all taken from the western, adventure novels of Karl May.

Later career
Siodmak's return to Hollywood filmmaking in 1967 with the wide-screen western Custer of the West was another disappointment, receiving mostly negative reviews from critics and failing to generate box-office appeal. Siodmak ended his career with a six-hour, two-part toga and chariot epic, Kampf um Rom (1968), a more campy work (perhaps intentionally) than Cobra Woman had been. There was a brief and profitable foray into television in Great Britain with the series O.S.S. (1957–58). Siodmak was last seen publicly in an interview for Swiss television at his home in Ascona in 1971. He died alone in 1973 in Locarno of a heart attack, seven weeks after his wife's death.
The British Film Institute held a retrospective of his career in April and May 2015.

Filmography
Passage 9:
East Berlin Railroad
The East Berlin Railroad was a short line that operated in Adams County, Pennsylvania, principally handling agricultural traffic.
The railroad was originally incorporated as the Berlin Branch Railroad on March 3, 1876. It was built from Berlin Junction on the Hanover Junction, Hanover and Gettysburg Railroad north seven miles to East Berlin, opening in May 1877. The railroad was initially operated by the HJH&G, which came under the control of the Western Maryland Railway in 1886.The company was reorganized as the East Berlin Railway on July 9, 1903, and began operating as an independent railroad. On July 18, 1914, the railroad was foreclosed on, and reorganized as the East Berlin Railroad on September 8, 1914. Operations ceased the day after, and the rails were removed from East Berlin south to Abbottstown.  Threatened with the loss of its charter, work resumed on the railroad in 1916; track was re-laid into East Berlin, and the line went back into operation on May 27, 1916.The East Berlin bought a gasoline railcar in 1929. Operations again ceased on November 15, 1939, and the whole railroad was scrapped in 1940.
Passage 10:
George Stevens
George Cooper Stevens (December 18, 1904 – March 8, 1975) was an American film director, producer, screenwriter and cinematographer. Films he produced were nominated for the Academy Award for Best Motion Picture six times while he had five nominations as Best Director, winning twice.
Among his most notable films are Swing Time (1936), Gunga Din (1939) and the five movies for which he was nominated for Best Director: The More the Merrier (1943); A Place in the Sun (1951), for which he won the Best Director Oscar; Shane (1953), Giant (1956), for which he won the Best Director Oscar, and The Diary of Anne Frank (1959).

Biography
Film career
Stevens was born on December 18, 1904, in Oakland, California, the son of Landers Stevens and Georgie Cooper, both stage actors. Drama critic Ashton Stevens and film director James W. Horne were his uncles. He also had two brothers, Jack, a cinematographer, and writer Aston Stevens. He learned about the stage by watching his parents, and himself acted in plays in San Francisco.: 9:00  At the age of 10, his mother gave him a Brownie camera, and he began photographing the city and portraits of his mother.: 9:00  At the age of 17, Hal Roach Studios employed him as an assistant cameraman filming Rex the Wonder Horse in Utah.: 10:00  Stevens helped grant Stan Laurel a film career, as the studio had trouble getting the comedian's blue eyes to register on film, but Stevens made a successful test of him using panchromatic film.: 11:00–12:00  He worked as director of photography and a gag writer on 35 Laurel and Hardy short films, such as Bacon Grabbers (1929) and Night Owls (1930); according to Stevens he learned from this experience that comedy could be "graceful and human".: 12:00  In 1928, he met Yvonne Howell in Oliver Hardy's home; they were married on January 1, 1930. In the early 1930s, Stevens began to disagree with Roach's studio, wanting to flesh out characters rather than just make slapstick comedy. This led to a suspension and his departure from the studio.: 14:00  In 1933, he directed his first feature film, The Cohens and Kellys in Trouble, for Universal Pictures.

