UK+IRELAND

The film is ostensibly a story of love surviving beyond the grave, in a mini-genre which includes Here Comes Mr Jordan (US, 1941), The Ghost Goes West (d. René Clair, 1935) and Ghost (US, 1990). But Minghella's story, in which a young translator is so overcome by the death of her lover that he comes back, is really a metaphor for the grieving process (although it is just as effective if taken literally). Nina (Juliet Stevenson) is initially overjoyed at Jamie's (Alan Rickman) return, but his presence allows her to deal with her grief until finally she is ready to move on, to a new relationship with art therapist Mark (Michael Maloney).

The movie opens depicting the events leading up to the American Civil War, and proceeds to a vivid recreation of the Battle of the Crater. Jude Law plays a Confederate soldier named W. P. Inman, who meets Ada (Kidman), and is at the fledgling stages of a relationship with her when he marches off to war. Inman experiences many battles and losses of friends, and as he is recovering in a hospital from a battle wound, decides to set off on foot for his home on Cold Mountain, in North Carolina, and to the woman he loves. On his journey he meets a corrupt preacher (Hoffman), an old and wizened woman, and a young widow (Portman). Through these people, he is able to continue his journey back to Ada and finds something out about himself.

Ada is a city woman who only recently moved to the rural farm named Black Cove. Shortly after she arrives, her minister father dies, leaving her alone on the farm and with little prospect for help, as the young, able-bodied men are off at war. She is completely inept at working the farm, having been raised to become a southern lady and is struggling to survive at the farm. She manages to survive thanks to the kindness of her neighbors, one of whom eventually sends Ruby (Zellweger) to her. Ruby is a young woman who has lived a hard-scrabble life and is very adept at the tasks needed to run the farm. Ruby lives at the farm with Ada and together, they take the farm from a state of disaster to working order.

The two women form a close friendship and become each other's confidants. They also are friends with the Swangers, who live down the road from Black Cove. It is at the Swangers' well that Ada "sees" a vision of Inman coming back to her in the snow along with a flock of crows. During the war, Ada and Ruby, and other members of their community, have several tense encounters with men who are members of the Confederate Home Guard. Although the purpose of the home guard was to protect the south and its citizen population from the North, they have become violent vigilantes who hunt and often kill deserters from the Confederate army and terrorize citizens they believe are housing or helping the deserters. It is with these hunters that Inman will eventually have an inevitable show-down.

Inman eventually finds his way to Ada and Cold Mountain. They decide to marry themselves, saying that an official marriage would be silly now and a waste of time. They consummate their marriage and start their new lives together. However, while fighting off the hunters, Inman is shot. Ada goes to him, and finds him just as she saw in a well years earlier. He soon dies. The film ends several years later with Ada, Ruby and their families celebrating Easter. At the table there is Grace Inman, who was conceived on her parents' wedding night.

An epic of life, death, betrayal and lust, The English Patient paints a beautiful and intriguing portrait of the desert during wartime. Somewhere in the Sahara Desert, in 1943, a biplane flies low over the curvaceous dunes. Spotting the British colours, a German anti-aircraft emplacement brings it down in a ball of fire. The pilot, Count Laszlo Almasy (Ralph Fiennes), fails to die despite his terrible burns, and is instead rescued by passing Bedouin. Turned over to the Allied authorities a little while later, he is unable to recall anything of his past (except that he's not German). With so little to go on, he is named the "English Patient" and winds up in the care of a Canadian medical unit stationed in Italy. One of the nurses, Hana (Juliette Binoche), takes special care of him and an attachment forms. Realising that her charge hasn't long to live, Hana manages to persuade her superiors to let her hole up with the Count in an abandoned villa, alone until he succumbs to the inevitable.

http://www.dinaview.com/?cat=208

Nicolas Roeg's first film shot in America, The Man Who Fell To Earth (1976) is a complex, difficult film which is as much about the reactions of a foreigner to the country as it is a traditional narrative. Typically, Roeg takes a straightforward source - in this case, Walter Tevis' novel - and cuts it up to suit his favoured style, which proceeds through the non-linear connection of images and ideas.



As with Mick Jagger in Performance (d. Donald Cammell/Roeg, 1970), Roeg uses David Bowie as much for his stage persona as for his acting abilities, although Bowie gives a fresh, naturalistic performance. The qualities of aloofness, strangeness and sexual androgyny which Bowie projected in his stage persona are integral to the scheme of the film, which demands Newton to be both recognisably human yet entirely alien.



Assisted by a script from his recurring collaborator Paul Mayersberg, Roeg uses his typically dazzling editing style to mix past and present, deliberately disrupting a traditional sense of time passing. He also makes notable use of the recurring images of water and, memorably, of Newton sitting, drugged, in front of a wall of television sets, whose programmes often ironically counterpoint the storyline.



Underneath the surface, this is a hackneyed moral tale of purity corrupted by experience, but it is distinguished by its style and the extraordinary images concocted by Roeg and his cinematographer Anthony Richmond. America seems a rich and strange country, impossibly overwhelming. The deserts of New Mexico are a potent image of aridity, reflected in flashbacks to Newton's planet. However, the repetitive use of explicit sex, although often amusing, seems included more for commercial than artistic reasons.



In its examination of loneliness and lost love, this is Roeg's most moving film. Like Chas in Performance and John in Don't Look Now (d. Roeg, 1973), Newton is an outsider in an alien world, whose inability to understand his new environment seals his fate. His quest for water is destined to fail because, to the outsider, America is too much of a distraction, and human frailty seems to infect everything it touches.

subject is moving to Vienna rather than Berlin, but good film about cold war term.

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

R.S's the best film which he could ever made.

http://www.godsoffilmmaking.com/html/the_duellists.html

"1984" Bin Dokuz Yüz Seksen Dört adl? kitap 1949 y?l?nda George Orwell taraf?ndan yaz?ld?. Distopya niteli?indeki bu roman devletin insanlar üzerindeki tart??mas?z egemenli?ini anlatmakta. Kitab?n ba? kahraman?n?n kendi akl?yla dü?ünmeye çal???rken parti taraf?ndan ki?ili?inin nas?l çökertildi?ini ve toplum ile uyumlu biri haline getirildi?ini gösteriyor. Orwell bu kitapla kominizme ve a??r? e?itlikçi görü?üne ele?tirel bir bak?? getirmi?tir.

