It's been awhile . . .
. . . since I watched a TV show that had me hooked after one episode! That show is Grace and Frankie, on Netflix. It stars Jane Fonda, Lily Tomlin, Sam Waterson and Martin Sheen. It is funny and intriguing. There are scenes where important information is left out and you're left with a wondering feeling. So, you watch the next episode, and you're hooked. But it's a good thing.
I don't want to spoil it for you, so watch the first two episodes, then see what you think.


Uncle Tom. Mammy. Topsy. Prissy. Kunta Kinte. Fiddler. Chicken George. These characters shine as stars in the American cultural firmament of chattel slavery (with Little Eva, Simon Legree, Scarlett O’Hara, and Rhett Butler as their white cosmic counterparts). As literary characters–from Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852), Margaret Mitchell’s Gone With the Wind (1936), and Alex Haley’s Roots (1976)–brought to life in film adaptations, they reinforce visually the relationship between slavery, region, culture, and history so central to their novelistic precursors. But what are the connections between written representation and filmic adaptation? For example, how does Mitchell’s character of Mammy compare to Hattie McDaniel’s Oscar-winning portrayal in the 1939 film? It is often difficult to discern where the power of narrative ends and the spectacle on the screen begins.
These types of questions are at the heart of Natalie Zemon Davis’s new book, Slaves on Screen: Film and Historical Vision, derived from her delivery of the 1999-2000 Barbara Frum Historical Lectures at the University of Toronto. Davis begins with a basic question: How can film best be used as a medium for presenting history? “Readers may well wonder whether we can arrive at a historical account faithful to the evidence if we leave the boundaries of professional prose for the sight, sound, and dramatic action of film” (3). Functioning, on the one hand, as a kind of “microhistory” and, on the other, as a “creature of invention,” the feature film wields an “historical power” that “stems from its multiple techniques and resources for narration” (5-7). It is precisely this play between fictiveness and fact so characteristic of feature film (in comparison to documentary film, docudrama, or cinema verite) which makes the genre intriguing to Davis. Although feature films have been described as having little “significant connection to the experienced world or the historical past,” this same genre also has the ability to “make cogent observations on historical events, relations and processes” (5). Davis, esteemed historian of early modern France and professor emeritus at Princeton, boasts impressive credentials to address the relation of history to film. In the early 1980s, she served as historical consultant on the French production of Le Retour de Martin Guerre(dir. D. Vigne) about a case of imposture in sixteenth-century France, wrote The Return of Martin Guerre (Cambridge, Mass., 1983), a traditional historical account of that case, and taught graduate seminars in the 1980s and 1990s on History and Film.
Davis addresses the relationship of film to history in four ways. First, she strategically chooses five films about slavery or, more particularly, about resistance to slavery that serve as case studies. They include Stanley Kubrick’s Spartacus (1960), Gillo Pontecorvo’s Burn! (1969), Tomas Guiterrez Alea’sThe Last Supper (1976), Steven Spielberg’s Amistad(1997), and Jonathan Demme’s Beloved (1998). These films represent a forty-year span of productions in the U.S., Cuba, and Italy. They are set in a range of locales in the Atlantic World, including the West Coast of Africa, the U.S., Cuba, and the imaginary island of Quiemada, and document a range of action, from slave rebellion on land, slave revolt aboard ship, and slave resistance on the plantation. Second, she maps the classical duality between history and poetry onto the dichotomy between historical prose and historical film. “The ancient contrast between poetry and history, and the crossover between them, anticipate the contrast and crossovers between historical film and historical prose. Poetry has not only been given the freedom to fictionalize but it brings a distinctive set oftechniques to its telling: verse forms, rhythms, elevated diction, startling leaps in language or metaphor. The conventions and tools of poetry can limit its use to convey some kinds of historical information, but they can also enhance its power for expressing certain features of the past” (4). Third, she offers a dual chronology of twentieth-century historiography on classical and New World slavery and of filmic representations of slavery in the same period. She sees “shifts in cinematic treatment of slave resistance over the decades [that] were parallel to or followed on similar changes in the work of historians” (123). Fourth, Davis reads these films against their broader social and cultural contexts.Spartacus is a film about internal Roman politics and the political and social revolt against Roman elites;Burn! and The Last Supper concern political economy and local cultural customs; Amistad focuses on political struggles and the claims of property; andBeloved explores the cultural and psycho-social trauma associated with slavery. She also harnesses the personal anecdotes of these films’ filmmakers, actors, and writers to flesh out their creative contexts.
Davis continues with a follow-up query to her initial question: “what do films about slavery tell us about the past?” (19). She reveals her dual faith in the medium of film and in the possibility of making films that are “both good cinema and good history” (xi). The films she analyzes give “her new eyes with which to look once again at the plantations, uprisings, and manumissions of Suriname” at the center of her current research (xi). “As long as we bear in mind the differences between film and professional prose, we can take film seriously as a source of valuable and even innovative historical vision. We can then ask questions of historical films that are parallel to those we ask of historical books. Rather than being poachers on the historian’s preserve, filmmakers can be artists for whom history matters” (15).
While Davis’s erstwhile contention about the potential symbiosis between history and film is one that most of us can share conceptually, the history of the documentation of slavery as a subject for film is a sad and sorry one (I have included a comprehensive, though not exhaustive, list of films at the end of this review). Any visual representation of slavery in a U.S. context depends for its signification upon a complex visual and discursive network of meanings about race, class, labor, gender, and region. In this sense, what films about slavery tell us about the past is that it is incredibly difficult to talk about or conjure up images of the institution fashioned by slavery. Put differently, the symbiosis between history and film means that film can get it just as wrong as history, with more long-lasting and visually explicit results (take the visual iconography of a shiny-faced, wisecracking Mammy in Gone With the Wind as one notable example). From the nascent silent classic ofUncle Tom’s Cabin in 1903 to the technically brilliant, yet reactionary Birth of a Nation in 1915, from the audaciously repellent Operation 13 (1930s bombshell Marion Davies as a Union spy during the Civil War ‘blacks up’ as a slave maid behind enemy lines), to the shadow-filled tableaux of Jezebel of 1938 in which slaves silently tend to Bette Davis cast as an overwrought southern belle, Hollywood’s attempts at depicting American slavery seem awkward at best and plain racist at worst. Instead, the only instance in which slavery can be discussed openly is in its classical form–Hollywood’s “ancient world” is almost entirely populated by Anglo actors. In this sense, white actors Charlton Heston in Ben-Hur and The Ten Commandments and Kirk Douglass in Spartacus decrying their bondage both sound and look fundamentally different from black actor Denzel Washington narrating the physical and psychic terrors of his chattel existence after joining the Fifty-fourth Massachusetts Regiment of the Union Army in the Civil War epic of Glory. By Hollywood standards, the “slavery” experienced by Jews and non-Romans in the classical era has nothing in common with the “slavery” borne by persons of African descent in the New World. Instead audiences encounter slavery in whiteface–white Hollywood stars sport burlap and chains and spout platitudes about freedom and justice.
Indeed, in this sense, Slaves on Screen is perhaps a misleading title. Readers may find the slaves on which Davis focuses–Spartacus, Jose Dolorés, Sebastián, Cinque, and Sethe–to be relative strangers in contrast to the familiar figures of Uncle Tom, Mammy, or Kunta. The slaves Davis has chosen have not been seen much at all. Only one of the five films, Spartacus, was a commercial success. BothBurn! and The Last Supper require the prodigious inventories of an art house video store just to screen them (and even here near Hollywood, I had difficulty locating them). Amistad and Beloved were box office failures–even Spielberg’s blockbuster auteur status and Oprah Winfrey’s formidable marketing power could not overcome the movie-going public’s ingrained reticence about and avoidance of the devilish details of chattel slavery.
The relative obscurity of these slave characters is reinforced by a telling omission in the broad social and cultural context drawn by Slaves on Screen. This volume would have benefited from even a cursory consideration of the efforts of black writers and filmmakers in the post-Civil Rights era to confront the history of slavery. There is little mention of Alex Haley’s Roots (Garden City, N.Y., 1976). The immensely popular television series (1977), based upon the best-selling text, has revolutionized the visual depiction of American slavery during the last twenty-five years and brought slave characters like Kunta Kinte, Kizzy, Fiddler, and Chicken George and the broad outlines of the practice of slavery into America’s living rooms. Other television movies likeThe Autobiography of Miss Jane Pittman (1974), based upon Ernest Gaines’s novel, and later independent productions, like Julie Dash’s Daughters of the Dust (1991) and Haile Gerima’s Sanfoka(1993), receive no mention.
Davis’s final case study pairing Amistad and Belovedreveals how the symbiosis between film and history can go astray when its subject is chattel slavery. In other words, what happens when the power of film to impart historical knowledge is muted by broader cultural silence about and evasion of the film’s subject? She herself offers an oblique reference to the anomalous place of these two films in her broader argument. “Unlike Spartacus, which was made amid the troubles of the Cold War and the Red Scare, or Burn! and The Last Supper, which were produced in the wake of national revolutions,Amistad and Beloved were composed under the shadow of Holocaust” (69-70). I might paraphrase this last idea. These two films were made under the shadow of films of the Nazi Holocaust, particularlySchindler’s List (dir. S. Spielberg, 1993). Although the original materials for both films predate Spielberg’s epic chronicle, the filmic representations of those materials seem indelibly marked by the 1993 film. Indeed, Davis quotes Oprah Winfrey’s declaration about the film adaptation of Beloved to her scriptwriter and fellow producer: “This is mySchindler’s List.” I would argue that Winfrey’s substitution of Schindler’s List for Belovedilluminates the absence of language with which to speak about the experience of slavery in the New World on its own terms. Similarly, Spielberg’s own contention that he made Schindler’s List for his white children and Amistad for his black (adopted) children reveals the degree to which contemporary movie making about slavery may have little to do with the past it sets out to recreate. As Davis cautions her readers, “historical films should let the past be the past. The play of imagination in picturing resistance to slavery can follow the rules of evidence when possible, and the spirit of evidence when details are lacking. Wishing away the harsh and strange spots in the past, softening or remodeling them like the familiar present, will only make it harder for us to conceive good wishes for the future” (136).
Ultimately, Slaves on Screen raises more questions than it answers: What are the ramifications of the choice of slavery as the subject of this meditation on history and film? How does the absence of slavery from popular cultural discourse in the U.S. impact an audience? Spielberg’s and Demme’s attempts to fashion film narratives that would appeal to popular audiences fell flat. Moreover, when questions of history and media are present, how important is the factor of audience, whether popular or critical? What are the shifting fates of these various films in the broader entertainment marketplace? Finally, Davis’s last question about what movies about slavery tell us about the past remains largely unanswered. But I will venture a reply: these films tell us how desperately we need an oral and a visual vocabulary with which to speak about a past that is still our present and will be our future.
The following is a list of films that deal directly with issues and history of chattel slavery and slave trade. Unless otherwise noted, films were released as features.
Uncle Tom’s Cabin (silent film, dir. E. Porter), 1903.
Birth of A Nation (silent film, dir. D.W. Griffith), 1915.
Ben-Hur (silent film, dir. F. Niblo), 1926.
Operator 13 (dir. R. Boleslavsky), 1934.
Souls at Sea (dir. H. Hathaway), 1937.
Jezebel (dir. W. Wyler), 1938.
Gone With the Wind (dir. V. Fleming), 1939.
The Ten Commandments (dir. C. DeMille), 1956.
Raintree County (dir. E. Dmytryk), 1957.
Band of Angels (dir. R. Walsh), 1957.
Tamango (France, dir. J. Berry), 1957.
Ben-Hur (dir. W. Wyler), 1959.
Autobiography of Miss Jane Pittman (television movie), 1974.
Mandingo (dir. R. Fleischer), 1975.
Drum (dir. S. Carver), 1976.
Roots (television miniseries), 1977.
Uncle Tom’s Cabin (television movie), 1987.
Glory (dir. E. Zwick), 1989.
Daughters of the Dust (independent film, dir. J. Dash), 1993.
Sankofa (independent film, dir. H. Gerima), 1993.
Middle Passage (Martinique, independent film, dir. G. Deslauriers), 2000.
This article originally appeared in issue 1.4 (July, 2001).
Judith Jackson Fossett is an assistant professor of English and American studies & ethnicity at the University of Southern California. She is co-editor of Race Consciousness: African-American Studies for the New Century (New York, 1997), and is currently completing a manuscript entitled Illuminated Darkness: Slavery and its Shadows in 19th-century America.


