Friday, September 17, 2010

The Queen of Spades (1949)

The Queen of Spades (1949) is a fantasy-horror film based on a short story of the same name by Alexander Pushkin. It stars Anton Walbrook, Edith Evans and Yvonne Mitchell. A poor Russian officer tries to learn the secret of an aged countess's success at the card table.

Despite a limited budget, it was nominated for a BAFTA Award for Best British Film. It was also entered into the 1949 Cannes Film Festival.

Hermann, an ethnic German, is an officer of the engineers in the Imperial Russian army. He constantly watches the other officers gamble, but never plays himself. One night Tomsky tells a story about his grandmother, a elderly countess. Many years ago, in France, she lost a fortune at cards, and then won it back, with the secret of the three winning cards, which she learned from the notorious Count of St. Germain. Hermann becomes obsessed with obtaining the secret.

The countess (who is now 87 years old) has a young ward, Lizaveta Ivanovna. Hermann sends love letters to Lizaveta, and persuades her to let him into the house. There Hermann accosts the countess, demanding the secret. She first tells him that story was a joke, but Hermann refuses to believe her. He repeats his demands, but she does not speak. He draws a pistol and threatens her, and the old lady dies of fright; only later is it revealed that the pistol was empty. He escapes from the house with the aid of Lizaveta, who is disgusted to learn that his professions of love were a mask for greed.

Hermann attends the funeral of the countess, and is terrified to see the countess open her eyes in the coffin and look at him. Later that night, the ghost of the countess appears. The ghost names the secret three cards (three, seven, ace), tells him he must play just once each night, and then orders him to marry Lizaveta. Hermann takes his entire savings to Tchekalinsky's salon, where wealthy men gamble for high stakes. On the first night, he bets it all on the three and wins. On the second night, he wins on the seven. On the third night, he bets on the ace - but when cards are shown, he finds he has bet on the Queen of Spades, rather than the ace, and loses everything. When the Queen appears to wink at him, he flees in terror.

Hermann goes mad and is committed to an asylum.

He is in the Obuhovsky hospital, room Number Seventeen; he does not answer any questions, but keeps muttering with astonishing rapidity: 'Three, seven, ace! three, seven, queen!'

Thursday, September 16, 2010

Bond 23 updates

According to the industry blog Deadline, "American Beauty" director Sam Mendes has taken himself out of the running to direct "The Hunger Games", the first in a trilogy of apocalyptic survival stories.

The director who has been in talks to direct Bond 23, and prior to the production halt was on the team as a consultant, was amongst David Slade and Gary Ross as possible directors for the feature film adaptation.

A Deadline source says that Medes took himself out of the running "because the MGM picture is clearing up and it looks like production on 007 could begin by late summer or early fall, 2011 with Mendes at the helm and Daniel Craig back in the Aston Martin."

from MI6

Sunday, September 12, 2010

Happy Birthday!

In Memoriam : Claude Chabrol (1930-2010)

searching for SECONDS (1966)


John Frankenheimer's chilling vision of middle-aged malaise concerns 50ish banker, Arthur Hamilton (John Randolph). Bored with his wife and comfortably retired life, Arthur happens to run into Charlie Evans (Murray Hamilton), an old friend he believed to be dead. He gives Arthur a tip on a secret organization called The Company, run by the Old Man (Will Geer). For a hefty fee, they offer to provide the old with entirely new, vigorous bodies, through a mysterious form of plastic surgery, and with completely new identities. Arthur signs on and finds himself transformed into the much younger Anitochus "Tony" Wilson (Rock Hudson). After a suitably middle-aged corpse has been burned to cover his disappearance, Tony is relocated to an idyllic Malibu beach community, where he already has a reputation as an artist. He begins a relationship with the vivacious Norma Marcus (Salome Jens) and is happy for a time, before discovering that she's one of The Company's employees. As he peels back the layers from his other neighbors, he begins to realize that nothing is as it seems. This incisive twist on the Faust legend, a mordant commentary on the American obsession with youth, features Hudson in what is possibly his finest performance, as a man cast in a part he despises. Hudson's sense of irony, then necessarily private, is now public. The great cinematographer James Wong Howe creates a sense of quiet horror through a skillful variation of lenses.