Kitap 1984 olarak gösterilen fakat asl?nda bilinmeyen bir zamanda Londra?da geçmekte. Dünya üç büyük devlet olan Avrasya, Okyanusya ve Do?u Asya taraf?ndan payla??lm?? ve bu devletler sürekli olarak sava? halindedir. Hikaye Okyanusya?da (?ngiltere) geçmektedir. Devlet Büyük Birader ve Emmanuel Goldstein taraf?ndan kurulmu? daha sonras?nda Emmanuel Goldstein olanlara kar?? ç?km?? bunun üzerine idama mahkum edilmi?tir. Onu bir daha gören olmam?? ama ya?ad???na ve Karde?lik Örgütü ad? alt?nda bir devlet kar??t? yap?lanman?n ba??nda oldu?una inan?lmaktad?r. Devlet Büyük Birader taraf?ndan teleekranlar ve ses kay?t cihazlar?yla sürekli izlenmekte ve dinlenmektedir. Dü?ünce Polisi ad? alt?ndaki insanlar devletin alehine konu?anlar? ya da sadece dü?ünenleri tespit edip onlar?n buharla?t?r?lmas?n? sa?l?yorlard?. Buharla?t?r?lmak geçmi?ten ve gelecekten silinmek demekti. Gecenin bir yar?s? gelip suçluyu yok ediyorlard? ve sanki daha önce hiç ya?amam?? gibi onu her ?eyden siliyorlard?. Bunu devlet de?il insanlar bile fark?nda olmalar?na ra?men hiç olmam??lar gibi davran?yorlard?. Parti üyeleri ?ç Parti ve D?? Parti üyeleri olarak ikiye ayr?l?yordu. ?ç Parti üyeleri yönetenler D?? Parti üyeleri ise çal??an memurlardan olu?maktayd?. Bir de proleterler vard?. Onlar özgürdü ve Parti üyeleri için hayvandan farks?zd?. Devlet dört bakanl?k taraf?ndan yönetiliyordu. Do?ruluk bakanl??? haber, e?itim, e?lence i?leriyle, Bar?? bakanl??? sava?la, Sevgi bakanl??? yasalar ve düzenle, Bolluk bakanl??? da ekonomi ile u?ra?maktayd?.

Filmdeki oyuncular kitaptaki karakter betimlemelerine sad?k kal?narak seçilmi?.

Winston, kitapta otuz dokuz ya??nda, ince, çelimsiz, varis ülseri olan biri olarak anlat?lmakta. Filmde seçilen oyuncu ki?ilik için çok uygun olmu? fakat filmde varis ülseri atlanm??. Kitapta bunun önemli oldu?unu dü?ünüyorum çünkü ilk zamanlarda sürekli ka??nan ve mikrop kapan bir yarayken gerçekleri kabullenip gerçek bir insanm?? gibi ya?amaya ba?lad?ktan sonra ülserin bir daha yara olmad??? anlat?l?yor.

Julia, yirmi yedi ya?lar?nda o?lan çocu?unu and?ran k?sa siyah saçlar?, çilleri, seri, atletik yap?s? ve ince belini ortaya ç?karan Gençlik Anti-seks örgütünün sembolü k?rm?z? ku?a??yla aynen filme yans?t?lm??t?r.
Büyük Birader kitapta k?rk be? ya?lar?nda siyah gür b?y?kl?, sert çizgilere sahip bir yüz olarak betimleniyor. Filmde çok benzer bir yüz kullan?lmakta. Ayr?ca kitaptan ve filmden anla??ld??? gibi Büyük Birader özellikleri ve görünümü ile Josef Stalin?in sembolüdür.

Emmanuel Goldstein ince çehreli, beyaz kabar?k saçlarla çevrelenmi?, küçük, keçi sakall?, zeki, uzun burunlu ve burnunun ucunda bir gözlük bulunan biri olarak tan?mlan?yor kitapta. Filmde de ayn? ?ekilde aktar?lm??. Olaylar ve d?? görünümü itibariyle bu karakterin Lev Troçki?yi sembolize etti?ini söyleyebiliriz.

O?Brien karakteri sa?lam yap?l?, kal?n boyunlu, çirkin, gülünç ve yaban?l bir yüze sahip kelimeleriyle anlat?lm??t?r. Filmde yarat?lan karakter bu özelliklerden uzakt?r fakat d?? görüntüsünden daha önemle belirtilen korkunç görüntüsünün ard?nda insan? çeken gizli bir yön ta??mas? ve gözlü?ünü burnunun üzerine yerle?tiri?indeki çekicilik ve uygarca görüntü ba?ar?yla aktar?lm??t?r.

Ba? kahraman?m?z Winston Smith ?Geçmi?i denetleyen, gelece?i de denetler; ?u an? denetleyen geçmi?i de denetler.? Slogan? alt?nda olu?turulmu? ar?iv bölümünde çal??maktad?r. Eski haberleri de?i?tirerek o günkü politikalara uygun olarak düzenler. Eskilerini yok ederek Partiyi haks?z ç?karacak bütün bilgiler tutarl? hale getirilmektedir bu bölümde. Julia ise Parti içinde çok aktif olan birçok faaliyette etkin olarak yer alan biridir. Bu yüzden Winston içten içe ondan nefret eder hatta onun ?rz?na geçip, öldürmek istedi?ini bile dü?ünür.

Kitap Winston??n günlük tutman?n yasak olmas?na ra?men günlük tutmas?yla ba?l?yor. Kitapta çekmeceden ç?kard??? deftere yazmas?na kar??n filmde bunun kas?tl? bir eylem oldu?unu göstermek için tu?lan?n arkas?na saklad??? görünüyor. O sayfalara elinde olmadan ?Kahrolsun Büyük Birader? yaz?yor. Winston günlü?üne bunlar? yazarken kom?usu taraf?ndan lavaboyu tamir etmeye ça?r?l?yor. ?stemeyerek gitti?i bu ev asl?nda kitaptaki aile yap?s?n? çok aç?k bir ?ekilde ortaya koyuyor. ?ki küçük çocuk ajan k?yafetleriyle evde dola??yorlar ve erkek olan? Winston?? dü?ünce suçlusu olarak görüyor. Ayr?ca o dönemde birçok çocu?un ajanl?k yaparak ailesini ele verdi?i ve onlar?n büyük kahramanlar olarak an?ld??? da anlat?l?yor. Kitapta çocu?un ona ba??rarak ?Sen bir dü?ünce suçlususun? dedi?i ve sapanla sald?rd??? yaz?lm?? filmde ise sadece k?sa bir sahne olarak geçilmi?.

