FREEDOM

"Sometimes not feeling is the only way you can survive."

BOBBY SANDS was born in 1954 in Rathcoole, a predominantly loyalist district of north BELFAST.

http://larkspirit.com/hungerstrikes/bios/sands.html

http://news.bbc.co.uk/onthisday/hi/dates/stories/may/5/newsid_2728000/2728309.stm

http://en.wikipedia.org/wiki/Bobby_Sands

Tribute RICHARD WIDMARK (December 26, 1914-March 24, 2008 ) by Volker Schlondorff-1987.

Let the world change you... and you can change the world.

In January 1952, the almost 30-year-old biochemist Alberto Granado (Rodrigo de la Serna) and his younger friend, the 23-year-old student close to finishing his medical degree, Ernesto Guevara de la Serna (Gael García Bernal), set off from Buenos Aires on an old but treasured Norton 500 for an adventure through Latin America. The first part of their journey is more or less as they expected, although the arduous trip takes it toll on La Poderosa, The Mighty One as they nicknamed the motorbike, and it gives up the ghost in Chile, after a nasty encounter with a herd of cows. By the time they get to Machu Pichu, the middle class young men have begun to see Latin America through eyes that have been opened to poverty and oppression, high-handed big business and the sheer hardship of daily life. They find themselves at a leper colony in the Peruvian Amazon, and Guevara, whose speciality is leprology, realises that something fundamental deep inside his being has changed.

Based on a true story of one young man's tragic 'return to nature'. After graduating from Emory University in 1992, top student and athlete Christopher McCandless abandoned his possessions, gave his entire $24,000 savings account to charity and hitchhiked to Alaska to live in the wilderness. Along the way, Christopher encounters a series of characters that shape his life.

Touching by Sean Penn, 2007.

My first watched was stroked so deaply. Then I never felt same again. Second time is not succesful. It was great film.

Rather good performances by Susan Sarandon, Geena Davis and H.K.

Total HORROR up-to 1996.

Peter Mullan's life is very interesting. better check your-self.

http://en.wikipedia.org/wiki/Peter_Mullan

Magdalene Asylums were institutions for so-called "fallen" women, most of them operated by different orders of the Roman Catholic Church. In most asylums, the inmates were required to undertake hard physical labour such as laundry work. In Ireland, such asylums were known as Magdalene Laundries. It has been estimated that 30,000 women were admitted during the 150-year history of these institutions, often against their will. The last Magdalene Asylum in Ireland closed on September 25, 1996.

Laszlo Kovacs, a Hungarian cinematographer who fell in love with the American landscape on a cross-country bus ride and then used light, shadow and imagination to give visual shape to seminal films like ?Easy Rider,? died on Sunday at his home in Beverly Hills, Calif. He was 74.



Adrees Latif/Reuters, 2002



Laszlo Kovacs

Enlarge This Image



Columbia Pictures



In films like ?Easy Rider? (1969), Laszlo Kovacs blended a love of landscape with an innovative filming style.



His death was announced by the International Cinematographers Guild. James Chressanthis, a cinematographer who is preparing a documentary on Mr. Kovacs and his friend and fellow cinematographer Vilmos Zsigmond, said that the cause was not known but that Mr. Kovacs had earlier had cancer.



Mr. Kovacs came along in the 1960s when the old studio system was sputtering and a new independent cinema was rising. Filmmakers emerged from film schools and work on B movies to challenge traditional themes and techniques and create what has been called ?the new Hollywood,? or ?the American new wave.?



Production moved from the studios to the streets, and the new breed used small crews, lightweight equipment and innovative means of coping with low budgets. Improvisation was both artistic goal and hard necessity. In ?Easy Rider? (1969), Mr. Kovacs used a 1968 Chevrolet convertible as his camera car, making the platform for his camera from a piece of plywood on the trunk held in place by a sandbag.



In that movie, he wanted to portray something hopeful after the fiery demise of the character played by Peter Fonda. A rising helicopter delivered a panoramic view of the horizon, but only after Mr. Kovacs balanced a camera on one skid and counterweights on the other to keep the helicopter from tipping over.



In ?Five Easy Pieces? (1970), Mr. Kovacs memorably matched the color of Susan Anspach?s blue eyes and the sky. In another scene, he shot Ms. Anspach and then let his camera drift elsewhere; she scurried behind the camera and he arrived back at her face, giving the illusion that the shot had gone all the way around the room.



His tricks included using flashing lights and other techniques to create the impression of psychedelic hallucinations. His goal was to let the environment make statements about the characters. He intended for the foggy islands of the Pacific Northwest to explain the tight little family in ?Five Easy Pieces.?