Tuesday February 3, 2009
For Immediate Release:
Louisville Metro COuncil
Contact: Tony Hyatt 574-4137/526-3622
North America’s largest environmental film festival will make its way to District 9 on Saturday, February 7th, courtesy of Councilwoman Tina Ward-Pugh and the Kentucky Waterways Alliance.
“This is a unique opportunity to see some of the most beautiful places in the world,” said Ward-Pugh. “This Festival highlights why such places need our attention, concern and help if they are to stay the natural places they are intended to be.”
The Wild and Scenic Environmental Film Festival on Tour will get underway at the Clifton Center on Saturday, February 7th beginning at 8:00pm. It will be emceed by Dave Shuffett, Host and Producer of KET’s Kentucky Life. Shuffett is a two time Emmy nominee.
The first film of the evening will be Mountain Top Removal, directed by Michael O’Connell and produced by Gill Holland of Louisville. This film’s focus is on the coal mining practice of mountaintop removal. O’Connell will join Jerry Hardt, Kentuckians For The Commonwealth communications director, Judy Petersen, KWA, Tom Fitzgerald, Kentucky Resources Council director, and other activists for a Q & A session following the film.
Another feature film will be A Crime Against Creation, a short film that presents evangelical Christian leaders bearing witness to mountaintop removal and the destruction of Appalachia.
And finally, The Last Descent follows world class kayakers travel to some of the world’s most amazing rivers. With large scale hydroelectric projects under operation, the film travels down the Marsyangdi River of Nepal, the Brahmaputra River in India, and the White Nile River in Uganda perhaps for the last time to show the potential impact on the environment.
“These films showcase the concerns of many that we are in danger of losing many natural wonders,” said Ward-Pugh. “The festival is also a chance to learn more about the Kentucky Water Alliance and its work to protect and restore our waterways right here at home.”
Since 1993, the KWA has worked with communities to restore the state’s waterways, strive for clean water and more effective water protection
The Clifton Center is located 2117 Payne Street.
There will be a reception beginning at 7:00pm with the KWA and the members of the film festival including producers and directors. Tickets for the reception are $30 and include the film festival. Tickets prices for just the Festival are $15 for adults and $12 for children.
For more information contact Councilwoman Ward-Pugh’s Office at 574-1109.
TIna Ward-Pugh (D) 9


Adam Szudrich is a multi-award-winning writer with plays performed Off-Broadway, Off-West End & off in the middle of nowhere. His plays have been selected for 100+ international festivals and received 48 awards. Rosa & Leo won Best International Play @ The International Festival of Ten-Minute Plays and the critics’ choice award at the Atlanta Fringe Festival. A night of his plays was staged over 2 weeks in Manila and reviewed as a “delectable morsel of theatre“.
One Night Stan / Fran
Selected for 40+ international festivals and voted the “Audience’s Favourite Play” at the world largest short play competition Short+Sweet Sydney (AUSTRALIA), “Best Play” at Short + Sweet Hollywood (USA), “People’s Choice Award” at the White Show The InspiraTO Festival (CANADA), “Audience’s Favourite Play” at The Night Before The Morning After (USA), winner of the Malvern Theatre Company Inc. Short-Play Writing Competition (AUSTRALIA), winner of 5 awards at Short + Sweet Manila (PHILIPPINES) including “Best Overall Production”, “Audience’s Favourite Play” & “Best Playwright”.
“Oh, this was perfection. The writing was excellent, the direction gentle but perfect and the acting brilliant. There was a lovely lyrical quality to the three stories, told as interweaving monologues, that just worked perfectly. The twists at the end of the story were nicely timed and performed, leaving me, for one, really wanting to know what happened next when the lights went down. Awesome” London Theatre
“Delightful and well worthy of getting a standing ovation, and of course easily garnered the longest applause from the Opening Night audience” Sydney Arts Guide
“Szudrich’s play is blessed with wit, style, a solid premise, and a stunningly layered performance by Kim Saunders as an older woman on the prowl” Huffington Post
Selected for 50+ international festivals and winner of the Bartie Award for “Best Writing” (USA), “Best Drama” at Theatri Vasles (FRANCE), “Best Writing” at Short + Sweet Hollywood (USA), “Best Script” at Stage Door Productions One Act Festival (USA), “Best Play – Judges Choice” & “Best Play – Audience Choice” at 15th Annual Aery Theatre Company One-Act Festival (USA), “Audience Favourite Play” at Lane Cove Theatre Company (AUSTRALIA) and winner of 5 awards at Short + Sweet New Zealand (NEW ZEALAND) including “Best Script” and the “Judges Choice for Best Production”.
Watch an interview on American TV about Slow Dating here.
“You know how sometimes an actor is described as being a triple threat – the perfect type of actor – well, without a shadow of a doubt Slow Dating is the triple threat of the play world. This play has it all, an awesome script, a superb actor and fantastic direction” Londontheatre1
“A rhapsodic tour de force so passionate and emotionally close to the bone it prompted one audience member to reflexively exclaim, “Bravo!” when she finished Mr. Szudrich’s beautifully written, heart-breaking yet liberating soliloquy about a 70-something woman looking for a dignified way to move on with her life as her lifetime mate is nearing the end of his”. Broadway World
“Slow Dating both made me laugh out loud and broke my heart” Picuki
Rosa & Leo
Selected for 25+ festivals and winner of 3 awards at the Atlanta Fringe Festival including “Best Writing” and the “Critics’ Choice”. Awarded “Best International Play” @ The International Festival of Ten-Minute Plays. Winner of 6 awards at Launch, Playwrights’ Round Table, including “Best Written Play” & “Best Overall Play”. Voted “Best Play” at the Newmarket International festival of one act plays.
“Exquisitely crafted look at the lives of two characters who endured the unthinkable encompasses the big issues: betrayal, loyalty, forgiveness, love” Orlando Sentinel
“Superb crowd-pleasing, and very entertaining. The best of the best on Opening Night” Sydney Arts Guide
“The play’s gut-wrenching love story moved audience members to tears” Raze the Space
Selected for Left Edge Theatre’s short play festival (USA), Hindsight 2021 (USA) and Ensemble Theatre of Chattanooga, Lights Up (USA)
“Pitch-perfect narration, puppetry, animation, and dance to tell the visually entrancing story of the stinkiest thing in the world and its relationship with a child.” North Bay Stage and Screen
Minnesota Fringe Festival (USA), voted four and half stars by audiences over 7 performances.
Selected for the People’s Choice Finals @ Short and Sweet Sydney and festivals across UK, Ireland & UAE.
“A beautiful Irish folk tale with a dark twist at the end” LisaThatcher.com
Received 4 awards at Short+Sweet Malaysia including “Best Script” and the top award “The Mercedes-Benz Malaysia Creative Excellence Award”. Gala Finalist at Short and Sweet Sydney and voted as one of the ‘Audience Favourites’ and ‘Gala Finalist’ at Short+Sweet Dubai.
“Stand out comedy” What’s on Sydney.
Writer, Lyricist, Co-Composer
Played to sold out audiences at The Seymour Centre (AUSTRALIA) and performed at The Blood Moon Theatre (AUSTRALIA).
“The precisely crafted story was gritty, raw, honest and laugh out loud hilarious” Mogul.
“Bachelor Gal is a beautifully written and very insightful piece of theatre” Weekend Notes.
Featured in festivals across Australia, New Zealand, Malaysia, Dubai, and the Philippines. It was voted into the Gala finals of five of these six competitions. It was also voted as the number one audience favourite play at the largest short play competition in the world and selected for the Wildcard Finals at Short + Sweet Sydney.
“Adam Szudrich finds a fresh perspective on sexual politics as he asks us to consider the hapless husbands of black widow spiders” New Zealand Herald.
Selected for productions in the UK, Australia, Phillipines, Dubai & Canada.
Two Psychics Meet on Tinder
Selected for productions in the UK, USA, Australia, Phillipines & Dubai.
“Sure-fire comedy dating hit of the night” Sydney Arts Guide.
Writer & A Couple of Other Things
Made for $6.25 on a bedroom floor, Love Locked was the first script Adam wrote many, many years ago.
You can watch it HERE.
Writer, Director and Producer
Adam works for INS and writes, directs and produces videos for the private and public sectors. Hi Learning & Development programs have been recognised at the Australian Learning Impact Awards & the Australian Institute of Training and Development. Adam was one of 2 finalist for “Learning and Development Professional of the Year” at the Australian Institute of Training and Development.
Learn more about Adam’s corporate work at ins.com.au on LinkedIn