Filmde konu?malar bire bir aktar?lmaya çal???lm??. Geçmi?i anlatan sahneler filmde rüyadan kesitler gibi geçiyor ve annesinin oldu?u an?lar? ile Julia ilgili hayaller hep bir arada aktar?l?yor. Oysa kitapta eski kötü an?lar?n zaten hep oldu?u fakat Julia?n?n ortaya ç?kmas?yla gerçekli?e özlem vurgulanmak için bir arada aktar?lmaya ba?land??? görülmekte. Kitab?n yapt??? daha uzun bir zamana bölerek olay? daha çarp?c? yapmakt?r. Ayn? zamanda ilerde bilinçalt?nda önemli bir yeri olan fareler filmdeki an?larda sürekli kullan?l?yor. Hikayenin en önemli sembollerinden biri bu. Film bunu her geçmi?i anlatan sahnesine fareler yerle?tirerek vurgularken kitapta farelerin önemini bu kadar rahat anlayam?yoruz. Sadece Julia ile kald?klar? odalar?nda fare görmeleriyle Winston??n korkusunu fark edebiliyoruz. Filmde kap?n?n ard?na geçti?i sahneler hayalleri ve geçmi?i olarak verilmi?. Filmde annesinin ölü bedeni önünde dururken annesinin fareler taraf?ndan yenildi?ini izlemektedir. Kitapta olmayan bu sahne çok yerindedir. Annesinin ve küçük k?z karde?inin kuyuya do?ru bat???n? anlatan bölüm de filmde yoktur ama kitapta defalarca Winston??n rüyalar?na girmi?tir. Küçük karde?ine ait olan çikolata parças?n? çocuksu bencillikle çald??? ve asl?nda karde?ini ölüme terk etti?inin fark?nda oldu?unu gösteren bölüm ise oldu?u gibi filme aktar?lmaya çal???lm??t?r. Geri döndü?ünde kitapta sadece annesinin ve k?z karde?inin olmad??? bir ev anlat?lm??t?r. Filmde ise fareler ya?an?lan her yeri kaplam??t?r. Filmdeki vurgu daha ba?ar?l?d?r.

Sonraki sahnelerden birinde Julia dü?me taklidi yap?yor ve Winston onu kald?r?rken eline bir not s?k??t?r?yor. Bu Julia ile Winston??n ilk ileti?ime geçi?leri. Notta ?Seni seviyorum? yaz?l? ve di?er taraf?nda da ?Zafer Meydan??. O ak?am Zafer Meydan?nda as?lma gerçekle?iyor. Bu her zaman yap?lan bir ibret gösterisi. Suçlular ve Proleterler insanlar?n gözü önünde as?l?yorlar. Zafer Meydan?nda bulu?uyorlar, as?lma gerçekle?ece?i için meydan çok kalabal?k böylece fark edilmiyorlar. Nefret saati de aynen bunun gibi insanlar?n gruplar halinde oldu?u ve kat?lman?n zorunlu tutuldu?u bir etkinlik. Burada Okyanusya?n?n dü?man?na ve Emmanuel Goldstein?a insanlar ba??rarak nefretlerini kusuyorlar. ?ki dakikal?k bu törenin ard?ndan Büyük Biraderin resmi ç?k?yor ve herkes huzura kavu?uyor.

Julia ile Winston bir daha ki sefere ?ehirden uzak ye?illiklerle kapl? bir yerde görü?üyorlar. Filmde bu yer hayalini kurdu?u kap?n?n arkas?ndaki yer olarak kullan?l?yor. Asl?nda gerçekli?in oldu?u tek yer olarak da dü?ünülebilir. Kitapta ise oras? eskiden var olmu? Alt?n Ülke olarak Winston??n kafas?na kaz?nan bir yer. Güne?in alt?n rengini ve s?cakl???n? verdi?i yemye?il gerçek bir yer. Bunun gerçek olup olmad???n? bile tam olarak kestirememesine ra?men oran?n var olmu? olma fikri bile Winston?a güç vermektedir. Julia Anti-seks örgütüne ba?l? olmas?na ra?men Winston ile beraber oluyor ve bunu defalarca yapm?? oldu?unu söylüyor. Böylece Parti içindeki aktifli?inin sadece bir kamuflaj oldu?unu anl?yoruz.

Winston zaman zaman Proleterlerin oldu?u bölgelere gidiyor. Orda her zaman gitti?i ve eski e?yalarla dolu bir dükkan var. Günlü?ünü de bu dükkandan al?yor. Dükkan?n sahibi Bay Charrington filmde çok ta fazla ileti?ime geçilmemi? bir insan olarak da görülse kitapta asl?nda Winston??n eskiye olan özlemini en iyi anlayan ve ona bu konuda yard?m eden biri olarak anlat?l?yor. Bu yüzden filmin sonunda bu karakterin dü?ünce polisi ç?kmas? gayet basit olarak alg?lansa da kitapta büyük bir dü? k?r?kl???na neden oluyor. Bu dükkana yeniden gitti?i bir gün Bay Charrington ona kullanmad??? eski bir oday? gösteriyor. Winston o gün ordan sadece içinde bir mercan olan cam bir fanus alarak ç?ksa da yak?n zamanda Julia ile bulu?tuklar? yer haline geliyor. Bu bulu?malarda Julia bir kad?n gibi giyinip makyaj yap?yor hatta parfüm bile sürüyor. Parti içindeki kad?nlar?n bunlar? yapmas? kesinlikle yasakt?.

Kald?klar? yerin penceresinden görülen proleter kad?n bir ?ark? söylüyor ve Winston onlar?n gerçek insanlar olduklar?n? kendisinin ve parti içindekilerin ise tamamen yapma olduklar?n? dü?ünüyor. Bu yüzden de günlü?üne bir umut var ise o da proleterlerdir yaz?yor. Winston??n proleterlere olan güveni yeterince anlat?lmam?? filmde.

Winston ar?ivde çal???rken konu?yaz?nda yani konu?ularak yazan daktilosunda geçmi?le ilgili olanlar? de?i?tiriyor. Buharla?t?r?lm?? insanlar? hala var olan insanlar ile de?i?tirerek düzenin devam etmesini sa?l?yor. Yan masas?nda çal??an arkada?? ile ilgili bir haber de?i?tirmesi gerekiyor ve o anda onun da buharla?t?r?laca??n? anl?yor. Ertesi gün ortadan yok oluyor ve Winston biliyor ki kendi elleriyle onun yok olmas?na tarihten silinmesine yard?mc? oluyor. Fakat insanlar?n nas?l haf?zalar?ndan bu kadar kolay silebildi?ine bir türlü anlam veremiyor. Günlü?üne de bununla ilgili ?Nas?l yap?ld???n? anl?yorum ama neden yap?ld???n? anlam?yorum? yaz?yor. Winston hala eski Londra?y? hat?rlat?yor. Devrimin gerçekle?ti?i tarihi tam olarak an?msamasa da devrimden öncesi oldu?unu, kapitalist bir düzende farkl? insanlar?n oldu?u bir dünyan?n varl???n? çok iyi biliyor. Kitapta Winston??n haf?zas?nda kalan görüntüler anlat?l?yor fakat film bunlara de?inmiyor. Genel olarak karanl?k, gri tonlar?n kullan?ld???, insanlar?n tek tip gösterildi?i bu filmde eski zaman?n özellikleri farkl? çekim teknikleri ve daha parlak renklerle yans?t?labilmesine insanlar?n farkl?l???n?n güzelli?i vurgulanabilmesine ra?men yönetmen tamamen bunlar? atl?yor.