Most of his major works are clustered at the start of the 1970s, including ?That Cold Day in the Park? (1969), Robert Altman?s third feature as a director, and ?The King of Marvin Gardens? (1972), which, like ?Five Easy Pieces,? was directed by Bob Rafelson. He did six pictures with the director Peter Bogdanovich, including ?Targets? (1968), ?What?s Up, Doc?? (1972) and ?Paper Moon? (1973).



His range grew wider, with credits including Martin Scorsese?s movies ?New York, New York? (1977) and ?The Last Waltz? (1978) and Hal Ashby?s ?Shampoo? (1975). Other movies included ?Ghost Busters? (1984) and ?My Best Friend?s Wedding? (1997).



Mr. Kovacs was born on May 14, 1933, in Cece, a farming village about 60 miles west of Budapest. During the Nazi occupation, he distributed flyers for the propaganda movies shown each week in a school auditorium. His pay was a free seat, and he was fascinated by the flickering images.



In 1945, he was accepted into the Academy of Drama and Film Art in Budapest, where students watched Western films surreptitiously. He was swept off his feet by ?Citizen Kane,? saying it ?changed my visual vocabulary.?



In the uprising against the Communist regime in 1956, he and Mr. Zsigmond shot 30,000 feet of film at great risk to themselves. They escaped with the film, and some of it eventually became part of a documentary a few years later.



They both bounced among odd jobs. Around 1957, Mr. Kovacs, who had arrived in the United States speaking no English, moved from New Jersey to Seattle, taking the memorable bus ride that found echoes later in ?Easy Rider.? In 1959, he took another bus to Los Angeles, where he reunited with Mr. Zsigmond.



Mr. Kovacs did movies like ?The Notorious Daughter of Fanny Hill? (1966), often working with the B movie producer Roger Corman. After he shot eight biker movies in one year, Dennis Hopper asked him to do another. Mr. Kovacs?s reluctance to repeat himself vanished after Mr. Hopper acted out the script. ?Easy Rider,? with a budget of $340,000, was a sensation at Cannes and made $60 million.



Mr. Kovacs is survived by his wife, Audrey, and his daughters Julianna and Nadia.



He prided himself on spontaneity. He and the other crew members had no preconceived idea where they would shoot the classic scene in ?Five Easy Pieces? in which Jack Nicholson orders a chicken salad sandwich without the chicken salad just to get the toast he wants.



?Approaching the freeway, we saw a little rise, and there was the cafe,? he said in an interview with American Cinematographer magazine in 2005. ?I think we shot that scene in two hours, and then we moved on.?

James Monaco has described Malick's films as ?mythic? in appearance, but rather than imposing myths onto the reality, Malick finds mythic material out of the reality (or to use his own words, Malick ?deduces? myths out of the reality, instead of ?inducing? them). (4) It is a perceptive comment, for Malick's films usually evoke (rather than explicitly ?reference? or ?replay?) various (cultural, literary, cinematic) myths. Malick himself believes Badlands calls to mind Tom Sawyer, Huckleberry Finn, and Swiss Family Robinson, (5) as they and his film look at our form of life, its values and rituals, from a distance. Days of Heaven (1978) is vaguely biblical both in tone and plot (the title itself, as Stanley Cavell has noted, has a biblical origin). (6) It evokes other films, without specifically commenting on them, and many believe it to be heavily influenced by Murnau's City Girl (1930) and Sunrise (1927), and even George Stevens' Giant (1956). Similarly, even though The Thin Red Line (1998) (7) actually quotes various religious and literary texts, such as The Bhagavad-Gita, (8) The Iliad (9) and The Grapes of Wrath, (10) as well as alluding to films such as Murnau's Tabu (1931) and Cornell Wilde's Beach Red (1967) (and From Here to Eternity, the James Jones novel, as well as Zinnemann's film [1953]), (11) one still wonders as to what such allusions are made for, since unlike most films that self-consciously refer to other films or myths, Malick's films do not engage with them in a particularly critical manner, nor do they understand the notion of myth as something that obscures truth, or legitimizes ideological interests, etc. so that it needs to be ?demystified? and ?revised?, as in the films of someone like Altman or Godard. Instead, Malick understands myths as ?cultural paradigms,? if you will, that function as a precondition for making sense out of the human experience, and that shape the sensibilities of the culture that produces them. Indeed, myths, as recognized as such, are not hypotheses that might or might not turn out to be true, as they serve a completely different function from the presentations of facts.

Days of Heaven

The lack of much critical work on Malick's films is partly due to the fact that (besides the lack of outputs) it is hard to articulate the motivations or concerns behind them. In the case of Days of Heaven, the difficulty is even more pronounced than the director's previous film. Primarily a tragic love story, the characters and the plot are almost dwarfed by the overwhelming scale and the beauty of the film's nature imagery. In a rather perplexing but nevertheless moving way, the film feels detached (in an almost religious sense, one might say) from the specific events within the film, never really delving deep into the particular emotions and minds of the characters. Pauline Kael, perhaps with impatience, likened the film to an ?empty Christmas tree: you can hang all your dumb metaphors on it,? (12) which makes one wonder why she thought the film had to be metaphorical. The critics also have persistently noticed Malick's sympathy towards the aesthetics of silent cinema. As stated, Days of Heaven is largely thought to be borne out of various biblical narratives, and also a self-conscious homage to certain silent films, which makes one curious as to why particularly silent films are being evoked. Is it a case of mere nostalgia? A more likely answer is that such evocations result from Malick's understanding of notions such as image and narrative in relation to cinema.

