Posts Tagged ‘Germany’
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Movie Title: Freedom Writers Freedom Writers is available for streaming or downloading. |
**A few spoilers in this review**
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Amazon’s has it all apt in their comments on this underrated, wonderfully acted, and radiant treatment of our fresh education system that all too often gives up on what it considers the “undesirables” show in every school, the teachers who reflect that they know it all (both villain and heroine in this film), and the kids who occupy that they have no reason to even try to expose others improper.
The dialogue is blisteringly realistic, sensitive, insightful, and painfully objective most of the time. In many ways there are no precise villains in this film although there are two specific teachers who attempt to give Swank’s character peril either because she is attempting to succeed where others have failed, or because she thinks she is better than others or has the key to her students’ success if others would unbiased net out of her diagram. It’s easy to glance the archaic teachers’ resentment for Swank as Gruwell. She is brash, naive, overconfident, obsessive, and appears to want to outshine her colleagues although that really isn’t her intent, but one can peer how a used teacher would eye her as a threat to their location which they feel, and rightly so to some degree, have earned. Simply because these older ancient teachers may not be as “on fire” as Gruwell, who is novel to the profession, doesn’t mean they aren’t calm dedicated. In their defense, Gruwell really does fair dismiss their experience, expertise, and dedication to the education profession because they have become a bit more jaded by their life experiences in this profession. She does advance off rather self-righteous at the bad times such as when she’s actually seeking wait on. Talk about ironic.
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As a 17 year primitive teacher myself I understand those feeble teachers in the film, but I also grasp being Gruwell’s age with all its enthusiasm, shakey confidence, and out to expose something mentality. I have greatly learned to indulge in and cherish the unique teachers that reach into my school because they have the opportunity to succeed where I may have failed and the students will aid from that, but it does have its concern too. I know that that radiant time is somewhat tedious me now and passing the torch is hard. It’s also hard to perceive one’s enjoy light diminishing while another is being lit. I believe younger teachers need to be sensitive to that and Swank’s character, Gruwell, is rather harsh and judgmental to those that don’t “obtain” her style. In fact, she is so harsh that her single-minded focus doesn’t let her feel others’ emotional harm that her success is causing. She appears to only be focused on her mission and her kids and while that can be praiseworthy, it can be narrow-minded and heartless too. Sadly, her obsessive nature causes her marriage to collapse. She NEVER sees that coming and that is all the more murky as it shows how clueless she is regarding her possess actions while so easily condeming others. In the demolish, neither Gruwell or her husband really comes off as the “unpleasant guy” at the destroy of that relationship although people are lope to win sides. I reflect he’s splendid shallow and stale for not standing up for himself or his marriage more until it hits a point of no return. There is plenty of fault to go around.
This is compelling film making and my wife and I talked for hours after viewing this film as she recalls my early days in education and how I am now after years of battling and bowing to belligerent parents who never contain their kid could do any contemptible, abusive and manipulative students who know the system is mostly on their side now, condescending administrators who have they have the answers when they are no longer even in the classroom environment, and demonizing politicians who always behold us as the reason for all the ills in society. To add insult to injury after many years of dedication, fresh young teachers often near in displaying small respect to veterans as they peruse others not giving us respect. It’s unlit that they so often don’t observe their futures in us.
I praise unique young teachers like Gruwell and world experienced but original teachers like Jamie Escalante (Stand and Negate) and all such teachers who battle the odds to design a contrast in the lives of their students. If anyone gets anything out of this film, I would hope it’s a sense that all deserve respect. Films in this genre all too typically demonize the ragged teachers as has-beens who have honest given up, praise the young upstart regardless of their flawed attitude at times, and assign students on the same playing field as adults which they are not. This film breaks this genre’s stereotypes quite a bit. I felt sincerely sorry for the disenchanted and disrespected veterans even though they were combative and jealous. I felt gigantic respect and empathy for the young novel teacher, Gruwell, for trying to acquire a determined change, but upset with her condescending and self-absorbed, callous attitude at times toward her colleagues and husband. I, lastly, felt big compassion for the students portrayed in this film who all too often society feels are “throwaways.”
This is the kind of film that lingers in your mind long after the viewing of it is over. This film is worth renting if not owning. Savor.
I don’t know about anyone else, but I went through a lot of tissues in this movie. Not because it’s dim (although there are a few shadowy parts here and there), but because it’s so spicy and heart warming. It took me too long to regain around to watching this and I’m sorry for that, but now that I’ve seen it, it’s definately a recent favourite of mine and I thoroughly enjoyed it.