Okyanusya?n?n Avrasya ile olan sava?? sona eriyor ve ar?iv bölümü çok çal??arak bütün bilgileri yeniliyorlar. Dü?man olarak gösterilen Avrasya bir anda müttefik haline geliyor ve ar?iv bölümü eski haberlerin hepsini buna göre düzenliyorlar. Yeni dü?manlar? olan Do?u Asya sanki her zaman dü?manlar?ym?? gibi gösteriliyor. Nefret saatlerinde nefret ettikleri Avrasya yerine konulmu? Do?u Asya?ya kimse itiraz etmiyor. Sadece nefretlerini göstermeye devam ediyorlar. ??te bu yüzden onlar?n haf?zalar? normal Winston??n içinde bulundu?u durumda haf?zas? kusurlu say?l?yor. Bu da bize herkes için do?ru olan?n her zaman için do?ru olmad???n? gösteriyor.

Yazd?klar? ve dü?ündüklerinin sadece kendine özgü olmad???na inanan Winston bu sefer de a?a??lanan ve suçlanan Karde?lik Örgütünün gerçekli?ine inan?yor. O?Brien ad?ndaki ?ç Parti üyesi ki?ili?e bu yüzden bir umut olarak bak?yor. Onun Karde?lik Örgütü ile ba?lant?l? oldu?unu dü?ünüyor. Rüyas?nda da O?Brien??n gelip ona ?Karanl???n olmad??? bir yerde görü?ece?iz? demesiyle Winston çaresizce buna inan?yor. Geçen zaman?n ard?ndan O?Brien Winston??n yazd?klar?ndan övgüyle bahsediyor ve ona Yeni Lisan??n yani Okyanusya?n?n kulland??? dilin sözlü?ünün yeni ç?kmam?? bask?s?n? vermek istedi?ini söylüyor. Filmde tam olarak aktar?lan bu sahne izleyiciyi oldukça etkiliyor. Yak?n planda el s?k??t???n? gördü?ümüz bu iki karakterin hemen arkas?nda kocaman bir Büyük Birader resminin durmas? her zaman izlenildikleri duygusunu peki?tiriyor ve yasak olmas?n?n çekicili?ini de hissettiriyor.

Winston Julia ile görü?meye devam ediyor ve bu olanlar?n hepsini onla payla??yor. Yakalan?p suçlu görüleceklerini bile bile görü?meye devam ediyorlar. Julia da Karde?lik Örgütünün var olma fikrine inan?yor ve Winston?a destek veriyor. Hikayenin bundan sonras? kitapta ve filmde çok fakl? veriliyor. Kitapta Julia ile Winston beraber O?Brien?? görmeye gidip ikisinin ortak meselesi gibi görülürken filmde Winston yaln?z gidiyor. Kitapta O?Brien Karde?lik Örgütünün oldu?unu ve nas?l i?ledi?i ile ilgili birkaç bilgi veriyor. Filmde ise O?Brien sadece 10. Yeni Lisan sözlü?ünü vererek sayfalar aras?nda Winston??n bulmas?n? sa?l?yor. Emmanuel Goldstein yazd???na inand??? Kolektivizm Kuram ve Uygulamas? ad? alt?ndaki kitab? Julia ile her zaman bulu?tuklar? proleter bölgesindeki odalar?nda okuyorlar. Film de fazla yer vermemi? olsa da okuduklar? kitab?n önemli bir k?sm? kitapta yaz?l?d?r. Belki de kitab?n ele?tirilerini en aç?k yapt??? bölümdür.

Mutlu zamanlar? sona erer ve kald?klar? dükkan?n sahibi Bay Charrington??n dü?ünce polisi oldu?u aç??a ç?kar. ?çeri polisler girer ve onlar? yakalarlar. Yüz senelik içinde mercan olan cam fanus polis taraf?ndan yere at?larak k?r?l?r. Bu eskinin olmad??? ve sadece Winston??n de?il insanl???n yenildi?inin göstergesidir.

Winston buharla?t?r?laca??n? bilmektedir fakat öncesinde olan i?kence ve itiraf etme bölümünü hiç dü?ünmemi?tir. Baz?lar? gece evlerinden al?n?p bir daha kimse taraf?ndan görülmezler. Baz?lar? ise buharla?t?r?lmadan önce tüm Okyanusya?n?n izledi?i ekranlarda suçlar?n? hatta genelde yapmad??? suçlar? yapt?klar?n? itiraf ederler ve bir süre toplum aras?nda ya?ad?ktan sonra bir sokak aras?nda ya da kuytu bir kö?ede ölü bulunurlard?. Winston buna daha önce Kestane a?ac?n?n alt?ndaki kafede ?ahit olmu?tur. Pi?manl???ndan a?lad???n? dü?ündü?ü bir adam? görmü?tü. Ayn? anda da ekranda itiraflar? gösteriliyordu.

