upside-down-movies and back-to-front cinema, sliced eyeballs and skips
HE THOUGHT ABOUT, then forgot, and remembered again back-to-front stories at the cinema, a fuzzy historic phenomenon that sounds made-up but isn’t. Of course, he seeks confirmation.
At this time, he imagines his own miniature back-to-front story. The film is tiny and exists only in his head. He is thinking of the film now.
Gala’s in the main bedroom in early January, sitting on the pink armchair by the window with the glass pane holding back the cold. A sharp winter sun floods the corner of the room lighting up her hair. She is on holiday, at leisure, with the MacBook Air sat in her lap, scrolling through jewellery descriptions on Etsy.
And this happens. At the opposite end of the room, across from the black fireplace, suddenly through the open door flies an unidentified object. A bundle of fabric dances in the air heading for the double bed. She sees his multi-striped, multi-colour dressing gown fall on the white duvet and listens to the bathroom door closing as he takes a mid-morning shower.
Within the hour, they are out walking in the bright cold, headed to a semi-detached property on sale for a second viewing with masks on. After the viewing, which is a success, they drift toward the main road with no particular plan. (Does anyone have a plan?) There’s a large skip hauled to the side of the road and filled to the brim from a household clearance. At the top of the heap a dark wardrobe is sprawled on its back, a busted single mattress flopping out its door like a corpse.
From a tight close-up of the mattress leaking from inside out, the scene dissolves to a different dumpster. A mini skip, completely empty, is arriving outside a property on the Essex Borders. The mini skip is on hire for two weeks only. A time-lapse sequence begins as the skip fills at speed with old discards and items to go, while the house declutters and the process of selling and leaving gathers pace.
He re-runs the miniature movie but this time coming in half way through. Starts where the big skip dissolves to the little skip, watching the mini dumpster getting winched into place on Gala’s front drive. Statically he observes the ditching of unwanted goods and ex-keepsakes, then cross cuts to a close-up of the laptop screen. The browser window fills the frame with rows and columns of jewellery – silver, platinum and palladium rings.
What would Nicholas Roeg make of this counterpoint structure – switching up the narrative flow, flipping from linear to back-to-front? And what does the reversal reveal?
Camberwell Cinema, 1956
In south London, last century, dropping down Denmark Hill into Camberwell, all through the nineteen forties, the nineteen fifties, and deep into the nineteen sixties, a quartet of cinemas, an axis of dream palaces flourished and then declined.
Through its golden years, SE5’s cinema strip, stretched no longer than a quarter of a mile, starting with the Odeon at the apex of Denmark Hill and Coldharbour Lane. This glam, two-thousand-five-hundred capacity auditorium was so glam it had two pillared entrances, one on each street, and soaring fin towers that lit up the night.
Heading north, next up in no time was the Essoldo and its gleaming gold domes; The Grand, dating from 1909, previously a roller-skating rink; and finally, on the corner of Camberwell Road and Medlar Street, the large art deco ABC – the only one of the Camberwell Quartet still standing in 2021.
With a combined seating of six thousand, SE5’s architecturally-varied picturehouses, erected between 1909 and 1940, offered film-goers the horn of cinematic plenty. (And if Camberwell’s four screens weren’t enough, short bus rides to Elephant, Brixton, Peckham, East Dulwich, or Herne Hill, brought plenty more venues in reach.) Across the country, purpose-built ‘super cinemas’ of the nineteen twenties, constructed in a Populist Palatial style, featured warm, luxurious interiors, providing some patrons with their first experience of walking on carpet. The Regent cinema in Brighton (1921) sported a vast screen, but also a restaurant, café, tea rooms, and a large ballroom above the auditorium. Similarly deluxe venues opened in Nottingham, Manchester, Leeds, and back to London’s West End, where silent film performances were accompanied by full live orchestras as well as ascending theatre organs.
Cinema-going in the UK was massive, but never as widespread as watching television would become. A survey of 1938 reported that 31% of the population went to the cinema weekly, 13% attended twice a week, 3% three times, and 2% four or more times. And then 12% never went at all, with the remainder only occasionally. Snow White (1937) was seen by a third of the UK population. Though a vast number, you still expect a larger share.
Following World War Two, London’s long-range population trend saw a drastic decline in headcount. Bomb damaged, and with severe housing shortages, the capital leaked residents to the lure of aspirational new towns beyond the greenbelt. By 1981, the flight out of London had taken the population down two million in three decades.*
Similarly, after a mid century surge, cinema-going started to lose big numbers to TV, and central heating, trapped in a steep Technicolor, Cinemascope, even an occasionally 3-D-shaped decline, that saw the Camberwell Four slip away one by one.
The Essoldo closed in August 1964, while the Grand went dark in January 1968. The ABC ceased operating in October 1973, with Pat Garrett and Billy the Kid its last picture show; and the Odeon Camberwell shuttered in July 1975, the kinky psychodrama The Night Porter its final screening.
You walk down into Camberwell, the hive that never rests, and you feel the loss of the four cinemas, although you were never here to see them. You turn your gaze to their heyday era. You imagine long queues on a Saturday night in the nineteen fifties, as the week’s new releases are reeled out for their debut screening. Film queues wind along Camberwell Road and Denmark Hill, up Camberwell New Road, or down the spur of Coldharbour Lane.
You picture mass audiences inside the raked auditorium, expectant in the dark, a hubbub of voices, a fug of fags on the go. Projector beam, animations, the weekly newsreel, a short movie, some ads, the trailers for coming attractions. And with the busy lead-up completed, the screen curtain closes, and opens again, as the lights go dim. The babble of voices susurrate, then cease, as the audience gets ready. The main feature is about to commence. THIS is cinema.
And yet – was this cinema? Not necessarily. Not always. For many people going to the pictures through cinema’s boom era played out quite differently.
Contemporary film audiences expect a visit to the cinema to follow a predictable form – when there isn’t a pandemic going on – where you buy a film ticket with a specific start time and duration, and often with a designated seat. And you sit in your designated seat and watch the movie from start to finish, in this order, and at the end of the film, you leave.
Reverse back in time, two or more generations, and you encounter many movie-goers with a fundamentally different way of doing things. For several decades through the twentieth century it was commonplace for people to simply ‘go to the movies’ – meaning many folk would arrive at some arbitrary point in the film, grab whatever seat, and start watching the screen. This is where they came in – often half way through.
‘Many people went to the pictures,’ writes a film historian on Reddit, ‘no matter what was playing, or what time it was showing. Movie theatres did not list show times in newspapers. If they did, few paid attention to them. You just turned up and entered the dark theatre while the movie was playing. You would wait a few seconds for your eyes to adjust to the dark and then shuffle to empty seats. You’d watch the film from the middle to the end. Wait a few minutes for the same film to start again and continue watching from the beginning.’
Back-to-front cinema, where the second half of the movie plays first. And the story’s beginning – the basic narrative components, the introductory set-up of plot and character and conflict – this comes later.
‘And you’d watch like this, and then a few hours after arriving, came that memorable moment when you or one of your companions would nudge the others and say, “This is where we came in.” And then you’d shuffle out.’
This was common practice. It wasn’t the weird quirk of the scatty few, but the ingrained habit of lots to arrive and join a film at any old time that suited.
‘I was born in 1955, so my movie-going experience started in the sixties. The practice of ‘go in when you want, leave when you get to the point where you came in’ was definitely the order of the day for movies. When my mother would take us to movies, she would just drop us off. Sometimes I would complain about missing the beginning, she would tell us that it didn’t matter. You could always stay to see the beginning. She had done it all her life and considered it normal.’
‘Folks were continuously entering and leaving the theatre.’ People would arrive to the cinema and get seated while a different party was getting ready to depart. And then another spectator would show up, or a couple of spectators, stumbling around in the shadows.
But how did it work, how did spectators find a way into the story of an already half-done movie? ‘They’d work it out. The viewer’s brain performed some kind of guesswork and forgot about the losses involved in seeing the ending prior to the beginning.’
‘I was born in 1945 and so am familiar with the phenomenon. The main difference was movies ran continuously. They usually started around 11am and then there would be a newsreel, coming attractions, a short subject, then the movie, followed by the newsreel, and the whole process would start again. The one advantage to the system was if you loved a movie you could sit there and see it over and over for one admission price. I recall sitting through The Great Escape three times.’