It’s based on fact and what a teacher, Erin Gruwell, does to turn around a class of kids who seem helpless. It’s far better than Higher Learning or Perilous Minds. It’s got a unbelievable cast in it and they all did such a grand job. Hillary’s character starts out a diminutive niave because she thinks from the inaugurate that it’s going to be a fragment of cake to announce this class English. However, soon after they approach at the first lesson, she sees it’s going to be an uphill battle. A shrimp on in the movie, after she sees a drawing someone drew of a shaded student, she begins to procure them thinking about how these actions can bewitch their toll, by refering to the blueprint Jews were drawn in newspaper cartoons assist in the beginning of the Nazi uprise. These kids have never heard of the Holocaust and she overtime, helps them search for what Jews faced when the Nazi’s took over Germany and other parts of Europe (she takes them to the Simon Weisenthal Museum of Tolorance) and she plays games with them where they divide into two sides of the room and near to the center of the room for each thing they have in popular (such as whether they’ve lost someone they appreciate in gang violence, or whether they have the same music taste) . Soon they stare that it doesn’t matter if they are Sunless, White, Hispanic or Cambodian – they are all so similar in so many ways and they shouldn’t let accelerate divide them.
You HAVE to notice this knowing movie. It’s so uplifting and titillating, that you’ll no doubt like it as worthy as I did. It’s such a considerable movie and ALL school kids across the world should be made to look this in classes at school. I savor it.
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Watch Conspiracy Online
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Watch Conspiracy Online.
Movie Title: Conspiracy Conspiracy is available for streaming or downloading. |
“Conspiracy” is a perfect example of what happens when you pair a first-class cast with a genuine script. You ogle (or re-discover) that you do not need explosions, MTV-style editing or gimmickery to say a qualified record. This movie has all the budget and movement of a play, and is entirely dialogue-driven. But it works. Oh boy, does it work.
It is generally credited by historians that the despicable “Wansee Conference” of January 1942 was the genuine beginning of the Holocaust, i.e. of the Nazi Reich’s all-out difficulty to exterminate the Jews of Europe. Prior to that, the Reich had overjoyed itself with kicking them out of public life, taxing them into beggary, subjecting them to every create of humiliation, and essentially negating their dwelling as human beings. When the war started, however, this policy, known as the ‘emigration solution’ (i.e., solve the “dilemma” of Jews living in the Reich by forcing them to emigate) became veteran. The inefficient and unsuitable Nazi bureaucracy was ill-suited even to handle the relatively runt population of German Jews; and Nazi conquests, however, lickety-split increased the number of Jews in German-occupied territories to around eleven million. In other words, the very success of the German military misfortune in Europe had actually increased the size of the ‘Jewish problem’ a hundred times over. And since forcible emigration of 11 million people outside the German sphere of influence was not possible, something else had to be done to tackle this ‘problem.’ But what?
“Conspiracy” is about the bureacratic genesis of the Holocaust. It shows, in more or less valid time, a fictionalized version of a real-life conference of 15 officials from the SS/SD, Gestapo, Railway Ministry, Interior Ministry, Government General, and Ministry of Justice, which was chaired by Reinhard Heydrich and organized by Adolf Eichmann. As a movie, however, it is really a contemplate in the principal amorality of bureacracy and, to expend a tired phrase, the banality of outrageous.
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First off, the performances are reliable. Kenneth Branagh gives probably the best turn of his career as Heydrich, a man who has absolutely no philosophy, ideology or morality other than a Terminator-like determination to carry out his orders, whatever they may entail, and to crush any obstacle in his path. You win the feeling he would be fair as train to raze everyone with brown hair or webbed feet if that was his assignment, and if a few fellow Nazis happen to oppose him, then he would be unbiased as tickled to ‘evacuate’ them as any Jews. In fact, the description that Dr. Stuckart uses for the Jewish people in the film, “arrogant, self-obsessed….(but) sublimely clever, and knowing as well” is actually a very proper description of Heydrich. Branagh portrays him as a man with no human qualities himself, but apt instincts about human nature. He knows when to condescend, when to bully, when to threaten, and when to appeal to self-interest, and he can shift from one to the other and serve without a note of discomfort.
Stanley Tucci, as Eichmann, is also very worthy. Like Heydrich shifts his personality around like a revolving door depending on what is required of him, but he is also a true-blue bureacrat in the worst sense of the word. To his superiors, especially Heydrich, he is utterly subservient; hovering about like a dog, laughing politely at jokes he doesn’t gain humorous, attempting with petite success to be ‘one of the guys’ when Nazi vulgarity rears its head. But to his subordinates he is a coldly arrogant bully, slapping one soldier in the face for throwing snowballs outside, telling another he will pay for a dish he broke by accident. In fact, he reminds me of a couple of schoolteachers I had growing up….and at least one boss.
Colin Firth is lustrous as Wilhelm Stuckart, the lawyer who drafted the Laws for the Protection of German Blood and Honor (better known as the Nuremburg Laws), and who is perfectly speak to view all the Jews of Europe sterilized and shipped off
to be traditional as slave labor, possibly even exterminated wholsesale, so long as it is all done within a ‘legal framework’ (HIS apt framework) . Eichmann characterizes the bureaucrat from hell, then Stuckart is certainly the lawyer from hell; a person who has no gods before the law, and simply cannot abide the conception of the whole crazy plan being perpetrated without assist of a legislative blessing. Eleven million murders? That’s nothing. But without enacting a law first? Unthinkable!