Winston bir hücreye kapat?l?r bir süre orda bekler. Yan?na kom?usu Parsons?? getirirler. Kitapta hücreye kapat?lan sadece Parsons de?ildir ama film sadece onu göstermi?tir. Parsons gelir ve zavall? bir haldedir belli ki i?kence görmü?tür. Daha sonra küçük k?z?n?n onu ihbar etti?ini büyük bir gururla söyler. Parsons hala anlayamam??t?r ve buna ra?men kendini suçlu oldu?una inand?rm??t?r. Subay gelince Parsons??n götürülmesini emreder. Adam ç??l?klarla beni de?il onu al?n diye ba??r?r. Parsons?? götürmelerinin üstünden fazla zaman geçmeden subaylarla birlikte O?Brien görünür kap?da. Winston ilk ba?ta onun da tutukland???n? zanneder fakat onun bir ajan oldu?unun fark?na varmas? uzun sürmez. O?Brien onu topluma adapte eden, ki?ili?ini yok edecek olan ki?idir. Filmde i?kence sahneleri çok ayr?nt?l? olarak gösterilmi? fakat kitaptaki kadar etkileyici olamam??t?r. 1.30 saatlik bir filmde 30 dakika anlat?lan bu sahnenin kitaptaki kadar etkileyici olamamas?n?n sebebini de kitapta çok üzerinde durulan betimlemeler ve devlet sisteminin nas?l i?ledi?ini ayr?nt?l? ?ekilde anlat?p filme s??d?r?lamam?? olmas? olarak görüyorum. Örne?in çiftdü?ün yani ?gerçe?in denetlenmesi? tam olarak filme aktar?lamam??t?r. ?nsanlar?n devletin beyinlerini, haf?zalar?n? yönetmesine izin vermeleri kitapta çok trajik bir ?ekilde gözler önüne serilmi?tir. Çiftdü?ün yeri geldi?inde bir önceki gün 30gramdan 20 grama dü?ürülen çikolata tay?n?n? 20 grama ç?kt??? söylendi?inde buna inan?p buna sevinebilmektir. Bilincin bilinçli bir ?ekilde yok edilmesi ve bu bilinçli yok etme i?leminin unutulmas?d?r.

Ayr?ca Yeni Konu? filmde anlat?lm?? ama kullan?lmam??t?r. Oysaki kitaptaki konu?malarda bile s?kl?kla rastlad???m?z Yenikonu??a ait kelimeler kullan?lmaktad?r. Anla??labilmesi için de ek bir bölüm yaz?l?p Yenikonu?un olu?um ve kullan?m kurallar? verilmi?tir. Çünkü Yenikonu? kitapta sadece farkl? bir dil olarak kar??m?za ç?kmamaktad?r. Yenikonu? dü?ünmenin sonudur. 2050 y?l?nda tam olarak gerçekle?tirilece?i dü?ünülen bu dil dünyada da her geçen gün kelime haznesi k?s?tlanan tek dil olarak anlat?lm?? ve bundan övgü ile bahsedilmi?tir. Kulland?klar? strateji kendi düzenlerini anlatacak kelimeler üretmek de?il var olmas?n? istemedikleri tüm kelimeleri dilden atarak dü?üncenin tüm biçimlerini kontrol edebilmektir. Dil sadece sesler bütünü oldu?unda da dü?üncenin kaybolmas? gerçekle?ecek ve dü?ünce suçu da bununla beraber yok olacakt?r. Bu yüzden de insanlara göre dahiane bir fikirdir bu.

Winston i?kencelere çok direnmi? 2+2=5e kar?? ç?km??t?r. ?nsan beyninin yönetilmesine beyaza siyah dedirtebilcek bir gücün varl???n? kabul etmemek için direnmi?tir. Fakat O?Brien öyle 2+2=5 oldu?unu görmesini de?il öyle oldu?una inanmas?n? ister. Winston ona sorular sorar ve Julia?n?n onu satt???n? ö?renir. Oysa Julia ona itiraf ettirseler de dü?üncelerinin de?i?tirilemeyece?ini söylemi?tir. ??kencelerin ard?ndan aynan?n kar??s?nda bir konu?ma geçer. Winston??n kendine bakmas?n? sa?lar. Çökmü? bedeni ile insanl??? temsil etmektedir. O?Brien tek hamleyle Winston??n di?lerinden birini çeker ve insanl???n öldü?ünü ve onun son insan olaca??n? söyler. S?ra ?imdi 101 numaral? odadad?r. O oda i?kencelerin en büyü?ü ve en korkuncu olarak bilinir. Hayalindeki aç?lan kap? ve ard?ndaki yemye?il dünyan?n o oda oldu?u anla??l?r birden. Filmde bu çok iyi bir ?ekilde aktar?lm??t?r. O odaya giden karanl?k koridor korku duygusunu verebilmi? ve her hayal sahnesinde daha da aralanan bu kap? 101 numaral? kap?d?r asl?nda. ?çerde bir kafes sistemi vard?r. Winston?? ba?larlar yüzüne oturan bir kafes geçirilir. ?ki bölmeli olan bu kafesin en uza??nda aç fareler vard?r. Winston burada en büyük korkusu ile yüzle?ecektir ama ona ne yapmas? gerekti?i de söylenmemi?tir. ?lk kapak aç?ld?ktan sonra Winston korkuyla ba??rmaya ba?lar: ?Beni de?il, Julia?y? al?n!?.

Son sahnede Winston kestane a?ac?n?n alt?ndaki kafede görünür. Filmde kendi kendine satranç oynamaktad?r kitapta böyle bir sahne yoktur. Julia gelir ve kar??s?na oturur. ?kisi de anlams?z bak??larla konu?urlar eskiden hiçbir iz yoktur ikisinde de. Julia?n?n kalk?p gitmesiyle Winston masadaki tozlu yere 2+2= yazar fakat sonucu yazamaz. Ekranda Winston??n suçlar?n? itiraf etti?i görüntü görünür. ??lemedi?i suçlar? da kabullenmi? ve itiraf etmi?tir. Yava?ça a?lar ve göz ya?lar? yanaklar?ndan süzülür.

Kitap ve filmi de en etkileyici k?lan belki de kötü sonla bitmesidir. Winston??n yenilmesi insanl???n yerle?mi? düzen önünde çökü?ünü sembolize etmektedir ve bu pesimistlik okuyucuyu ? izleyiciyi derinden etkilemektedir.

This was Hitchcock's first Hollywood film and compares very well with his previous English films.

Don't Look Now (d. Nicolas Roeg, 1973) is a beautifully restrained horror film. Superficially calm, it is underpinned by a constant sense of foreboding which erupts into bloody horror only at the climax. It is a love story with only one love scene and a study of grief during which nobody cries. This sense of restraint makes the film characteristic of the same peculiar 'Englishness' which informs films as different as Brief Encounter (d. David Lean, 1945) and The Innocents (d. Jack Clayton, 1961).

Often remembered solely for its final bloody confrontation, it is Roeg's careful pacing and the dread of what will happen next which make the film genuinely frightening. Beginning with every parents' nightmare, the tragic death of a child, the film builds towards a climax which is inevitable from its first moments. John's second sight is reflected in Roeg's characteristic use of fast cutting, which brings disparate images together in a suddenly meaningful fashion and which plays with past, present and future to disorientate the viewer, just as John is disorientated by his visions.

The film is also deeply moving, examining how grief can overpower the emotions. Christine's death casts a shadow over the relationship of her parents as it does over the entire film, and the different responses of John and Laura suggest the ways in which people try to overcome the loss of a loved one. Equally, the film is cautiously optimistic in its portrayal of how intense love can transcend death. The brilliantly edited love scene, contrasting tender physical union with the banality of dressing for dinner, is vital to this aspect of the film.