Friday, September 10, 2010

landscapes of the mind : A NEW FORM

pop!

Stephen O. Frankfurt titles for 'To Kill A Mockingbird'

As Elmer Bernstein's gentle theme is played note by note on a piano, the camera peers inside an old cigar box to reveal such childhood treasures as a broken watch, a pair of good-luck pennies, some marbles and a whistle. While a small girl hums, we see her hand using a crayon to draw a bird. So begins the film version of Harper Lee's To Kill a Mockingbird (1962), with its evocative and influential title sequence designed by Stephen O. Frankfurt.

Though born and raised in the Bronx, the Hollywood connection somehow always seemed to be in the background of Frankfurt, and in the early 1960's he got a call from producer Alan J. Pakula, who admired his commercials. Pakula asked him to try his hand at the main titles for "To Kill A Mockingbird.” Frankfurt worked closely with sound expert Tony Schwartz, his associate on many commercials. The Show Magazine critic led off his review of the film with the observation that "the titles that adorn ‘To Kill A Mockingbird' are about as striking as anything...yet devised.” Later when Charles Bludhorn of Gulf & Western's Paramount presented him with the "Rosemary's Baby" project, Frankfurt's cinema scope was greatly enlarged as he directed the entire campaign—titles and trailer, posters and all media advertising. ''Hollywood said we were breaking all the rules," Frankfurt points out now, "and I explained that was my aim precisely.” For "Rosemary's Baby,” essentially a horror film, Frankfurt decided that the most startling way to surprise his audience was by not showing the baby but by hearing it and superimposing an empty baby carriage on Mia Farrow's face. The copy says simply: "Pray for Rosemary's Baby.” Since then he has been associated with such eminently successful feature productions as "Network," "Arthur," "Emmanuelle," "Superman," "All That Jazz,” "Kramer vs. Kramer," "Sophie's Choice," "That's Entertainment,” and "Alien," totaling more than 55 in all.

Thursday, September 09, 2010

Two Asteroids passed by Earth





Two asteroids, several meters in diameter and in unrelated orbits, passed within the moon's distance of Earth yesterday, Wednesday, Sept. 8.

Both asteroids were observable near closest approach to Earth with moderate-sized amateur telescopes. Neither of these objects had a chance of hitting Earth. A 10-meter-sized near-Earth asteroid from the undiscovered population of about 50 million would be expected to pass almost daily within a lunar distance, and one might strike Earth's atmosphere about every 10 years on average.

The Catalina Sky Survey near Tucson, Arizona, discovered both objects on the morning of Sunday, Sept. 5, during a routine monitoring of the skies. The Minor Planet Center in Cambridge, Massachusset, first received the observations Sunday morning, determined preliminary orbits and concluded that both objects would pass within the distance of the moon about three days after their discovery.

Near-Earth asteroid 2010 RX30 is estimated to be 32 to 65 feet (10 to 20 meters) in size and passed within 0.6 lunar distances of Earth (about 154,000 miles, or 248,000 kilometers) at 2:51 a.m. PDT (5:51 a.m. EDT) Wednesday. The second object, 2010 RF12, estimated to be 20 to 46 feet (6 to 14 meters) in size, passed within 0.2 lunar distances (about 49,088 miles or 79,000 kilometers) a few hours later at 2:12 p.m. PDT (5:12 pm EDT).

AURORA BOREALIS 08.09.2010

Wednesday, September 08, 2010

Monday, September 06, 2010

Searching for Atticus Finch

by Adam Spector
In 2003, the American Film Institute named Atticus Finch from To Kill a Mockingbird as the top movie hero of all time, ahead of such stalwarts as James Bond and Indiana Jones. Curious choice, I thought at the time, and quickly forgot about it. In recent weeks, I have been pondering the Finch selection more and more. And it’s no mystery why it’s come to mind.