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Ian McNeice, as Stuckart’s nemesis Dr. Klopfer, a chubby Nazi Party bigwig with a disgustingly smug and uncouth map of handling himself. …. He’s a raging anti-Semite who is all for killing the Jews, so long as the Party doesn’t lose any administrative turf to the SS in the process. He has no respect whatever for the law despite being a lawyer himself (as is almost everyone in the room….go figure that one….) ; and unlike the intelligent but rather naive Stuckart, Klopfer has no illusions about rule of law in Nazi Germany. We have the power to do what we want, he says; we can always re-write the laws afterwards.
“Conspiracy” was written by Loring Mandel, who deserves special praise for penning a movie that is nothing but conversation but which is quiet very piquant. I’m surprised some people would quibble with his dramatic interpretation of what happened; how could you beget an curious about what the precise conference was probably like — fifteen Nazi lawyers drinking wine, eating canapes, and reading figures about mass deportations and what does or does not constitute a Jew? Mandel’s script gets to the heart of the mentality unhurried the Holocaust, which was that despite being at war with the British Empire, the Soviet Union and the United States of America, despite being outnumbered six to one in manpower and 20 – 1 in industrial capacity, despite fighting on multiple fronts and lacking most of the natural resources principal for war, and despite the unspoken consequences to themselves and their country’s reputation if they lost the war and their ‘secret’ was exposed, the mentality of WWII Germany was level-headed originate to the view of diverting massive resources into slaughtering defenseless civilians by the million. If that isn’t the bureacratic blindness from hell, what isn’t?
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CONSPIRACY serves as a reminder of the banality of human putrid, even at its most horrific.
On January 20, 1942, with Nazi armies stalled in the snow at the gates of Moscow, a lakeside mansion in the Berlin suburb of Wannsee is the venue for a conference. Fifteen government bureaucrats and high ranking officers of the SS salvage. History is advised to remember these otherwise appallingly ordinary representatives of the human species: SS General Reinhard Heydrich (Reich Security Main Office), SS Lt. Colonel Adolf Eichmann (Office of Jewish Affairs), SS Lt. General Heinrich Müller (Gestapo), Gerhard Klopfer (Nazi Party Chancellery), Wilhelm Kritzinger (Reichs-Chancellery), SS Lt. General Otto Hofmann (Hurry and Settlement Main Office), Dr. Georg Liebbrandt and Dr. Alfred Meyer (Reichs-Ministry for the Occupied Eastern Territories), Dr. Wilhelm Stuckart (Reichs-Ministry of the Interior), Undersecretary Martin Luther (Foreign Ministery), SS Major Rudolf Lange (SS Taskforces in Latvia), Director Erich Neumann (Office of the Four Year View), Dr. Joseph Bühler and SS Colonel Karl Schöngarth (Government-General of Occupied Poland), and Dr. Roland Freisler (Reichs-Ministry of Justice) .
Even after coerced emigration, 132,000 Jews remain in Germany. As the Wehrmacht gobbles up territory, millions more – potentially 11 million – will near under Nazi control. As it’s save in this film, there’s a burgeoning “storage scrape”, and the chairman of the meeting, Heydrich (Kenneth Branagh), is calling for unanimous agreement on a “final solution”.
As the viewer sees, it’s not the conception of the eradication of the Jews from Germany and the occupied territories that fuels the debate, it’s the modus operandi, and which individuals, particularly those of impure blood resulting from a confusing variety of mixed marriages, are to be targeted. At one point, even the semantics of the process – “evacuation” vs. “execution” – are at instruct. And, of course, it all must be done legally as proscribed by the Nuremburg Laws. Finally, after the group dances around the declare of draw, Heydrich and his deputy Eichmann (Stanley Tucci) obtain to the crux of the matter. The Jews are to be gassed in special camps established for that purpose. At the unusual stage of technology, the gold standard is apparently 60,000 exterminations a day.
The impact of CONSPIRACY derives from the chilling ordinariness of the conference and its tone. These fifteen might unprejudiced as well be the top management of a expansive corporation discussing the eradication of rats from one of its manufacturing sites, or the construction of an assembly line to earn more and better widgets. As a notice of interest, nine of those explain were lawyers by training.
Branagh renders a positively luminous performance as the ultimate devil’s advocate, who steers the meeting to its foregone conclusion with a mixture of charm and smooth menace. When Kritzinger (David Threfall) objects that Hitler has declared to him personally that execution of the Jews is not his intent, Heydrich cooly reminds him, “Yes, and he will continue to do so.” Plausible deniability, you eye. And later in a private conversation when Heydrich demands Kritzinger’s bulky assist, the SS General remarks that the latter would be a difficult man to bring down – but it could be managed.