Donald Sutherland is entirely believable as John, the sceptic forced to become a believer during his final moments of life, and his performance is matched by that of Julie Christie. The script, largely faithful to Daphne du Maurier's original story, allows time for sardonic asides from Massimo Serato's ambivalent Bishop and memorable hysteria from Hilary Mason as Heather.

Venice appears as a character in itself, caught in faded off-season grandeur and turned into a labyrinth of dead-ends and winding back alleys. The use of colour is especially notable, with all but red being muted, and icy blues and greys becoming prominent as John's search becomes more frustrating. Pino Donaggio's lush score captures the film's poignant tone with the florid romanticism of his later collaborations with Brian De Palma.

John Boorman's reminiscences of childhood during the London Blitz form the basis of this unconventional but believable comedy. This film is filled with memorable characters and a child's sense of wonder at the War. There are lots of films made about World War II. Some are idealised - and just about any English language film made during the War was - and some are more realistic. There are at least some films made about the British home front but very, very rare is the film that does not idealise. You get this vision of a dedicated British people suffering bombs and bullets with an idealised British stiff upper lip. Many seem inspired by Mrs. Miniver, John Boorman, whose films usually are abstract and in the fantasy genre, has turned out a realistic reminiscence of the WWII British home front which probably has more than a little autobiography. Hope and Glory is a child's-eye view of the home front, though we see what is happening with the understanding of an adult.

Matthew Modine & Nicolas Cage

The second one is VERTIGO-1958 by Alfred Hitchcock.

Kim's reputation has been restored in recent years partly by the re-issue of some of her films on DVD, but mainly because of the re-emergence of "Vertigo" which is now widely regarded as a masterpiece whereas it was dismissed as botchwork when first released. Originally critics sniped at Kim's performance, but now decades later, it is much admired.

An unemployed writer (Jeremy Theobald) randomly pics people in the streets of London and follows them as a source for inspiration. But when he breaks the rules he has set for himself and starts to follow people over a longer period of time, things begin to go wrong. He teams up with the burglar Cobb (Alex Haw) and breaks into the apartment of a mysterious blonde (Lucy Russell), of whom he is fascinated. But slowly he finds out that things may be different than they appear.

Memento Trivia

Teddy's phone number is 555-0134, the same as Marla Singer's in Fight Club.


The tattoo parlor "Emma's Tattoos" was named after Emma Thomas, the associate producer of Memento and Nolan's wife.


Memento was shot in only 25 days.


When the shell casing rolls into frame in the opening scene, Chris Nolan really blew it out of frame. Since the camera had the film running backward for the filming of this scene, this particular shot later had to be reversed. So it's actually a shot of a simulated reversal, recorded backwards, and then manually reversed to get the desired effect.


Chris Nolan's white Honda Civic can be seen parked next to Leonards Jaguar at the motel in one of the first scenes.


The camera Leonard Shelby uses is a Polaroid 690.


Christopher Nolan wanted to cast Alec Baldwin as Leonard Shelby, but Baldwin wanted too much money.

Insomnia is the remake of the equally-named 1997 norwegian thriller:
Veteran police officer Will Dormer (played by Al Pacino) is sent from the city to a small Alaska town to investigate the murder of a teenage girl. While chasing a suspect (Robin Williams) through the fog, Dormer accidently kills his partner. Instead of admitting his guilt, Dormer is given an unexpected alibi. But despite this he is looked after by the local idealistic detective Ellie Bur (Hilary Swank) while he himself has to find the murderer (Robin Williams). But the murderer knows of Dormer's guilt and starts to blackmail him and forces the detective into a cat-and-mouse game.

Notes on the Adaptation of the Book Orlando by Sally Potter

My task with the adaptation of Virginia Woolf?s book for the screen was to find a way of remaining true to the spirit of the book and to Virginia Woolf?s intentions, whilst being ruthless with changing the book in any way necessary to make it work cinematically.

It would have been a disservice to Virginia Woolf to remain slavish to the letter of the book, for just as she was always a writer who engaged with writing and the form of the novel, similarly the film needed to engage with the energy of cinema. And although the book was already a distillation of 400 years of English history (albeit an imagined view of that history, told with a liberal amount of poetic license), the film needed to distill even further.

The most immediate changes were structural. The storyline was simplified?any events which did not significantly further Orlando?s story were dropped.

The narrative also needed to be driven. Whereas the novel could withstand abstraction and arbitrariness (such as Orlando?s change of sex) cinema is more pragmatic. There had to be reasons?however flimsy?to propel us along a journey based itself on a kind of suspension of disbelief.

Thus Queen Elizabeth bestows Orlando?s long life upon him ("Do not fade, do not wither, do not grow old . . .") whereas in the book it remains unexplained. And Orlando?s change of sex in the film is the result of his having reached a crisis point?a crisis of masculine identity. On the battlefield he looks death and destruction in the face and faces the challenge of kill or be killed. It is Orlando?s unwillingness to conform to what is expected of him as a man that leads?within the logic of the film?to his change of sex. Later, of course, as a woman, Orlando finds that she cannot conform to what is expected of her as a female either, and makes a series of choices which leave her, unlike in the book, without marriage or property?and with a daughter, not a son.

These latter changes seemed to me entirely consistent with Virginia Woolf?s views in her other works on the condition of women?s lives (especially A Room of One?s Own) and crisply logical within the framework set up in the earlier part of the story.

Orlando is at its heart a story of loss?the loss of time as it passes?a meditation on the impermanence of love, power, and politics. I simply carried that logic through to include Orlando?s loss of property and status in the 20th century. Whilst the loss of property in the story is a symptom of the second class status of women, there is also an aspect which is worthy of celebration: the loss of privilege and status based on an outdated English class system.

Orlando was of course originally written as a spoof biography of Vita Sackville-West. Where the book holds most tightly to apparent biographical facts it occasionally loses its power as a story (such as Orlando?s "keeping" the house at the end of the book?which was a way for Virginia Woolf to restore the lost Knole to Vita Sackville-West).

I tried to restore Orlando on film to a view more consistently detached and bitingly ironic in its view of the English class system and the colonial attitudes arising from it.

At the same time I needed to ensure that Orlando was a loveable character. The clue was to highlight Orlando?s essential innocence. He happens to have been born into a class, a place and time, and is shaped by it?but as the essential human being remains; the patterns of behaviour and attitude are transformed.