The furor regarding the “Ground Zero Mosque”has grown increasingly frightening. Newt Gingrich equated building this mosque to letting Nazis put up a sign next to the Holocaust Museum. He and others also compared it to building a Japanese center at Pearl Harbor. Several days ago a mob protesting the mosque shouted at a man wearing an Islamic style skullcap. The fact that this man was not actually Muslim was irrelevant; he just happened to be a convenient target for the mob’s hatred. Now a gubernatorial candidate in New York is calling for an investigation into the mosque’s financing.

The mob shouting at the “Muslim” brought to mind a pivotal moment in To Kill a Mockingbird. Atticus Finch, a lawyer in a small Georgia town, is defending Tom Robinson, a black man accused of molesting a white woman. This is rural Jim Crow Georgia in the 1920s, and the mere accusation against a black man is proof of guilt to most of the white community. Not content to wait for the trial, a white mob forms to lynch Robinson. An unarmed Atticus, who was with Tom at the time, would have had every reason to leave, but he doesn’t. He holds his ground until the mob leaves. Later, in court, Atticus proves that Tom could not have committed the crime. Unfortunately, the evidence does not matter to the all white jury.

On the surface, equating the To Kill a Mockingbird story to current events would be a stretch. Thankfully, with the mosque debate there’s no talk of anyone being lynched or not receiving a fair trial. But racism and hate are relative to their times. In the 1920s South, lynchings were commonplace. In fact, attempts to pass an anti-lynching law were defeated in the U.S. Congress through the 1930s. And it was much later before black people could serve on juries in the South or receive anything resembling a fair trial.

Over the years, racism and bigotry grew more subtle. While overt segregation may have dissipated, what remained were unspoken “gentlemen’s agreements” banning blacks, non-whites and other minorities from joining certain colleges, organizations, professions and communities. Eventually black people were allowed to move into certain areas, only for them to find that the whites had moved away.

In this century prejudice has changed again, largely due to the tragedy of 9/11. While it was a specific radical Islamic sect, Al-Qaeda, that carried out the attack, too many of us believe that all Muslims are guilty, or, at the very least, are suspicious. Sure, they can build a mosque, just not there, many people say, as if location was really the only issue. Indeed, protests have broken out not only near Ground Zero, but near proposed mosque sites all over the US.

What would Atticus Finch say if he were here? Perhaps he would point out that, as with Tom Robinson, the facts don’t support the fears. First of all, the mosque would not be at Ground Zero but a couple of blocks away. The World Trade Center site is hallowed ground, but is the whole neighborhood? According to Time magazine, there are “are two strip clubs that sit within a block of Ground Zero, but are not seen as a threat to the land's hallowed nature.” There’s also peep shows and an off-track betting house nearby. The proposed site itself was previously occupied not by the Twin Towers but by the Burlington Coat Factory.

More importantly, there is no evidence linking the group planning the Cordoba Initiative's Park51 project (an Islamic community center including a mosque but also having many other features, including a swimming pool), with any terrorist organization. In fact, the mosque’s imam, while hardly perfect, has often spoken out against terrorism and radical Islamic factions. Finally, there is already a mosque in the neighborhood, which has existed without incident and certainly without causing insult to the families of those who died on 9/11.

The specific details, as important as they are, are not the full measure of the case here, just as they weren’t for Atticus Finch. To Atticus, just as critical was Tom Robinson’s right to a fair trial. As he put it: “In this country, our courts are the great levelers. In our courts, all men are created equal. I'm no idealist to believe firmly in the integrity of our courts and of our jury system - that's no ideal to me. That is a living, working reality!” Atticus believed in Tom Robinson’s rights as an American and as a human being. To him those rights did not vanish because Tom was unpopular or because he was different. To Atticus it did not matter that his own community, including his friends and neighbors, were against him. What mattered to him was the Constitution, justice, and basic fairness. In another scene, he told his daughter, “You never really understand a person until you consider things from his point of view ... Until you climb inside of his skin and walk around in it.” Those words are sorely needed now.

While the current situation is far different from what Atticus Finch faced, his principles are just as relevant. If the rights delineated in the Constitution are to mean anything, they must apply to everyone, not just people we like or people who are like us. They must apply to all areas of America, not just places some think are suitable. They must apply even when times are difficult. They must apply even when they fly in the face of popular opinion. A friend of mine said it best: “Either we believe in freedom of religion or we don’t.” There’s no sometimes here.