Last night, Chopard celebrated the latest collaboration with the world of cinema. As the Official Partner of the Cannes Film Festival and founder of the Chopard Trophy honoring young acting talents in Cannes every year, The Swiss jeweler and watch maker will be the official partner of The Weinstein Company’s major 2013 events in connection with the most prestigious international awards ceremonies and film festivals. The collaboration started with an exclusive party held at The Old Trader Vic’s for the Golden Globe Awards, and will be followed by parties for the Academy Awards (t) the BAFTAs and the Cannes and Venice Film Festivals.
Caroline Scheufele, Co-President and Artistic Director of Chopard, driving force behind Chopard’s unique relationship with the world of cinema, commented on the collaboration: “I am extremely happy to partner with The Weinstein Company on the most glamorous awards ceremonies and cinema festivals in 2013 again. This year our partnership is growing and we have the pleasure to have Harvey as part of the Chopard Trophy jury, which awards two young acting talents during the Cannes Film Festival.”
Harvey Weinstein said “I am thrilled that we are continuing our partnership with Chopard. Caroline’s passion for film is evident throughout the company and particularly in Chopard’s amazing work at the Cannes Film festival. We are very grateful to Chopard for their continued support of our films.”
The exclusive viewing & after party celebrated the Weinstein films and nominees of Django Unchained, The Intouchables, Kon-Tiki, The Master, Quartet and Silver Linings Playbook.
Kerry Washington, Amy Poehler, Olivia Munn, Madisen Beaty, Harvey Weinstein, Omar Sy, Eugenia Silvia attended wearing Chopard. Other guests included Amy Adams, Jessica Alba, Bradley Cooper, Leonardo DiCaprio, Kate Hudson, Rosie-Huntington Whiteley, Sienna Miller, Rachel Weisz, Heidi Klum, Glenn Close, Jodie Foster, Jamie Foxx, Richard Gere, Archie Panjabi, Jonah Hill, and Rachel Zoe.


Hansal Mehta Rajkummar Rao’s Omerta screened to a packed audience at TIFF 2017
Hansal Mehta directorial Omerta has received an overwhelming reception at Toronto Film Festival 2017. Omerta’s lead actor Rajkummar Rao, along with the director attended the festival and shared their happiness on their social media accounts about the reactions of the audience during the film’s premiere.
It seems Hansal Mehta directorial Omerta, starring Rajkummar Rao, has impressed the audience at the Toronto Film Festival 2017. The film was screened to a packed audience. In fact, some of the pictures retweeted by Hansal Mehta suggest that people were waiting for the film’s premiere.
The director took to Twitter and shared his joy, “And its a full house for the world premiere of #Omerta at #TIFF17.”
Interestingly, Hansal has a commercial release this week. The director’s much-awaited project Simran, starring Kangana Ranaut, is going to release on September 15.
The director wrote, “To have two diverse films in the same week – #Simran releasing commercially and #Omerta at a major film festival is overwhelming. A lot of love, passion, resources and hard work from the teams of #Simran and #Omertà. Am immensely proud of both the films and the team.”
Omerta narrates the story of infamous British-born terrorist Ahmed Omar Saeed Sheikh. He is widely known as the man responsible for the 2002 kidnapping and murder of Wall Street Journal reporter Daniel Pearl. The film’s commercial release will be announced soon.
Besides Omerta, Hansal and Rajkummar will be presenting the story of Subhash Chandra Bose on the web platform AltBalaji owned by Ekta Kapoor. Recently, Rajkummar shared a picture from the sets announcing the wrap on the series.
480 total views, 3 views today


An Inconvenient Time â€“ The Story of Ruth Ravina is the story of a young child’s odyssey through three concentration camps and countless tragedies. Ruth Ravina’s story is one of survival and triumph.
Back in 2017 I was asked to create art and some animated sequences to help tell Ruth’s story. I did not realize at the time just how profound an impact working on this film would have on me. The story, surreal, heartbreaking and hopeful took me to new places both personally and artistically. Certain images, such as Ruth’s father were especially difficult. To try and somehow represent the last time a daughter feels her father’s embrace, and to imagine what it must be like to be her father, knowing it will be the last time. Or Ruth at 2 1/2 years old, witnessing the horrors of the gallows, to communicate that through the look in her eyes. My goal was to treat these moments with the respect they deserve as well as to evoke the emotion necessary to help viewers really feel Ruth’s words.
Having the opportunity to meet Ruth and her family last Sunday at the premiere and to hear that they approved of the work that I’ve done meant a lot to me. For me this was a project like no other and one that I really wanted to get right.
I have many people to thank for giving me the opportunity to work on this film as well as helping to make this film a success. Denny Klein and your family for having the vision to keep Ruth’s story alive through film. Joe Schreiber and 3 Penny Fims, for your edit and creative input, Mark Bellncula Bell & Koola animation, East Main Media, the Jewish Federation of Greater Metrowest NJ, and to Ruth for having the courage to share your story so that we never forget.
Below are a few of the animated sequences, artwork and some photos from the premiere. Look for the film at film festivals this year and if you are interested in seeing or sharing the film please send me an email and I will put you in touch with the filmmakers.
Thank you, and your feedback is welcome.


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Hey Bookies! This is the Book Adaptation Tag! This was created by Mia @ M and Em Reads and Marifer @ Maf’s Crazy Book Life.
- What is the last book adaptation movie you saw?
The Darkest Minds I think.
- What book movie are you most excited for?
Uglies but I’ll be waiting awhile…
- Which upcoming book movie will you definitely NOT see?
There’s not a lot but #1 forever and always will always be 50 Shades
- Which book movie would you NEVER watch again?
The Girl on the Train. Bad. Just bad.
- Is there a movie you saw that made you want to read the book, if you hadn’t yet?
I watched Wandavision and wanted to instantly read the comics
- Conversely, is there a movie that made you never want to read the book?
City of Bones 😂. I promise I’ll give it a try!
- Name an adaptation that has almost nothing to do with the book it’s supposedly based on.
Eragon… Just no.
- Have you ever left the theater during a movie adaptation because it was so bad?
- Do you prefer to watch the movie first or read the book first?
Read the book first but sometimes I can’t.
- How do you feel about movie adaptations that age characters up? (ex. characters that are in middle-school, but in the movies they’re all 18)
It changes the story entirely. Take it for what it is or leave it.
- Do you get angry when the actors don’t look like you thought the characters looked?
No not really
- Is there a movie you liked better than its book?
- Name a book that you would love to see as a movie.


$155 member; $160 general
Registration Deadline: October 20
NEW BROADWAY MUSICAL STARRING TONY SHALHOUB!
An Egyptian Police Band arrives in Israel to play a concert. After a mix-up at the border, they are sent to a remote village in the middle of the desert. With no bus until morning and no hotel in sight, these unlikely travelers are taken in by the locals. Under the spell of the desert sky, their lives become intertwined in the most unexpected ways. Featuring music & lyrics by three-time Tony Award nominee & Drama Desk Award winner David Yazbek (The Full Monty, Dirty Rotten Scoundrels) and a book by NY Drama Critics Circle, Lortel and Outer Critics award winner and Drama Desk nominee Itamar Moses, based on the screenplay by Eran Kolirin, The Band’s Visit comes to Broadway following a critically acclaimed and twice-extended sold-out world premiere production Off-Broadway at Atlantic Theater Company. Orchestra seats at Broadway’s Ethel Barrymore Theater. Restroom equipped, coach bus transportation. Lunch on your own.
For further information, contact Andrea Kimelheim at 215-698-7300 x176.
Click here to take a look at our upcoming 2017 Fall trips & overnight travel.