Other obvious changes from the book include dialogue (and poems) which have been invented from sometimes slender clues on the page?and Orlando?s words and looks to the camera which were intended as an equivalent both of Virginia Woolf?s direct addresses to her readers and to try to convert Virginia Woolf?s literary wit into cinematic humor at which people could laugh out loud.

Finally, the ending of the film needed to be brought into the present in order to remain true to Virginia Woolf?s use of real-time at the end of the novel (where the story finishes just as she puts down her pen to finish the book). Coming up to the present day meant acknowledging some key events of the 20th century--the two world wars, the electronic revolution?the contraction of space through time reinvented by speed. But the film ends somewhere between heaven and earth in a place of ecstatic communion with the present moment.

A nutty fairy tale about a displaced Jewish girl who must find her place in a hostile and often surreal world. 1927, rural Russia: Little Fegele (Claudia Lander-Duke) adores her father (Oleg Yankovskiy), a cantor, and is bereft when he leaves their small town to find his fortune in America. Soon after, Fegele's grandmother hears rumors of an impending pogrom and tries to send the child to join her father. Instead, Fegele winds up alone in England, where her name is changed to Suzie. Taken in by a foster family, the withdrawn child scarcely speaks but communicates through her lovely singing voice. Years pass, and the adult Suzie (Christina Ricci) still burns with the desire to find her father in America, to which end she joins a traveling cabaret troupe. That takes her to Paris, where she meets flamboyant Russian showgirl Lola (Cate Blanchett), also an expatriate. The worldly Lola, who cultivates a flighty image but lives by the practical motto "Never look back; always go forward," takes Suzie under her wing, finding her a job at the opera and sharing tips for getting ahead. Lola sets her sights on the opera's self-centered Italian star, Dante (John Turturro), while Suzie falls for a Romany horse trainer named Cesar (Johnny Depp). Suzie feels a deep kinship with the perpetually homeless gypsies, but when Paris falls to the Nazis she's forced again to flee. It's astonishing to watch English filmmaker Sally Potter suggest lavish production values with impoverished means. Her WWII saga, which suggests the German occupation of Paris with little more than the amplified sound of marching feet, and the destruction of a luxury liner with an explosion in the ship's swimming pool, stands in stark contrast to the absurdly over-budgeted spectacle of PEARL HARBOR, which opened in the US on the same day.

It's not just any illicit affair, this passionate liaison between an Irish American married woman (Joan Allen) and a Lebanese surgeon (Simon Abkarian), who are both living in London. In Sally Potter's "Yes," their relationship becomes the jagged interface between two clashing worlds, cultures, genders and personalities in the post-9/11 universe.

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

http://archive.sensesofcinema.com/contents/directors/03/gilliam.html

http://www.smart.co.uk/dreams/grimfact.htm

http://www.smart.co.uk/dreams/monkfact.htm

http://www.smart.co.uk/dreams/brazfact.htm

http://www.imagesjournal.com/issue06/features/brazil.htm

http://www.smart.co.uk/dreams/fkprod1.htm

http://www.smart.co.uk/dreams/bandfact.htm

http://www.smart.co.uk/dreams/bmfact.htm

One of the most colourful American players is Jeff Bridges. There is very good page on the web www.jeffbridges.com.

I would like to indicate 3 important works by the most talented 3 directors(TG and Coens) with JB.

The first one by Terry Gilliam-2005.

However, JB is not acting in this film. Just sitting. Playing a dead father.

http://www.smart.co.uk/jabberwocky/

62nd Cannes Film Festival

http://www.smart.co.uk/dreams/parnfact.htm

http://www.smart.co.uk/dreams/flfact.htm

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.

Another work from 60's. Considering in the Kitchen Sink Realism.

Young couple, Tom Curtis (Richard Attenborough) and his wife Anna (Pier Angeli) are expecting a child. At Martindale Engineering, Tom?s workplace, a new employee and villainous agitator, Travers (Alfred Burke), in collusion with shop steward Connolly (Bernard Lee) begin complaining about conditions and provoke an unjustified wildcat strike. When voting against the proposed unofficial strike takes place, Tom is both surprised and dismayed when his friend Joe (Michael Craig), who has been urging this course of action, suddenly abstains from voting. Soon, Travers and his methods are attracting a wave of support in the factory and the men come out on strike, but Tom decides to cross the picket line after Connolly indirectly threatens his family. When the men do return to work, Tom discovers he is regarded as a blackleg and has been sent to Coventry by his workmates; leaving him to endure the mental and physical reprisals of his workmates. The newspapers and television quickly get to hear the story, and a journalist (Bryan Forbes) puts Tom?s plight into the national headlines whilst a TV reporter (Alan Whicker) gauges opinion outside the factory. Despite the disintegration of his marriage and a distraught wife who does not understand his stubbornness, Tom stands by his principles until tragedy strikes. Ultimately, Joe is left to deliver a closing denunciation on his friend?s behalf before a works assembly.

Val Guest's Hell Is a City (1960), is an unusually tough crime docu-thriller with some striking Manchester-area locations. Martineau (Stanley Baker), is a tough police inspector tracking down an escaped prisoner Don Starling (John Crawford) who turns murderer, whilst coping with a frigid, nagging wife (Maxine Audley) who resents the time he spends on his work. Billie Whitelaw was involved in a moment of discreet nudity that was quite surprising for a British film of that period.

A Taste of Honey comments on, and puts into question, class, race, gender and sexual orientation in mid-twentieth century Britain. It became known as a "kitchen sink" play, part of a genre revolutionising British theatre at the time.

One of the important works of T.Richardson. Well addapted and good performed.

I suggest 'Nothing but the best, 1964' instead of LUV. I hope FLIXTER will add it a day.

This Sporting Life (1963) is the film which signalled the end of the British 'new wave'. While its methods and style remained influential, its box office failure meant that producers were unwilling to invest their money in more gritty, realist topics. It was felt that audiences wanted escapism again.

On the other hand , even during this declane term, Film carried very important significance related to Kitchen Sink Reality. One is Lindsay Anderson's Auther ID. Second one is Richard Harris' outstanding performance.

Let us say the strongest term started with R. Burton and ended R. Harris.

One of the diamonds of British Cinema.

By idiosyncratic framing Tom Jones' picaresque adventure through an amalgam of traditional film comedy conventions, Richardson creates an inspired duality that paradoxically underscores the film's conventionality even as it subverts it: from the breaking of fourth wall address (and symbolically, the distance to the spectator), to integrating innovative wipe cuts that consciously introduces an element of anachronism (and consequently, reinforces its contemporaneity), to sardonic, tongue in cheek narration (a strategy that anticipates John Hurt's wry commentary in Lars von Trier's Dogville), to self-referential parody (creating an underlying lightness and humor that Michael Winterbottom's subsequently incorporates to good effect in Tristram Shandy: A Cock and Bull Story).