It is often asserted that cinematic images are ?signs? (and the films ?texts?) that are in need of deciphering, according to certain critical traditions and methodologies, that they are presented to us as something to be ?understood? (or at least that understanding films, in various ways, requires theories). (13) Malick's films are in some sense a profound challenge to such notions, as their primary concerns are not plots and characters with complex psychologies, nor some kind of intellectual engagement with ideas. Rather, Malick's films are most distinguished for the primacy and beauty and poetry of their imagery, which reminds the viewers of the fact that the most primal and direct way in which cinema engages its audiences is via the power of images. (They also force the viewer to listen carefully as well to the sounds that the world produces, including the different poignant human voices). And the intention behind such relative lack of regard for the conventions of ?narrative? cinema is not to be characterized as a subversion or aesthetic gamesmanship. Rather, the films are concerned with bringing cinema back to its humble origins, of presenting unmediated and uninterpreted reality, before its natures have split into different theoretical positions and approaches, such as the dichotomy between realism and expressionism, fiction and documentary, and the division of cinema into various genres and movements. Rather than merely paying homage to silent cinema, it appears to be a certain fundamental or primitive condition of cinema that he seeks, for most silent films are neither primitive, unmediated, nor uninterpreted presentations of reality.

Still, Malick's sympathy towards silent cinema may be thought of as some sort of yearning for purity in images, and may be borne out of a refusal to see cinema (and particularly cinematic images) as governed by various abstractions or opposing theses, instead understanding cinema as first and foremost a ?physical? phenomenon that elicits awe and wonder before any impulse to understand and interpret it in terms of its meaning. In a sense, Malick's films are both fiction and documentary, as they closely document the world that we live in and its inhabitants, akin to, as some have commented, National Geographic programs; as well as realistic and expressionistic. Indeed, contrary to some misconceptions about them, Malick's films (and their images) are profoundly anti-abstract, anti-symbolic, and anti-modernist.

Malick's understanding of cinema seems to be influenced by Heidegger's contention that it is a cardinal symptom of modernity (which he claims has its deepest roots in Greek thinking) to apprehend reality as something to be differentiated from how it appears to a subjective consciousness, and that the reality is understood at the most fundamental level as something to be mastered. (14) Surely, one of the guiding preoccupations of cinema, if one is to understand it as one of the chief products of modernity, is defining what a cinematic image ultimately is; is it a component of a narrative? A representation of the reality? Objective reality or subjective (psychological) reality? Psychological reality of the filmmaker or the characters? Is it a reflection of ideological values?

Heidegger believes the early Greeks, who did not ground the nature of reality in constant presence (15), experienced the world not as a collection of substances (or what ?appearances? really are) to be analyzed, but as a groundless source of mystery (and it is not insignificant, for the present context, that Heidegger thinks the world reveals itself to us via our moods, not cognition). Or as phusis, which has since degenerated into ?nature? in the sense of the products or resources produced by nature. Phusis, in his words, means everything that ?comes-into-presence,? or what unfolds itself in appearance, and the emerging-abiding sway, which, with its overwhelming power, has not yet been mastered by thought. (16) Malick, likewise, is wholly uninterested in envisioning his films as epistemological (or moral, or sociological, or what have you) inquiries for the audiences and the characters, instead preferring to envision them as a presentation of the world, in all its variety, as something to be faced with reverence. One might say, borrowing Wittgenstein's phrase, Malick's films are not interested in ?how the world is,? or what happens to be true, but in ?that it is,? the uncanny (and tragic and wondrous and humbling) fact of its very existence (which is to say, they are not trying to say something at all). (17) Days of Heaven, perhaps, cannot be described with more accuracy than by describing it as a certain embodiment of the site of human passions and tragedies, overseen by the gods and the cosmos where everything, human or nonhuman, has its place.

Burt Lancaster is super.