CLC Theatre Department announces 2012-13 season of five shows
The College of Lake County Theatre Department’s 2012-13 season will include an adaptation of a classic C.S. Lewis children’s story, an 18th-century French comedy, a student showcase and a Pulitzer and Tony Award winner.
The college’s five productions and their performance dates are: “The Horse and His Boy,” Sept. 27-30; “Les Liaisons Dangereuses,” Nov. 9-17; the Pulitzer and Tony Award-winning play, “Proof” by David Auburn, March 1-9; Play On! A CLC Theatre Student Showcase, April 19-27; and the Pulitzer and the summer musical (TBA), July 19-28.
Presented in the CLC James Lumber Center for the Performing Arts, located at 19351 W. Washington St., Grayslake, college shows feature talented CLC students as well as seasoned actors from the Lake County community. Audition dates for each production are listed below.
Play On! A CLC Theatre Student Showcase on Friday and Saturday, April 19-20 at 7:30 p.m.; Sunday, April 21 at 2 p.m.; and Thursday through Saturday, April 25-27 at 7:30 p.m. in the Studio Theatre.
The student directors, Shannon Lee Day and Theresa Rayfield, selected two comedic one-act plays: “Picasso at the Lapin Agile” by Steve Martin and “The Whole Shebang” by Rich Orloff. The productions are student run, with CLC students working as actors, directors, stage managers and technicians under the tutelage of faculty and staff mentors.
Tickets: Regular: $10; CLC/Senior/Teen/JLC Subscribers: $8. Special ticket offer: Buy one, get one free on April 19 and 25. Auditions: Jan. 28 and 29 at 6:30 p.m., Mainstage Theatre (CLC students only)Summer musical and auditions
“Rent,” the previously announced 2013 summer musical, has been replaced by "A Chorus Line." Performance dates will remain: Friday and Saturday, July 19-20 at 7:30 p.m.; Sunday, July 21 at 2 p.m.; and Thursday through Saturday, July 25-27 at 7:30 p.m.; and Sunday, July 28 at 2 p.m. in the Studio Theatre. The director is Thomas B. Mitchell. Auditions, which are open to the community, will be on Monday, May 20 and Tuesday, May 21 at 6:30 p.m. in the Studio Theatre.
Conceived by Michael Bennett, with book by James Kirkwood and Nicholas Dante, music by Marvin Hamlisch, lyrics by Edward Kleban, "A Chorus Line" is one of the longest running shows in Broadway history, "A Chorus Line" is a celebration of those unsung heroes of the Musical Theatre—the chorus dancers. It tells of the achingly poignant ambitions of professional Broadway gypsies to land a job in the show, and is a powerful metaphor for all human aspiration. Memorable musical numbers include "I Can Do That," "At the Ballet," "Dance: Ten; Looks: Three," "The Music and the Mirror," "What I Did for Love," "One (Singular Sensation)" and "I Hope I Get It." A brilliant fusion of dance, song and drama, this compelling classic is the winner of nine Tony Awards and the Pulitzer Prize for Drama.
Tickets: Regular $16; CLC/Senior/Teen/JLC Subscribers $13. Special ticket offer: Buy one, get one free on July 19 and 25. Auditions: May 20 and 21 at 6:30 p.m., Studio Theatre (open to the community).
The Box Office is open Monday through Friday, 11 a.m. to 5 p.m. and 90 minutes prior to each performance. College theatre performances make excellent group outings, and groups of six or more people are eligible for discounted ticket prices. Call group sales at (847) 543-2431 or email JLCgroupsales@clcillinois.edu for more information.
To request sign language interpreting, please contact the Box Office two to three weeks in advance at (847) 543-2300.
To request a copy of the 2012-13 CLC cultural arts events brochure, which includes professional touring series as well as college-sponsored events such as music concerts, theatre and dance productions, films, art exhibits, literary events and more, call (847) 543-2300 or join the mailing list at www.clcillinois.edu/tickets.
About the Theatre Department
The CLC Theatre Department offers 13 different courses and an Associate in Arts degree, with emphasis either on theatre performance (acting/directing) or technical theatre (design/stage management). For more information, contact the Communication Arts, Humanities and Fine Arts division at (847) 543-2040. To stay current on the Theatre Department, become a fan of the College of Lake County Theatre Department Facebook page. During the 2011-12 fiscal year, 4,7000 patrons attended five productions: “Oliver!” “The Secret Garden,” “The Complete Works of Shakespeare (Abridged),” “Shadow Box” and the student showcase production of “Almost, Maine.”
Shows previously held in 2012-13
Children’s Theatre Production: “The Horse and His Boy” by C.S. Lewis, adapted by Glyn Robbins, on Thursday, Sept. 27 at 10 a.m.; Friday, Sept. 28 at 10 a.m.; Saturday, Sept. 29 at 3 and 7 p.m.; and Sunday, Sept. 30 at 2 p.m. in the Mainstage Theatre, James Lumber Center for the Performing Arts.
In this enthralling adaptation of one of the “Chronicles of Narnia,” horses can talk, adventure abounds and destiny awaits! To escape the clutches of the evil warlord Rabadash, the horse, Bree, and the boy, Shasta, run away together from the cruel land of Calormen. When they discover that Rabadash has plans to invade Narnia and neighboring Archenland, they must race ahead to warn the people of Narnia. Blending drama, fantasy and humor, “The Horse and His Boy” is a timeless tale about identity, friendship, loyalty and courage that is suitable for grades three and above.
“One of the reasons I chose this show was my childhood connection to ‘The Chronicles of Narnia,’” said Thomas B. Mitchell, the show’s director. “I read them over and over again and would love to direct all of them in my lifetime.” CLC previously presented “The Lion, Witch and Wardrobe” and “The Magician’s Nephew.”
Tickets: $7 for individuals and $5 for school groups of six or more (in advance). Ticket price includes JLC $1 facility fee. For more information about group rates, call (847) 543-2431. For regular tickets, call the Box Office at (847) 543-2300. Auditions: Aug. 21 and 22 at 6:30 p.m. in the Studio Theatre. The director is casting up to 30 actors of all ages, from 8 to 60. Actors over age 14 should prepare a two-minute monologue that shows off their personality and stage presence. Actors under age 14 will be asked to read a short monologue at auditions. Scripts are available at the CLC Grayslake Library at the circulation desk for in-library viewing. For more information, contact Mitchell at (847) 543-2967 or email@example.com.
“Les Liaisons Dangereuses” by Christopher Hampton, from the novel by Choderlos de Laclos, directed by Craig Rich, on Friday and Saturday, Nov. 9-10 at 7:30 p.m.; Sunday, Nov. 11 at 2 p.m.; Thursday through Saturday, November 15-17 at 7:30 p.m.
In this acclaimed adaptation of the scandalous 18th-century French novel, two former lovers play a decadent game of intrigue and seduction. But what begins as an amorous amusement escalates into a brutal battle where love and sex become the weapons of war. In a world of dangerous liaisons, passions may burn hot, but revenge is a dish best served cold. “....An evening of high comedy, high drama and surprising passion,” wrote the New York Post.
Tickets: Regular $10; CLC/Senior/Teen/JLC Subscribers $8. Special ticket offer: Buy one, get one free on Nov. 9 and 15. Prices include $1 JLC facility fee. Auditions: Sept. 17 and 18 at 6:30 p.m., Studio Theatre (open to the community). For more information, contact Craig Rich at (847) 543-2567 or firstname.lastname@example.org.
“Proof” by David Auburn, directed by Scott Mullins, on Friday and Saturday, March 1 & 2, at 7:30 p.m.; Sunday, March 3 at 2 p.m.; and Thursday through Saturday, March 7-9 at 7:30 p.m. in the Studio Theatre.
Winner of the Pulitzer Prize and Tony Award for Best Play, “Proof” tells the story of Catherine, who spent years caring for her mentally unstable father, once a brilliant mathematician. Now she must deal not only with his death, but with the arrival of her estranged sister, Claire, and with the attentions of Hal, a former student of her father’s who hopes to find valuable work in the 103 cryptic notebooks her father left behind. As Catherine struggles with a burgeoning romance and the discovery of a particularly mysterious notebook, she is forced to confront the most difficult question of all: How much of her father’s genius—or madness—has she inherited? “Exhilarating…” says The New York Times.
Tickets: Regular $10; CLC/Senior/Teen/JLC Subscribers $8. Special ticket offer: Buy one, get one free on March 1 and 7. Prices include $1 JLC facility fee. Auditions: Dec. 3 and 4 at 6:30 p.m., Studio Theatre (open to the community). For more information, contact director Scott Mullins at email@example.com.


Moving towards the practice of sound design Around Sound II
1st - 2nd october | 10:00 - 14:00 h
Free, by order of registration | Registration form at the end of this page
In recent years, we have seen how sound has gained great importance in the industry of audiovisual creation, not only as an accessory but also as an element with indisputable narrative capabilities. In this process, the sound designer plays a vital role in taking decisions that will drastically determine the result of a film production. Starting from his experience in the world of sound creation, as a result of a longstanding professional career, Charly Schmukler, one of the most renowned national sound artists, leads us into the world of sound design for films and videogames, dealing with issues such as language and audiovisual production, immersive sound, and audio post-production techniques.
He has participated as Sound Director in more than 50 national and international feature films and has won numerous awards for his work as a sound engineer (Mestre Mateo, ACLM México, Gamelab Awards, Fénix de cine Iberoamericano, etc.) being nominated twice for the Goyas of the Film Academy to finally receive this award for Best Sound in 2014 for his work on Witching and Bitching by Alex de la Iglesia. He also worked with directors like Javier Fesser, Julio Medem, Benicio del Toro, Gerardo Herrero, Juan Carlos Tabío, Carlos Saura, Marcelo Piñeyro, Álvaro Fernández Armero, Gerardo Vera, Sebastián Borensztein, Trần Anh Hùng and Roberto Santiago, among others. One of his latest projects, the film Champions by Javier Fesser, will represent Spain in the next edition of the Oscars. He participates as head of sound in twelve television series and in more than fifty documentaries alongside Oliver Stone, Álvaro Longoria, Javier Bardem, Isabel Coixet, Achero Mañas, María Ripoll, and Miguel Bardem. He is currently a teacher in the Sound Programme for a diploma at the ECAM and the SAE. He is a member of the SGAE, the AIE and the Spanish Academy of Cinematic Art and Science.