‘When I was a child, my family used to see movies all the time like this. If I could go back in time, I’d remind my mum that this ridiculous practice of showing up halfway into a movie and watching the first half later is as absurd as picking up a novel, turning to page 76 and start reading, telling yourself, “I’ll just go back and read the first 75 pages after I finish it.”’
Into the nineteen sixties, this unrefined, popular tendency for back-to-front cinema became unwittingly in tune with radical new thinking in European arthouse – although there’s little evidence anyone noticed the conjuncture. ‘I agree that a film should have a beginning, a middle and an end,’ observed director Jean-Luc Godard, ‘but not necessarily in that order.’ From Breathless through Vivre Sa Vie and Week-end, Godard’s urge to bend narrative out of shape would inspire and bewilder. But coming in half way through was not really what he had in mind by disrupted cinema.
In Annie Hall (1977) Alvy Singer, played by Woody Allen, waits outside a Manhattan arthouse cinema, kerbside, nervously checking his watch. The film is about to begin but Annie is late, arriving a minute or so after the advertised start time. Alvy shakes his head, resigned but adamant that now they will just have to go see another movie. The couple argue. Annie says the main feature probably hasn’t even begun. But Alvy is unbending, it’s too risky, he has to see a picture ‘exactly from the start to the finish’.
check-in, relax, take a shower
Although over-stated with neurotic obstinacy, Alvy’s requirement makes perfect sense to contemporary viewers. It is strange therefore to realise that once upon a time filmgoers had to be encouraged to show up on time, before the main feature started. The original ad campaign for Alfred Hitchcock’s Psycho (1960), reveals a concerted effort by an anxious director to encourage (if not insist) his audience come see his daring new shocker from the start.
“It is required that you see PSYCHO from the very beginning! The manager of this theater has been instructed, at the risk of his life, not to admit to the theatre any persons after the picture starts… Any spurious attempts to enter by side doors, fire escapes, or ventilating ducts will be met by force.
… The entire objective of this extraordinary policy, of course, is to help you enjoy PSYCHO more.”
— Alfred Hitchcock
Two years previous, Universal ran a publicity drive promoting a timely arrival for the perplexing Vertigo “It’s a Hitchcock thriller… You should see it from the beginning!”.
‘It was a big deal with Psycho in 1960,’ a Reddit film buff remembers. ‘This was a particular problem because the star Janet Leigh dies halfway into the movie. If a person arrives halfway in, then they would have no idea what was going on as they expected to see a Janet Leigh picture. I’ve always pegged 1960 as the transition point where people started watching films from the beginning.’
But the film historians don’t all agree about Psycho. ‘I cannot say for certain if Psycho was some kind of turning point, but I can absolutely attest to what was a very common practice when I was a kid. In my family, we always went to the movies whenever we were good and ready to go, regardless of when the feature might have started. My earliest recollection of this was Lawrence of Arabia , which my dad dragged the whole family to see. I can still remember arriving, sitting down in the darkened theatre during the last scene of the first half of the movie, where Claude Rains utters some prophetic remark just before the screen goes blank for the intermission. It wasn’t until I was much older that my dad began making an effort to see movies from the beginning. What a concept! I also remember seeing a double feature of Bullitt and Bonnie and Clyde. My friends and I sat down just in time for the car chase in Bullitt and, when we got to the part ‘where we came in’, we decided to watch the car chase again. Then we left.’
‘I recall seeing an early episode of TV’s Happy Days which starts with the gang at the movies and all of them getting up and leaving ‘where they came in.’ It struck me as odd so I asked my mother; she confirmed that it was something younger people/teenagers especially did in the ‘50s.’
‘I remember going to a movie in the mid-to-late seventies with my grandparents, one summer in Odessa, Texas. I wish I could remember the film. We arrived at least a third of the way into it and then waited around for the next showing until leaving at the part of the movie where we came in. I remember thinking it was bizarre, especially sitting in the empty theatre between showings. But my grandparents acted as if it were perfectly normal.’
‘What struck me as bizarre, even as a kid, was how precisely we would leave ‘where we came in’, within that minute, even if that point was close to the end of the film. We went to see The Spy Who Loved Me, and found our seats just as Roger Moore’s 007 was disarming the atom bomb. Through the second go-around, that’s exactly the point at which we left.’
[Fact check for the sticklers – Bond is reprogramming, not disarming, the atom bomb.]
‘My family used to do it this way into the 70s. When my brother and I got older, we would refuse to ‘leave where we came in’. The last time my mom tried this with me was in 1985. It was the movie The Emerald Forest, with Powers Boothe.’
All this coming and going in the theatre while he’s trying to watch. Irksome disruptions no doubt at the worst possible moment. A spectator leaving mid-film, barging past and blocking his view as Sandra Bullock drives the bus over the broken flyover. Do viewers learn to ride it out with the ruptures, or do people regularly lose it? That tall guy, big head, two rows forward just got up, stood there wrestling to put his coat back on, departing bang in the the middle of a tense scene. And so you didn’t see Roman Polanski open Jack Nicholson’s nose with a switchblade. You missed it.
In a San Francisco porno cinema in the mid nineteen nineties, he buys a ticket and ducks inside an ill-lit auditorium, off to do some field research for a book on pornography.
The theatre’s so gloomy it’s actually scary. Before he can adjust his eyes, he trips over a live human foot. Copping an earful off a cranky Californian, he considers having an argument but decides against it. Up a steep set of stairs he climbs to locate an empty row distanced from the mostly single guys sat away from each other. He parks on the aisle seat and glances towards a huge screen where a vital, into-it couple are copulating with great sound and energy.
But the action on screen is of no interest. He’s not here for some escape-hatch fantasy, he’s come for the American grindhouse experience – hard core in a public space. To observe the porno audience, putting his furtive apparatus to work in the dark.
First thing, it’s a surprise how few people are in the auditorium. He hadn’t expected a full house on a sunny May afternoon, but the theatre headcount is low.
Second thing, the small audience is oddly restless. Apparently, people don’t just sit and watch porno. There’s a steady dribble of spectators on the move, leaving their seat, stumbling around, going to another seat, with no discernible plan or objective, tipping down the steps to the bathroom, or headings straight out the theatre exit to the right of the screen. But then another jumps up out their seat, and shuffles off, and then comes back again, but to a different row. And so it goes.
The busy onscreen screwing cannot keep his eyes off the audience musical chairs. Is anybody here into the movie? He scopes left and right, front and back. A man and woman couple two rows behind just landed in their seats and are staring straight back at him unblinking. And actually this isn’t the only couple in the house. It isn’t just single guys dotted about after all. There is even a party of three, over there on the far side under the false balcony. Two women and a man sat together, who soon as he properly clocks them, jump from their seats.
Suddenly in motion, the threesome descend to the bathroom. Watching them go, wondering what they’re getting up to missing the movie – almost wishing he could be down there to see – slowly the penny drops on him. It is one of several research epiphanies he has preparing the book, as each time another porno category error reveals itself to his cluelessness. This is a picture house showing hard core movies; but porno isn’t cinema – not regular cinema. It is actually nothing like the movie-going he’s known his whole life. Porn is an anomaly for audience engagement and narrative. Porn-goers have different goals watching hardcore.
This first time out at the San Fran grindhouse, he’s very much a rookie leaving his lane, lurching into a semi-secret dimension he barely understands. In the shady crumbling auditorium he recognises once again there is much to learn. He thinks this and shifts in his seat and finds the soles of his shoes have become part glued to the ancient tacky carpet, as a clammy realisation dawns on him as to possibly how come. Yuck! He needs to leave now. It’s high time.
Back on the street, striding away from the porn movie, he doesn’t want to check his shoes, already feeling dipped in a state of gross. He shakes his head. Speaks out loud into a humid Bay Area afternoon. Gross! He looks back on this moment as an early instance of talking to himself in public.
Un Chien Andalou
What sense can be made of back-to-front cinema? Of ‘this is where we came in’? Of so, so many viewers tipping well-designed stories upside down for decades? Does the power of narrative lie shredded due to back-to-front spectating, or reconfirmed as cinema’s essential glue? Basic film theory hangs on the film spectator with a stable point of view anchored inside a classic narrative system of rules, codes and expectations. And yet long before the TV remote, home recording, or video on demand, armies of film-goers were remixing movies in the dark.
In Paris in the 1920s, a young Luis Buñuel and fellow surrealists often passed the day wandering from fleapit to cinema to picture palace in the service of research, watching each movie only briefly. The young surrealists didn’t want to get hooked on a film’s storyline, believing that imagery decoupled from narrative could open a portal to the irrational – that the subject’s chaotic innermost becomes accessible once aesthetic but also social and moral conditions are upended. Flip the overlay and reveal the undercroft.