The film is an incisive portrait of the personal struggle between conformity and identity that is inherent in the process of maturity, where youthful idealism and a sense of invulnerability collides with the travails of everyday survival and the realization of human frailty.

A Kind of Loving was John Schlesinger's first feature film, a 'kitchen sink' drama based on the novel by Stan Barstow.

Yorkshire, the early 1950s. Joe Lampton moves from the poor town of Dufdon to the wealthy town of Warnley to take a job in the Treasurer's Department.

A colleague, Charles, is assigned to look after him. Joe tells him about Dufdon and about his experiences as a prisoner of war while serving in the RAF. Although proud of his humble origins, he is fiercely ambitious and sees Warnley as an opportunity in terms of both career and women.

Charles takes him to an amateur theatrical production. Joe admires two women, an older Frenchwoman called Alice Aisgill and Susan Brown, the young daughter of a local industrialist. He makes his interest clear to Susan but is mocked by her boyfriend, Jack Wales, an RAF officer and escaped Prisoner of War, who pulls rank.

Joe joins the dramatic society to pursue his ambitions. He feels defensive about his class background and tells Alice of his frustrations and aspirations. She tells him about her unhappy marriage to Aisgill.

Joe fixes up a date with Susan and tells her that his parents were killed in an air raid. They are interrupted by Wales who continues his snobbish sneering. Joe's boss warns him away from Susan and tells him to stick to his own class.

He meets Alice. She tells him to drive to a country beauty spot where they make love.

Joe is offered a good job in Dufdon. He goes for an interview and sees his old home, now a bombsite. No one in the street recognises him. He visits his Uncle and Aunt and tells them about Warnley life and Susan. They are concerned that he seems only interested in her money. He has the interview but when he discovers that Brown had set it up, he leaves.

He finds out that Susan has been sent to the South of France for the summer. He cools towards her and embarks on a passionate affair with Alice. They fall in love and meet regularly at her friend Elspeth's flat. After a bitter row, in which she mocks his sexism and defensiveness and he mocks her age, they split up.

At a civic ball, Joe sees Susan with her family. They are snobbish towards him but she tells him she loves him. He says he loves her. Meeting later he persuades her to make love. After sex she tells him that they really belong to each other now.

Joe feels unhappy. He arranges to meet Alice and fixes up a holiday at a remote cottage. They have an idyllic time together, although Alice is fearful of what might happen. Joe reassures her that he wants to be with her and she agrees to seek a divorce.

Aisgill threatens to ruin Joe if he tries to bring a divorce case. Brown meets Joe and tests him by trying to pay him off before revealing that Susan is pregnant. He will arrange a marriage between them and set him up in his business if he stops seeing Alice.

Against Susan's wishes Joe visits Alice to explain. She is devastated and goes drinking on her own, driving home.

Joe goes to his office where everyone congratulates him on his wedding. He overhears some of them mention that Alice has been killed in a car accident while drunk. Full of remorse, he goes on a drinking binge in the poor part of town. He argues over a girl with a group of toughs who tell him to stick to his own class. Later they beat him up and dump him in the street. Charles finds him and hauls him back for the wedding.

Joe and Susan get married. He appears dazed throughout the service. She sees him crying and mistakes it for love for her.

Perhaps the most emblematic of the film's integral connection between the turmoil of a fading postwar - and more importantly, post-colonial - British society and its manifestation on the younger generation is illustrated in the market community's blatantly racist treatment of the clothing merchant and recent immigrant, Kapoor (S.P. Kapoor) who, having undersold his competitors (and unfairly denounced by a dissatisfied customer who is unable to identify her actual vendor but insists that he make reparations on behalf of other vendors of his ethnicity), is forced out of business by other merchants who force the revocation of his vending license.

A pregnant young French woman comes to stay in a boarding house in London. She makes friends with the mixed and impoverished occupants and starts a romance with one of them, a young writer.

http://www.lindsayanderson.com/

Some have said that O Lucky Man! is a parable for capitalism, but that's true only in the scenes that deal with business. O Lucky Man! is actually an indictment of modern society in many ways, which makes it a cool companion piece to other McDowell classics If.... and A Clockwork Orange. Nothing is spared in this film. Under the happy surface and McDowell's smiling face, sexual politics, the military, the medical world, and even suicide find themselves skewered.

Sunday, Bloody Sunday is director John Schlesinger's most personal film. It's apparently based on a relationship he was once in, and he made a significant contribution to the sophisticated script written by Penelope Gilliatt. Daniel Hirsch (Peter Finch) is an uptight Jewish doctor. Alex Grenville (Glenda Jackson) is a lonely divorcee. They are both deeply in love with care-free artist Bob Elkin (Murray Head). The film shows ten days in their respective lives.

Justifiably praised for its honest portrayal of homosexuality, Sunday, Bloody Sunday is nevertheless much more than just a "social problem picture". It offers a penetrating examination of the concerns of contemporary life and the infirmity of the human spirit. The drama is refreshingly character driven and its leisurely pace demands attention on the part of the viewer. The cameras serve the actors and not vice versa. The actors repay them with some astute performances. Peter Finch and Glenda Jackson are especially good. This is an adult film aimed at adult audiences. It is multi-faceted and wholly absorbing.

By EUFS

http://www.online-literature.com/hardy/Madding/

How are little boys made?
Take one new baby,
Poke it and toss it, force it and push it,
Leave it alone a lot, and never speak softly to it.
How are little girls made?
Take one new baby,
Cuddle it and coo at it, soothe it and calm it,
And never let it stray.
What are little boys made of?
Scrapes and pains, fears not shown,
Lessons learned the hard way,
Loneliness ingrown.
What are little girls made of?
Questions and dreams, secrets never told,
Trusts nurtured and betrayed,
Life waiting to unfold.

Veronica Guerin (5 July 1959 - 26 June 1996)

Excellent black comedy. Eccleston especially gives a brilliant portayal of a man discovering an unknown capacity for violence within himself and going insane as a result.

Coen Brothers' Blood Simple, John Dahl's Red Rock West and The Last Seduction are also important to watch.

The songs from Liverpudlians.

28th. Int. Istanbul film festival

Liverpudlian filmmaker Terence Davies trawls the archives and his own memories to deliver a heartfelt ?visual poem? about his ever-changing hometown. Sharpening the nostalgia with wit and honesty, it?s a lyrical and wistful history of post-war Britain among the working classes.