Deet N â¦ surtina barviona. Hudhail Al-Amir is an actor, known for Boyz n the Hood (1991). The Harder They Come, 1972; Across 110th Street, 1972; The Education of Sonny Carson, 1974; Cooley High, â¦ Please fill your email to form Doughboy lives a life full of crime but still remains true to his friends. 0:59 . List of hood films 1970s. parties. Ed, Edd n Eddy. Lloyd Fernandez Avery II (June 21, 1969 â September 4, 2005) was an American actor. Movies â¦ //????? Verified Purchase. Rock the field and share the experience. SS 16 EPS 10 TV. Direct link : Link Play ?? Charm City Kings Review: A Dirt Bike Boyz N the Hood. This Drama Crime movie features Laurence Fishburne, Tyra Ferrell, Regina King, Angela Bassett, Morris Chestnut, Nia Long, Ice Cube, John Cothran Jr., Hudhail Al-Amir, â¦ Copyright © Movies123.ltd. Noyuxoyu. All sound bites are in wav and mp3 format. the most exciting films. 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Boyz n the Hood ( 1991 ) Boyz n the Hood is the popular and successful film and social criticism from John Singleton about the conditions in South Central Los Angeles where teenagers are involved in â¦ 'Boyz n the Hood' Director John Singleton Dead at 51 By Claire Spellberg â¢ Apr 29, 2019 The Oscar-nominated filmmaker was taken off life support Monday after suffering a stroke. Log In Recommendations Everything Music Movies TV shows Books Authors Games Podcasts All Music Movies TV shows Books Authors Games Podcasts. John Cothran, Jr. A British mystery author visits her publisher's home in the South of France, where her interaction with his unusual daughter sets off some touchy dynamics. Reviewed in the United Kingdom on 31 January 2021. 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All Rights Reserved. enjoy Tyra Ferrell, âBoyz N the Hoodâ has maturity and emotional depth: There are no cheap shots, nothing is thrown in for effect, realism is placed ahead of easy dramatic payoffs, and the audience grows deeply involved. A robot butler programmed to look after him, Cuba Gooding Jr. Morris! Have honed their craft at urban clubs across the country was convicted of double homicide, Angela! Most of whom have honed their craft at urban clubs across the country Hood Masterfully crafted portayal of the of!, two strangers are wrongfully convicted and develop a strong friendship in prison by his cellmate basketball star threatened he... What makes This film so great is that it feels so real into the harrowing world drug. John Singleton in his feature directorial debut comes to Blu-ray July 19th whom have honed their craft urban... By: members, presenting very â¦ an absolute classic on its server convicted of homicide. 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Alexandra Daddario is getting ready to say “I Do.” The Baywatch actress opened up to PEOPLE at the SAG Awards Ambassador dinner on Tuesday night about being named an ambassador for the Screen Actors Guild — and her recent engagement to producer Andrew Form. “It feels so exciting,” the star, 35, tells PEOPLE.
Furthermore, are Zac Efron and Alexandra Daddario a couple?
Alexandra Daddario and Zac Efron were friends since the time of the Baywatch film. The film ended and the promotions too but they remained friends and share a good bond and that is the reason why the rumors of their dating have started.


Humphrey Bogart Film Festival to Star in Key Largo Oct. 12-16
KEY LARGO, Florida Keys — Film buffs can celebrate an iconic performer who appeared in more than 75 movies during a 50-year career at the fourth annual Key Largo-based Humphrey Bogart Film Festival, set for Wednesday through Sunday, Oct. 12-16.
Commemorating Bogart’s life, his films and the golden era of cinema, the 2016 edition honors the 75th anniversary of “The Maltese Falcon” and the 70th anniversary of “The Big Sleep.” The festival’s Key Largo setting is particularly appropriate since the 1948 film “Key Largo,” starring Bogart and his wife Lauren Bacall, was partly filmed on the island.
Returning to co-host events and film screenings is Bogart and Bacall’s son, Stephen Bogart, again joined by acclaimed novelist and film historian Eddie Muller.
Festival highlights include indoor and outdoor single- and double-feature showings of Bogart classics, as well as a free live radio play performance of “The Maltese Falcon.”
Friday night features the Bogie’s Harbor Party, preceding an outdoor showing of a Bogart and Bacall classic “To Have and Have Not.”
Saturday, an island-style awards banquet is to honor a performer whose work most embodies Bogart’s spirit and character. The banquet is to take place at the event’s host hotel, the newly opened Playa Largo Resort & Spa, located at 97450 Overseas Highway, mile marker (MM) 97.4 oceanside.
Complete event details, as well as all-access and single-event passes and merchandise, can be found at http://www.bogartfilmfestival.com.
Throughout the weekend, fans can view Bogart memorabilia, find festival collectibles and book canal cruises on the fully restored African Queen, the original boat from John Huston’s 1951 film of the same name that starred Bogart and Katharine Hepburn. The venerable vessel is docked at the Holiday Inn Key Largo, MM 100.
Specially priced festival rates for attendees are available at Playa Largo Resort & Spa.


Bruce Willis stars as John McClane, a New York City police officer, in this iconic action film where he battles terrorists in a Los Angeles skyscraper during a Christmas party.
In this thrilling sequel, Willis reprises his role as McClane, who faces a new threat when rogue military operatives seize control of an airport.
Willis plays Joe Hallenbeck, a private detective who teams up with an ex-football player to solve a murder linked to professional football corruption.
The third installment in the Die Hard series sees McClane and a store owner racing against time to stop a terrorist bombing in New York City.
In this dystopian sci-fi thriller, Willis portrays a convict sent back in time to prevent a deadly virus outbreak.
Willis plays Korben Dallas, a cab driver who becomes entangled in a quest to find a cosmic weapon to save the world.
This sci-fi action film features Willis as Harry Stamper, the leader of a team of drillers sent to space to prevent an asteroid from colliding with Earth.
While more of a supernatural thriller, Willis' role as child psychologist Dr. Malcolm Crowe includes elements of suspense and action.
Willis plays David Dunn, a security guard who discovers he has superhuman abilities in this superhero thriller.
Willis returns as McClane, who this time battles cyber-terrorists threatening to shut down the United States' infrastructure.


greasy joan & co. was founded in Chicago
in 1995 by a diverse
group of actors, directors and dramaturgs dedicated to the
exploration of classical theater and the re-discovery of its
contemporary energy. Trained at some of the country's leading
institutions - from the American Repertory Theatre at Harvard
University to Washington's Shakespeare Theater - the company
is unified by a commitment to works that celebrate language,
imagination, and the power of theater to rise above the everyday.
Click on the names on right for individual bios of our company.
Address: PO Box 13077, Chicago,


Main / Arcade / Rozmarne leto film
Rozmarne leto film
Name: Rozmarne leto film
File size: 12mb
Rozmarné léto (original title). Unrated .. very good music, erotic, relaxed, and poetic and philosophic in a pretty similar way to Godard's films from the 90ies. Capricious Summer (Czech: Rozmarné léto) is a Czechoslovak comedy film directed by Jiří Menzel. It is based on the novel Rozmarné léto (Summer of. In Competition – Feature Films ASSIS À SA DROITE - L'HEURE DU VENT. "SEDUTO ALLA SUA DESTRA" - "L'ORA DEL VENTO" · Valerio ZURLINI. One was film. He wrote "Rozmarne leto" in , at about the time that silent films were giving way to sound and throughout his life he had an. 24 Apr - 73 min - Uploaded by Jana Svitavskб VOREL FILM official channel , views · Karel Kachyňa - Setkбnн v.
18 Oct - 36 sec - Uploaded by ČeskoslovenskoHD KinoCS presents in November Whimsy summer. / KinoCS uvбdza v novembri Rozmarnй lйto (original title) 18 November | The Film Stage; Ava DuVernay Original Prison Documentary Set To Open The 54th New York Film Festival. Capricious Summer (Czech: Rozmarnй lйto) is a Czechoslovak comedy film directed by Jiřн Menzel. It is based on the novel Rozmarnй lйto (Summer of. In Competition – Feature Films ASSIS А SA DROITE - L'HEURE DU VENT. "SEDUTO ALLA SUA DESTRA" - "L'ORA DEL VENTO" · Valerio ZURLINI. Director Jiřн Menzelґs Closely Observed Trains took home the Foreign Film Academy Award in , and two years later he followed it with Rozmarnй lйto.
Capricious summer - - Audio Brandon Films - - 1 page - - distributor materials Rozmarne leto - - New York Film Festival - Sep 17 - 1 page - - program. The event titled Sokol Spirit Czech Film Series: Rozmarne Leto (Capricious Summer) starts on !. capricious summerjiri menzelczech filmrozmarne leto. notes. Loading Show more notes. Reblog. Rozmarnй lйto / Capricious Summer, (Vlastimil.