The surrealist assault on straight stories encouraged the making of Un Chien Andalou (1929). The landmark short silent movie, co-directed by Buñuel and Salvador Dali, is a free-associative assembly of imagery inspired by a dream logic denuded of plot, timeline, or realist characterisation. A human eye is sliced in two; a man dressed as a nun cycles aimlessly; a hole in the hand leaks ants; a grand piano dangles from the ceiling, the rotting corpse of a donkey falling out its lid.
Almost a century later, despite these media saturated times, Un Chien Andalou’s razor-sliced eye hasn’t lost its edge. (‘We’ll never quite catch up to this picture,’ suggests director Guy Maddin.) However, ‘In our current era,’ argues a writer on Reddit, ‘detailed and complex moving images are so ubiquitous that we forget how exciting it was to just… go see a movie back then. Not just for the narrative, but the actual experience of seeing lovingly crafted imagery on a huge screen with loud sound + music, this was thrilling.’
He listens as film-goers on Reddit explore several ways to watch a movie. ‘Many Thirties musicals, it barely mattered if you started watching them from the beginning. As long as you caught all of the musical and dance numbers.’
‘I prefer to see things from the beginning, but I have to admit that many movies it doesn’t make much difference. I’ve seen the last 15-20 minutes of the Maltese Falcon about seven or eight times. I’ve never been able to catch the beginning. However, the power and effect of the film are present in every one of those final 20 minutes, and I don’t feel like my enjoyment of it is diminished.’
‘To be honest, most movies made before, oh let’s say, the eighties were always truly organic in that the part always contained the whole. After a very short time (let’s say less than five minutes), you pretty much knew who was who, what they were doing, and what the possible endings might be – and what the possible beginnings might have been.’
‘Yes, it was commonplace in the Fifties to simply “go to the movies” – to walk in at whatever point you happened to get there. But when we got to the “This is where we came in” point, me and my buddy sat right there and watched the rest of the movie over again. Doing this from week to week, but especially with a really good film, I began to be more aware of how many details were planted throughout a movie, unobtrusively, with the idea that they would bear fruit, take on or reinforce significance, before the film ended. In short, it was early training in form, structure, and meaning for a film critic.’
If it lasts forever – more waves of Covid, lockdowns recurring – he should try it for himself, surely – rejig his regular evening entertainment with some back-to-front cinema.
‘I actually tried this a few times some years ago, going into a film half way through and leaving at the same point where I came in. I was inspired equally by recreating a bit of film-going history, but also by Andre Breton’s habit of wandering in during screenings and leaving once he’d figured out the plot. I found it a pleasurable way to shake up routine entertainments. Seen this way, action films were even more gleamingly nihilistic without the false progression imposed by stalking down the big bad villain. There was a fresh perspective on how movies work… films seemed both more casual and disposable, but also more mysterious and more overpowering to submit to. Romantic comedies, especially, became almost wistful as the union you’d just seen consummated looped around to tentatively begin anew before crashing on seeming insurmountable shores right about the time I’d get up and leave.’
5×2, a French film from 2004, lays out the story of a broken relationship through five vignettes retold in reverse. The film opens with fortysomething exes Marion and Gilles receiving their divorce papers, and concludes with their first meeting as a couple. The end at the beginning, the start at the end. With the young lovers about to become swept up in romance, it all still to come, as they sit together at the water’s edge of a Sardinian beach at sunset, gazing towards a speckled future for sharing, the movie credits rise.
He adored 5×2. He watched it three times over in a year. The reverse structure seemed so ingenious it was almost mind splitting. (Oh simple mind.) The movie’s director, Francois Odon, has suggested that reversing time’s arrow created another way into the relationship for ‘a true, lucid reading of a couple’s story.’ This switching the structure round brings mystery to a love affair. From out of the ruins of the break-up, the spectator seeks proof of what the pair once meant to each other. And in locating the source of their love in the final act, hope rises against all the evidence. Maybe they get it right next time.
A Funny Story by Luis Buñuel
The final scene of 5×2 is tender and romantic and not what the film’s sour opening suggests. He wonders if Luis Buñuel would have seen it coming? In Hollywood in the nineteen thirties, Buñuel was convinced he knew where every last movie was headed, that he could tell you a Hollywood ending in minutes of the film starting.
After Un Chien Andalou, and his follow-up feature L’Age D’Or, Buñuel left Paris to go work in Hollywood. ‘Long before I arrived, I was in love with America,’ he writes in his memoir My Last Breath. ‘I loved everything – the styles and customs, the movies, the skyscrapers, even the policemen’s uniforms… As we sped across the country, America seemed to me to be the most beautiful place in the world.’
On arriving in LA, Buñuel meets Charlie Chaplin and tries avocados for the first time. But plans for Buñuel to get a crash course in how to make a Hollywood movie are quickly sidetracked. Following a misunderstanding, Buñuel is kicked off the set of the latest Garbo movie. He hunkers down at home, where his emerging doubts concerning Hollywood multiply. ‘Most of the directors I watched seemed little more than lackeys… they had no say in how the film was to be made. Or even how it was to be edited…
‘…In my frequent moments of idleness, I devoted myself to a bizarre document + synoptic table of the American cinema. There were several movable columns set up on a large piece of pasteboard; the first for ‘ambience’ (Parisian, western, gangster, war, tropical, comic, medieval, etc.); the second for ‘epochs’, the third for ‘main characters’, and so on. Altogether, there were four or five categories, each with a tab for easy manoeuvrability. What I wanted to do was show that the American cinema was composed along such precise and standardised lines that, thanks to my system, anyone could predict the basic plot of a film simply by lining up a given setting with a particular era, ambience, and character. It also gave particularly exact information about the fates of heroines. In fact, it became such an obsession that my friend Ugarte, who lived upstairs, knew every combination by heart.’
It became Buñuel’s ringstone of certainty that he’d travelled all this way, crossing an ocean and a large continent, from the old world to America, to discover at journey’s end the deep structure of Hollywood’s narrative system.
‘One evening, Sternberg’s producer invited me to a sneak preview of Dishonored, with Marlene Dietrich, a spy story which had been rather freely adapted from the life of Mata Hari. After we’d dropped Sternberg off at his house, the producer said to me:
‘A terrific film, don’t you think?’‘Terrific,’ I replied, with a significant lack of gusto.‘What a director! What a terrific director!’‘Yes.’‘And what an original subject!’ Exasperated, I ventured to suggest that Sternberg’s choice of subject matter was not exactly distinguished; he was notorious for basing his movies on cheap melodramas.
‘How can you say that! the producer cried. ‘That’s a terrific movie! Nothing trite about it at all! My God, it ends with the star being shot! Dietrich! He shoots Dietrich! Never been done before!”
‘I am sorry,’ I replied, ‘I’m really sorry, but five minutes into it, I knew she’d be shot!”‘What are you talking about? the producer protested. ‘I’m telling you that’s never been done before in the entire history of the cinema. How can you say you knew what was going to happen? Don’t be ridiculous. Believe me, Buñuel, the public’s going to go crazy. They’re not going to like this at all. Not at all!’
He was getting very excited, so to calm him down I invited him in for a drink. Once he was settled, I went upstairs to wake Ugarte.
‘You have to come down,’ I told him. ‘I need you.’
Grumbling, Ugarte staggered downstairs half-asleep, where I introduced him to the producer.
‘Listen,’ I said to him. ‘You have to wake up. It’s about a movie.’
‘All right,’ he replied, his eyes still not quite open.
‘Ambience – Viennese.’‘All right.’‘Epoch – World War I.’
‘When the film opens, we see a whore. It’s very clear she’s a whore. She’s rolling an officer in the street, she . . .’
Ugarte stood up, yawned, waved his hand in the air, and started back upstairs to bed.
‘Don’t bother with any more, he mumbled. ‘They shoot her at the end.’
Theories of narrative are as old as the hills. The early to mid twentieth century saw a renewed enthusiasm for analysing the mechanics of stories. In 1928, the Russian folklorist Vladimir Propp published a study of Russian fairytales identifying recurring elements and conventions suggesting an underlying framework to narrative. Propp’s work fed into structuralist theories, that narratives through history, and cross-culturally, possess recurring features and themes. Theorists from Lévi-Strauss to Roland Barthes to Joseph Campbell to Northrop Frye listed the ways in which stories all around the world matched.