In heated times, when we are afraid, it’s easy to lose sight of who we are and what values America holds sacred. One clear example is forcing Japanese-Americans into internment camps during World War II, but there are many other instances. Our country was founded in part by settlers looking to avoid religious persecution. The freedom to practice religion freely helped draw Catholics, Jews, and yes, Muslims to America. In many ways this freedom has been strengthened as legal discrimination has dissipated. But during a crisis, it’s all too easy to cower back in fear and to let paranoia trump justice and fairness. That’s when some Americans target other Americans whose only crime is sharing the same religion as the 9/11 terrorists. It’s times like these when I wish someone like Atticus Finch could remind us of what we should be standing for.

Obviously my wish will go unfulfilled. In To Kill a Mockingbird, Gregory Peck’s stout, resolute portrayal of Atticus made it clear to audiences that he was on the side of truth and justice. While the other characters in the movie may doubt Atticus, we sitting at home or in the theater cannot doubt Peck’s moral authority.

Real life, as always, is more complicated. There are those speaking out, whether it's reporters spotlighting how the Taliban is using the resistance to the mosque as a recruiting tool, or a few politicians, such as Jerrold Nadler and Orrin Hatch, willing to buck public sentiment. New York City Mayor Michael Bloomberg has been an unwavering advocate for the Park 51 project. Still, there’s no one out there with the force or moral clarity of Gregory Peck as Atticus Finch. I suppose that’s the tough part. It can’t be one man speaking up for the Constitution, be it the right to due process or the right to religious freedom. It must be all of us. The principles and convictions of Atticus Finch must exist not just on the screen but in our hearts, and, more importantly, in our actions.

Crack in the World (1965)

Crack in the World is an American science-fiction disaster movie filmed in Spain and released by Paramount Pictures.

An international consortium of scientists, operating as Project Inner Space in Tanganyika, Africa, is trying to tap into the Earth's geothermal energy by drilling a very deep hole down to the Earth's core. The scientists are foiled by an extremely dense layer of material at the boundary between the two. To penetrate the barrier and reach the magma below, they intend to detonate an atomic device at the bottom of the hole.

The leader of the project, Dr. Stephen Sorenson (Dana Andrews), who is (secretly) dying of cancer, believes that the atomic device will burn its way through the barrier, but the project's chief geologist, Dr. Ted Rampion (Kieron Moore), is convinced that the lower layers of the crust have been weakened by decades of underground nuclear tests, and that the detonation could produce a massive crack that would threaten the very existence of Earth.

The atomic device is used and Rampion's fears prove justified, as the crust of the Earth develops an enormous crack that progresses rapidly.

Sorenson discovers that there was a huge signature of hydrogen underground, which turned the small conventional atomic explosion into a huge thermonuclear one that was millions of times more powerful. Another atomic device is used in the hope of stopping the crack, but it only reverses the crack's direction. Eventually the crack returns to its starting point at the test site, and a huge chunk of the planet outlined by the crack is expected to be thrown out into space. Sorenson remains at the underground control center to record the event despite pleas by his wife Maggie to evacuate with the rest of the project staff. She and Rampion barely escape in time to observe the birth of a second moon.

Saturday, September 04, 2010

Lucky Number Slevin (2006)

Lucky Number Slevin is a 2006 crime thriller film written by Jason Smilovic, directed by Paul McGuigan and starring Josh Hartnett, Bruce Willis, Morgan Freeman, Ben Kingsley, Stanley Tucci, and Lucy Liu. Set in New York City, the plot focuses on the paths of Slevin Kelevra (Hartnett), Lindsey (Liu), two feuding crime lords known as The Boss (Freeman) and The Rabbi (Kingsley), and a mysterious hitman known as Mr. Goodkat (Willis).


Over the film's opening credits, two bookies are ambushed in separate locations and murdered, their ledgers stolen from their bodies by unseen killers. Elsewhere, a man walks out of a downtown building, and is shot by a sniper.