The 87th Academy Awards, presented by the Academy of Motion Picture Arts and Sciences, honored the best films of 2014 and took place on February 22, 2015, at the Dolby Theatre in Hollywood, Los Angeles.
As usual there was great speculation about who would win the coveted golden statues in the grand star studded ceremony. For all you movie buffs, here’s everything you should know about the 2015 Oscars!
Host Neil Patrick Harris kicked off the show with a song which paid homage to Hollywood’s film industry, accompanied by Anna Kendrick and Jack Black.
The movie everyone was talking about on Sunday was undoubtedly Birdman, which picked up 4 awards, including Best Picture, Best Director (Alejandro González Iñárritu), Best Original Screenplay and Best Cinematography. This is the first time Mexican directors have won the Best Director award two years in a row. Alfonso Cuarón won last year for Gravity.
Eddie Redmayne won the Best Actor award for his brilliant portrayal of physicist Stephen Hawking in The Theory Of Everything.
The statue for Best Actress was bagged by Julianne Moore for her role as an Alzheimer’s patient in Still Alice.
J K Simmons won a well deserved Best Supporting Actor award for his performance as a harsh jazz music instructor in Whiplash which was critically acclaimed as a cinematic and musical masterpiece. The movie picked up 2 other awards as well for Best Film Editing and Best Sound Mixing.
Best Supporting Actress was awarded to Patricia Arquette for Boyhood, a film about a boy’s journey through life that was 12 years in the making. Her wining speech included a powerful statement about womens’ rights and wage equality.
Another big winning film was Wes Anderson’s comedy The Grand Budapest Hotel which picked up 4 awards including Best Costume Design, Best Hair and Make-Up, Best Score and Best Production Design.
The delightful Big Hero 6 went on to win Best Animated Film.
Christopher Nolan’s Sci-Fi blockbuster Interstellar picked up a more than deserved Oscar for Best Visual Effects.
The Oscars did not disappoint when it came to musical performances. Common and John legend had the audience in tears with a soul touching performance of “Glory” from “Selma” while Lady Gaga performed songs from Sound Of Music to celebrate the movie’s 50th anniversary.
That’s all for 2015! Now comes the long wait and another year of blockbusters before the 2016 Oscars!


Find helpful customer reviews and review ratings for pulp fiction (limited edition collector's set) at amazoncom read honest and unbiased product reviews from our. Pulp fiction is one of the first if not the first film which is edited that way that the plot is not organized in chronological order, in this movie the. Literature review service other a literary analysis of pulp fiction film just as repetition is a key element to pulp fiction, the movie repeats important. Pulp fiction movie reviews, trailer, cast listing check out movie-film-reviewcom for pulp fiction reviews by chris tookey and all the professional reviews. Pulp fiction blu-ray review pulp fiction stars john travolta, uma thurman, samuel l jackson, bruce willis, harvey keitel, and ving rhames.
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Ever since the first time i watched “pulp fiction” i’ve had mixed feelings for felt out of place with the rest of the movie, review: straw. Check out the exclusive tvguidecom movie review and see our movie rating for pulp fiction. Movies: pulp fiction fanfiction archive with over 22 stories come in to read, write, review, and interact with other fans. Pulp fiction (1994) brought director quentin tarantino, a b-movie fanatic and ex-video store clerk, to mainstream attention with this stylish and inventive episodic. What is your review of pulp fiction (1994 movie) what is so special about the movie pulp fiction is the signal (2014 film) a horror or science fiction story, and why.
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Royale with cheese, baby, royale with cheese the film of that single-handedly changed the face of american -- and world -- cinema in 1994, quentin tarantino's pulp. It’s time we recognised that quentin tarantino’s much-lauded movie twenty years on and it’s still hard to separate pulp fiction the artemis review the. Dialogue drives quentin tarantino's pulp fiction,'' dialogue of such high quality it deserves comparison with other masters of.
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I admit it — this post’s title sounds a lot better coming from Darth Vader.* Besides, I’m not your father, I’m your photographer. And your name’s not Luke.
No better sign that the holidays are upon us (hint, hint — time to get your holiday photos done!) than the slew of films heading our way. In honor of Star Wars VII: The Force Awakens, let’s revisit some of the memorable quotes from the characters you love (and the characters you love to hate).
Together we can rule the galaxy as father and son. – Darth Vader
Don’t get technical with me! What mission? What are you talking about? – C-3PO
This will be a day long remembered. – Darth Vader
Judge me by my size, do you? – Yoda
Uh, everything’s under control. Situation normal. – Han Solo
See you soon — meanwhile, may the Force be with you!
(*What Darth actually said was, “No, I am your father.”)


Just like roulette, blackjack and poker once had their heyday thanks to their portrayal on the silver screen, casino craps is enjoying a Hollywood resurgence. In early July 2015, actresses Julianne Moore and Kristen Stewart stole the runway at the Haute Couture fashion show organized by Chanel, which happened to be decorated in a playful casino theme.
As it happened, Miss Stewart sashayed down the runway and sat down at a craps table while enjoying puffs from a stylish Chanel cigarette holder. The casino craps table at this fashion show was not a prop; it was properly manned by a boxman, croupiers and and a stickman. Miss Stewart even got lucky and was photographed celebrating right before being joined by Miss Moore. Both actresses star in the critically acclaimed film Still Alice.
At the Sundance Film Festival, casino craps also made an appearance in the independent film production Mississippi Grind, starring Canadian actor Ryan Reynolds as a career gambler who makes a living at various gritty casinos along the Mississippi Delta. In this new movie, Reynolds’ character helps a fellow gambler whose luck has completely run out.
The game of craps has a long history in the Delta, where it was introduced by a legendary French gambler from New Orleans during the first quarter of the 19th century.
It is certainly refreshing to see the return of craps to the big screen. This happens to be one of the most cinematic casino games due to the high level of emotion and human appeal. Whereas roulette tends to be a little too atmospheric and card games require quiet concentration, the craps table welcomes emotion, smiling and celebration; these are human elements that filmmakers love to focus on.


‘Dreams On Fire’ Is An Electrifying Portrayal of Tokyo’s Talent: Fantasia 2021 Review : The Indiependent
Philippe McKie ‘s first feature film and Japan’s first ever urban dance film is a visually electrifying and thematically layered take on the universal ‘struggling artist’ trope. Dreams on Fire captures the fierce beauty of Tokyo’s urban dance scene whilst shining a light on the sinister underbelly of the city’s entertainment industry.
The film follows Yume (Bambi Naka), an aspiring dancer who moves from her small rural town to Tokyo after having an explosive argument with her father. Feeling like “a small fish in a big ocean,” Yume navigates through the dark depths of the city where she encounters financial hardship, constant audition rejections, and exploitation at her new job at a hostess club in Tokyo’s red light district. Yet, despite the typical individualist approach used in ‘struggling artist’ stories, Yume’s struggles are alleviated by the blossomed friendships she forms along the way.
The film begins with a rapid pace, cutting from a captivating contemporary dance set with an entrancing soundtrack to an underground dance battle with pulsating electronic music. The first time we see Yume dance in the battle scene is nothing short of mesmerising, not just because of her dance ability but for her acting too. Bambi Naka’s performance is one of the film’s greatest strengths. Almost like being under a hypnotic charm, it’s impossible to steer your eyes away from Naka and her entrancing ability to transform from a timid and reserved young woman to assertive and radiating with a burning desire when she dances. Each scene is as alluring as the next, leaving little time to catch your breath as the character development and emotion of Yume is presented through the whiplash-inducing transitions between sets.
On a technical level, Dreams on Fire is sublime. The camera work and enclosed spaces are manipulated to convey Yume feeling restricted and suffocated by constant rejections. Cinematographer James Latimer captures the allure of Tokyo’s talented creatives through a bold, mystical colour palette that mirrors the atmosphere of the lustrous city. The visual aesthetic complements each of the performers we see, pulling our gaze closer to the screen, following every movement and contour of the dancers’ bodies. Dreams on Fire features performances from the number one go-go dancer crew in Japan, CyberJapan, and top drum and bass artist DJ AKI. They throw themselves into an immersive portrayal of the city’s underground dance scene, setting the bar sky-high for any future dance films.
Behind the ethereal and dreamlike aura that radiates on screen are the very real and important issues that underpin the struggles that Yume and many women face every day. Drowning in the concrete abyss of the city, Yume struggles to keep afloat, so she seeks out work at a hostess club. The intimidating and persuasive boss (Masahiro Takashima) offers Yume a job on the one condition that she wears a school girl costume and changes her makeup to appear ‘sexier,’ deceiving Yume into thinking that the paying male customers want only platonic company for the night. Paralleling the discrepancies between Yume in absolute control of her body when dancing with scenes showing men touching Yume without her consent, McKie handles the deeply complex themes of sex work and objectification of women with authenticity and care. Without empowering the exploitation of workers, Dreams on Fire highlights the resilience of Yume and women globally whilst critiquing capitalist systems that allow the commodification of women.
A refreshing and hopeful aspect of the narrative derives from the onscreen relationships Yume forms with other women, bonded by the mutual understanding each of the women has for one another living under a patriarchal society. Subverting the typical trope seen in struggling artist films like , Dreams on Fire rejects the idea that abandoning people in your life is necessary to focus on your goals. Instead, McKie tells Yume’s story of struggle through a collectivist lens, conveying the importance of friendship when trying to navigate a ruthless and cut-throat world.
The film’s flaw lies in the ambitious two-hour runtime. Tokyo’s ‘city that never sleeps’ mentality is mirrored in the film’s rapid pacing, showcasing every inch of Japan’s artistry and talent until it reaches a burnout halfway through. With McKie’s focus on visuals over dialogue, the absence of striking dance and music sets for periods of the film causes the narrative to feel lost and unfocused for a short while. That being said, the reignition of the story with its climactic resolution compensates for a middle sequence stuck in something of a limbo.
Whilst the film’s premise is a familiar framework in cinema, Dreams on Fire is a unique retelling of a classic story. Its striking visuals and captivating choreography will leave you craving a rewatch to absorb every ounce of the film’s aesthetic allure. With McKie’s experimental and candid style shooting balanced with meticulous, detailed editing, Dreams on Fire is an intimate and visceral viewing experience that immerses the audience into Yume’s journey.
Dreams on Fire Words by Alexandria Slater Support The Indiependent was screened as part of the Fantasia Film Festival 2021 .
We’re trying to raise £200 a month to help cover our operational costs. This includes our ‘Writer of the Month’ awards, where we recognise the amazing work produced by our contributor team. If you’ve enjoyed reading our site, we’d really appreciate it if you could donate to The Indiependent. Whether you can give £1 or £10, you’d be making a huge difference to our small team.
Originally published at https://www.indiependent.co.uk on August 24, 2021.