At the film’s conclusion, the fate of all fervent is provided in text overlay. Heydrich was assassinated by Czech partisans. Eichmann, Bühler and Schöngarth were tried and executed. All the rest either went free for lack of war crimes evidence, served time and were released, died of natural causes, were killed in the closing months of the war, or unbiased disappeared. Indeed, Klopfer sold insurance after the war and presumably died in his bed.
The Final Solution took planning. As Eichmann angrily berates an Army chauffeur for piquant on whim in an undignified snowball fight with his fellow drivers awaiting their masters, “Things honest don’t happen.”
The characterize of the Wannsee Conference which served as the basis for CONSPIRACY came from Luther’s copy of the minutes discovered after the war. Ironically, Luther himself was sent to the Sachsenhausen concentration camp in 1944 for plotting against his boss in the Foreign Ministry.
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Watch Words of My Perfect Teacher Movie Online
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Movie Title: Words of My Perfect Teacher Words of My Perfect Teacher is available for streaming or downloading. Click Here to Stream or Download Words of My Perfect Teacher |
This is a film about a Buddhist guru and his western followers, a Canadian engineer, an English fortune teller, and an American filmmaker (the same who made this movie) . What you’ll salvage at the kill of nearly two hours with this group is that the guru is the most normal person among them.
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This is especially mighty for a man who in his native Bhutan is revered as a god and who, if he let it go to his head, could lord it over his western students, who being in need of someone to exclaim them how to manage their lives have already given over to him distinguished of their have gleaming and emotional independence.
The guru, Dzongsar Khyentse Rinpoche (aka Khyentse Norbu), is in Europe and North America one of the most famed teachers of Vajrayana Buddhism, the compose of the faith practiced in the Himalayan countries of Tibet, Bhutan, Nepal, and north India. He is believed to be the reincarnation of a distinguished teacher and comes from a family with a long line of illustrious teachers. It is not his pedigree, though, that has earned him notoriety, but his films. He began his movie career working as an assistant on Bernardo Bertolucci’s Tiny Buddha (1993), before going on to fabricate The Cup (2000), and Travellers & Magicians (2003) .
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Khyentse Norbu finds himself, though, somewhat reluctantly stuck with the job of guru. “I disapprove my profession,” he laments. “So powerful hypocrisy, pretense, so great cultural hang ups. I wish I’m impartial an ordinary person.” So, ordinary is how he acts, to the tremendous consternation of his students. He cooks his enjoy meals, he drinks, he goes to football games, he shows up slack, or not at all. As the Canadian computer engineer remarks, “If he’s enlightened, why doesn’t he act like an enlightened being? ”
Shot in the early years of the modern millennia, filmmaker Lesley Ann Patten introduces us to Khyentse Norbu while in state in London, following him to the World Cup in Germany, the United States immediately following the attacks on the Current York Twin Towers, and finally to Bhutan where we peer the guru in his greatest splendor, attended by throngs of devoted worshipers. Along the scheme, Patten makes a detour to Los Angles to witness the guru phenomenon with two unlikely subjects, Gesar Mukpo, a recognized reincarnation and son of one of the first Tibetan gurus to advise in the west, and action-movie star Steven Segal, also a recognized reincarnation (of more dubious distinction) . Mukpo would rather play basketball than guru and gives Patten a rapidly course in recognizing bogus claims to enlightenment. A ample teacher, he says, invites challenges to his authority; it shows the student is growing. Segal notes that the thousands that have challenged him did so only because of their vapidity. (The subject of finding authentic teachers and the dangers of the guru-student relationship approach up later in the DVD bonus material, a 30 dinky interview with Khyentse Norbu.)
The film concludes with the guru going into a three month meditation retreat and the students returning to their homes in Europe and North America. Director Patten got enough material to complete her film, a remarkably new portrait of a recent Buddhist teacher, and everyone seemed to have enjoyed their time in Bhutan. None of the students, though, whisper their independence or seem to have arrive away wiser or more agreeable of managing their lives.
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Yes, as other viewers have stated, the acolytes making a film about their guru don’t seem to learn a lot in the process, but this film is 5 star not because of them, but because of the guru, who sees through it all and quietly reveals himself. Dzongsar Khyentse Rinpoche is a delight to gaze, and his words seem very authentic. There is an noble “extra” accompanying the film – a 20 shrimp Q&A interview with Dzongsar – and this alone is well worth the designate of the video. One of the best moments for me was when the Rinpoche was asked if he considered himself enlightened. I won’t grunt what he said, but will remark you his reply profoundly affected me and has prompted me to view out his writings, which I am finding bridge a gap for westerners who practice Buddhism.