Joseph Campbell’s analysis of comparative mythology was acknowledged by George Lucas as a key influence in the development of the Star Wars epic. The first Star Wars movie (1977) gripped the imagination of many viewers somewhere deep inside. Many found they wanted to see the movie over and over. He remembers at school his friend Roy saw Star Wars more than fifty times. The film played for several weeks at the Odeon on Barking Road. Roy’s family lived across from the Odeon and he knew a secret entrance at the back. Often after school, Roy headed to the cinema and sat and watched Star Wars in a state of wonderment.** Roy’s habit was an extreme version of a common enthusiasm for repeat viewing that caused cinemas to rethink their system of screening movies, switching to selling tickets to specific programmes. In this way the curtain came down on the tradition of catching a movie from half way in. ‘The end was probably brought about by the advent of movies people wanted to see again and again,’ writes a Redditor. ‘I’m thinking Star Wars was probably the big catalyst.’
‘We keep walking into the middle of these movies!’
In the decade leading up to Star Wars, a broader cultural shift had seen the critical status of film upgraded. Cinema was more venerated as an art form, and less disposable, and therefore to be consumed in the correct order. In Annie Hall, Alvy Singer worships at the high altar of great movies. Like many others also worshipped. ‘So yes, I’m an Alvy Singer type, just like you.’ a Redditor writes, ‘I’d rather sit through the Sorrow and the Pity for the fifth time than go into something new without starting from the beginning.’
Such big changes at the cinema carried forward unexpected ironies and twists. Starting in the mid sixties, from Easy Rider and Bonnie and Clyde upwards, a fresh wave of American cinema made under the influence of European arthouse brought a different kind of Hollywood movie to the local picturehouse. An emergent generation of serious American film directors with beards defined themselves as authors of their movies. As if to prove this, the author was prone to shuffling the narrative in unexpected ways. Innovative storylines caused bewilderment for a generation that had gaily watched films back to front. ‘My parents hated the majority of movies that came out between Midnight Cowboy and Jaws. Even Sam Peckinpah’s relatively mainstream film The Getaway, in which my mother complained, “I don’t understand why they showed Steve McQueen and that actress jumping into a creek before it happened! We keep walking into the middle of these movies!”
The movie-goers who had been narrative disruptors were losing their bearings in a new kind of disjointed cinema that lacked the filmic markers they previously relied on. One wonders how the parents got along with the re-arranged narratives of Pulp Fiction and Mulholland Drive. Or the labyrinthine stories of Christopher Nolan. ‘I remember going to see Christopher Nolan’s Memento a decade ago, and two women came strolling into the theatre twenty minutes into the movie. Of all the movies you do NOT want to be late for, I’d say that one ranks right up there. I’d love to have heard their discussion in the car afterward…’
Film-maker Nicholas Roeg regularly explored non-linear narrative through the seventies and early eighties. Roeg’s experiments were not to everyone’s taste. ‘When I was a kid back in 1973, my parents went to see Don’t Look Now. They returned home ranting: 1) Either the newspapers printed the wrong start times for the movie because surely they had walked in during the middle of it; or 2) The projectionist mixed up the reels and showed the movie in the wrong order.
‘When I finally saw the film years later, I realised that my parents simply couldn’t intellectually grasp Nicolas Roeg’s innovative and inventive (for 1973) structure, which, for many people of my folks’ generation, was disorienting and akin to “walking in the middle of something that already started.” Not to mention the fact that Roeg was experimenting with the idea of the ‘flash forward’ – a mind-bending concept that was perceived as an annoyance for the folks weaned on linear story-telling.’ ***
It’s been almost fifty years now, but still Don’t Look Now provokes strong feelings, with some viewers displeased at what they got: ‘Terrible directing and sloppy acting,’ writes Disappointed of Amazon. ‘…and the storyline was ridiculous and nonsensical! – A waste of time!’
Another dissatisfied viewer dispenses with any in-depth analysis, reaching instead for the pithy put down: ‘Don’t Look Now. Wish I hadn’t.’
‘Have to admit I have never watched this film until now,’ confesses a third. ‘And to be honest with you I wasn’t impressed…. I mean the love scene went on for ever, I even went to the kitchen to make a butty and cup of tea and when I came back they were still at it… Overall, not the best film.’
He remembers his parents also getting in a twist with Don’t Look Now on its first release. Back when mum and dad were full-tilt communists, they took a comrade from London’s Soviet embassy to see a British thriller, set in lovely Venice, in what turned out to be an evening of confusion but also cringing embarrassment at such naked Western decadence, as a bubble-hair Donald Sutherland performed cunnilingus on an blatantly ecstatic Julie Christie.
The explicit Sutherland/Christie love scene – still notorious, never forgotten – acquired its fragmented structure largely due to external pressure, being Roeg’s creative response to the British film censor. On being presented with the original cut, the censor found the sex too strong and told Roeg to reduce the heat if he wanted a release certificate. By chopping up the sex scene into smaller units, interleaved with depictions of the couple before and straight after making love, Roeg retained all the explicit content, but diffused the intensity in a form that left the censor satisfied.
The rearranging and overlapping of now, before and after, encapsulates the movie’s non-linear composition, with its commentary on time and consequences. Don’t Look Now is a mosaic work. Its patterned motifs dispersed through the story – water, the colour red, glass, characters repeatedly falling – reflect recurring themes of disconnection and reconnection, of loss and being lost. The movie’s non-sequential delivery – the presentiments and pre-cognition, the flashbacks and flash-forwards to an enigmatic future – the multiple fragmented components slowly arranging into a legible form, suggest a psychic undergirding, a deeper structure to narrative but also to actuality’s tangled weave. Roeg spoke in this time of film-making as a ‘will to master reality,’ while regretting that in life as in film ‘we’re bound, as in everything, by a dictated grammar.’
a sick film made by sick people for sick people
Roeg enjoyed a purple streak lasting six movies. Performance (1970), Walkabout (1971), Don’t Look Now (1973), The Man Who Fell to Earth (1976), are baffling, fascinating works with a dazzle and a buzz, but also had about them a mysterious quality hinting at deeper meanings to be excavated carefully.
When Roeg delivered the final cut for Bad Timing, his Viennese sex thriller of 1980, the head of Rank, the film’s distributor, condemned the work as ‘a sick film made by sick people for sick people’. And yet there’s not a sickness but a kind of innocent hope in Roeg’s speculative movies – that beyond the daring, complicated adult stories, viewers often sensed a film-maker perhaps onto something big and meaningful.
The first time he saw Bad Timing, at a university film society screening, he remembers the shock at so much smoking onscreen, and how unfair since the campus auditorium had a no-cigarette policy. Early the next day – very early, before lunch, in fact – a friend came rushing towards him at the college library, skittering across the tungsten carpet in his long, grey winter coat, hair in its usual haystack, fresh with excitement. The friend, who grew up in a provincial town reading the NME, was convinced that structuralism contained the meaning of life. They decided not to study this morning, hmm, but to go downstairs instead, where he had one coffee from the machine and two cigarettes, listening as his mate explained how he’d figured it out, the film, Bad Timing. After watching the movie closely at last night’s screening, and having then gone home to think on it at length, the friend reported the news that he had cracked the code to Roeg’s elusive meanings.
Bad Timing is a twisting tale of bad love between Alex (Art Garfunkel) and Melania (Theresa Russell) – a pair of troubled Americans with stripped psyches living in late cold war Vienna. ‘If we don’t meet, there’s always the possibility it could have been perfect,’ suggests Alex at their first encounter at a drinks party. Naturally, neither party heeds the warning inside this throwaway remark, that the flip side of perfect could be pretty terrible indeed.
Unspooling in a startling and dense split narrative, Bad Timing intertwines the story’s climax event – the night Milena attempts suicide – with earlier scenes dramatising her tortuous relationship with Alex, culminating in the decision to take her own life.****
Melania is young and bohemian while, in contrast, Alex is cool and detached and has a beady eye. Cinema is a dedicated space where we go watch in the dark and Bad Timing is a movie preoccupied with the drive to look. Alex is a research psychoanalyst who also teaches. One of his students defines the ‘shrink’ as also ‘spy’, in a city with a long tradition of espionage, secrets, and lies. Although Alex prefers the classification of ‘observer’, a more suited label is voyeur, as he intently scrutinises Milena, digging into her past relationships, unsure if he’s excited or disgusted with jealousy.