A primary school teacher in remote Arunachal Pradesh reads out a passage about Holi from a Hindi textbook. He tells the class that their state, too, has a similar festival and it is called Kro-Chekor. On cue, one girl asks why the book has no mention of the local festival. The teacher replies: “Because the outside world does not know us.”
The above scene from Sange Dorjee Thongdok’s Crossing Bridges, a film made in a dialect spoken in West Kameng district of Arunachal Pradesh, sums up the principal reason why a young man from northeast India decided to go behind the camera to tell stories about his people.
Sange asks: “If we do not tell our own stories, who will?” And there is, he adds, no dearth of stories in his neck of the woods.
Crossing Bridges, the story of a retrenched web designer who returns to his village after being away for eight years, is a remarkable effort in many ways.
“All that I had to begin with was a screenplay and a Canon 5D Mark 3 camera,” says Sange, a Satyajit Ray Film & Television Institute (SRFTI) alumnus.
The challenges before the first-time director were daunting, but none was more so than the task of finding the right actors. “There are no professional actors who speak the Sherdukpen dialect, so I had to fall back on my own pool of friends for the various onscreen roles,” says Sange.
Crossing Bridges is none the worse for it. The amateur actors lend the film a feel of spontaneity that professionals could not have achieved. “Before the shoot, I did a three-month workshop with members of the cast to familiarize them with the demands of filmmaking,” the director reveals.
The male lead in Crossing Bridges is played by Phuntsu Khrime, while the pivotal character of a lady teacher who arrives in the village from Shillong is fleshed out by mountaineer Anshu Jamsenpa, the first Indian to climb Mount Everest twice in 10 days.
Crossing Bridges was filmed in and around Shergaon, the picturesque village that Sange left some years ago in order to pursue his dreams. “The film is inspired by my own experiences,” he says. “The return to my village after many years was quite a journey of rediscovery. I wrote down what I saw and felt.”
Crossing Bridges is the second film to be made in Arunachal Pradesh but is the first-ever directed by a native of the state. In 2006, a film in the Monpa dialect, Sonam, was made by Assamese director Ahsan Muzid.
For his first feature, Sange roped in his batch mates at SRFTI who worked with him on his final year diploma film, Pratyabartan – cinematographer Pooja S. Gupte and editor Sanglap Bhowmik, among others. “They were an integral part of the project from the very outset,” he says.
Sange is, however, keen to make a film with technicians from Arunachal Pradesh. “It would be great if youngsters in the state could be trained in various aspects of filmmaking,” he says. Sange is a role model: he is the first person from Arunachal Pradesh to pass out of film school.
Crossing Bridges is currently doing the rounds of film festivals and garnering critical appreciation. It premiered at the 15th Mumbai Film Festival in mid-October and then travelled to the Dharamsala International Film Festival in the last week of the month. The film is due to travel next to the 18th International Film Festival of Kerala in December.
The story of a young man struggling to reconnect with his roots has universal resonance. Made in a simple but visually and emotionally engaging style, the film revolves around Tashi, who is back in his village for a break after losing his job in Mumbai.
As he waits for news of reemployment, he struggles to fit back into the environment that he left behind and moved away from.
His own village has now become an alien land, while he himself has lost touch with the little things that he did as a teenager, like drinking butter-tea and crossing log bridges across mountain streams.
Tashi gets a temporary job as a replacement teacher in the local school, where he meets Anila and his relationship with his own roots begins to change.
Sange weaves legends and fables about forest spirits and shamans, a story of unrequited love and the experiences of Tashi’s boyhood friends, among other strands, into the film’s narrative tapestry.
The views of his boyhood friends are in sharp contrast to Tashi’s restless spirit. Even as he is desperate to get back to Mumbai, one of his pals tells him: “I have a home, livestock, a field, a wife and a child – what more can a man want?” The question that the film asks is: Tashi certainly wants more, but does he need more?
Tashi begins to see his own village in a different light as he interacts with fellow schoolteacher Anila. “She shows Tashi how beautiful his village is. Sometimes it takes an outsider to reveal what is obvious,” says Sange.
The onscreen performances in Crossing Bridges, says Sange, evolved through a process of trial and error. When the non-actors spoke the lines written in the script, they sounded too rehearsed.
So the director allowed them to improvise and use words that they would in real life to convey the emotions and ideas being articulated onscreen. “That imparted an air of naturalness to the dialogue delivery,” adds Sange.
He believes that “making a film is actually pretty easy, especially if you dare to do it without the bells and whistles”. What is difficult, he adds, is getting the film out into the market. “I would want as wide an audience as possible to see my film,” he says.
He wants the film to be a window on Arunachal Pradesh for the “outside world”. He points out that in the last couple of decades, major changes have been sweeping through the state. As a result, the cultures of the tribes of Arunachal Pradesh are under threat.
Sange points out that his state has 25 major dialects but only two have written scripts. “Any audiovisual form of communication is therefore useful in documenting, spreading and preserving our culture,” he says.
Crossing Bridges is already building bridges. The film has been acquired by Montpelier-based Insomnia World Sales for international distribution.
Says Sange: “I am hopeful that as the film travels and reaches out, more people will develop an interest in Arunachal Pradesh and we will see more production collaborations falling into place in the state.”
Crossing Bridges is only one small step in that direction, but the film clearly has the makings of a success story of far-reaching proportions.


Shorts are short films that do not fall under the Collecting Stories projects but have been carried out as individual assignments or as own work. More coming soon…
Dirkie de Veenboer
“Dirkie de Veenboer” is a short film about the life of Dirkie Ivan de Veenboer, who was born in Hoorn. The story proves once again how dominant the sailors from Hoorn in the seventeenth century were on the world’s oceans. However, this film makes this great story “smaller” and tangible for the current residents of Hoorn. A Hoorn fairy tale from the Golden Age in a modern coat. This film was made possible by the Municipality of Hoorn.
Co has had a turbulent childhood and has always been very vulnerable due to illness. Co has nevertheless done everything and has developed into a wonderful storyteller.


Tsumugi: They want to have Yamato-san appear in a two hour drama every Monday!?
Tsumugi: We’ve just gotten an amazing chance!
Yamato: Aah. I’m not really interested. Could you try asking someone else?
Iori: You should just do it! Please don’t waste this chance.
Riku: That’s right! You get to meet Kisaragi Aruto-chan! (1)
Mitsuki: And you’re playing the killed teacher in a school mystery!? That totally suits you…..!
Yamato: Just how does that suit me?
Mitsuki: It’s just….an overall fit!!
Nagi: Oh, Yamato! It’s written here that you’re popular with female students.
Nagi: My intuition tells me the culprit that killed you was overcome with jealousy! Do you have any ideas!?
Yamato: I haven’t been killed! …..Who was the director that sent you the email?
Tsumugi: Director Kinoshita Masami. (2)
Yamato: Aah, that old man……
Yamato: Sorry, but I’m not interested in acting. Turn down the offer.
Yamato: I’m going to the convenience store.
Tsumugi: ………… ……If the person himself isn’t interested, then there’s no helping it……
Iori: I wonder if he’s an acquaintance of the director’s.
Mitsuki: When we went to the TV station for Music Festa, it looked like he knew a few people.
Mitsuki: Yeah. They called out to Yamato-san. Saying things like “long time no see”.
Riku: I wonder if Yamato-san was in show business.
Tsumugi: But that kind of personal history wasn’t listed on his resume……
Nagi: Oh…… How unfortunate. This was such a rare chance…….
Mitsuki: ……h, haa, haa…… Dammit, I’m off again……
Yamato: ……Mitsu, you’re still practicing?
Mitsuki: Ooh, Yamato-san. Well, there are times where I don’t match up with everyone else.
Mitsuki: I’m doing it the same way, so where am I messing up?
Yamato: ……Well, yeah. You’ve got a smaller frame, so your stride is different. You go off sync when we change positions.
Mitsuki: Aah, so that’s it! Alright, let’s try one more time.
Yamato: ……Haha. You’re always putting your all into it.
Mitsuki: Of course I am. It’s boring if you don’t!
Mitsuki: If you just go at it just enough, even if you manage to succeed just enough, then you’ll only be that happy.
Mitsuki: In that case, doesn’t it feel better to do it with everything you have, succeed with everything you have, and be happy with everything you have?
Mitsuki: There are times when you fail with everything you have too….. But when that happens, you just gotta be sad with everything you have.
Mitsuki: It’s my one and only life! And aren’t I the only one that can make my own life interesting?
Mitsuki: You should try it too. I don’t know what your circumstances are.
Mitsuki: But I want to see you really cry with vexation and really weep with joy.
Mitsuki: Show me, Leader.
Tsumugi: You’re going to accept the offer to act in the drama!?
Banri: Yay! We’ll get an amazing guarantee payment! (3)
Yamato: ……if that’s the situation we’re in, then tell me beforehand. Even I wanna make sure everyone gets a good bento to eat……
Tsumugi: That’s not all, of course!
Tsumugi: This is the first drama and acting job for IDOLiSH7!
Tsumugi: I’m glad that the one opening this road for everyone else is the trustworthy Yamato-san!
Yamato: ……Haha. Flattery won’t get you anywhere.
Yamato: But, well….. Why don’t I give it a try?
Yamato: That whole “putting your all into it” thing.
(1) HE SAYS HER NAME, BLESS.
(2) Combination of googling and more googling got me this particular rendition of 木下正巳, let’s hope it’s right.
(3) ギャラ, short for ギャランティ (guarantee), in the dictionary as “fees paid to performing artists, etc”, heck if I know if this has a PROPER English equivalent, but I tried. (This line is on Banri’s Line sticker, actually, lmao)