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Watch Possession/Shock Online
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Movie Title: Possession/Shock Possession/Shock is available for streaming or downloading. |
I’ve always wanted to eye POSSESSION in its Director’s Lop, although I’ve never seen it before but saw the video box in the alarm share. A current of Dario Argento’s, POSSESSION is the greatest fright allegory on divorce since David Cronenberg’s THE BROOD. Sam Neill and Isabele Adjani are favorable in portraying the emotional harm of growing apart. It’s also a comment on the region of Germany when the Berlin Wall was mild erect and the Chilly War was in rotund do. As an added bonus, it’s also a bizarre monster movie, kind of a psychosexual Frankenstein anecdote. Enormous camerawork, music and ending! Highly recommended for begin minds and strong stomachs!
I remember watching SHOCK when I was a kid on television (as BEYOND THE DOOR 2) . The last half-hour of the movie has stuck out in my mind ever since. Mario Bava’s final film (aided by his son Lamberto, a gargantuan director in his maintain factual) is about possession, repressed memory, and psychological torment, with an edifying performance by Argento used Daria Nicolodi as the woman who experiences all of the above. Terrific music derive by I Libra, a side project of Goblin; wish the CD soundtrack to this film would reach out because I really cherish that opening theme! SHOCK is scarier upon repeated viewings and a must for Bava buffs!
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Double features from Anchor Bay on one disc (one on each side) . Side A.) is 1981′s “Possession” with Sam Neill as Notice who works for a mysterious agency employing him to track down a man “in pink socks.” His marriage to Anna (Isabelle Adjani) is disintegrating. They’ve become emotionally estranged. They also have a little son. Note wants to assign the marriage, he suspects she’s having an affair, so he has her followed after she moves out. Anna has become increasingly erratic and deranged and has moved into an broken-down speed down apartment where she harbors a evil secret. And commits horrible kill. Their son’s teacher (also Adjani) is a dead-ringer for Anna—only softer and more nurturing. But Anna’s dwelling is something else again. “Possession” is a outlandish fear film with Neill and (especially) Adjani going all out. The “secret” is truly astonishingly outrageous. But the ending will leave your jaw dropping. Recommended for lovers of animated films and Adjani fans. She’s amazing. Side B.) is Mario Bava’s “Shock” from 1979. (AKA “Beyond the Door II”) “Shock” concerns a woman whose first husband (a junkie who supposedly committed suicide) seemingly comes wait on to haunt her through her runt son. Daria Nicolodi is splendid as Dora, the devoted mother who has remarried and moved wait on into the house where the first husband died and soon regrets it. Bava flourishes abound in a beautifully directed shocker with wonderful plot pieces and a creepy procure. Scary, bloody with some bizarre nightmare sequences and a chilling ending. Both “Possession” and “Shock” are presented in gracious prints and are worthwhile for terror lovers. But “Possession” is not for the squeamish. Relish…
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Luther Discount.
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Luther Discount.
Compare & Purchase Luther at Amazon by clicking here! List Price: —- Amazon Price: $2.99 |
Luther Description:
- Amazon Sales Rank: #6310 in Movie
- Released on: 2008-08-21
- Rating: PG-13 (Parental Guidance Suggested)
- Running time: 124 minutes
Customer Reviews:
The Man Who Changed How We See God
There have been a lot of movies recently about God (Bruce Almighty) and faith (Dancing at Lughnasa), but many of them have avoided mentioning one word: Christ. Luther breaks that trend by addressing the foundation figure of the Protestant Reformation, Martin Luther. This film unabashedly presents the man as both a fallible human being, with crushing fits of self-doubt, and a man in constant pursuit of the mind of God, a man who changed the face of Europe.
Luther was and is an ambiguous figure to many, and this movie doesn’t try to simplify anything. We see Luther (Joseph Fiennes) in the most productive and tumultuous years of his life, with the movie ending abruptly after the Augsburg Confession. The character of Luther’s sponsor, Philip the Wise (Sir Peter Ustinov), is cut down, making him a friendly figure where he was in fact a shrewd politician who tried to use Luther’s opinions as a way to enrich state coffers. The figure of Karlstadt (Jochen Horst) is real and receives comment, but the film doesn’t really permit Luther to endorse or condemn his rebellion. Luther’s wife and sometime foil, the sharp and witty Katerina von Borg (Claire Cox), doesn’t even appear until near the end of the film. And Johann Tetzel (Alfred Molina), whose abuses spurred Luther’s greatest accomplishments, is treated like a straw man.
This movie seems structured at times like a Cliffs Notes of Luther’s life and work. Perhaps it’s intended to encourage the viewing public to read the books themselves and find out who Luther was. It’s certainly not a technical tour-de-force. The opening is cut together with the same abruptness as a trailer, Luther’s conversions (he had three, each more profound than the last, like stairsteps) are compressed, the camera is usually unmoving, like a portable stage.
But the movie is strong, accurately reflecting who Luther was and what he did. Running just under two hours and allowing plenty of room for the circumstances of Luther’s day, it’s easy to watch. The environment, including land and cityscapes, are well rendered, the light and sound are clear, and the colors pop.