A fragmentary dramatisation of psychic dislocation, Bad Timing is thick with books and art and music alluding to states of disorientation – specifically, and at times humorously, the perils of losing your head. Who Are You? sing The Who, as the protagonists cross Vienna in a moody montage. Arriving to the art museum, Alex contemplates Klimt’s glimmering painting Judith I (Judith and the Head of Holofernes, 1901), in which Judith from the bible holds the head of Holofernes after decapitating the wrathful general. Klimt’s orgasmic déshabillé Judith is partially obscured by the back of Alex’s head, with the section featuring Holofernes’s severed dome out of view. After the gallery, the lovers move through the city to the soundtrack of Keith Jarrett’s Koln Concert, a recording noted for the trademark wailing of the genius pianist losing himself inside the moment.
The storyline of Bad Timing and the film’s multiple meanings takes some piecing together. The layering of patterns commenting on themes of identity and desire, memory and time; the sly deployment of culture, analysis, and puzzles, as well as Roeg’s experiments with deconstructed narrative, makes for a ‘writerly’ movie requiring its viewers do some of the meaning.
Doing the meaning can make arduous but satisfying work. Doing the meaning can also cause difficulties. He remembers the sinking feeling, that day in the uni library coffee spot, when his friend declared Bad Timing’s arcane message became crystalline with the Lüscher colour test as the movie’s core moment. No. How could this be?
The Lüscher colour test is prime quackery, an evaluation tool that tasks subjects to arrange a set of colour cards in order of preference – the colour choices allegedly ‘revealing’ the subject’s psychological truth. Milena is so eager to participate they do the test on the bonnet of Alex’s car. But the high ranking she gives the colour violet is interpreted as a very worrying sign indeed, proof of a breakdown in Milena’s ability to distinguish reality from delusion.*****
While watching the movie, he’d interpreted the long-discredited Lüscher test as being a feint. Not the film’s key, or its crux revelation, but a red herring.
Coincidentally, the Lüscher test does re-state the obvious – that there’s much repair required if Milena, or Alex, are to get out of their story intact. In this way, Bad Timing’s disordered narrative captures the afflicted, collapsed state of its protagonists; with its dramatic route towards a greater narrative coherence being its own kind of psych work. By the end, both Milena and Alex, as well as the film itself, have realigned into functioning beings – the couple meeting fleetingly one last time, years later, in another city; choosing this time to say nothing at all.
It’s in the Eyes
Leaving Bad Timing, Roeg ascended to Eureka (1983), the tall tale of a man who strikes gold and loses everything. Roeg’s sixth and final major work, Eureka critically barely touched sides. Rapidly and quietly the film shuffled off-scene, into a long oblivion that continues. Eureka landed in the wrong era. It was the nineteen eighties and there’d been a change in the weather. We were post-modern and losing our convictions, no longer certain of a buried treasure of deep meanings at the bottom of an art movie.
Both culturally and commercially the figure of the author/director/auteur had passed its peak. Being called Roeg, or Altman, or Godard wasn’t enough to sell tickets like before. While the name of the director remained prominent on the movie poster, and in the conversation, the ‘auteur’ as Primary was finished, dead, kaput.
The author no longer god, and belief in grand narratives under pressure, theory refocused on the relationship between film and its audience. Which is where we came in… What is the viewer thinking? What are they like? Where do we go visit when the lights dim down – a boundless imaginary space, or an ordered realm of codes, conventions, and rules?
The pleasures of film and story are seductive, and for many, for him, quite irresistible. But down spectrum lurk demons. Few will watch Bad Timing – Un Chien Andalou, the Matrix, or Hidden – and exit untouched and one hundred percent intact. Though the gaze is strong also it can be fragile. Fix those eyes on the screen as the camera holds a static single take longer than the ‘norms’ for duration, and you start getting twitchy. The longer, the twitchier. Say the same word over and over, semantic satiation, and the word disintegrates and dies on your lips.
He may back himself as his own stable solid centre of the world. But the two of them together on the sofa, sat playing a looking game that he read about in a magazine, staring on and on into their eyes, in time reality buckles, the ‘He’ becomes hazy. Did he look for too long? Is this where he went out?
* In 1946, Labour minister Lewis Silkin declared the new towns springing up beyond London and into the Home Counties as encouraging a ‘healthy, self-respecting, dignified person with a sense of beauty, culture and civic pride’. One of the first post-war new settlements was Basildon.
** The joy of repetition. He thought his friend Roy watching Star Wars fifty times broke the world record. Later he worked in a record store with a Marc Bolan fan, with hair and clothes to look like Bolan, who’d seen the T. Rex concert movie Born to Boogie seventy three times and counting. (His friend Roy meanwhile left school at sixteen and joined the army and was killed in Northern Ireland.)
*** One warm summer evening in the nineteen eighties, he saw The Man with the Golden Arm with Frank Sinatra, in Paris, in an old cinema in the 13th arrondissement. And the projectionist muddled the reels but nobody noticed the film was playing out of sequence. It was only the cinema manager who realised and he insisted the projectionist start the film again. He wasn’t sure it made a lot of difference.
**** In a grim and grisly coincidence, Art Garfunkel’s long-time partner killed herself during the making of Bad Timing.
***** European and America cinema of the nineteen eighties is teeming with ‘mad’ women – Fatal Attraction, Betty Blue, One Deadly Summer, Blind Date, Blue Velvet, Frances … a long list far from complete.
This Is Where We Came In… features contributions from Reddit True Film.
And here is corroboration of back-to-front cinema as a real thing, and not just made up


Frozen is a movie that warms your heart, and manages to stray slightly from the typical princess movie mold. Based loosely on Hans Christian Andersen’s The Snow Queen, Disney’s Frozen tells the story of fearless and spunky princess Anna. Anna embarks on a journey to find her sister, Snow Queen Elsa, and save their kingdom, which has been accidentally trapped in eternal winter by none other than Elsa herself. As usual, Disney delivered with amazing graphics and animations, with the movie’s exquisite ice castles and lively dance numbers. The soundtrack was undeniably great, which makes sense as the lead role is voiced by Broadway queen Idina Menzel.
Disney also did center the movie on unrealistically beautiful, European, doe-eyed princess figures. However, significantly better executed than in its attempt-at-feminism counterpart movie Brave, Frozen features two very independent, strong female leads who do not need saving from the symbolic Prince Charming, but ultimately rely on family love instead. Frozen also debunked the outdated concept of love at first sight. Hans, Anna’s first male encounter, whom she decided she loved based on a mutual passion for sandwiches and was subsequently engaged to the same day, turned out to be a useless gold digger. And yes, besides Hans, the younger princess did have a love interest in the form of a rugged mountaineer, Kristoff, but his actual contribution to the plot could be boiled down to a simple means of transportation.
I also applaud Frozen for exploring the physiological effects of emotional suppression. This movie does not have an iconic evil antagonist (besides the pathetic excuse of a self-proclaimed villain otherwise known as Hans, who tries to take over the kingdom, but like Kristoff, has barely any actual effect on the movie plot). The real hindrance was that Elsa has been taught from a young age to conceal her emotions in order to prevent her powers from over-developing, but that in actuality only instills a constant fear that her ice powers are harmful. However, once her younger sister teaches her to tap into her heart and free all the pent-up emotion, everyone is saved.
The movie was also made infinitely better with Olaf, the animated and lovingly innocent snowman who sings about Summer without knowing that this true love he carols to could actually make him melt into a sad, little puddle.
The biggest flaw in Frozen, and honestly with most other princess films, was the abrupt resolution to all of the problems. Each problem and event in the one and a half hour film keeps accumulating and accumulating, finally culminating into this one moment, and suddenly everything is okay the next second. It is sweet and makes the eight-year-old next to you smile gleefully, but will leave the adult audience stunned at the complete turn of events just minutes before the movie ends.
Movie grade: B+/A-


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Alluc– if you are seeking to watch videos of the movies not the full movies then you should switch to this website as his website has about 2.25 million videos in it that you can watch out.
And don’t think that this website offers only movies but it does offer many different videos and cartoons and some adult pictures as well.
This website also renders many features to its users and everything on it is just free. You don’t have to think about spending a single penny on it. Without signing up, you can enjoy unlimited movies, cartoons and various videos.
Movie-Online– it is one of the cool website that has ample collection of the different genres. One can find enough movies to watch out without thinking of spending a single dime.
This websites has great collections of the A-Grade movies that you may love to watch out.