Daha önce Sefiller, Smilla ve Karlar gibi pek çok önemli edebiyat eserini beyazperdeye yans?tan, Fatih Pele ve Ruhlar Evi gibi filmleriyle tan?nan Bille August bu defa 20. yüzy?l tarihinin önemli isimlerinden biri olan Nelson Mandela?n?n çevresinde geçen bir hikâyeyi ele al?yor. Nelson Mandela?n?n 27 y?ll?k hapis döneminde cezaevi sorumlusu James Gregory?le olan ili?kisini, Mandela?n?n bar?? ça?r?s?n?, Güney Afrika?y? de?i?tirmek için nas?l mücadele etti?ini sembolize etmek üzere beyazperdeye aktard??? Özgürlü?ün Rengi adl? film, 57. Berlin Film Festivali?nde keyifle izlenebilecek filmler aras?nda gösterilirken, bar?? ödülünü ald? ve fazla ses getirmeden festivalden ayr?ld?.
Zencilerle, beyazlar? toplumun her alan?nda birbirinden ay?ran ay?ran Aparthayd yasas?n?n* geçerli oldu?u 60?l? y?llarda ba?layan öykü, Gregory?nin kendi ya?am öyküsünü anlatt??? ve Bob Graham?la birlikte yazd??? Goodbye Bafana adl? kitab?ndan taraf?ndan sinemaya uyarland?.
Ülkede ya?ayan zencilerin durmaks?z?n kötü muamele gördü?ü ve iki ?rk?n aras?nda devlet eli ile çizilmi? derin bir ayr?m?n bulundu?u Güney Afrika?da ya?ayan James Gregory bir hapishanede gardiyanl?k yapan s?radan bir askerdir. James ve kar?s? Gloria?n?n hayat? bir gün ans?z?n gelen bir terfi haberi ile de?i?ir. James?in ba?ka bir hapishaneye tayini ç?km??t?r ve Nelson Mandela?n?n gardiyanl???n? yapacakt?r.
Zencileri ülkeyi tehdit eden en önemli unsur olarak gören James?in fikirleri Mandela ile vakit geçirdikçe de?i?meye ba?lar. James?in Mandela ve ailesine yak?nl?k gösterdi?ini dü?ünen üsleri durumdan rahats?z olmaya ba?lar.
*Aparthayd (Ayr?mc?l?k): Güney Afrika Cumhuriyeti?nde 1994 y?l?na kadar yürürlükte kalan ve beyaz olmayan ?rklar aras?nda yasal olarak bir ayr?m? öngören politikaya denir. Uluslararas? terminolojide, ?rkç?l?k siyasetinin egemen oldu?u hükümetlerce yönetilen rejimlere Aparthayd rejimi denir.

In Tehran, girls can sit beside a boy in the cinema, but not at a football match, because the swearing and shouting might corrupt their sensibilities. As a result, they think up ingenious disguises to get to watch games.

Jafar Panahi's inspiring and charming film follows the frustrations and exhilarations of a group of girls, caught trying to sneak into Iran's World Cup qualifying match with Bahrain. They are corralled into an area at the back of the stadium where they can hear the response of the crowd but cannot see the platers on the pitch. Their guards are national service recruits from the country, who are more afraid of their fearsome "chief" than questioning the rationality of what they are doing.

Verbally, the girls run rings round them, which adds to the film's acerbic humour. Although critical in intent and documentary in approach, Offside is a comedy of character, with political overtones that gently mock the hypocrisy of the government line on gender discrimination.

Panahi cleverly turns every cliche on its head. He is constantly swapping allegiances, following a father searching for his daughter, moving to a young girl with a painted face (not his daughter) and then hinting at a future friendship with a handsome boy on a coach load of footie fans, none of which he follows through in the way you expect.

Every "arrested" girl is given their moment and they are all different, energised, fascinating and (mostly) quick witted. Even the soldiers, who appear as thick as two planks and uneasy with their authority, become human, even sympathetic, by the end.

The game itself remains at the heart, emphasising yet again, as if it needs to be repeated after Germany 2006, that sport unifies and brings people together. The collective emotion at Iran's victory washes over rules of law and injustice like a tsunami. The girls' joy becomes the nation's celebration.

Despite moments of genuine fear, when one or other of the "prisoners" ponders the severity of her punishment, this is a loving and lovely film.

Based on her own graphic novel, Marjane Satrapi and Vincent Paronnaud?s film is a masterly work. A film about growing up during the fundamentalist revolution in Iran sounds like a total downer but in fact the film is anything but. Of course it has tragic and horrifying moments but manages, like Marjane herself, to see the funny side. There is Majane?s eccentric grandmother (Rowlands), who keeps her breasts firm by dipping them in ice-cold water for ten minutes every day. There are the various moving and hilarious sequences where Marjane and her friends defy the fundamentalists, playing air guitar along to Iron Maiden, and Marjane?s first encounters with the opposite sex in Vienna. Above all, there?s the way in which Iranians tried to maintain a veneer of normality ? still holding house parties, with home made wine and decadent music.

http://en.wikipedia.org/wiki/Harvey_Milk

I invite you to learn Harvey Milk's fighting.