Plainly, this isn’t a general-interest film. People who watch it are at least curious about Luther’s work, if not already familiar with it. But for a theological art-house movie, it’s a cut above most of what’s been made in recent years, and eminently watchable. Highly recommended.
An amazing movie
I have seen many Luther films over the years. They make him into a superhero. In many senses Luther was a superhero but he didn’t set out to be one. What I like about this movie is it brings in other aspects such as the Peasant Revolution and the ensuing slaughter. This is avoided in other movies about Luther. Such topics are risky fare for those hoping to make Martin Luther perfect. After all, Luther’s greatest supporters were directly connected to the carnage. The movie makes Luther human for once and this movie isn’t one of those boring theological dissertations. Sir Peter Ustinov turns out a magnificent performance as Duke Frederick in this, his final film before his death. I saw this 3 times in the movies and would have seen it more had the movie remained in local theaters longer.
One of the best films ever made.
I saw this film in theaters last year and was awed by it.
First of all, the film is not anti-Catholic as some critics have said. It was made in Germany with the cooperation of the Catholic and Lutheran churches there. It is fact based and tells the truth about what happened. It may portray them in a bad light, but calling the film anti-Catholic would be like calling a film about the Holocaust anti-German.
This film shows the brutality of the Spanish inquisition and their notoriously anti-Prosestant attacks. Another early Protestant, William Tyndale, was executed for heresy. His ‘crime’ was translating the Bible into English. Though the Catholic Church did do these things, they have apologized for it.
The film has stunning performances by Joseph Finnes (Ralph Finnes’ brother)and Peter Ustinov in his last film role before his death.
On October 31, 1517 A.D. the door of the Wittenberg church had Luther’s 95 theses nailed on it, and with that the door to religious freedom was opened. This film should be seen even by secular people because if it were not for Luther, there may have been no seperation of Church and state until many years later.
The film is an absolute must-see for those interested in the Protestant Reformation.
Stream Roger Waters – The Wall Online
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Stream Roger Waters – The Wall Online.
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Saturday, July 21, 1990 is a day I will never forget. Veteran Pink Floyd member Roger Waters & special guests performed a charity concert of the classic Floyd rock opera, “The Wall,” at Potsdamer Platz in Berlin, Germany, to celebrate the tearing down of the Berlin Wall. I fair so happened to be in England at the time, and I watched the worldwide broadcast of this staggering rock concert on BBC TV that evening, and it left an impression on me that has never gone away. This phenomenal explain was and IS the ultimate in rock theater, and has never been surpassed. Since I never got to gaze Pink Floyd do “The Wall” live attend in 1980, watching the Berlin concert more than made up for that. 13 years later, this landmark concert has finally been released on DVD at last, and it quiet holds up magnificently. Granted, Pink Floyd themselves had nothing to do with this concert, as Roger Waters was (and aloof is) not on satisfactory terms with his veteran bandmates, but Roger, the main composer of “The Wall,” is in top earn in this reveal, and he alligned himself that evening with some sparkling large names in music—Joni Mitchell, Van Morrison, members of The Band, Bryan Adams, Sinead O’Connor, the Scorpions, Paul Carrack, James Galway, Ute Lemper, as well as 80′s staples Cyndi Lauper & Thomas Dolby, and many more. Along with an orchestra & chorus conducted by Michael Kamen—as well as the Marching Band Of The Combined Soviet Forces—Roger & his bear Bleeding Heart Band, including guitarists Rick DiFonzo & Snowy White, play this distinguished rock opinion album superbly, and the vocal turns by Roger and all the guest vocalists are righteous. The production values, including the large Wall itself (reportedly measuring 550 feet wide and 82 feet high), the ample inflatables of the Teacher and Pig characters, the radiant costumes, props, lighting effects, Gerald Scarfe animations and other involving projections shown on the Wall itself are all absolutely incredible. And when you peep that worthy Wall reach crashing down brick by brick at the concert’s extinguish, it is one of the most phenomenal sights you will ever spy. “The Wall: Live In Berlin” is also outstanding in that it is probably the only concert ever staged that is actually *better* to peer on TV than if you had actually been there live. The camerawork throughout is improbable, and takes you places that the live audience couldn’t go: into the specially-built living room in the high corner of the Wall as Roger sings “One Of My Turns” and “Don’t Leave Me Now,” leisurely the Wall as Paul Carrack sings “Hey You,” and high atop the Wall as Difonzo & White do their awesome guitar solos on “Comfortably Numb.”Admittedly, the video version of “The Wall: Live In Berlin” has a itsy-bitsy bit of touch-up work done on it, or, what is affectionately known in the business as “cheating.” The power went out early in the indicate during Ute Lemper’s “The Thin Ice,” Roger’s “Another Brick In The Wall Portion 1,” and again during Sinead O’Connor’s “Mother,” so the performances you examine of “The Thin Ice” & “Another Brick…Fraction 1″ were actually shot several hours *after* the concert had ended, and “Mother” was taken from footage of the final rehearsal that was done the previous night (Roger’s lack of sunglasses during these songs is the giveaway) . Also, Ute’s portrayal of The Wife during “The Trial” sequence was also shot *after* the concert, as the camera malfunctioned during her live performance. But it certainly goes without saying that these touch-up performances were absolutely principal in order to expose the explain in it’s entirety, and besides, they blend in with the advantageous live performances very seamlessly.Following in the footsteps of Pete Townshend, who brought The Who’s classic rock opera “Tommy” to the Broadway stage, Roger Waters has been working for many years on a “qualified” theatrical staging of Pink Floyd’s “The Wall.” Whether or not “The Wall” ever makes it to Broadway unexcited remains to be seen, but, at the very least, Roger successfully brought the live rendition of the album to the masses in this landmark concert, blessedly recorded for posterity to be enjoyed again and again. “The Wall: Live In Berlin” is one of the most sensational rock concerts ever staged, and is a must-own DVD for every fan of this legendary notion album. Thank you, Roger!