Don’t think that you will not be able to choose the resolution options because you have the car under your control, you can choose at which ever resolution, you want to watch out the movies and also you have the HD video option, in the case if you want to watch out movies in the HD format.
The Solar Movies– one can say that this site is designed for the movie lovers only because one can watch out their favourite on this at anytime.
This website not only offers free movies but it too renders you its details like the synopsis, release date, cast and production details, which is not offered by many other websites but it does offers it.
The friendly customized system allows you to easily find out your favourite movies and you can enjoy unlimited free movies.
VKFlix – this can be the favourite website for the movie lovers, who love watching movies in the HD quality for free. When you enter in the website, you will discover almost 80% of the movies being of HD quality.
The interface of the website is quite simple and this site can be easily used by anybody. The user-friendly interface also allows you to easily browse and find out your favourite movies.
This website render free Hollywood and Bollywood movies, which is an amazing part of it.
HULU– if you all are thinking that not movies but there should be a website, which can offer you the latest TV shows of Hollywood and Bollywood then HULU, is for you all. You all can find out the latest seasons of many TV shows on this website and also the latest movies.
This website allows you to see the free online movies and as well as the latest TV series of many shows. You have the search box available on the website that allows you to find out your movies in the whole collection and also you can see the shows or the movies at your chosen resolution.
Nyoo TV – if you are a Bollywood lover then this site if for you because this site has enough collection of the Bollywood movies that this site offers.
Not only movies, but this site also offers you all the Indian TV shows that you may love to watch.
Many times this thing happens that we forget to watch or TV show or we just miss due to some or the other reason but now, no worries about it because you can watch-out the shows and you favourite movies for free. So, just enjoy the shows and movies anytime, whenever you wish to
Crackle– this site is quite unique because of its old collection of movies. This site has wide range of old Hollywood and Bollywood movies that you like to watch. This site offers such movies that possible couldn’t be found on the other websites.
It has also got the search box that can ease your work in finding your favourite movies. The most important thing that this website has is that it’s in the form of an app as well and the app of it is available for both system means for the Apple phones and for the Smartphones as well.
This website also offers free movies to you, so don’t have to think of spending money for any of the movies available on it.
SolarMovies.euu- This website is also very good for the movie lovers as this site offers wide range of Hollywood movies to watch out for free. It does offer the HD quality picture you but one thing is disappointing and that is that it doesn’t offer any Bollywood movie.
If you are a Hollywood movie lover then this website is fully made for you. You can watch the latest or the old movies on this website for free. The most important thing about this website is that it has got a really nice arrangement that you can choose your favourite stuff very easily. The large collection is available so, enough option to choose and watch out the films for free.
iMovie-tube- This website is just amazing because of its huge collection of the movies that are available on the public domain.
This websites updates the new just after their release date, but don’t think that just after the launch of the movies it comes on the website, the thing takes slight time but this website will offer all the Hollywood for free that you want to see.
You can enjoy wide range of HD movies on this website, so, the Hollywood lovers this site is meant for you all.
So, this website enlists those films which are quite rare and not available on the famous website. You can easily find out your favourite star rare movies on this website. And the movies website also allows free movies to watch out. So, if you are finding some odd and rare movies then this website is the perfect destination for you.
TUBE+– This is a cool website to find out any kind of movie of the Hollywood. This website literally updates the latest collections as soon as the movie comes on the internet, so, the user doesn’t encounter any inconvenience.
You can find out latest trailers and the full length online movie for free without facing any problem. So, this website is quite cool option to go for and the website is very nicely designed.
Free Full Movies– This website is just great and awesome for any user. This website was launched in 2008 and it regularly updates the new movies all the time.
This website is quite unique in its look and do render all the new updates on the front page, so that the users don’t face any problem regarding their choice of the movie.
One can find all the latest collection of Hollywood movies on it and this website also gives the HD quality videos. You can see your favourite movies online for free, so thinking about spending the money.
Verdict on free movies streaming
So, friends this was the full list of the websites that offers you free streaming movies. In the list there are some websites that aids you to have free movies to download in your mobile.
Some of the sites are also available in the form of an app but wait a minute friend, do you know that these movies that comes to entertain us also causes some bad effects on our health?
Do you know that using headphones during watching the movies in the mobile phone can take capacity of ears to listen anything? Do you all know that the films moral also affects our real life?
I know possibly many of you will not trust me but yes, in the survey it was found that many people takes the movies so seriously that they try to use characteristics of the protagonist character and not only this there many people,
Who become so obsessed with one movie that they just go for watching it all the time, which not hurts their eye and ears but also affects their mind vision.
I don’t say that don’t go for watching your favourite movies but I do recommend that don’t be obsessed with any movie, don’t implement the bad thoughts of movies in your life because it can hamper your life fully. Enjoy the movies as they are made for entertainment.


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Watch your favorite movies in the privacy of your home.
A great alternative to visiting the movie theatre is renting a movie from your local video library. You could organize this is one of several ways and personalize the experience and enjoy the movie at the same time-
- You could watch a romantic movie with your spouse/partner and combine it with a nice candlelight dinner.
- You could invite your friends over for a movie party.
- You could simply relax on your couch and watch the movie in a comfortable and relaxed position!
Whatever your plan, there are some definite advantages to renting movies. One of the major ones is you may want to watch a much older movie which may not be playing in theatres at the moment. You could have fun reliving old moments and going down memory lane!
Many libraries offer membership schemes which make it cheaper if you are a frequent renter.
Flags: Short (1-3 hours), Solo, With a Friend, With a Group, Children, Teens, Adults, Seniors, Indoors, At Home, Morning, Day, Night, Sunny, Snowy, Rainy


Kids love to move, create and talk. Tell stories in a way that allows them to participate whether by making sound effects, physically getting involved in the story, constructing props to use in the story or interacting with characters involved.
Here are some ideas used in Dr. Jones and the Secret of the Lost Keys:
1. The kids create the Nile river complete with bulrushes for the Moses in the basket story.
2. Dr. Jones introduces the story. This dramatic character does not just deliver a monologue but interacts with the kids. Having a “live” person do this instead of showing a video of the drama allows kids to participate. The actor ad libs depending on the response the kids give.
3. Get the kids physically involved in the story. Tell the story of the 10 plagues while kids act out the plagues on Pharaoh. Red sticker dots become boils. Clothespins become locust. Rice become gnats.
Get kids involved with the story in ways that provide memorable moments. Kids retain more by doing and talking than just watching and listening.


Medical Reality Shows Test Boundaries of Patient Consent, Privacy Laws
January 7, 2015 | Strategic Insights for Health System
Healthcare risk managers may be interested in a January 2, 2015, New York Times article that discusses the filming of patients without their consent. Specifically, the article examines situations in which hospitals allow crews to film patients and their families for "real-life" medical television shows. The article follows the story of a woman who recognized her husband, despite his face being blurred, while watching one such show, and the trauma she and her family endured viewing the moments leading up to his death.


She's kinda got a weird thing going on with her nose, but Joely Fisher is hot, especially her mega-breasts.
Joely Fisher (born October 29, 1967) is an American actress best known for her work on television, but also on stage and in films.
She was born in Burbank, California, the daughter of singer Eddie Fisher and actress Connie Stevens. Her younger sister is actress Tricia Leigh Fisher. She has a half sister, actress Carrie Fisher, and a half-brother, Todd Fisher, from her father's previous marriage to actress Debbie Reynolds.
Her parents divorced when she was age two and she was raised by her mother. She was unaware that she had any other siblings until sometime after watching Star Wars (1977), when she was told that the actress starring as Princess Leia Organa was her half-sister.
Joely began performing on stage in her mother's Las Vegas act at age seven. She and Tricia toured the world with Stevens, attending many different schools and having tutors. They then attended Beverly Hills High School. Joely went to the University of Paris for one semester. While on her way there, she stopped off in New York and dropped in unannounced on her father, reestablishing relations with him. She then attended Emerson College, but left before graduating to begin an acting career. Having a weight problem as an adolescent, she played the "fat friend" in summer stock.
As the child of celebrities, she was named Miss Golden Globe at the 1992 Golden Globe Awards.
Her movie debut was in the part of Averil in the comedy Pretty Smart (1986), which starred her sister, Tricia. Joely then played Kris in TV's Schoolbreak Special drama Dedicated to the One I Love (1991) opposite Danielle Ferland. Next came the feature I'll Do Anything (1994) starring Nick Nolte, which helped her career as bigger roles followed.