http://www.time.com/time/time100/heroes/profile/milk01.html

When a 1920s biplane carrying British explorer Walter Russell lands near Eskimos in the arctic, Russell befriends young Avik, a Euro-Eskimo boy suffering from tuberculosis. He flies Avik to a Catholic hospital in Montreal where the boy meets Albertine, a kindred-soul and playmate, also of mixed parentage. Under the strict tutelage and watchful eye of Sister Baeauville, the two forge a friendship that evolves into puppy love. Although they share everything, young Albertine, a half Native-American half French-Canadian child learns racial self-hatred from Sister Baeauville who tells her she "doesn't have to be a savage." After ten years of separation the lovers meet again. Albertine is a beautiful WAAF photo analyst now betrothed to Walter. Handsome Avik is an English fighter pilot. Their love is rekindled, but will they ever be reunited?

Werner Herzog takes his camera to Antarctica where we meet the odd men and women who have dedicated their lives to furthering the cause of science in treacherous conditions. A scientist studies neutrinos, which are everywhere, yet elusive; he likens them to spirits. A researcher's nighttime performance art includes contorting her body into a luggage bag. A survival guide teaches his students to survive white-out conditions by wearing cartoon-face buckets over their heads. Animal researchers milk mother seals as part of their study. Volcanologists offer advice on what to do when a volcano erupts. A pipefitter shows us the anomaly in his hands that he says are a sign he descended from Atzec royalty. A former Colorado banker drives what he has christened Ivan the Terra Bus. An underwater diver shows his colleagues DVDs of apocalyptic sci-fi films like Them! (1954). And -- though Herzog declares he's not "making another film about penguins" -- we meet a penguin researcher who answers the filmmaker's questions about homosexuality and insanity in his subjects. We also meet an individualist penguin, who breaks away from the other birds to run toward the mountains, facing certain death.

Song of Childhood
By Peter Handke


When the child was a child
It walked with its arms swinging,
wanted the brook to be a river,
the river to be a torrent,
and this puddle to be the sea.

When the child was a child,
it didn?t know that it was a child,
everything was soulful,
and all souls were one.

When the child was a child,
it had no opinion about anything,
had no habits,
it often sat cross-legged,
took off running,
had a cowlick in its hair,
and made no faces when photographed.

When the child was a child,
It was the time for these questions:
Why am I me, and why not you?
Why am I here, and why not there?
When did time begin, and where does space end?
Is life under the sun not just a dream?
Is what I see and hear and smell
not just an illusion of a world before the world?
Given the facts of evil and people.
does evil really exist?
How can it be that I, who I am,
didn?t exist before I came to be,
and that, someday, I, who I am,
will no longer be who I am?

When the child was a child,
It choked on spinach, on peas, on rice pudding,
and on steamed cauliflower,
and eats all of those now, and not just because it has to.

When the child was a child,
it awoke once in a strange bed,
and now does so again and again.
Many people, then, seemed beautiful,
and now only a few do, by sheer luck.

It had visualized a clear image of Paradise,
and now can at most guess,
could not conceive of nothingness,
and shudders today at the thought.

When the child was a child,
It played with enthusiasm,
and, now, has just as much excitement as then,
but only when it concerns its work.

When the child was a child,
It was enough for it to eat an apple, ? bread,
And so it is even now.

When the child was a child,
Berries filled its hand as only berries do,
and do even now,
Fresh walnuts made its tongue raw,
and do even now,
it had, on every mountaintop,
the longing for a higher mountain yet,
and in every city,
the longing for an even greater city,
and that is still so,
It reached for cherries in topmost branches of trees
with an elation it still has today,
has a shyness in front of strangers,
and has that even now.
It awaited the first snow,
And waits that way even now.

When the child was a child,
It threw a stick like a lance against a tree,
And it quivers there still today.

"It is a story of the United States, a grim portrait of a land where people like Travis and Jane cannot put down roots, a story of a sprawling, powerful, richly endowed land where people can get desperately lost."

NEWSWEEK

The last one by Wim Wenders, 1984.

A farce, a family story, a road movie
Synopsis by Wim Wenders-2005

Howard Spence has seen better days. When he was younger he was a movie star, mostly in Westerns. At the age of sixty, Howard uses drugs, alcohol and young girls to avoid the painful truth that there are only supporting roles left for him to play. After yet another night of debauchery in his trailer, Howard awakens in disgust to find that he is still alive, but that nobody in the world would have missed him if he had died.

In 1996, Ry Cooder gathered together some of the greatest names from the history of Cuban music from the 30's, 40's and 50's to collaborate on the best selling and Grammy winning album The Buena Vista Social Club.

Until The End of the World is an odyssey for the modern age. As with Homer's Odyssey, the purpose of the journey is to restore sight -- a spiritual reconciliation between an obsessed father and a deserted son. Dr. Farber, in trying to find a cure for his wife's blindness, has created a device that allows the user to send images directly to the brain, enabling the blind to see.