My expectations were rather muted going into this. Primarily due to the “Celebrity” cast. I also had some loyal concerns over sound quality since it was recorded almost 15 years ago. The sound however is flat out extraordinary though. Although my issues with the Celebrity cast did not proceed, the quality of the sound and enormity of the production itself made the cast of characters seem less essential. The list of those performers seems really used today, but at the time of the explain, they were all “A” list. I contemplate some complaints I’ve read acquire shrimp merit or were the product of lack of opinion of the new source material. Someone said the scorpions attire was in abominable taste for such an event. Well folks, that was on purpose! They were the “Surrogate” band which was supposed to be representative of all of the excess in rock and roll that has at one time or another caused many of us to lose explore of the music.
Although, I’ve never been a Sinead O’conner fan, I idea she was a perfectly appropriate representation of the child in Pink. Her vocals were also very interesting. Again, I’m not a Brian Adams fan, but his gritty thunder was an profitable fit for “Young Lust”. And, no he wasn’t really playing guitar, or at least he wasn’t wired for sound. He, like the scorpions were there simply to provide vocals and window dressing. The music was thankfully performed strictly by Roger’s astonishing band. Joni Mitchell’s performance was flat out creepy (in a proper scheme) perfect for “Goodbye Blue Sky”. Cindi lauper was nothing but annoying. Van morrison (who I care for), seemed painfully out of site in this production. I ached for the return of David Gilmour’s silky protest during Van’s performance of “Comfortably Numb”
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My biggest thunder with the DVD was the camera angles and distances broken-down for the bulk of the present. The indicate was so immense that I judge the best overall perspective would have been maybe a hundred and fifty feet or so from the stage. This conception was curiously entirely absent. Everything was shot either up stop (Like most concert footage), or so far away that the perfomers were merely a speck in the camera lense. These longs distance shots were weak primarily between songs though and really did give the viewer an notion of unbiased how vast the expose was. In fact I would say the production was probably 4 to 5 times the size of Pink Floyds fresh prodution. All of the tight camera shots made me feel too considerable like I was watching a concert video rather than experiencing the note. Another enthralling perspective was the footage shot tedious the wall after the band had been completely closed off from the audience. It really made me like how odd that must have been for Both Pink Floyd in the novel performance and for Roger’s band in this version. I mean here you are playing your heart out and you can’t even peek your audience, and you know they can’t peep you either. I would liked to have seen a minute more of the audience perspective during this fraction of the exhibit.
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And to those Floyd fans who don’t believe the wall should be done without the unique band, I do sympathize. But the fact is, they were asked to acquire, and declined. Understandably, the terrible blood between the Waters & Floyd camps was too noteworthy to overcome under such short inspect, even for such a meaningful event and cause. But, the bottom line is that “The Wall” is Roger’s brain child. You can count both the musical & lyrical credits of other band members for the double album on one hand. The wall is the least musical of the Floyd creations due to the lack of input of those other band members. But in pure lyrical and conceptual terms, I composed feel it is once of the most bright and indispensable works of my generation. I aloof fill out hope that some day, all of the members including Roger will be able to set their egos and bitterness aside and re-unite to perform modern music and tour. Until that day however, I feel very fortunate to re-live the wall experience in this remarkable incarnation.
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Streaming Imaginary Witness: Hollywood and the Holocaust Online
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Streaming Imaginary Witness: Hollywood and the Holocaust Online.