In 1934, Stevens was hired by RKO Pictures, and he directed the slapstick film Kentucky Kernels. His big break came when he directed Katharine Hepburn the next year in Alice Adams; according to Hepburn, Stevens felt that she got him the job.: 15:00, 30:00  He would subsequently make seven films for the studio in five years.: 15:00  In the late 1930s, he directed Fred Astaire and Ginger Rogers together in the musical Swing Time and separately in A Damsel in Distress and Vivacious Lady, respectively. In 1939, Stevens directed Cary Grant in the large-scale Gunga Din, costing over $1 million as RKO's most expensive film to date; though the studio feared its ballooning budget, it ended up a profitable success.: 23:00, 27:00  In 1940, he directed Carole Lombard in Vigil in the Night. In 1942, he reunited with Hepburn at her behest to film Woman of the Year.: 30:00 Stevens served as president of the Screen Directors Guild (SDG) from 1941 to 1943. After seeing the Nazi propaganda film Triumph of the Will (1935), he was provoked to join the Allied forces in World War II. He joined the U.S. Army Signal Corps and headed a film unit from 1943 to 1946, under General Dwight D. Eisenhower. His unit shot footage—including the only color film of the war in Europe (which remained archived for decades)—documenting the Normandy landings (D-Day),: 47:00  the liberation of Paris,: 51:00  the meeting of American and Soviet forces at the Elbe River, and the Allied discovery of both the Duben labor camp and Dachau concentration camp.: 57:00  Stevens helped prepare the Duben and Dachau footage and other material for presentation during the Nuremberg Trials; this was released as the hour-long Nazi Concentration Camps (1945). In 2008, Stevens's footage was entered into the U.S. National Film Registry by the Library of Congress as an "essential visual record" of the war.In 1946, Stevens resumed his duties as president of the SDG, remaining so until 1948. As a result of his experiences during the war, his films became more dramatic.: 59:00  The drama I Remember Mama (1948) was only partly comedic. In 1950, during the McCarthyist scare and related Hollywood blacklist, Stevens defended Joseph L. Mankiewicz from Cecil B. DeMille's attempt to recall him as president of the SDG. Stevens went on to direct such classic films as the drama A Place in the Sun (1951), the Western Shane (1953), the epic Western drama Giant (1956), the biographical Holocaust drama The Diary of Anne Frank (1959), and his biblical epic of Jesus, The Greatest Story Ever Told (1965). He ended his directing career with the 1970 romantic comedy-drama The Only Game in Town with Warren Beatty and Elizabeth Taylor. That year, he was head of the jury at the 20th Berlin International Film Festival, which ended in scandal. In 1973, he was a member of the jury at the 8th Moscow International Film Festival.

Personal life
During his time filming wild horses with Hal Roach Studios in Utah, Stevens bonded with the Comanche. A number of subsequent associates would speculate that he was part Native American.: 11:00 Stevens was the father of television and film writer-producer-director George Stevens, Jr., the founder of the American Film Institute (AFI). George Jr. produced and directed the documentary about his father George Stevens: A Filmmaker's Journey in 1984 and is the father of Stevens's grandson Michael Stevens (1966–2015), who was also a television and film producer-director.

Death
Stevens died following a heart attack on March 8, 1975, on his ranch in Lancaster, California, north of Los Angeles. He is interred at Forest Lawn Memorial Park in the Hollywood Hills of Los Angeles.

Awards
As a lieutenant colonel in the U.S. Army, Stevens headed the Signal Corps unit that filmed D-Day and the liberation of the Dachau concentration camp. For these contributions, he was awarded the Legion of Merit.
Stevens has a star on the Hollywood Walk of Fame at 1701 Vine Street. He won the Academy Award for Best Director twice, in 1951 for A Place in the Sun and in 1956 for Giant. He was also nominated in 1943 for The More the Merrier, in 1954 for Shane, and in 1959 for The Diary of Anne Frank.

Archives
The moving image collection of George Stevens is held at the Academy Film Archive. The film material at AFI is complemented by material in the George Stevens papers at the Academy's Margaret Herrick Library.

Filmography
Other work
Academy Awards