Later, at a bus terminal, a young man, Nick Fisher, is approached by a man in a wheelchair, Goodkat (Bruce Willis), who tells the story of Max. Around twenty years ago, Max bet borrowed money on a fixed horse race. The mobsters financing the fix discovered others betting on it, leading them to murder Max, his wife, and his son. Goodkat concludes the story and he promptly snaps the man's neck, and puts him in the back of a truck.

In New York City, Slevin Kelevra (Josh Hartnett) answers the door to his friend Nick Fisher’s apartment. He meets Nick’s neighbor Lindsey (Lucy Liu), who ducks into Fisher's apartment to borrow some sugar. Slevin relates that he is visiting after some recent bad luck and that when he arrived in New York he was mugged. He confesses he has not seen Nick, and that the apartment was unlocked when he arrived. Lindsey suggests that maybe Nick is missing, and that she and Slevin should investigate together later.

Moments later, after Lindsey leaves for work, Slevin is kidnapped by two henchmen. They take him to The Boss, a powerful crime lord who has mistaken Slevin for Nick. The Boss orders Slevin to repay Nick's debt. As an alternative to payment, he offers Slevin the option of murdering his Jewish rival Schlomo The Rabbi’s homosexual son, Yitzchok The Fairy, in retaliation for the Rabbi's apparent involvement in the death of the Boss' son. After he leaves, Goodkat steps out of the shadows, revealing his involvement with The Boss.

Slevin returns to the apartment and Lindsey shows up again. They plan to go on a date later that night, and after Lindsey leaves, Slevin is kidnapped again, this time by The Rabbi's gang. The Rabbi also mistakes Slevin for Nick and demands he pays Nick's sizeable debt to him. As Slevin leaves, Goodkat comes out from hiding in the Rabbi's penthouse.


Slevin returns to the Boss and agrees to kill The Fairy. The Boss gives him three days, and he recommends that Slevin approach The Fairy romantically, as he is a homosexual. Intercut with this conversation, Goodkat tells the Boss that he will kill Slevin and the Fairy when they are together, and that he will make it look like a suicide. Slevin and Lindsey go out to dinner, where they survey The Fairy. Excusing himself, Slevin approaches The Fairy in the restrooms and exchanges phone numbers for a future date. Returning home, Slevin spends the night in Lindsey's apartment.

In the morning, Slevin is hassled by Brikowski and his men, and is later picked up by The Boss' henchmen. As they leave, The Rabbi's henchmen are shown to have been shot. That night, Slevin visits The Fairy at his apartment and shoots him. Goodkat appears while The Fairy is dying and shoots him again. As Slevin goes to get the body of the young man from the bus terminal that Goodkat killed earlier, Goodkat kills The Fairy's bodyguards. They then get rid of the evidence by blowing up the apartment.

Goodkat visits the Boss, killing his bodyguards and taking him hostage, while Slevin kidnaps the Rabbi. Hours later, both the Boss and the Rabbi awaken, restrained to chairs in the Boss' penthouse. Their squabbles are interrupted by Slevin, who explains how the bookies were killed in order to find a name in each book who owed the bosses money: Nick Fisher. Slevin murdered the Boss's son, and Goodkat manipulated the resulting gang warfare and job offers to allow Slevin to gain access to both crime lords. Slevin reveals that the story of Max is that of himself and his father. Goodkat was hired to kill Slevin, but he spared him instead. It is also revealed that the Rabbi and the Boss were the ones who killed Max, and that Detective Brikowski killed Slevin’s mother. As payback, Slevin asphyxiates them in the same manner his father was killed. Meanwhile, Goodkat appears at the morgue where Lindsey works and shoots her to protect his identity. Later, Detective Brikowski is shot and killed by Slevin.

Sometime later at the bus terminal, Slevin looks up to see Lindsey. They embrace and it is revealed that Slevin knew Goodkat would try to kill her, so they staged her death. Looking around, Slevin sees Goodkat, and he convinces him to spare her and leave.

The film closes with Goodkat and the young Slevin shortly after Max's death. Goodkat takes Slevin into his car and tells him that it will be a long time before they can return to New York.


Tuesday, August 03, 2010