She had a variety of guest roles on shows such as Growing Pains, Blossom, Caroline in the City, The Outer Limits, Grace Under Fire and Coach.
Finally, in 1994, she landed her most prominent role when she was cast as the vain and insensitive Paige Clark on the sitcom Ellen. She played the role until the series ended in 1998. That same year she earned a Golden Globe Award nomination.
She followed 'Ellen' with the role of Dr. Brenda Bradford in the feature movie Inspector Gadget (1999) opposite Matthew Broderick.
Fisher's Broadway debut was as a replacement in the revival of Grease (1994). She was also a replacement in the revival of Cabaret (1998).
From 2003 until 2005, she starred in the Lifetime network's drama series Wild Card as insurance investigator Zoe Busiek. After that, she had a recurring role as Lynette's bitchy boss Nina on Desperate Housewives.
Since 2006, Fisher has starred opposite actor Brad Garrett as the busty and sultry Joy Stark in the Fox sitcom 'Til Death.
My oh my, those are some big breasts,
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I never review anything, mainly because I don’t feel I have to or that I should, but this? I can’t not.
The tone of the film is set by this soundtrack, and likewise listening to this soundtrack reminds you of all the great things about the film.
Simply put, it’s nothing but pure, honest, unadulterated joy. And who doesn’t love that?
If you’ve seen the film and don’t own this then you’re doing life wrong. Sort it out. Buy it. Be happy forever and ever and ever.


STEPHEN JOSEPH PRINCESS PUPPET CRAFT PLAY SET (F15)
Set the stage! Inspire creativity and dramatic play creating your own puppets and show with the Puppet Craft Play Set! Each set comes with 1 stage to assemble, 9 double sided characters with different emotions and gem or foam sheets for decorating.
Stage assembled approx. 16.25” x 16.36”
Puppets approx. 7” tall
1 puppet stage
9 double sided characters with different emotions
Gem or Foam sheets for decorating
Out of stock


I'm going to air my dirty laundry and reveal in this (and maybe the next) post, the films I like that suggest I have poor taste.
Today, I'm reviewing the box office bombs that I like, putting me out of kilter with the rest of the movie-going public. There's some epic steamers here, guilty pleasures and a couple that surprised me!
The Thirteenth Warrior
Photo Credit Wikipedia5
I had to wait a long time from trailer to release to see this film -- well over a year in Australia. I've since learnt this was due to production problems, not least because author/producer Michael Crichton sacked the director, John McTiernan1 when the film was received poorly by test audiences.
The original book, Eaters of the Dead is a bizarre read, not least because Crichton tried (and largely failed) to write in the style of extant Arab literature. His original idea was based on Beowulf, but replacing Anglo-Saxons with Vikings, and Grendel with a tribe of Neanderthals.
In the movie, the protagonist, Ibn Fadlan2, played by Spanish actor Antonio Bandaras is a court poet, who's surreptitiously exiled to the life as an ambassador for catching the eye of a nobleman's wife. In his travels, he is reluctantly recruited by a bunch of Northmen to rid a Norse kingdom of an ancient evil. Imagine a mashup of the Dirty Dozen and Beowulf, and you'll get the idea.
The film bombed hard and critics hated it. It's very thin on plot and the characters about as wooden as you'll find -- Omar Sharif famously quit acting because he was so disillusioned by the film.
I on the other hand, enjoyed it for its awkward clash of cultures, dark atmosphere and production values. I thought Bandaras was okay, and I quite enjoyed Vladimir Kulich's portrayal of Buliwyf.
The movie has some genuinely entertaining scenes, namely the breakfast wash-bowl ritual and Ibn Fadlan's first use of the Norse language, in which he responds to a Viking's insult with a memorable retort.
My mother was a good woman, and I at least know my father's name. Unlike you pig-eating son of a whore.
As an action movie, it doesn't lack for pace or blood and guts. It's not exactly suspenseful though, as was McTiernan's Predator. The soundtrack by Jerry Goldsmith was pretty good, and the CD version I have includes a nice write up about the composer's musing on how he blended the two cultures' music -- a considerable feat given that we know nothing about Viking music9.
A guilty pleasure, and one I still like to watch when ironing my shirts.
Photo credit Wikipedia6
Funnily enough, Sahara (2005) has something in common with The Thirteenth Warrior. It's based on Clive Cussler's novel of the same name, and you guessed it, the author took considerable exception to the film. Cussler was famously involved in a long-running legal battle3 with the film's producer, because he hated the script.
Now, I'm a fan of the Dirk Pitt novels. Sahara's a long book, with lots of subplots that were omitted from the film -- and for good reason, as they would have added far too much complexity and length.
So if the author hated it, and I like the books, why did I like it?
Well, I didn't read the books until after I saw the film, so I had no preconceived ideas when I planted my rear in the plush cinema seat. Leave the books aside and it's a decent adventure romp, reminiscent of a modern-day matinee adventure movie. It's very well shot, filmed in Morocco, the soundtrack is decent and the action is well-paced and not too graphic for younger viewers. The cast was decent -- William H. Macy as the crusty Sandecker stands out. I like Matthew McConaughey but I think he was out of his depth as an action lead, despite the chiselled abs.
Having since read Cussler's novels, I can now appreciate how widely different the film is -- not just the plot but also the characterisations. McConaughey's Pitt is nothing like novels -- this comes back to my point about him being a mediocre action lead. Pitt in the novels is a weather-beaten, hard-as-nails, brooding adventurer. Nor is Steve Zahn anything like Pitt's constant companion, the muscular Al Giordino -- even the banter between them feels forced and jarring.
Still, as a mindless action flick, it's good fun, and the toned-down deviations from the book make it safe enough for family viewing.
The Man from U.N.C.L.E.
Photo credit Wikipedia7
I was really surprised this movie flopped. The original series was often repeated on TV when I was a kid, and I used to watch it after school. Like with many remakes (and reboots), I was sceptical and only gave it a shot because it was a Guy Ritchie4 movie. I really enjoyed it!
The film is nothing like the original series, having instead Guy Ritchie's unique take on a 60s spy thriller -- like a Sean Connery Bond but with much more moral ambiguity. Armie Hammer is a formidable (and slightly psychotic) Ilya Kuryakin and Henry Cavill's Napoleon Solo is suave and rather self-serving. The tension between them is great to watch.
The soundtrack is awesome, its stylishly shot and the costumes and sets are a meticulously crafted vignette of 1960s Germany and Italy. The uneasy tension between Solo and Kuryakin works very well, both are deeply flawed characters who manage to form enough of an accord to defeat the bad guys without killing each other.
So why did it flop?
Perhaps, the subject matter was a little niche. Also Ritchie's can be a little too intense for a lot of views -- this one is more violent than his successful Sherlock Holmes series.
Also, it was bloody expensive to make, being a rather lavish period movies. I have a theory that box office flops are becoming more of an occurrence because of rising costs to make, distribute and market. that it's getting tougher to make back the costs.
Surveying the list of box office bombs on Wikipedia, the majority of flops have occurred since 2010.
Still, this is honestly one of my favourite films of the last 10 years.
Photo credit Wikipedia8
Why the hell is Hudson Hawk on the list? As a kid I loved this offbeat action comedy. What's not to love about Bruce Willis staring as a catburglar with a penchant for singing -- trying to steal to the pieces needed to reconstruct Leonardo Da Vinci's La Macchina dell'Or. It even has a deliciously camp Richard E. Grant in the line up.
Honestly, it's like the Da Vinci Code but without Dan Brown's nauseating pretentiousness.
Part of the problem I think was down to marketing. Bruce Willis was establishing himself as one the leading action men of the 80s and 90s with the Die Hard franchise, but Hudson Hawk hearkens back to his comedy origins in Moonlighting. The film was initially marketed as an action move for the US theatre release, then as a comedy when it hit the home VHS market.
I remember enjoying when I first saw it -- I was probably 12 at the time. I still enjoy it today. Maybe it was badly marketed, maybe I have poor taste. I even liked Bruce's muscular numbers!
More film reviews?
I had fun writing this post -- and exposing myself as a tasteless hack -- so maybe I'll do more. I've gotten rather nostalgic in my old age, so if you'd like to see, just reach out and let me know!
My next post idea is to review a couple of films that made money but didn't fair well among the critics of the day. Also, I'll be focusing on the historical/fantasy films that have greatly influenced me as a writer.