The creation and operation of such a machine is in stark contrast to a deteriorating global situation, where the continued existence
of mankind is under threat from a nuclear powered satellite that is falling toward earth.







Until The End of the World is a tale
of love and hope -- a metaphor for
the journey we must
all take toward our future…
the ultimate road movie.

Önderlik yetene?iyle dikkati çeken Trakyal? bir köle olan Spartaküs, bir olas?l??a göre Roma ordusundan kaçm??, haydutluk yaparken yakalanm?? ve köle olarak sat?lm??t?. Spartaküs M.Ö. 73'te kendisiyle birlikte Capua'daki gladyatör okulundan kaçan 77 arkada??yla Vezüv Yanarda??'na s???nd?. Küçük bir Roma ordusunca ku?at?lan kaçaklar, bir uçurumdan a?a?? inerek Romal? askerleri ?a??rt?p kaçmay? ba?ard?lar. Spartaküs, kendisine kat?lan ve say?lar? 100 bine ula?an kaçak köle ve gladyatörlerle Lucania'ya do?ru yürüdü. Amans?z bir çat??ma sonucunda Publius Varinius'u yendi ve Thuria ile Metapontion kentlerini ya?malad?. Spartaküs art?k Güney ?talya'ya egemen olmu?tu. Roma Senatosu birden tehlikenin fark?na vard?. M.Ö. 72'de iki konsülün yönetimindeki güçler Spartaküs'ün üzerine gönderildi. Spartaküs onlar? yendikten sonra kuzeye, Alpler'e do?ru yürüyü?e geçti. Gallia Cisalpina valisi onu durdurmaya çal??t?ysa da, yenilgiye u?rad?. Köle ordusu art?k Alpler'i geçebilir ve güvenlik içinde da??labilirdi. Ne var ki, kimse ?talya'dan ayr?lmak istemedi. Spartaküs, ister istemez güneye yürümek durumunda kald?. Lucinia'ya geri dönen ordu, orada ilk kez Marcus Crassus'a yenildi. Spartaküs, Sicilya'ya geçmeyi tasarlayarak Messina'ya çekildi. Onlar? kaç?rmaya söz veren korsanlar sözlerinde durmad?. Crassus köleleri ku?att?ysa da, Spartaküs ku?atmay? yararak çekildi. Daha sonra, M.Ö. 71'de, sava?makta direnen köleler Romal?larca k?l?çtan geçirildi. Romal? general Pompeius, Spartaküs'ün ordusundaki çok say?da kaça?? yakalay?p öldürdü. 6000 ki?iyi tutsak alan Crassus, Appia Yolu boyunca tümünü çarm?ha gerdirdi. Spartacus'un cesedi ise asla bulunamad?.

1. Es war einmal ein treuer Husar,
Der liebt' sein Mädchen ein ganzes Jahr,
|: Ein ganzes Jahr und noch viel mehr,
Die Liebe nahm kein Ende mehr. :|

2. Der Knab' der fuhr ins fremde Land,
Derweil ward ihm sein Mädchen krank, |: Sie ward so krank bis auf den Tod,
Drei Tag, drei Nacht sprach sie kein Wort. :|

3. Und als der Knab' die Botschaft kriegt,
Daß sein Herzlieb am Sterben liegt,
|: Verließ er gleich sein Hab und Gut,
Wollt seh'n, was sein Herzliebchen tut. :|

4. Ach Mutter bring' geschwind ein Licht,
Mein Liebchen stirbt, ich seh' es nicht,
|: Das war fürwahr ein treuer Husar,
Der liebt' sein Mädchen ein ganzes Jahr. :|

5. Und als er zum Herzliebchen kam,
Ganz leise gab sie ihm die Hand,
|: Die ganze Hand und noch viel mehr, Die Liebe nahm kein Ende mehr. :|

6. "Grüß Gott, grüß Gott, Herzliebste mein!
Was machst du hier im Bett allein?"
|: "Hab dank, hab Dank, mein treuer Knab'!
Mit mir wird's heißen bald: ins Grab!" :|

7. "Grüß Gott, grüß Gott, mein feiner Knab.
Mit mir wills gehen ins kühle Grab.
|: "Ach nein, ach nein, mein liebes Kind,
Dieweil wir so Verliebte sind." :|

8. "Ach nein, ach nein, nicht so geschwind,
Dieweil wir zwei Verliebte sind;
|: Ach nein, ach nein, Herzliebste mein,
Die Lieb und Treu muß länger sein. :|

9. Er nahm sie gleich in seinen Arm,
Da war sie kalt und nimmer warm; |: "Geschwind, geschwind bringt mir ein Licht!
Sonst stirbt mein Schatz, daß's niemand sicht. :|

10. Und als das Mägdlein gestorben war,
Da legt er's auf die Totenbahr.
|: Wo krieg ich nun sechs junge Knab'n,
Die mein Herzlieb zu Grabe trag'n? :|

11. Wo kriegen wir sechs Träger her?
Sechs Bauernbuben die sind so schwer.
|: Sechs brave Husaren müssen es sein,
Die tragen mein Herzliebchen heim. :|

12. Jetzt muß ich tragen ein schwarzes Kleid,
Das ist für mich ein großes Leid, |: Ein großes Leid und noch viel mehr,
Die Trauer nimmt kein Ende mehr.