Movie Title: Imaginary Witness: Hollywood and the Holocaust Imaginary Witness: Hollywood and the Holocaust is available for streaming or downloading. Click Here to Stream or Download Imaginary Witness: Hollywood and the Holocaust |
Koch Lorber Films presents “IMAGINARY WITNESS: HOLLYWOOD AND THE HOLOCAUST” (25 December 2007) (92 mins/B&W/Color) (Dolby Digital) — This is an expertly made documentary on Hollywood, not objective how they handled one topic, but how they are embroiled in novel politics — There will be some surprises to some moviegoers and clips from some relatively unknown gems, some of which I have never seen and will now discover out! — Otherwise, I have to give this documentary a huge thumbs up — Narrated by Gene Hackman and featuring a much series of clips and interviews, IMAGINARY Peek is a revelation, not least for its astronomical inclusion of material from BEFORE the Holocaust even happened, including American newsreel footage of Nazi book burning that treat it like a fraternity prank and pre-war Hollywood films in which characters refer to Jews as non Aryans — This is one documentary not to be missed.
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Under the production staff of:
Daniel Anker Director, Producer
Andrew Barrett Secure Composer
Ellin Baumel Producer
Buy,Download, Or Stream Imaginary Witness: Hollywood and the Holocaust! Click Here
Diana Holtzberg Executive Producer
Tom Hurwitz Cinematographer
Susan Kim Co-producer
Jan Rofekamp Executive Producer
Nancy Schreiber Cinematographer
Brad Shaw Editor
Story line and position, This is what Hollywood needed to do -and what not- to present Nazi Germany’s intentions — It is a well-documented film with vast interviews and modern footage to note that cinema can be extinct to fight for the apt and unfavorable of world events — In my book this is a ample film to illustrate how everyone turned their succor on what Hitler was doing against the Judaism — Nevermore, please — Some of the raw footage is missing when American troops discovered the death camps — However, the narration accomplished the feelings of those who were watching relieve then — Produced for the cable television network American Movie Classics, Imaginary Witness: Hollywood and the Holocaust was premiered at the 2004 Tribeca Film Festival.
the cast includes:
Gene Hackman … Narrator
Ben Kingsley
Liam Neeson
Norma Barzman … Herself
Michael Berenbaum … Himself
Robert Berger … Himself
Tom Brokaw … Himself (impart) (archive footage)
Robert Clary … Himself
Dan Curtis … Himself
Michael Dunn … (archive footage)
Stanley Frazen … Himself
Neal Gabler … Himself
Annette Insdorf … Herself )
Sidney Lumet … Himself
Branko Lustig … Himself
Abby Mann … Himself
Gene Reynolds … Himself
Sharon Rivo … Herself
Irene Sachs
Vincent Sherman … Himself
Steven Spielberg … Himself
Martin Starger … Himself
Rod Steiger … Himself
George Stevens Jr. … Himself
Malvin Wald … Himself
Fritz Weaver … Himself
Great job by Koch Lorber Films — looking forward to more high quality titles from the International Collection Film Market — order your copy now from Amazon or Koch Vision where there are plenty of copies available on DVD, stop tuned once again for top notch releases — where they are experts in releasing long forgotten films and treasures to the collector.
Total Time: 92 mins on DVD ~ KOCH Lorber Films ~ (01/13/2009)
I found this documentary to be a compelling peer. It begins with an explanation for the lack of portrayal in Hollywood movies about the rising Nazi threat support in the early 1940s. The reason for this was due to the fact that Germany accounted for 10% of Hollywood’s foreign market. But economics wasn’t the only reason for the dearth of anti-Nazi depictions in movies made by Hollywood. There was quite a bit of anti-semitism within the US itself – e.g. the Ku Klux Klan and the German Bunde [sic], an organization that was based in the US and represented the interests of the broad German population in the States did not want to peep attacks on Hitler or the Nazis.
Yet, there were some compelling portrayal of life under the Nazis and how it affected the Jews. Movies like The Mortal Storm with Jimmy Stewart told the yarn of a expedient, upper middle class Jewish family in Germany and how the anti-semitic movement in Germany under Hitler and the Nazis affects them. There are also movies like The spacious Dictator starring Charlie Chaplin [who funded the movie himself], playing dual roles of a Jewish barber and a parody of Hitler. It was in the Ample Dictator that the word “Jew” is first referenced in a Hollywoood production [even in the Mortal Storm, the phrase "non-Aryan" is mature when referencing Jews].
This is a well-researched documentary and for someone like me who is involved on anything to do with the Holocaust and WW II history, I found it to be a minefield of appealing historical facts and trivia. I made a list of classic movies that I opinion to inspect up and add to my library – movies like “To Be or Not to Be”, starring Carole Lombard [a comedic attack on Nazi ideology], None Shall Elope [1944], The Search [1948], and Singing in the Black [1956].
Besides covering the classic movies dealing with the Holocaust, there are also references to more contemporary productions such as Schindler’s List, Sophie’s Choice, War and Remembrance [1988 mini-series], and of course Holocaust [1978 mini-series].
A must-watch documentary for those keen in the Holocaust and Hollywood’s depiction of it through the years.
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