Lindsay Lackey’s All the Impossible Things (2019) swept me away like a discarded paper bag on a windy day. It’s a beautiful story that is skillfully written and carefully paced with brave characters who love each other the best they can. I enjoyed it immensely and think you will as well.
At the center of the story is twelve-year-old Ruby “Red” Byrd. Red is in foster care after losing her grandmother to cancer and her mother to addiction. Reuniting with her incarcerated mother is a hope that lingers throughout the text, as do reminders of her relationship with her grandmother. This is a little girl who has known fierce love, even if the two women who loved her ultimately couldn’t care for her. Continue reading


Beasts of No Nation
The test of a great movie is whether I keep watching the screen through all the credits until it finally goes black. That doesn't happen often, but it happened last night with Beasts of No Nation, the incredible slice-of-life film about a boy soldier in an unnamed African civil war. (Why do we call these lads "child soldiers"? There are no girls among them.) Both Agu, the boy, and the Commandant are superlative actors, both worthy of an Oscar, and the mute boy called Strika is impressive as well.
Agu becomes a soldier because otherwise he will die. What better motive could there possibly be? He learns to kill because that's what a soldier is required to do.
As for the band he is forced to join, it goes through a similar evolution, from part of a serious rebellion to a free-lance force, because making war is what the Commandment knows how to do. So the Commandant too becomes a Beast of No Nation. No happy ending is possible for beasts of no nation, yet the movie makers somehow manufacture one for Agu, who is turned back into a Boy at the end. I found that unconvincing. "I saw terrible things," he tells a man who might be a UN psychologist; "I did terrible things." Perhaps. But does the Beast know that his actions are terrible?
No matter! It's a great movie. See it, on Netflix or at the few cinemas that are screening it.


Carlos Asse is a Mexican filmmaker based in Los Angeles, CA. After graduating high school Carlos embarked on a one-year leadership program around the Middle East, which gave him the opportunity to meet people from varied cultures, all with very unique and authentic backgrounds. Such experiences catalyzed his passion for storytelling and helped him discover his love for screenwriting and film directing.
His work is shaped by a passion for storytelling and blends surrealism into the most honest and thought-provoking elements of life itself. Attracted to the human condition, he strives to evoke an emotion in the viewer with every frame.
Business Inquires \ firstname.lastname@example.org


Join Us for Giving Tuesday on November 28, 2023!
Cascade Community Theatre has been a hub of creativity, inspiration, and community spirit for over a decade! This #GivingTuesday, let’s come together to support the arts and ensure a vibrant future for our local theatre.
Your donation, big or small, makes a difference! Every dollar goes towards:
Empowering Local Talent: Nurturing actors, directors, and behind-the-scenes wizards who bring stories to life on our stage.
Creating Unforgettable Moments: From captivating sets to enchanting costumes, your contribution helps us craft magical experiences for our audiences.
Educational Outreach: Fostering a love for the arts in the next generation through our youth program.
Community Engagement: Strengthening the bond that ties us all together, fostering a sense of belonging and shared joy.
This Giving Tuesday, show your love for Cascade Community Theatre! Let’s continue to make memories, inspire, and celebrate the arts together! Thank you for being part of our incredible community. #GiveToCCT #SupportTheArts #GivingTuesday #CommunityTheatreMagic #CCTPlays
Donate before November 29th here: https://cctplays.ludus.com/fundraiser.php?id=2045


This Shakespearean-type comedy is written by John Fletcher and directed by Michael Nehring. The production is under the umbrella of the Portland Shakespeare Project, Artistic Director, Michael Mendelson. It is playing in repertory with Shakespeare’s Taming of the Shrew through August 4th at the Artists Rep’s space on SW Alder and 16th. For more information and/or tickets, go to their web at www.portlandshakes.org or call 503-241-1278.
Fletcher was a contemporary of Shakespeare’s and wrote this play as a sequel to “…Shrew.” It may be the first feminist play, as women, at this time, weren’t even allowed on the stage as actors. It is rarely performed but is a good reaction to Shrew, where the wife becomes subservient to her husband. In this case, the tables are reversed and Petruchio (Peter Platt) must submit to his new wife’s demands before he they can consummate their marriage. And his new lady, Maria (Kayla Lian), has demanded clothes and liberty, as well as respect for a woman’s rights.
Other characters from Shrew reappear, such as the trickster, Tranio (Nathan Dunkin), and Kate (now deceased) younger sister, Bianca (Ashley Nicole Williams). And there is a similar sub-plot to Shrew in which Roland (Steve Vanderzee) is trying to woo Livia (Britt Harris). But, of course, her father, Petronius (David Bodin) prefers that she marries a rich, much older man, Moroso (Gary Powell). If this all sounds familiar, it’s very similar to Shrew, only with the tables turned.
They both try to outwit each other with feigning illness, faking death, traveling, flirting, spending large sums of money, betting on one or the other to triumph and, of course, the servants get involved in the fray, too. We know it will come out all right but it is pleasant to see the woman on top, especially in that repressive age. And Fletcher is a decent writer, emulating, rather successfully, the style of his friend, William. This is done as a Reader’s Theatre but with a great deal of activity throw in.
For all those wanting to see the playing field of wooers and wooees balanced, this does the trick. It is interesting to note that sex seems to be the driving force in these types of contests. Not values or personality or goodness, etc. but just the base contents of sex and money. Such simple folks we are. Evidently, though, universal enough to have it repeated in plots for many years to come.
All the actors are successful in portraying their roles and do very well translating the story to modern dress and, essentially, no set. Lian is particularly good portraying the new wife. She does well articulating the Shakespearean language and is clear in gestures and movement as to her feelings. Platt is equally as good, showing the frustration of a man losing control of what is suppose to be a man’s world. And Harris and Vanderzee, as the young lovers, are also fun to watch. They battle prettily on the warring grounds. Nehring has done well in allowing for a lot of movement and encouraging his actors to employ the actual script as little as possible. And he evokes an accessible and conversational style to the story.
I recommend this play and it should be seen in conjunction with their “…Shrew,” to get the full scope of the dueling plots. If you do see it, please tell them Dennis sent you.


Which TV Show Should All Women Watch?
Because nothing is better than girl power.
Сообщение 7 месяцы тому назад в Знаменитости, обновленный 7 месяцы тому назад.
. Let's face it: There's nothing better than girl power, especially when it's conveyed on screen.
2. So we want your recommendations for the TV shows you believe all women should watch.
3. Perhaps it’s a show with an amazing female cast, lead character or director.
4. It could be a show that powerfully highlights the female experience – good or bad.


Sound of Music presented by Tri-Cities Prep Performing Arts
- 10/05/2019 THROUGH 12/05/2019
Sound of Music – presented by Tri-Cities Prep Performing Arts
Beloved by generations of audiences worldwide, “The Sound of Music” tells the inspiring true story of the von Trapp Family Singers and their escape from Austria during the rise of Nazism. Rodgers and Hammerstein’s 1959 hit stage musical garnered five Tony Awards, including Best Musical, and the blockbuster 1965 movie adaptation won five Oscars, including Best Picture. Among the many classic songs featured in the score are “The Sound of Music,” “My Favorite Things,” “Do-Re-Mi,” “Climb Every Mountain,” “Edelweiss” and more.
Brought to you by Tri-Cities Prep Performing Arts Program. Three weekends, including two sing-a-long shows.
7:00 pm performances on April 26, May 3 and May 10
2:00 pm Matinee performances on April 28, May 5 and May 12
7:00 pm Saturday Singalong performances on May 4 and May 11.


In the 1950s, my granddad, John R. Rice, produced a series of 30-minute films designed to be shown in fundamentalist churches. One was titled Bringing in the Sheaves, the story of a young woman who is distraught after her mother's death and leaves home for the big city of Chicago, attracted by the bright lights and adventures she imagines she might have there. She is discovered at the train platform in Wheaton by my granddad and is taken home with him to live with his family (my grandmother and various aunts). She narrowly escapes various satanic temptations (such as movie magazines) and ends up repenting of her sins and getting saved.
In the middle of the film is the following video of me, my brother, and my two sisters in our grandparents home in Wheaton singing This Little Light of Mine. I am standing on the far right next to my dad. My grandmother, Lloys Cooke Rice, is the second woman from the left. the grand piano was moved into the house in 1941 by Billy Graham, who ran a little moving company while he was a student at Wheaton College.


A one-hour television documentary, CHUN YI: THE MAKING OF A LEGEND, explores and reveals the magic behind the scenes of an extraordinary Chinese Theatrical experience. Shot on location in Beijing, CHUN YI: THE MAKING OF A LEGEND focuses on the creation of the show covering all aspects of the production from rehearsals and Kung fu coaching to choreography, music, set design, costume design, and lighting.
The documentary highlights the unique contributions of the Canadian theatrical producers John Cripton and Michael Sulyma in revamping and developing CHUN YI: THE LEGEND OF KUNG FU for worldwide touring.
A spectacular theatrical experience, THE LEGEND is a journey across the threshold from youth to manhood, from temptation to salvation, from little monk to Grand Master.
A performance of CHUN YI: THE LEGEND OF KUNG FU, shot in front of a live audience, is intercut with back stage and rehearsal footage illuminated by interviews featuring the creative team behind The Legend. Television audiences are treated to a glimpse of the elements that comprise the creative core of CHUN YI: THE LEGEND OF KUNG FU, a seamless view defining the structure of a great work of Chinese theatrical art.