Silkwood's death

Later that evening, Silkwood's body was found in her car, which had run off the road and struck a culvert. The car contained no documents. She was pronounced dead at the scene from a "classic, one-car sleeping-driver accident". The trooper at the scene remembers that he found one or two tablets of the sedative methaqualone (Quaalude) in the car, and he remembers finding marijuana. The police report indicated that she fell asleep at the wheel. The coroner found 0.35 milligrams of methaqualone per 100 milliliters of blood at the time of her death - an amount almost twice the recommended dosage for inducing drowsiness.[4]

However, some have theorized that Silkwood's car was rammed from behind by another vehicle and with the intent to cause an accident that would result in her death. Skid marks from Silkwood's car were present on the road, which have prompted some to suggest that she was desperately trying to get back onto the road after being pushed from behind.[2]:99-101, 114-115

Investigators also noted damage on the rear of Silkwood's vehicle that, according to Silkwood's friends and family, was not present prior the accident. The crash was entirely a front-end collision, so there would be no explanation for the damage to the rear of her vehicle. A microscopic examination of the rear of Silkwood's car showed paint chips that could only have come from a rear-impact from another vehicle. Silkwood's family claimed that Silkwood did not have any accidents or fender-benders with the car that they knew of, and that the 1974 Honda Civic she was driving was not a used car when it was purchased. Further, there had been no insurance claims filed on the vehicle.[2]:114-115

The car did not contain any documents, which relatives swore she took with her and had placed on the seat besides her, leading some to allege that they were stolen from her car immediately after the crash in order to silence her allegations concerning her workplace. According to Silkwood's family, she had received several threatening phone calls very shortly before her death. Such speculation about foul play has never been substantiated.[2]

Silkwood's organs were analyzed as part of the Los Alamos Tissue Analysis Program by request of the Atomic Energy Commission and the State Medical Examiner. Much of the radiation was in her lungs, which tends to suggest that the plutonium was inhaled. When her tissues were further examined, the second highest deposits were found in her gastrointestinal organs.

Public suspicions led to a federal investigation into plant security and safety, and a National Public Radio report concerning 44 to 66 pounds of misplaced plutonium. Silkwood's story emphasized the hazards of nuclear energy and raised questions about corporate accountability and responsibility. Kerr-McGee closed its nuclear fuel plants in 1975. The grounds of the Cimarron plant were still being decontaminated 25 years later.[4]

Early work by Wong Kar-Wai. Better than latters.

There was before Breathless, and there was after Breathless. With its lack of polish, surplus of attitude, crackling personalities of rising stars Jean-Paul Belmondo and Jean Seberg, and anything-goes crime narrative, Jean-Luc Godard's debut fashioned a simultaneous homage to and critique of the American film genres that influenced and rocked him as a film writer for Cahiers du cinema. Jazzy, free-form, and sexy, Breathless (A bout de souffle) helped launch the French new wave and ensured cinema would never be the same.

Seven years after his comeback film The Thin Red Line, Terrence Malick returns to cover a topic with scope to finally match his enigmatic talent. The New World sees him detailing the very formation of America, dissecting the popular Pocahontas myth as his means of doing so. And whether this is a popular yarn positively spun, or a much gloomier meditation about the loss of natural freedom, it is brilliantly delivered and absorbing to watch.

As the native Powhatan tribe of Indians struggle with newly-arrived British settlers in 17th century Virginia, the resident chief's daughter Pocahontas (Q'Orianka Kilcher) and tender explorer Captain Smith (Colin Farrell) fall deeply in love. Neither of their societies approve; soon Pocahontas is traded to the English and Smith summoned home by his king. Slowly adapting to the disciplined lives of the settlers, the abandoned Pocahontas begins to find new happiness with recently arrived farmer John Rolfe (Christian Bale).

Major events in Pocahontas' life are made to mirror the changes happening in America around her. As she is traded, so the Indians seem to somehow cede control of the land, allowing the English to establish themselves. Her two relationships also communicate a shift. With Smith, she ran around in fields and stared with naive eyes at the world; the new life with Rolfe involves farming tobacco and living in a house. It's restrictive, but sensible and honest. This is the new country.