Director of some of the best action films of the 80s and 90s ↩
A real explorer who travelled among the Rus Vikings for a time. I've read the origin text from which Crichton took his inspiration. ↩
Cussler eventually lost. ↩
His films are hit and miss, but the good ones really shine. ↩
By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=10771448 ↩
By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=1524534 ↩
By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=45376055 ↩
By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=7423195 ↩
He had to work on the assumptions people have about it based on older movies and Wagner's operas. ↩


Tag Archives: The Walking Dead
For those that don’t know, “The Walking Dead” is a long running comic series that is being adapted into a television show this fall by Frank Darabont (“The Shawshank Redemption”). Casting has come along quite nicely, and we are all in store for the first primetime zombie show that I can remember. It’s enough to warm even an undead heart. If you’ve read my other reviews, you know that I am a zombie fan. I’m also an avid comics reader, yet somehow I have managed to miss “The Walking Dead” for the past 5 years. Luckily for me, Image collected the first 48 issues together in one easy to read place – and I was able to jump right in and get caught up.


The movies have influenced pop culture so much that when people think of Italy (which is gorgeous to visit on its own merits), people want to visit the towns where films made them famous or were imagined. So which of those places do I hear about most? Italy has a famous film pedigree from long before Under the Tuscan Sun (Fellini, Leone, etc.). But, in more modern times with the acceleration of social media, the obsession with overall mystique about Italy and “the sweet life” is here to stay. Here are some of the films and locations that you may want to visit, not including Italian films.
La Dolce Vita, Rome, and more specifically, the Trevi Fountain. Anita Ekberg famously so bought in to the idea of the sweet life that she moved to Italy after frolicking in the movie. (This movie introduced the word “paparazzi” to the English language).
Roman Holiday. This film may also make you want to visit Rome. Rome houses Cinecitta, the Pinewood Studios or Hollywood of Italy. A place where one can visit many places and times all in one filming location (and some of the set pieces may actually be real!). At almost any time, there are films being filmed in Rome. Even during the pandemic, the Gucci film was on location in down town Rome.
Room With a View, Florence, Hotel degli Orafi was the set for the “pensione” with the view.
Gladiator, in Tuscany Val d’Orcia. The soundtrack and the scenes of the protagonist longing for elysium (paradise) so he could reunite with his family, is some of the most haunting and beautiful cinematography out there. I often want to add Lisa Gerrard’s score to my Instagram posts but I don’t want to add a sad note to the beauty I see.
Tea with Mussolini, filmed in Florence and San Gimignano.
Enchanted April, filmed at Castello Brown in Portofino, on the Ligurian Coast north of the Cinque Terre. This is where the author stayed in the 1920s.
Under the Tuscan Sun, Cortona, but filmed in Villa Laura. This film seems to be the end-all of wistful movies about Italy.
Eat, Pray, Love. Rome and Naples. This book and movie had the added bonus that it was non-fiction so it made la dolce vita seem even more attainable.
But, there are other places that could be on a movie pilgrimage. In Positano, one can stay in the hotel (Albergo California) which stood in for an apartment (perhaps even the room!) where the heroine in Under the Tuscan Sun met her romantic interest, Marcello. In Verona, one can visit Juliet’s house! Also, many a James Bond movie and Mission Impossible have had scenes in Italy. Not to forget, Indiana Jones, and now that I think of it, so many more.
All over Italy, there are villages that seem like movie sets. For example, near Rome, is a town called Sermoneta (named after money because it cost so much to buy the town) which is a perfectly preserved medieval town.
I am sure that I will go to many of these places in the future. It is hard to not trip over them as it seems like most of Italy is a movie set.


The New York Times calls Lynn Nottage’s Broadway hit “Sweat” “the first work from a major American playwright to summon, with empathy and without judgment, the nationwide anxiety that helped put Donald J. Trump in the White House.” But the play that won Nottage the Pulitzer Prize also addresses the culture under which workplace bullying festers.
“Sweat” tells the story of factory workers in a poor Pennsylvania city and their struggle to stay afloat financially while their steel factory declines. In Nottage’s heartbreaking story set almost entirely in a bar, characters clearly relay their distinct points of view with both compassion and rage. Each character represents an overarching issue — class, race, or immigration — while she fights for her hard-earned piece of the pie.
The show ends with a major insight about our culture: when one character experiences a life transformation due to an event, one character says “it’s nice that you take care of him.” And the other character responds “that’s how it oughta be.”
It’s not just workers in declining factories who experience fighting for a piece of the pie. It’s workers in workplaces throughout the nation who claw at each other (often in the form of workplace bullying) in competitive cutthroat cultures modeled at the top of organizations. Rather than collaborate for the collective success of the organization, workplace bullies fight for power, using abuse to push down workers whose competence and work ethic threaten their position and bringing down the organization’s potential. Studies support that managers who treat their employees like humans get better results.
If we want healthy workplaces, we need to start taking care of each other. That’s how it oughta be.


ONE EVENING, DURGAPRASAD, A CONTRACTOR from Mohgaon, came to visit Kumharra village to discuss matters with the sarpanch of the village. As he entered the village, he heard a voice resounding in the village: “Bhaat baad mein khabo, natak dekhan jabo (Have your food later, come to see the play)”; “Aao aao natak dekho…natak dekho…bin paise ka natak dekho (Come, come to watch the play…watch the play….watch.
P uzzled, he approached the sarpanch’s house. As he interacted with the man, the calls outside became louder. His curiosity got the better of him and he stopped his conversation with the sarpanch mid-way and went out to see what was happening.
Durgaprasad followed the sound and came to a well-lit verandah of the panchayat office, which was filled by community members. Seeing such a large gathering of people at such an odd time surprised Durgaprasad. Durgaprasad was stunned by what he saw. For the first time, he was witnessing a street natak (play), which engaged with the spectators and required their participation to take the play to its conclusion. The actors were not talking down to the spectators; instead, there was a dialogue with the spectators, to generate critical thinking.
Durgaprasad was stunned by what he saw. For the first time, he was witnessing a street natak (play), which engaged with the spectators and required their participation to take the play to its conclusion. The actors were not talking down to the spectators; instead, there was a dialogue with the spectators, to generate critical thinking
He approached one of the community members to inquire about the gathering.
“Saheb, natak dekhan aayen ne, (We’ve come to watch a play, Sir)” was the response.
His conversation was interrupted with someone calling out, “Jai Sewa, Ram Ram, Sita Ram” and the crowd of people reciprocating in similar manner.
Durgaprasad saw a young person asking the crowd, “Kya aap natak dekhan chahabo? (Do you want to watch a play?)” With this began a dialogue between him and the members of the community. A group of performers then acted out a situation where a husband abandons his wife and brings home a new partner. The performers highlighted the plight of the women and asked the community members whether or not such a situation was acceptable; and whether anyone from the community would be willing to change the situation. The community members proclaimed that the situation was, indeed, not acceptable because this was unjust for the woman (being abandoned by her husband). Some of the community members approached the stage and confronted the husband (the Oppressor).
Neeraj Joshi is an Executive in PRADAN. He is based in Mohgaon block, Mandla district, Madhya Pradesh.


Dear colleagues, friends, residents, our film ‘Hope’ of a client’s journey supported by the Welcome Project has been entered for a film award. I would like to ask you to please vote for our film!
Our film is under the title Healthy Living Project and is under the Charities who showed an annual turnover of £100,001 – £500,000 in the last year. Please spread the link among your networks, so that they can vote too!
Sonia Lynch, Welcome Centre manager
To see the film about Kieran’s story take a look here: http://www.charityfilmawards.com/videos/healthy-living-projects
You need to register to vote for the film http://www.charityfilmawards.com/register
Great work and great story!


Our Transition Monthly film night for May will be 'Who Killed the Electric Car'. http://www.whokilledtheelectriccar.com/
6.30pm for 7pm start.
Film will be followed by speakers/discussion on sustainable transport (Cycletastic/Brent Cyclists) and Recyling (Greenzones) in the constitution club from 8.30pm
Paineâ€™s film investigates the events leading to the quiet destruction of thousands of new, radically efficient electric vehicles. Through interviews and narrative, the film paints a picture of an industrial culture whose aversion to change and reliance on oil may be deeper then its ability to embrace ready solutions.
Who Killed the Electric Car? and Chris Paine were nominated by the Writer's Guild for Best Documentary of 2006. The film also received nominations from The Broadcast Critics Awards and The Environmental Media Awards for Best Documentary of 2006. The film won the audience award at the Canberra International Film Festival and won a special jury prize at the Mountain Film Festival.
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