Though he doesn't particularly convince as a grizzly explorer, Farrell puts in a decent performance as the traumatised Smith, whose eternal adoration for Pocahontas is made profoundly, painfully obvious. Bale is efficient and calm as the kind-hearted Rolfe, who battles to claim Pocahontas' heart after Smith moves away. The two never share the screen, yet balance each other well.

But there is no doubting the star of the show. Partly due to her most bewitching smile, Peruvian-born Kilcher is mesmerising as Pocahontas. Gracefully allowing her character to shift from enthusiastic young girl to wearied housewife, she is in turn inspiring, bewildering and iconic. Every possible emotion is covered along the way, without blemish. A dazzlingly bright presence, Kilcher's Pocahontas deserves to be one of cinema's great characters.

She is aided by Malick's thoughtful, zealous direction. Up until Pocahontas' trade, his film is wild and energised. Emmanuel Lubezki's camera spins around in rapture, stealthily stalking through the long grass, or staring with unwavering focus on astonishing landscapes. Natural Virginian sounds compete with James Horner's dramatic music for attention; there is little speech. Malick presents the land just as the magical new frontier must have seemed for those first settlers. And, like it, his film is epic, sprawling and inspirational.

It's also an emotional picture at this stage, more concerned with places and senses than action or plot development. Whether it's the Indians attacking, or the English, it matters not; Malick prefers to focus on the sentiments of his main trio of characters, with dramatic music, pained faces and charged voiceovers. Then, as soon as Pocahontas is taken from her tribe and Smith leaves her, the dreamy feel suddenly ceases, the bubble bursts and the film changes.

It has stiller, clearer scenes, less demanding on the senses; the plot becomes more prosaic and slow-paced. Whereas, in the early scenes, it was hard to know what was occurring on screen; now it is easy - there's more dialogue and more logical scene progressions. The initial fervour is replaced by a stony calm, as if the movie has grown up, or been suppressed, like Pocahontas. As America shifts, so does Malick's film in response.

In the shift, and the way that the lively, naive Pocahontas is so noticeably dulled, you wonder if Malick really believes that a good change took place at all. Yes, the English have great qualities; yes, their society has stood the test of time. But the loss of Pocahontas' liberty and expressive temperament are terrifically obvious in the film's second part; it seems hard to think of that loss other than as a tragedy.

But tragedy or not, Malick's film is a rousing, delicious experience. It has so much to offer; vast, lush scenery, elegant camerawork presenting hugely important historical moments, a sublime soundtrack and a roller coaster, compelling love triangle - and of course its majestic main character.

This is cinema made individually, warmly and skillfully - just, in fact, as it should be.

On an ugly road in Kazakhstan, a middle-aged man abandons his car, which has run out of gas, and starts to walk across the vast steppes of Central Asia. He occasionally encounters people and the trappings of civilization, but he never lingers long or veers from the course that leads to his unknown destination. This is the intriguing beginning of one man?s journey within a journey in renowned German director Volker Schlöndorff?s Ulzhan.

We learn that the man?s name is Charles Simon (Philippe Torreton), and further pieces of his identity reveal themselves as he relentlessly walks the rugged terrain. Other than the mystery of his past, what compels the viewer most about Charles is the sheer drive that keeps him moving toward his target. Here is a man who wants to shed all the ephemera of his former life; he knows that when he reaches his journey?s end, he will not require any of it.

After a discussion with a fellow traveller, he realizes that a horse will navigate the steppes faster and more safely than he can on foot, so he buys one from a young female teacher named Ulzhan (Ayanat Ksenbai) in a small town. For reasons that soon become clear ? and despite Charles?s dogged determination to travel alone ? Ulzhan leaves everything behind and follows him into the mountains.

The pair, sometimes together, sometimes apart, meet with storms and privation along their arduous route. They also come across a shaman (David Bennent, the boy from Schlöndorff?s 1979 film, The Tin Drum) who feels a kinship with the travellers and does his best to help them on their way.

Schlöndorff places his tortured and enigmatic main character against a vast canvas. Stunningly photographed, Ulzhan intertwines myth, magic and mystery while taking us across the rawest terrain left on earth ? not merely Kazakhstan, but the human soul as well. By Jane Schoettle.


27th Istanbul Film Festival (5-20 April)is going on. I watched V.Schlondorff's last film ULZHAN-2007 the last night. Up dated info.

At first I thought I was fighting to save rubber trees, then I thought I was fighting to save the Amazon rainforest. Now I realise I am fighting for humanity.

"Jancsó exhibits portraits of an embryonic police state, set against a pitiless sky and a plain so vast that it seems to show the curvature of the earth. In his cold eye, war is an aleatory art in which values are as random as bullets... In his own deep-dimensioned, black and white montages, he seems a sculptor who scrapes his material from the soil of his native land and gives it a cast of permanence." (Time, 1969)

Summer confessions on the hard pillow. 2005 by Laurent Cantet , one of the leading new generation French film directors after New Wave.

Make love no war please. B & W.